台北當代藝術館 官方網站 Museum of Contemporary Art, Taipei

【【後廢墟主義：關鍵詞】】 楊小濱 【壞】 只要有人在，就有壞。人在世界上創建的同時也亂弄了世界。後廢墟主義的視景是被弄亂、弄壞的世界角落。 【後抽象藝術】 讓街巷裡或工地上無意中存在的康丁斯基、米羅、波洛克、塔皮埃斯、羅斯科顯形。 【抽象／具象】 不管是蒙德里安的抽象方塊和線條，還是梵谷的具象向日葵或星空，說到底，都是物質的顏料。後抽象藝術，面對的其實也是具體的牆面、門面、圍籬上所留下的具體的刮痕、油漆、粉刷…或天曉得什麼東西—但正是這些物質性的存在構成了對象。客觀物質不是主觀意念。不過，正是具體的物質，顯現出抽象的容貌。 【蹤跡】 蹤跡一詞來自德希達的概念trace。蹤跡：掩蓋不住的歷史。歷史總是從不經意的地方剝落出來。 【塗抹】 塗抹來自德希達另一個概念usure。塗抹：對歷史的刪改。被刪改的歷史不經意地露出更多印跡。歷史總是一種在擦拭、塗抹的過程中顯現出另樣的圖景。無獨有偶，拉岡也創造了lituraterre（搵學）一詞來開拓出擦拭的空間。 【命名（後廢墟）】 廢墟是現實世界的壞。壞了之後的現實世界，便是現代藝術最常見的主題。班雅明的天使目睹了歷史廢墟上積聚的碎片殘屑被救贖的風暴捲上天空。 【命名（後傷口）】 傷口是肉體的壞。壞了之後的肉體，便成為現代藝術意義上的肉體。 【命名（主義）】 為什麼社會可以主義？為什麼共產可以主義？為什麼資本可以主義？為什麼帝國可以主義？為什麼現代可以主義？為什麼現實可以主義？為什麼象徵可以主義？為什麼殖民可以主義？主義的氾濫是二十世紀以來，政治與文化的異象。那麼，就讓它更加氾濫吧。多談點主義，直到談濫。 【命名（語氣詞、象聲詞）】 我們的哀歎（唉），我們的喘息（吁），我們的驚訝（呀），我們的哭泣（嗚），我們的癡狂（嗷），我們的不屑（呸），我們的疑惑（咦），我們的無奈（呃），我們的手勢（啪、嗒），我們的唇舌（噗、哧）……所有這些關乎我們情感和肉體的，不是更值得一種主義的理念去張揚嗎？ 【隨意】 不攝取有意的藝術行為。只有不經意的、隨機留下的痕跡才是對象。 【無風格】 但殘破也可以是一種風格。上帝有風格嗎？上帝創造的猴子和魚和孔雀，能是同一種風格嗎？（或，作為上帝的造物，有機體也可以是一種風格？） 【遊戲】 沒有目的，也可以說是一種無意義的玩耍。馬克思的理想在這裡終於實現了：勞動不再是生產，而是……。 【懶藝術（或拾荒）】 既然已經有人把它做好又棄置了，我又何必在畫布上費勁呢？攝取不是竊取，只是拾荒。 【主體】 誰是後廢墟主義的主體？假如欲望主體執行的是他者的欲望（拉岡），主體性也就意味著對他者欲望形態的完成。如果說有其筆墨氣韻，那正烙印了他者的身體欲望表達。 【業餘】 業餘的設備和技法與拍攝物件的廢棄感、隨意感是相應的。正如業餘的布希亞（法國哲學家）用相機揭示了物質世界的抽象意味。拍攝意義上的業餘體現出美學意義上的專業。 【日常】 不崇尚日常。而是攫取日常視像語言元素裡所潛在的前衛性。從根本上是反日常的，因為日常掩蓋了生活的奇異／歧義。從這個意義上，後廢墟主義的行為是一種「去蔽」（aletheia）。 【底層（群眾藝術？）】 不具備道德感。不替底層發聲。只是常常將底層、草根的行為結果作為藝術保留下來：工地民工的塗料、修車匠的噴漆、清潔人員的粉刷、流浪少年的鑿孔、搬運工的撞擊……。 【聽覺】 你甚至可以聽見在鐵門表面被刮擦的刺耳聲，或者水泥濺上圍籬時發出的嘩啦啦巨響，或者夜半時分牆面上的彩色廣告被胡亂撕下的窸窣聲。 【現成品（非原創）】 杜象讓我們可以把一切現實中死去的變成藝術中鮮活的。後廢墟主義意味著攝取或抓取，抓取現實中「有意味的形式」。 【（廢品）】 （勞申伯有一天非常生氣，因為他工作室裡的一件作品被清潔工當作廢品扔進了垃圾桶。）反之，廢品的藝術性不言而喻。 【新與舊、美與醜】 （當人們紛紛注目美輪美奐的大廈時，在我的視景框架裡是工地圍籬上鏽蝕的凹槽、尖銳的刮擦、胡亂的刷痕、濺起的水泥屑、剝落的油漆……。） 【歷史感】 後廢墟主義的視像凝結了一段歷史：你也許不知道它在何時形成，是誰留下的痕跡，以何種方式弄壞成這樣；但你隱約可以感受到它形成（甚至不斷、連續形成）的歷史，它從好到壞（而不是從無到有）的變遷。因此，這是一種蒼老的藝術，它不是記敘世界的毀滅，而是記敘世界的敗落。斑駁不只是神的手畫出的。人也無時不在畫出各種斑駁。 {{Post-Ruin-ism: Keywords}} YANG XIAOBIN {Broken} There are things broken, as long as there are people. People disorder the world while they organize it. The Post-Ruin-ist visions are the broken, disordered corners of the world. {Post-Abstract Art} Let’s conjure up Kandinsky, Miro, Pollock, Tàpies and Rothko from shabby alleys and stained construction sites. {Abstract/Concrete} Whether we look at Mondrian’s abstract squares and lines or Van Gogh’s concrete sunflowers and starry skies, they are, after all, material pigments. Post-abstract art seizes concrete scratches, paints, or plaster... or God knows what... on walls, doors, fences and ground. But it is exactly the materials that are constitutive of the objects. The objective materials are not the subjective ideas. Yet the concrete materials appear as abstract art. {Trace} A concept from Derrida: histories that can hardly be concealed. Histories always show up inadvertently from the smeared surfaces. {Usure} Another Derridean concept: deletions and modifications within histories, which show up more traces. Histories appear as alternative versions in the process of effacing, rubbing and smearing. Not coincidentally, Lacan has coined the word lituraterre to indicate the space of effacement. {Post-Ruin} Ruin is the broken reality, the most common theme of modern art. Walter Benjamin’s angel witnesses how the debris of historical ruin flies skyward in the redemptive storm. {Post-Wound} Wound is the broken flesh, as the body in the sense of modern art. {Isms} Why can the social become an ism? Why can commune become an ism? Why can capital become an ism? Why can the modern become an ism? Why can the real become an ism? Why can the symbol become an ism? Why can the empire become an ism? Why can the colonial become an ism? The overflow of isms has been a sociocultural anomaly since the 20th century. So, let it keep overflowing. Talk about isms as much as possible until we get hopelessly tired. {Interjection, Onomatopoeia} Our sighs (alas), our agony (ouch), our surprise (oops), our disgust (ugh), our embarrassment (ahem), our shock (phew)... Are these voices closely linked to our mood and feeling not more worthy of being elevated to the position of ism? {Contingency} No intentional artwork, but only contingently left traces. {Styleless} But, could dilapidation be a kind of style? Does God have a style? Do monkeys, fish and peacocks, all created by God, belong to the same style? (Or, is organism itself, as a creature, a kind of style?) {Play} Aimless or meaningless play. Marx’s ideal has been realized eventually: labor is not for production, but for... {Lazy Art (or Scavenging)} Since other people have done and left it, why bother to do it with my own brush and knife? Not robbery, just scavenging. {Subjectivity} Who is the subject of Post-Ruin-ism? If the desiring subject carries out the desire of the other (as Lacan finds out), subjectivity means a completion of fulfilling the other’s desire. If vitality and breath exist, they also represent the bodily expression of someone else. {Amateur} Amateurish equipment and technique correspond to the nature of disposal and casualness of the objects. Baudrillard, with his camera, shows aesthetic professionality through technical amateurishness. {The Quotidian} No quotidian fetishism. Just capture the avant-garde power hidden in the daily visual elements. Fundamentally, this is an anti-quotidian act, since the “quotidian” conceals the wonders of life. In this sense, Post-Ruin-ism means aletheia (“truth” or “disclosure” in ancient Greek philosophy). {Grassroot Art?} No moral implications. Not voicing in lieu of the lower class. Simply maintain the grassroot act as art: sand blasting from construction workers, spray paint from car repairers, holes punched by wandering juveniles, impact marks made by porters... {Hearing} You can even hear the jarring scratches on the iron door, the splashes of cement on the metal fence, or the rustling noise of ads and posters being torn down perfunctorily. {Ready-Made (Lack of Originality)} Duchamp allows us to revive everything dead in reality into living art. It all depends on how to grasp the “significant form” (Clive Bell) in reality. {Trash} (Rauschenberg once got mad, because the janitor threw his artwork into the trash bin.) By contrast, the artsy nature of trash is doubtless. {New/Old, Beautiful/Ugly} (When people pay attention to the shiny skyscrapers, my vision focuses on the rusted dents, sharp scratches, accidental brush marks, splashed cement drops, peeled off paint...at the construction site.) {Historicity} A historical segment has congealed: you do not know when it was formed, who left the trace, or how it was broken like this; but you can somehow feel the history of its (continuous or successive) formations, its changes from goodness to badness. This is thus a kind of hoary art, recording the decline of the world. Mottlement is not solely made by God’s hand. Humankind is making various kinds of mottlement as always.