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本文探讨了作为政治哲学家的科耶夫摄影作品,他的意义不在于摄影(语言)本身,而是在于为我们提供了一个观看世界的智者之眼,或一种哲人的美学。“历史之后”这个项目其实更像是他的一件作品。表面上意在建立科耶夫摄影与其政治哲学的内在关联,试图探讨一个人的思想与其视觉意识的内在联系,但事实上,它恰恰揭示了问题复杂的一面,即作为一个哲学家,他的摄影及审美趣味,就必然与他的思想相关吗?科耶夫这个展览无疑开启了一个新的问题视域:哲学家与其视觉创作的关系。这个展览同样给了我们一些新的提示:哲学的视觉介入,不管展览的视觉形式与其文本内容之间更多是契合还是错位。对于当代艺术本身而言,介入本身就是一种拓展,一种实验,一种生成。这里重要的既不是理论文本,也不是视觉形式,而是这个生成过程。
This article explores Kooyev’s photographic work as a political philosopher whose purpose is not to photograph (the language) itself but to provide us with the vision of a wise man who watches the world, or the philosopher’s aesthetics. “After the history ” This project is actually more like one of his works. On the surface, it is intended to establish the inherent relationship between Koiev’s photography and his political philosophy, and attempt to explore the inner relationship between one’s thought and his visual consciousness. In fact, however, it reveals the complicated aspect of the problem that as a philosopher, Photography and aesthetic taste are bound to be related to his ideas? The exhibition of Kojev undoubtedly opened a new horizon of questions: the relationship between philosophers and their visual creation. This exhibition also gives us some new hints: The visual intervention of philosophy, no matter whether the visual form of the exhibition is more fitted or dislocated than its textual content. For contemporary art itself, intervention itself is an extension, an experiment, a generation. What is important here is neither the theoretical text nor the visual form, but the production process.