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My View on the
[2023-8-4 17:32:23]
【上苑評述】我看北京上苑藝術館“超結構主義群展”
My View on the "Superstructuralism Group Exhibition" of Shangyuan Art Museum in Beijing
由北京上苑藝術館主辦，湯軍、詹明昭策展的“超結構主義群展”有超過四十位來自國內外的藝術家參與。藝術家以各自專業的繪畫、動畫、文字、雕塑、行動藝術……等作品，以集體的力量創造了一次特殊的“超結構主義”盛宴。在這些作品中，各個觀覽、分而治之，我們很難不說這些藝術手法和某些前輩大師，有相近甚至師法之處（如：立體主義、超現實主義、后印象派…），在整個展廳的動線規劃上，亦無大異以往或刻意搞怪之點。那么，這次的群展究竟何以特殊？又“超”在哪里？
The "Superstructuralism Group Exhibition" sponsored by Shangyuan Art Museum in Beijing and curated by Tang Jun and Zhan Mingzhao has more than 40 artists from home and abroad. The artists created a special "super Structuralism" feast with their own professional paintings, animations, characters, sculptures, action arts, etc. In these works, it is hard not to mention that these artistic techniques are similar to or even imitated by some older masters (such as Cubism, Surrealism, Post-Impressionism, etc.), and there is no significant difference or deliberate weirdness in the dynamic planning of the entire exhibition hall. So, why is this group exhibition so special? Where is the ’super’ again?
上苑藝術館法國駐留藝術家Tristan Tréhin(雕塑作品)
熟悉歐美藝術、語言和社會（發展）的人肯定對結構主義、解構主義、后結構主義等重要的術語相當熟悉，對幾個知名的代表性學者及其論點自然也如數家珍。但什么是“超”結構主義？Michel Foucault混用系譜學和詮釋學而創造出的“詮釋解析法”，以不同的結構主義和詮釋學角度來理解人類和社會，被Hubert L. Dreyfus和Paul Rabin寫下Michel Foucault: Beyond Structuralism and Hermeneutics（1982）。此書向他提出贊譽和挑戰，然而”beyond”也并非本次“超”結構主義之意。
Those who are familiar with European and American art, language and society (development) must be quite familiar with important terms such as Structuralism, Deconstruction and post Structuralism, as well as several well-known representative scholars and their arguments. But what is "super" Structuralism? Michel Foucault mixed Genealogy and hermeneutics to create an "interpretive analytic method", which understood human beings and society from different Structuralism and hermeneutics perspectives. Michel Foucault: Beyond Structuralism and Hermeneutics (1982) was written by Hubert L. Dreyfus and Paul Rabin. This book puts forward praise and challenge to him, but "beyond" is not the meaning of "beyond" Structuralism this time.
辰穹《我的進化史》，藝術微噴，2023
眾所周知，語言、符號、權力結構和文化意義是構建我們對世界的理解和認知的主要要素，透過Michael Bakhtin的“對話”論，以及后結構主義等對傳統提出的挑戰，Jacques Lacan、John Berger也從觀視權力的角度，重新思索其中的位置／地位（position）的含混、曖昧與復雜性。
As we all know, language, symbol, power structure and cultural meaning are the main elements to build our understanding and cognition of the world. Through Michael Bakhtin’s "dialogue" theory, as well as post Structuralism and other challenges to tradition, Jacques Lacan and John Berger also rethink the ambiguity, ambiguity and complexity of position/position from the perspective of visual power.
羅應龍《夢幻舞廳No.1,2》，布面油彩，2023
2019年，湯軍首度在《超結構主義的藝術、科學與實踐》一文中提出了“超結構主義”的概念，該文將“超時空結構”定義為超結構主義的源頭，并認為：
In 2019, Tang Jun put forward the concept of "super Structuralism" for the first time in his article "Art, Science and Practice of Super Structuralism", which defined "super space-time structure" as the source of super Structuralism, and believed that:
超時空結構蘊藏在中國藝術的方方面面，也為科學中的相對論和量子力學所揭示。
The structure of super time and space is hidden in all aspects of Chinese art, as well as revealed by relativity and quantum mechanics in science.
中國藝術中的水墨畫、江南園林、戲劇等都蘊藏著超時空結構。超結構，即“超時空結構”的簡稱。
Chinese ink painting, Jiangnan gardens, dramas, and other forms of art contain a super temporal and spatial structure. Superstructure, also known as the abbreviation of "hyper spatiotemporal structure".
而超結構主義，是對基于藝術與科學的超時空結構觀念的充分再表現及二次元創造。
And super Structuralism is the full re expression and anime creation of the concept of super space-time structure based on art and science.
湯軍《金色維納斯》（左），《飛翔的維納斯》（右），《時間之軸》（中），2023
在Michel de Certeau的重要論著The Practice of Everyday Life（1980）中，他提出一個特殊的論點：日常生活的運作方式是在他人的領地上偷獵，使用文化中已有的規則和產品，其方式受到這些規則和產品的影響，但又不完全由其決定。從湯軍所說的中國山水畫的“散點透視”，到不同區域的人的“現象回歸指數”；從帕特農神廟到中國的江南園林，都是從古至今，人類日常生活中在一片看似規則的策略運作下，所呈現的透視、逆反、個人主體與大化衍成之間的反制或交合結果。
In Michel de Certeau’s important work, The Practice of Everyday Life (1980), he proposed a special argument: the way daily life operates is by poaching on the territory of others, using existing rules and products from culture. The way of use is influenced by these rules and products, but not entirely determined by them. From Tang Jun’s "scattered perspective" of Chinese landscape painting to the "phenomenon regression index" of people in different regions; From the Parthenon to the Jiangnan Gardens in China, all of them are the results of perspective, rebellion, reaction or combination between individual subject and Dahua development under a seemingly regular strategy operation in human daily life from ancient times to the present.
李鵬波《美麗新世界》，裝置，材料：避孕套+燈珠，90x104x8cm，2022
于是，在展廳里我們看到“一生只做一件事”的水墨畫，看到水在天花板上橫流卻不滴落的《水之態》，看到深具諷刺意味的動畫《8分鐘清倉甩賣》，哀嘆原來我們日常談論的宏大敘事（和平、國家、權利、愛…）竟是如此不堪一擊。在這些“超時空結構”的藝術作品中，我們看見藝術的日常，更看見了藝術的力量，它們任意穿梭，并且隨意結合，就像這次的超結構主義展一樣。
So, in the exhibition hall, we saw the ink and wash painting of "doing one thing in one’s life", the "State of Water" with water flowing across the ceiling but not dripping, and the ironic animation "8 minutes clearance sale". We lamented that the grand narrative (peace, country, rights, love...) we talked about everyday was so vulnerable. In these "super space-time structure" works of art, we see the daily life of art, but also see the power of art. They freely shuttle and combine, just like this superstructuralism exhibition.
謝靜國 2023/8/3
Xie Jingguo, August 3, 2023
臺灣東吳大學中文系專任助理教授
Assistant Professor, Department of Chinese Language, Soochow University, Taiwan
臺灣藝術大學跨域表演藝術研究所兼任助理教授
Assistant Professor, Interregional Performing Arts Research Institute, Taiwanese art University
上苑藝術館駐留藝術家詹明昭作品 《布吉島》，軟陶+石頭，10x11x18cm，2022
上苑藝術館駐留藝術家詹明昭作品 《布吉島》，軟陶+石頭，10x11x18cm，2022
李玲《玄之一，之二》，綜合材料，90x60cm，2023
李博《尤利西斯》， 布面油彩，80x160cm，2018
上苑2023駐留藝術家 Michael Downs（澳）《能量2》，混合媒介，152x168cm，2023
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