勢與形：新自由主義資本邏輯美學化之死亡形式與生命形式

Abstract

當代法國漢學家朱利安（François Jullien，又譯于連、余蓮）以功效角度分析中國古典思想的「勢觀」，揭露中國結合儒家、道家與法家的全面內在化治理模式，使人民自動自發地順服，而形成了典型的君主專制政體。本文指出，朱利安的「勢位」論點，以一種隱藏的方式，呼應了阿岡本(GiorgioAgamben)所分析的西方政治治理的「寶座空位」，因而以一種根本的親近性，靠近了西方的神學經濟範式。這種內在的親近性，指向了生命形式與經濟治理之間的緊張關係，也使得朱利安不自覺地將他的中國哲學分析置入於典型的西方政治哲學之內。本文的重要轉折在於，當生命進入功利性治理與消耗，成為死亡形式，藝術作品卻可以重新使用被消耗的物品以及死亡形式，展現出新的生命形式，一種政治性生命的形式。本文將透過當代大陸藝術家徐冰作品中的「身體」配置，討論生命／死亡並存的「形式」如何「力透紙背」，而以拓樸方式，牽引出並不在場的時代生命。透過徐冰的作品，我們可以看到他所修正的中國山水畫的傳統觀看角度，間接地駁斥了法國當代漢學家朱利安的山水畫論，並且藉由藝術中呈現的身體時間性運動—包括了個人的身體歷程，也包括了歷史多重交錯的歷程，提出了對於後1989新自由主義席捲之下全面資本美學化的批判。本論文的核心問題，涉及了生命的勢與形的問題，也就是藝術家如何透過對於身體與物的使用，一而再地挑戰既定的法則，而展開了獨一的生命形式。

This paper addresses the question of bio-politics that regulates and shapes people into different forms of life in today's societies, particularly in the post-1989 neoliberal capitalist conditions that we can observe in China. I call it the aestheticization of neoliberal capitalism. My concern in this paper is with the aestheticization of the neoliberal capitalism that was manipulated and executed by the contemporary States. I shall discuss the double cycle of the use and consumption of bodies in the artistic labor through my reading of a contemporary Chinese artist Xu Bing (徐冰1955- ). The primary process of the uses of the bodies by the State, the polis, took us to the question of the forms of life under the dictate of the political economy as discussed by Agamben, and the question as to how and why human life, through the uses of bodies, is shaped, measured, calculated, regulated and processed into various forms of life. In order to think the power of life or the potential of life that would not be always already administered and distributed according to the reason of the polis, I juxtapose François Jullien’s formulation of the concept of shi (potential, inclination, tendency) that he derived from classical Chinese philosophy with the Western concept of potentia/potesta as well as from the ancient Chinese philosopher Zhuangzi; and I discuss the possibility of a new critical and political use of body through the politics of aesthetics as this possibility presents itself in Xu Bing's work.