論蔡國強火藥爆破作品之矛盾創生

Abstract

論文使用德勒茲的「情動—影像」為方法論,分析爆破藝術家蔡國強「為外 星人作的計劃」系列作品的中心思想:「矛盾創生」。本研究首先引述海德格 關於「作品的作品本質」之研究,並根據柏格森的時空觀與情動理論,闡明德 勒茲的「情動—影像」理論,接著利用「情動—影像」為作品本質的分析方法, 分析蔡國強的「為外星人作的計劃」系列作品。最後根據分析結果認為,爆破 藝術使用火藥、時間和感官現象為話語,在不同的本質層次中進行「情動—影 像」或被海德格稱為「爭執」的思辯,而蔡國強爆破作品的中心思想「矛盾創 生」,和海德格的「作品真理本質是遮蔽之否定」,為同一真理在藝術與哲學 不同話語下的兩種表述。

This research uses Deleuze's affection-image as a framework to analyze the essence of Cai Guo-Qiang's explosive series of art—"Project for Extraterrestrials". The definition of "essence of artwork" is in reference to Martin Heidegger's concept of art wesen(art essence). Deleuze's concept of affection-image is based on Bergson's discussions on topics of space and time. The research concludes that his explosive series embodies the concepts of "affection-image" by gunpowder, time and perceptions at different levels of "art essence". Therefore, the essence of "Project for Extraterrestrials" is the same as that of Heidegger's concept of art wesen. However, Cai’s artistic series and Heidegger’s concept of art wesen are rendered in two different expressive forms: art and philosophy.