摘要
法西斯主义者憎恶先锋艺术,这是他们的关键特征,正是在此背景下,我们应当探讨现代艺术与20世纪历史的恐怖性之间的关系。1938年西班牙内战期间,阿方斯·劳伦西克依据康定斯基的色彩和形式理论建造的使囚犯们由于视觉环境而造成的极端负面情绪和心理痛苦的“心理技术”牢房,20世纪30年代,格奥尔格·卢卡奇强调表现主义的“非理性”方面、伊利亚·埃伦堡当时写的论超现实主义的文章、苏联艺术评论家米哈伊尔·利夫希茨的现代主义是文化法西斯主义的观点以及黑格尔关于艺术终结论的概念等都表征着非具象艺术所蕴含的政治含义。
The fact that Fascists and other patriots hated the vanguard entartete Kunst is a key feature of fascism.It is against this background that we should approach the relationship between modern art and the horrors of the 20th century history.In 1938,during the Spanish Civil War,Slovene origins Alphonse Laurencic relied on Kandinsky's theories of color and form to decorate“psychotechnic”cells where causing the prisoners to experience disorientation,depression,and deep sadness.In 1930s,Georg Lukacs stressed the“irrational”spects of expressionism(later,according to his analysis,culminated in Nazi ideology)、Ilya Ehrenburg wrote about the surrealists、the Soviet art critic Mikhail Lifshitz's view that modernism is cultural fascism and Hegel's concept of the end of art all represent the political implications of non-representational art.
作者
邱跃强(译)
于琦(编校)
Slavoj Zizek;Yueqiang QIU(University of Ljubljana;Zhejiang University)
出处
《马克思主义美学研究》
2022年第2期143-148,469-470,共8页
Research on Marxist Aesthetics
关键词
非具象艺术
现代主义
政治含义
Non-representational art
modernism
the political implications
