二战后艺术该如何表现“大屠杀”与纳粹历史?——以安塞姆·基弗《苏拉密》为例  

How should art represent the history of Holocaust and Nazi after World War Ⅱ?—Tabing Anselm Kiefer's Sulamith as an Example

作　　者：王玺钧 

机构地区：[1]浙江大学艺术与考古学院

出　　处：《都市文化研究》2024年第2期359-377,共19页Urban Cultural Studies

摘　　要：德国当代艺术家安塞姆·基弗创作于1983年的《苏拉密》,运用多处矛盾表现了“大屠杀”与纳粹历史:首先,《苏拉密》中未出现主人公的具体人形,这既可以被阐释为犹太人苏拉密因纳粹迫害而消逝,也令观众猜想基弗对受害者肉身放弃了具象表达,画面留下的空缺符合创伤记忆的特性;其次,隐去犹太人的同时却展露纳粹建筑的壮美,这是基弗根据不同描绘对象合理运用抽象与具象表现方式,同时旨在故意吸引观众体验当年纳粹符号的诱惑力;最后,哀悼纳粹军人的场所和犹太人的受难场所、雅利安与犹太元素糅合在一起,可能意味着基弗将德国人和犹太人均表现为受害者,而战后联邦德国人的“受害者意识”不应被彻底否定。基弗打破图像表现禁忌,将相互对立的元素并置以制造矛盾,是因为争论有利于历史记忆保持活跃,且体现了基弗认可历史是主观建构的结果。这种充满矛盾的表现方式回应了西奥多·阿多诺提出的奥斯维辛之后艺术表现的困局。Sulamith,created by German contemporary artist Anselm Kiefer in 1983,uses several ambiguities to represent the history of Holocaust and Nazi,Firstly,the Jewish woman Sulamith does not have a specific human figure.This could be interpreted as her dying and disappearing because of Nazi persecution;and it also makes the viewer speculate that Kiefer represented the victims’physical bodies abstractly,leaving an emptiness in the picture that is consistent with the characteristics of traumatic memories.Secondly,the omission of Sulamith while revealing the magnificence of the Nazi architecture reflects Kiefer's rational use of abstraction and figuration according to the different subjects depicted,while aiming to intentionally draw the viewer into experiencing the seductive power of the Nazi symbols;the combination of the funeral hall for Nazi soldiers and the place where Jews suffer may indicate that Kiefer represented both Germans and Jews as victims.The victim consciousness of people in the Federal Republic of Germany should not be completely denounced.Kiefer breaks the iconographic taboo by juxtaposing opposing elements in order to create ambiguities,by which debates caused would be conducive to the public memory of the Holocaust.It also reveals Kiefer's recognition that history could be constructed subjectively.The ambiguities and the ambivalence of Kiefer's method of representation per se respond to Theodor Adorno's proposal of the dilemma of artistic representation after Auschwitz.

关 键 词：安塞姆·基弗 纳粹 大屠杀 矛盾 记忆 

分 类 号：J205[艺术—美术]