从“重复”到“类型学”:空间抽象的视觉内在化  

From Repetition to Typology:The Visual Internalization of Spatial Abstraction

作　　者：陈国森 CHEN Guosen(School of Philosophy,Fudan University,Shanghai 200433)

机构地区：[1]复旦大学哲学学院,上海200433

出　　处：《文化艺术研究》2025年第2期16-24,112,共10页Studies in Culture and Art

摘　　要：以埃德·鲁沙和贝歇夫妇为代表,当代摄影中的“重复”和“类型学”策略通过将摄影师的视野组织方式前景化,使自身区别于现代主义绘画的“格子”式自我复制所带来的自我封闭和向心特质,也通过无限的可延展性与其自身的无尽重复感,将资本积累过程中的社会抽象与空间抽象在视觉上进行内化。借此,摄影在“景观”本身作为一种批判资源业已失去效力的历史条件下,重新获得了其作为一种解中性化的批判工具的潜能,并得以质疑资本主义空间表象的生产以及资本全球扩张过程中产生的抽象空间。Represented by artists such as Ed Ruscha and Bernd and Hilla Becher,the strategies of"repetition"and"typology"in contemporary photography foreground the organization of the photographer's perspective,distinguishing themselves from the self-replicating,grid-like structure of modernist painting,which tends toward self-enclosure and centripetalism.Through their infinite extensibility and endless repetition,these photographic approaches visually internalize both social and spatial abstraction within the process of capital accumulation.In doing so,photography regains its potential as a tool of critique in a historical context where"landscape"as a critical resource has lost its effectiveness.It thus challenges the production of spatial representations under capitalism and the abstract spaces generated by the global expansion of capital.

关 键 词：空间的生产 空间表象 抽象空间 类型学 杜塞尔多夫学派 

分 类 号：J40-02[艺术—摄影艺术]