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ABSTRACT
Offering close readings of key works by artists Liu Chuang, Jiang Zhi, Wang Yuyang, and Zhang Liaoyuan, this article proposes a curatorial view of criticality in the contemporary Chinese context that is broadly understood by its practitioners as mutually exclusive with political or social engagement. It then attempts to consolidate a set of principles and key concepts that underpin the cultural conditions that allow for this understanding in order to trace possible new ways forward for the political and/or critical in future cultural production, ultimately taking cues from media theory and object-oriented philosophy by way of suggesting that the social status of art will need to shift before any new route can emerge. The article concludes that aspects of the currently dominant trope of criticality may serve as a platform for the products of artistic practice to speak more clearly and critically than artists themselves are now able.
摘要
藉由细读刘窗、蒋志、王郁洋和张辽源的几件重要作品，本文提出在当代中 国的语境之下，众所周知的，具有批判性的策展观点往往表现出与政治和社 会参与的互斥性。本文接着试图整合出一套方针与几个关键性概念，强调正 是当代中国特殊的文化条件容许了这种现状，并试图在未来的文化中找到一 条新的政治/批判路径；同时文章利用媒体理论及唯对象主义哲学来论证， 只有改变中国当代艺术的社会地位，这样一条新路径才有可能出现。本文最 后得出结论，当前一些占主导地位的喻指性批判也许能够成为艺术创作的平 台，让艺术家们更清楚、更具批判性地发声。