一个展览

丹麦哲人索伦?克尔凯郭尔描述过的一幅画。它画的是以色列人穿越红海的故事。一幅同样主题的画，作者是普桑（Nicolas Poussin)?或阿特多尔弗（Albrecht Altdorfer)?，他们一定会画成这样: 一大群人，面带惊惶，饱经流离颠沛之苦’远处有一支埃及军队，正策马赶来。而在这里，取而代之的却是一大方红色，对此，画家的解释是以色列人已渡过红海，埃及人巳被埋葬。”克尔凯郭尔评说道，他一生的结局就像这幅画。

假设在克尔凯郭尔所描述的画旁边，挂上了一幅看上去一模一样的画，一块涂满红色的画布。不妨设想这是由一位心理洞察力极强的丹麦肖像画家创作的作品，它的名字叫“克尔凯郭尔的情绪”。在上两幅看起来(完全)相同的画旁边，还可以挂上另一幅一模一样的画，这幅题名为“红场”的画，机智地表现了莫斯科的风光。接下去的红方块是几何艺术的极简主义范本，碰巧的是，它的标题也叫“红场”。接下来一幅是《涅槃》。这是一幅形而上绘画，画家创作它，是因为那些贬低轮回界的人把轮回界叫做“红尘”，而画家知道涅槃界和轮回界是无差别的。现在还需要一幅由马蒂斯痛苦的门徒捉笔的静物画，叫做“红桌布”;我们可以允许这幅画的颜色涂得薄一点、平一点。接下来一幅不是真正的艺术品，而是一块用铅红打了底色的画布，如果乔尔乔内活得长一点，会在上面添上他那幅未完成的杰作《神圣会谈》。

最后，我的展览还会包括一幅用铅红上色而不是敷了底色的画布，它只是件人工制品，其哲学价值仅仅在于它不是一件艺术品， 其艺术史价值仅仅在于我们毕竟还在关注它:它就是这么一件涂了颜料的东西。

J. Seething 先生，还拿来一幅和我那些红方块看起来一模一样的画，坚持这也是艺术品，并要求我让它进入展厅。我欣然从命。

J 的另一件作品上，他说这是一件雕塑作品，据我的回忆，它只是一个普通的木制箱子，上面随意用滚筒敷了一层乳胶漆。

--阿瑟丹托《日常物的嬗变》

AN EXHIBITION

IN THE PRESENT STATE of the artworld, it is possible that a painting be exhibited which is merely a square of primed canvas, or a sculpture shown which consists of a box, of undistinguished carpentry, coated with a banal tan chemtone applied casually with a roller. Such works may be scored as largely empty, as indeed they are when we contrast the former with The Legend of the True Cross by Piero della Francesca, or the latter with the Apollo Belvedere. Yet the painting is not empty in the way in which a square of primed canvas, indiscernible from our work, may be: an empty canvas awaiting an An nunciation, say; or the way in which a crate indiscernible from our sculpture may be, which awaits a cargo of bric-a-brac and a bill of lading. For “empty” as applied

to our works is an aesthetic and critical judgment, presupposing that its subjects are artworks already, however inscrutable may be the differences between them and objects which, since not artworks, reject such predicates as a class. Our works are titled “Untitled.” This is a title of sorts rather than a mere statement of fact, as it sometimes is when an artist ne glects to give his work a title and it enters the catalogue raisonne unbaptized. So are those mere objects untitled which happen not to be discernible from our works, butthis by dint of an ontological classification: mere things, in contrast with artworks, are unentitled to titles, even such churlish ones as “Untitled.” Titles, of course, are fre quently directions for interpretation, which may not always be helpful, as when a paint ing of some apples is fantastically titled. An nunciation: but here, with our square, the title is somewhat more directive, saying about the thing it is to be applied to that no interpretation is intended. And predictably the artist upon being asked what his work is about will say that it is about nothing. I am certain that he is not telling us that noth ing is what it is about, after the manner of Chapter Two of L’etre et le neant. But I can imagine a work, indiscernible from his by virtue of arthistorical accident, that hap pens to be about nothing: a picture of the void, less a case of vacuous mimesis than mimesis of vacuity. The mere empty canvas, like the unfilled crate, also can be said not to be about anything, but only in the sense in which mere objects are logically exempt from interpretation. Our artist has produced something which is of the right sort to be about something, but in consequence of ar tistic fiat it happens only not to be about anything. Thus I may raise my arm “for no reason.” But saying it was not done for a reason does not refuse application of the question why I did it: it merely refuses the question. I may refuse application of the question if my arm had gone up without my having raised it, by external percussion orinternal spasm. Mere bodily movements are not done, hence not done for a reason or for no reason. Artworks may indeed reject in terpretation, but are of the right sort to re ceive them.

--A R T H U R C . D A N T O 《T h e T r a n s f i g u r a t i o n o f t h e C o m m o n p l a c e 》

关于“一个展览“，希望能够形成另一个不断变化中的、交流性的”展览“文本，或者展览”文本“。

关于”绘画作品“，希望能够继续补充、发展、调整和替换。也不确定是否有“艺术家”能够继续提交“绘画作品”加入这一展览中…

——孔翊

“An Exhibition ” is expected to be transfigured into other “exhibition” texts or exhibition “texts”. Some “painting works” are expected to be transfigured, added or replaced. We are not sure about whether there are any other “artists” on the could submit “painting works” and join in this exhibition…

--Kong Yi