「裝置」語法的關係邏輯探討

Abstract

The conceptual locus of this article focuses on the aesthetics of relations inherent in installation space, including research into such related issues as; body, semiology and situationism. As such, our discussion approaches the subject from three distinctive perspectives; "aesthetics of reception,""différance" and Merleau-Ponty's "Body situation aesthetics". Roland Barthes declaration on "the death ofthe author" in 1968 can also be seen as an observation concerning the birth of audience. Barthes argued that text is unfixed and derivative and therefore can never be framed and nailed in place, because it is in effect an arena created by the viewing of an audience. "Installation Art" largely approximates to this concept of text, its constituent elements requiring the participation of an audience to be infused with meaning. As such, "Installation Art" that actively invited the participation of an audience, expresses an "Aesthetic of reception."

Installation works make use of an exhibition strategy that utilizes brand new meanings created by reassembling objects and different layouts, giving rise to multiple different individual, cultural and historical interpretations. To a certain extent, handing this diverse and open interpretive space to the public accords with the theory of post-modern différance. At the same time, there exists within the immediate relationship between the body and space in any work of installation art, a physical process, an activity of the soul ongoing as part of the passing of time. Any movement from one point, object or semiotic to another, must of necessity deal with the existence of time and as such, installation works are inseparable from the construct of the passing of time and the time spent by the body in space. Ultimately this is the reason text utilizes Merleau-Ponty's body situation aesthetics to delineate the possibilities of the body situation construct within installation art.