Ontologie polityczne sztuki. Lenin, estetyka relacyjna i produkcja biopolityczna / Political Ontologies of Art. Lenin, Relational Aesthetics and Biopolitical Production

<strong>POLITICAL ONTOLOGIES OF ART. LENIN, RELATIONAL AESTHETICS</strong> <strong>AND BIOPOLITICAL PRODUCTION</strong><br>The entanglement of art in capitalism makes the artistic production particularly interesting from the perspective of the Marxist analysis. On the one hand, art is a place where you can really see the mechanisms that constitute the logic of the entire system. On the other hand, it can become a field of a possible resistance. To understand today’s discussions about the relationship between the contemporary art and politics, the author proposes to look at the ontological-political presumption of this dispute. One of the theses of this article states, that political results (if any) may be obtained by means of art only through art theorisation in context of changes in the contemporary capitalism. A good example of the theory remaining close to the changes that make the work performed by us based on the production of knowledge and affects is the Nicolas Bourriaud’s relational aesthetics. The transitions in art diagnosed by Bourriaud, which have been taking place since the 1990s, referred to as relational art prove, that political art does not have to be based on direct and controversial interventions, but on a different shaping of our political imagination. Hence, not only is the contemporary art understood in such a way a place of constantly increasing (unfortunately) exploitation, it also holds within a potential for performative production of new political ideas and egalitarian subjectivity.

**艺术的政治本体论。列宁、关系美学（relational aesthetics）与生命政治生产（biopolitical production）**
资本主义对艺术的渗透使得艺术生产从马克思主义分析（Marxist analysis）视角来看极具研究价值。一方面，艺术是能够切实窥见构塑整个社会体系逻辑的运作机制的场域；另一方面，它亦可成为潜在的抵抗场域。为厘清当下关于当代艺术与政治之关系的讨论，作者提出应审视这场论争的本体论-政治预设。本文的核心论点之一表明：若要通过艺术路径获取政治成果（若存在此类成果的话），唯有在当代资本主义变革的语境下，借助艺术理论化的方式方能实现。与我们当下以知识生产与影响生产为核心的劳动变革高度契合的理论范本，当属尼古拉·布尔里亚（Nicolas Bourriaud）提出的关系美学。布尔里亚自20世纪90年代起所诊断出的艺术领域转型——即被称为关系艺术（relational art）的创作范式——证明，政治艺术未必需要依托直接且充满争议的介入行动，而是可以通过重塑我们的政治想象力来达成其政治诉求。由此可见，以该视角解读的当代艺术，不仅是（令人遗憾地）剥削程度持续加深的场域，同时亦蕴含着践行性地生成全新政治理念与平等主义主体的潜能。