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

POLITICAL ONTOLOGIES OF ART. LENIN, RELATIONAL AESTHETICS AND BIOPOLITICAL PRODUCTION 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（Political Ontologies）：列宁、关系美学（Relational Aesthetics）与生命政治生产（Biopolitical Production） 艺术与资本主义的深度纠缠，使得从马克思主义分析视角审视艺术生产显得尤为关键。一方面，艺术乃是洞察构成整个资本主义系统运行逻辑的具象场域；另一方面，它亦可成为潜在抵抗运动的孕育场域。若要理解当下关于当代艺术与政治之关系的论争，本文作者主张应聚焦这场论争背后的本体论-政治预设。本文的核心论点之一指出：唯有立足当代资本主义变革的语境，经由艺术理论化的路径，方能借由艺术获取政治成效（若其存在的话）。尼古拉斯·布尔里亚德（Nicolas Bourriaud）所提出的关系美学，正是贴合这一变革的绝佳理论范例——该变革将人类劳作转向以知识生产与情动（Affect）生产为核心的生产形态。布尔里亚德自20世纪90年代起所诊断出的、被称为"关系艺术"的艺术领域转型表明，政治艺术未必需要依托直接且富有争议的介入式实践，而是可以通过重塑我们的政治想象力来实现其政治维度。因此，以此视角审视当代艺术，它不仅是一个剥削程度持续加剧（令人遗憾的是）的场域，同时也蕴含着以展演性路径生产新型政治观念与平等主体的潜能。