“隐匿的叙事”中国当代艺术现状及生态研究2019

“隐匿的叙事(Latent Narrative)”是20世纪80年代以来文学研究的一种角度和方法，由形式分析和精神分析的角度切入亚里士多德以来的单一叙事链中的深层意义，关注与这种深层意义平行的一股叙事暗流。隐匿的叙事是由作者在场而不断生成的动态系统，甚至与主题呈现相异或相反。分析这种动态系统需要我们把目光拓展到文本以外，以动态视角面对作者的生活经历和身处的历史语境等，以揭示其具有复杂性、多线程性的暗流。这种研究提供了一个新的视角和思维性的体系，提示我们反思国际化趋势中当代艺术过度的政治诉求，并揭示了基于20世纪以来绵延于中国现代和当代艺术中的一条语言线索，逐步跳出二元论的问题意识源和由“平面性”所建构的视觉范式。“叙事”通过艺术家的工作成为艺术语言转换和精神叠加的潜在范式（The Latent Paradigm），这种“叙事”由隐退走向隐匿，却从未消失。视觉上的“重复”在复杂的精神性叙事中走向差异和自由。艺术家不再是“作品”的缔造者，而是与之相互不断生成的对话者。

中国艺术研究院国家当代艺术研究中心 刘燕

Latent Narrative is a literary research method developed since the 1980s. From the perspectives of formal analysis and psychoanalysis, it cuts into the deep meaning of one single narrative thread, that is the interpretative predominance from Aristotle, to focus on a narrative undercurrent paralleling to that deep meaning. Because latent narrative is a dynamic system, which is a becoming of the present creator, it even could be alienated and contradicted to the plausible theme of works. In order to analyses this dynamic system, we need to expansively look at creators' life experiences and historical contexts, to reveal the complexity and multiplicity of the narrative undercurrent. This approach offers a new perspective and cognitive system, which prompts us to reflect the excessive political agenda in the globalizing tendency of the contemporary art. Moreover, it would reveal an artistic linguistic trail that stretched out amongst the Chinese modern and contemporary art from the 20th century, that allows us to break away from the problematic unconscious dualism and the visual paradigm established by two-dimensionality. Narrative has become the Latent Paradigm of artistic linguistic conversion and spiritual superposition. This narrative has retreated to latent, but never disappears. Visual repetition towards free and heterogeneous amidst the complicated spiritual narrative. In this regard, artist is no longer the creator of work, but the dialogist as the interactive becoming of the work.