傑昂．唐格里的機器藝術及理念

Abstract

論文摘要 傑昂‧唐格里以運動的機器雕塑進入動狀藝術的領域，「機器」是他藝術之形式，「運動」則是他藝術的生命。浮雕的「形上－機器」（Mta-mcanique）呈現了繪畫形式不斷變化的「無限性」。自動素描的「形上－機器」（Mta-matic），除了諷刺抽象表現主義者外，突顯了「表演性」、「遊戲性」與「偶然性」的風格。而觀眾參與操作機器的整個過程中，建立了觀眾、機器作者、機器三者之間奇特的關係，更提出民主化藝術的想法。 唐格里以現成物（ready-made）、撿拾物（objet trouv）、廢鐵、輪子、皮帶、馬達…構建其不準確、不規則運動、隨時都會故障似的機器。以對照、諷刺的手法，乃在喚醒人們正視現代工業精準的機器，規格化大量生產所帶來的消費社會的問題，即人淪為機器的奴隸與過剩產品所造成的廢棄物、資源浪費，「霍都察察」（Rotozaza）系列即是這般用心。「自動毀滅的機器」（machine autodstructrice）除了闡述人類毀滅的危機外，也挑戰博物館收藏的觀念，作品以「行動－表演」（action-spectacle）的形式進行，充分的體現「達達」精神與結合宗教、膜拜的儀式性。 晚期的「祭壇」（l’Autel）、「地獄」（l’Enfer）系列則對「生命與死亡」的課題作深入的探討，在如此宗教意味的作品中，排除恐懼的元素，而結合了「遊戲性」、「市集節慶的氣氛」與「儀式性」。 唐格里的每一部機器都像演員一般，賣力的表演各自獨特的運動形式，融進「達達」精神與克萊恩（Yves Klein）非物質化藝術的觀念，再構築其結合雕塑、舞台戲劇、表演、舞蹈、音樂…等多面貌的「總體藝術」（Art total）的想法，成為其機器藝術重要的依歸。The Art and Idea of Jean Tinguely’s Machines

Jean Tinguely entered the art action movement with his mechanical sculptures. Machines were the form of his art. Actions were the life of his art. Meta-mechanical sculpture (Mta-mcanique) in a shallow relief expresses an infinite changing of art forms. His Mta-mcanique not only confronted the ideas of abstract expressionists but also revealed an expressive, playful and spontaneous nature. Jean Tinguely challenged the audience to involve itself in the creation as well as the operation of his works of art. In so doing, he created democratic art and forged an idiosyncratic relationship between his spectators, his machines and himself.

Jean Tinguely created his works by taking use ready-mades and objets trouvs such as junks, wheels, belts, motors to convert them into works of art which had no mechanical precision, were unpredictable and might fall apart at any moments. His works were like caricatures, using contrasts and comparisons to make people come to see the cruelty and absurdity of human life brought by modern society and technology. Instead of controlling the machine, men became slaves of machines. The ultimate result was an excess production and over-exploitation of natural resources. The concrete expression of the idea could be seen from his series works entitled Rotozaza. He created the work machine autodestructrice which addressed the crisis of the destruction of humanity and confronted the concept of museum collecting. The works in this series used action-spectacle as their form, fully expressing the spirit of Dadaism and conjuring with the rituals of religion and worship.

His later works l’Autel and l”Enfer dealt with the themes of life and death. The titles suggested a new religious dimension to his work in which he avoided the elements of fearfulness and adopted those of playfulness, jubilant and ceremonial.

Every machine sculpture that Jean Tinguely produced is like an actor who performed a unique action imbued with the spirit of Dadaism and Yves Klein’s idea non-material art. He organized sculpture, stage sets, performance, dancing and music into his machine sculptures which perhaps can be seen as the manifestos for art total which was the core of his art machine sculpture.