布希亞〈藝術的共謀〉的思考脈絡及其問題

本文旨在揭開布希亞〈藝術的共謀〉的思考脈絡及其問題。本文內文共有六節，第一節交代本文動機與研究方法，第二至四節討論布希亞的關鍵概念：「超性」與「超美學」，從現代藝術到當代藝術的轉變以及舉例說明。第五節分析法國哲學家居尼葉文章〈布希亞與《藝術的共謀》：偶像的無價值與赤裸〉對布希亞該篇文章的觀點剖析，並進一步對居尼葉文章進行再思考，審視其對於布希亞的觀察點。最後結論為本文之發現：布希亞以社會學的視角來觀看當代藝術，並站在現代藝術的角度來審思當代藝術的發展，致使其對當代藝術走向共謀與欺騙的現象提出批判與擔憂。

關鍵字

布希亞；藝術的共謀；當代藝術；符號理論

並列摘要

The purpose of this article is to reveal the context of thoughts and underlying problems within the work of Jean Baudrillard's The Conspiracy of Art. Six parts in the main body of this article will be discussed. Within the six parts, key concepts such as transsexual and transaesthetics, the transformation from modern art to contemporary art and its following examples will be discussed in the second section to the fourth section. The remaining part utilizes the essay, ＂Baudrillard and The Conspiracy of Art (nullity and nudity of idols)＂, written by Jean-Paul Curnier to compare with the writer's point of view. Furthermore, we can generate deeper and thorough thinking process about Baudrillard's critical context through Curnier's essay. This article discovers that Baudrillard looked into the contemporary art through the lenses of sociology perspective; in addition, he puts himself in modern art's position and examined the development of contemporary art. All these works lead him into criticizing and be mindful of how contemporary art are becoming deceptive and orienting towards the phenomenon of collusion.