【CAC·展览】张尕谈托马斯·费因斯坦（Thomas Feuerstein）的“分子化哲学”
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分子化的哲学
张尕（CAC艺术指导）
译：林家勒
哲学家中常不乏以著书立说染指艺术者。吉尔·德勒兹（Gilles Deleuze）堪称电影之大家；弗朗索瓦·拉吕厄尔（François Laruelle）将詹姆斯·特瑞尔（James Turrell）那无所不在的光视为其理论之体现；阿兰·巴迪欧（Alain Badiou）则以艺术为抵达真理的四领域之一（其三分别为爱、科学与政治）。然而，他们并不亲自动手实践艺术。
受过哲学与艺术史训练的托马斯·费因斯坦（Thomas Feuerstein）结果成了艺术家，但并非是个要把艺术哲学化的艺术家。亚瑟·丹托(Arthur Danto)所描绘的当代艺术是哲学的艺术，淹没于意义的揣摩中，汹涌澎拜的能指与所指宣泄人间戏剧的各色音阶。费因斯坦则是一位最忠实的唯物主义者，他介入意义生发的方式是直截了当地穿透物质世界最基本的组成部分，即构成一切生命与非生命的分子的天地。
费因斯坦创造了分子“Psilamine”这一具有形态发生潜能的初级元素，引发出西蒙栋所谓之“前个体化”的氛围：这是一个亚稳定的秩序，一切存在之物皆发端于此，并在永恒的个体化中萌芽、结晶、变形。费因斯坦对水管与液体，实验室器皿与单细胞生物，以及粘液与晶体的青睐，暗示了存在于生命与非生命，有机物与无机物，机器与精神之间的置换的可能。其宏大的集合体“灵赋”全然是一个在不断运动和变形中的转导仪式，渗入到彼此交融之客体间共同进化与共生的网络中。多样性在此成长并汇聚，从而完成了致幻元素“Psilamine”的提取，与此同时生成的大量粘液，将逐渐侵占人类的栖息之所，并最终将人类融入一种同构物质。正是通过唤起这般拉夫·克拉夫特式的想象，费因斯坦为衔尾蛇的神话赋予了新的躯体：过去掉转身来与未来咬合，开端发生了回刍而与结果交汇。
费因斯坦以最基本的元素，即分子来营造物质，唤起了我们所关切的那如幽灵般匍匐于太阳下的万物：自然界的消解是人类世的最终标记。这是现代性的力作，即征服自然并使其屈降为造福人类的客体世界。费因斯坦壮观的装置通过其渐行渐变的展开以及其精细缜密的制作，让我们切身置于一种诡异的感知中：前现代的神秘感与后人本的科学性，并直观地促使我们思考一个拉图尔式的告诫：我们从未现代过！主体与客体，文化与自然，人与物之间的区隔不外乎是一种伪信念的蓄意划分，因而有必要被重新想象，并毫无疑问会在既是起源亦是结果的粘液中消解。因这一新的愿景，未来尚有希望存焉。
或许，费因斯坦的艺术是分子化的哲学及宇宙化之政治。
Philosophy Molecularized
ZHANG Ga
Philosophers often write unsparingly about art. Gilles Deleuze was erudite about film; François Laruelle found his claims hypostatized in James Turrell’s pervasive light; Alain Badiou thought art was one of the four domains (others being love, science and politics) in which truths can be attained. But they don't get their hands dirty.
Trained in philosophy and art history, Thomas Feuerstein turned out to be an artist who does not philosophize art, as Arthur Danto so characterized contemporary art, mired in a charade of signification in which whirling signifiers and the signified run the gamut of human drama. Feuerstein is a materialist in its most earnest sense. Feuerstein’s engagement with the province of evocation is one that penetrates straight into the most fundamental component of the material world: the land of molecules which constitute all life and nonlife.
Feuerstein created “Psilamine,” a primordial element, which is capable of morphogenetic potential, eliciting a Simondonian milieu of pre-individuation, a metastable order from whose provenance beings of all sorts germinate, crystallize and transmute in perpetual individuation. Feuerstein’s love of pipes and liquids, laboratory vessels and single cell organisms, mucus and crystals is indicative of a fluid transduction between life and nonlife, organic and inorganic, machines and psychic space. His ambitious assemblage Psychoprosa is no less than a transductive rite of passage set in constant motion and transmutation, bifurcating into reciprocally interobjective networks of co-evolution and symbiosis wherein multiplicities flourish and converge to serve the extraction of the hallucinating element “Psilamine” and its by-product of massive piles of slime that will gradually encroach upon human habitat and eventually melt the corporal into the isomorphic substance. It is in this evocation of a Lovecraftian vision that Feuerstein reincarnates the ouroboros myth in which the past comes back to bite the future and the end regurgitates the beginning.
By engendering matter in its most elemental form, that of a molecule, Feuerstein provokes matters of concern that hover ghostly under the sun: the dissolution of nature as the final score of the Anthroposcene. This is the mighty work of modernity that vanquishes nature as the subjugated object-world in the service of human subjects. Feuerstein’s spectacular assemblage, through its transformative evolution coupled with minute execution, experientially plunges us into an otherworldly sensation that is at once pre-modernly mysterious and post-humanly scientific, and intuitively prompts us to consider a Latourian precaution: we have never been modern! And that the distinction between the subject and the object, culture and nature, humans and things is but an artificial divide of spurious faith, which ought to be re-imagined anew and can indeed be dissolved in the wake of the slime that is the beginning and the end simultaneously and retroactively. Because of this new outlook, the future may still be hopeful.
Perhaps, Feuerstein’s art is philosophy molecularized and politics cosmologized.
艺术家：托马斯·费因斯坦（Thomas Feuerstein）
展期：2016.03.26 - 06.26
地点：新时线媒体艺术中心
地址：上海市普陀区莫干山路50号18号楼
Artist: Thomas Feuerstein
Duration: 2016.03.26 - 06.26
Venue: Chronus Art Center
Address: BLDG.18, No.50 Moganshan RD., Shanghai
新时线媒体艺术中心（CAC）成立于2013年，系国内首家致力于媒体艺术之展示、研究/创作及学术交流的非营利性艺术机构。 CAC位于上海M50创意园区，拥有800多平方米的多功能空间。CAC通过展览、驻留、奖学金、讲座、工作坊及相关文献的梳理与出版， 为媒体艺术在全球语境中的论述、生产及传播开拓了一个多样化且富有活力的平台。
Established in 2013, Chronus Art Center (CAC) is China’s first nonprofit art organization dedicated to the presentation, research / creation and scholarship of media art. CAC with its exhibitions, residency-oriented fellowships, lectures and workshop programs and through its archiving and publishing initiatives, creates a multifaceted and vibrant platform for the discourse, production and dissemination of media art in a global context. CAC is positioned to advance artistic innovation and cultural awareness by critically engaging with media technologies that are transforming and reshaping contemporary experiences.