This essay examines the stakes of walking on Carl Andre's sculptures during moments of protest, particularly from the 1990s onward, when his art became the target of feminist protest actions. Walking on Andre's sculptures has often been framed in highly generalized terms, as an almost universally shared experience that prompts an immanent connection between body and matter. To open up a space for addressing the diverse, subjective nature of spectators' experiences when walking on Andre's art, the present study explores how his metal planes have functioned as ‘planes of immanence’, a term drawn from the writings of Gilles Deleuze and Félix Guattari. In particular, it considers how the act of treading on Andre's sculptures during moments of protest has contributed to reshaping his planes of immanence, transforming them into surfaces that create new ‘lines of flight’ for contesting power, meaning, and the parameters of knowledge.

中文翻译：

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内在的平面：抗议时刻走在卡尔·安德烈的艺术上

本文探讨了在抗议时刻，尤其是从1990年代开始，当卡尔·安德烈的艺术成为女权主义抗议活动的目标时，在卡尔·安德烈的雕塑上行走的赌注。在安德烈（Andre）的雕塑上行走通常被高度概括化，作为一种几乎普遍共享的经验，促使身体与物质之间建立了内在联系。为了开辟一个空间来处理观众在观看安德烈的艺术时所经历的多样，主观的本质，本研究探讨了他的金属飞机如何发挥“内在的飞机”的作用，这个词取自吉尔斯·德勒兹和菲利克斯的作品瓜塔里。特别是，它考虑了在抗议时刻踩在安德烈（Andre）雕塑上的行为如何有助于重塑他的内在世界，