This article reconstructs Jean-François Lyotard’s theory of the sublime in contemporary art, focusing on his claim that such art ‘presents’ the unpresentable, and tracing its origins in Kant’s account of the sublime. I propose that Lyotard identifies a difficulty concerning Kant’s account: to understand why the disparate elements in the experience of the sublime (idea of reason, sensible representation) should be synthesized to form that experience. Lyotard recasts this difficulty as a pragmatic problem for artistic practice – how to ‘testify’ to the absolute in a non-absolute, sensibly perceivable object (the artwork) – that can be understood to drive avant-garde artistic experimentation.

中文翻译：

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呈现无法呈现的东西：让-弗朗索瓦·利奥塔的康德艺术-崇高

本文重构了让-弗朗索瓦·利奥塔的当代艺术崇高理论，重点关注他关于这种艺术“呈现”不可呈现之物的主张，并追溯其起源于康德对崇高的描述。我建议利奥塔指出了康德解释中的一个困难：理解为什么崇高体验中的不同元素（理性观念、可感表象）应该被综合起来以形成那种体验。利奥塔将这个困难重新定义为艺术实践的一个实用问题——如何在一个非绝对的、可感知的物体（艺术品）中“证明”绝对性——这可以被理解为推动前卫的艺术实验。