Abstract:

This essay explores both the topological and historiographic dimensions of installation. Fully cognizant of installation’s transience, temporality, experiential character, or its political dimensions, the author wishes to add one more element to the current discourse: that is, spatial dialectics foregrounding contradictions in and of space, as elucidated by Henri Lefebvre in The Production of Space. The essay takes the reader and the spectator through a recent exhibition/installation of Tadeusz Kantor’s objects and machines, Tadeusz Kantor: Widma/Specters, which the author co-curated at the Cricoteka, the Centre for the Documentation of the Art of Tadeusz Kantor in Kraków in April 2020; and by briefly referencing Kantor’s artistic journey in order to show how this exhibition/installation acquires a new dialectical dimension in the times of disquiet. The essay argues that spatial dialectics brings a new dimension to the current discussions about the nature and function of installation. Installation’s transience, temporality, and its political dimensions encounter in Tadeusz Kantor: Widma/Specters a different materiality—an object in the state of unrest perturbing the contemplative attitude toward history and demanding that it be seen within the critical constellation that explodes its reified museal presence.

摘要：

本文探讨了装置的拓扑和历史维度。充分认识到装置的短暂性、时间性、经验性或其政治维度，作者希望在当前的话语中再添加一个元素：即空间辩证法突出空间中的矛盾和空间的矛盾，正如亨利·列斐伏尔 (Henri Lefebvre) 在《生产空间。这篇文章带领读者和观众参观了最近一次 Tadeusz Kantor 的物体和机器的展览/装置，Tadeusz Kantor: Widma/Specters，作者于 2020 年 4 月在克拉科夫的 Tadeusz Kantor 艺术文献中心 Cricoteka 共同策划；并通过简述坎特的艺术历程，以展示本次展览/装置如何在动荡的时代获得新的辩证维度。本文认为，空间辩证法为当前关于装置的性质和功能的讨论带来了新的维度。装置的短暂性、时间性及其政治维度在《Tadeusz Kantor: Widma/Specters》中遇到了不同的物质性——一个处于动荡状态的物体，扰乱了对历史的沉思态度，并要求在批判性的星座中看到它，从而爆炸其物化的博物馆存在.