This text is a critical interpretation of Walter Benjamin’s theory in the context of the contemporary situation in art and culture. Benjamin’s innovative method of analysis and key concepts in art theory and their simultaneous research and political function are carefully reconstructed. This critical analysis is centered on the main concept of Benjamin’s philosophical aesthetics, the concept of ‘aura’. This analysis shows how Benjamin mixes and replaces the aura of the work of art with the aura of the historical object. Benjamin’s main thesis about the loss of the aura of the work of art in the age of its technical reproducibility is disputed. Technical reproducibility does not take away the aura of the work of art, but separates its aura from the aura of the historical object. Auraticness is inherent in every work insofar as it is a work of art. The aura of the historical object does not disappear in modernity either. With the emergence of historical and aesthetic consciousness, of the historical and art museum, the almost mechanical production of auratic objects began in modernity. As a result of the critical analysis of the concept of “aura”, the main binary oppositions that frame Benjamin’s theory of art—art with aura/art without aura; art with cult value/art without cult value; aestheticization of politics/politicization of art—are questioned. At the end of this text, the key lines of analysis proposed by Benjamin in an attempt to make sense of the radical changes in art since the beginning of the 20th century are used to outline the contemporary situation in art and the changes in perception with which it is associated.

中文翻译：

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客体与艺术作品的光环：当代艺术与文化语境下瓦尔特·本雅明理论的批判性分析

本书是在当代艺术和文化背景下对瓦尔特·本雅明理论的批判性解读。本雅明的创新分析方法和艺术理论中的关键概念及其同步研究和政治功能得到了仔细的重构。这种批判性分析集中在本雅明哲学美学的主要概念，即“光环”的概念上。这个分析展示了本雅明如何将艺术作品的光环与历史物体的光环混合和替换。本雅明关于艺术作品在技术可复制时代失去光环的主要论点是有争议的。技术再现性并没有带走艺术品的光环，而是将其光环与历史对象的光环分开。就艺术作品而言，每件作品都具有与生俱来的气质。历史对象的光环在现代性中也没有消失。随着历史和审美意识的出现，历史和艺术博物馆的出现，极光物品的近乎机械化的生产在现代开始了。由于对“光环”概念的批判性分析，构成本雅明艺术理论的主要二元对立——有光环的艺术/没有光环的艺术；具有崇拜价值的艺术/没有崇拜价值的艺术；政治的审美化/艺术的政治化——受到质疑。在本文的最后，本雅明试图理解自 20 世纪初以来艺术的根本变化而提出的关键分析路线被用来概述当代艺术的状况和观念的变化它是关联的。