從博伊斯到毛澤東 ——約爾格·伊門多夫（Jörg Immendorff）早期實踐中的「批評和自我批評」

From Beuys to Mao: the Criticism and Self-Criticism in Jörg Immenforff’s Early Artistic Practices

約爾格·伊門多夫（Jörg Immendorff, 1945-2007）是德國新表現主義繪畫的代表人物之一。作為上世紀六十年代約瑟夫·博伊斯（Josef Beuys, 1921-1986）在杜塞爾多夫藝術學院的重要學生，伊門多夫早年行動作品卻在學界較少得到關注。本文首先通過梳理其1960年代的教室實驗、社會參與項目「Baby計劃」和「Lidl計劃」，探討這位藝術家在博伊斯影響下的行動作品中的藝術體制批判。其後，以伊門多夫1970年代初自我批評式的「存貨盤點」項目和創作自述《此時此地：做我們該做的》（Hier und Jetzt: das tun, was zu tun ist）一書為核心，結合時代背景，觀察這位藝術家從前衛主義實驗者到毛派擁躉者的轉變中的自我批評實驗。作者認為，伊門多夫的自我批评实验折射了藝術體制批判的困境，以及前衛藝術實踐中所面臨的個人與集體、觀念與實踐之間的悖論性問題。

 

Jörg Immendorff (1945-2007) is one of the key figures of German Neo-Expressionist painting. In the 1960s, Immdenforff was one of the most important pupils of Josef Beuys (1921-1986) at the Kunstakademie Düsseldorf; however, Immendorff’s early performance-based projects received less attention than his later paintings. This paper first investigates into Immendorff’s early artistic exper-imentations in the classroom at Kunstakademie Düsseldorf, and the socially participatory practices Baby Project and Lidl Project, and discusses Immendorff’s art institutional critique under the im-pact of his mentor Beuys in the 1960s. The paper then moves on to Rechenschaftsbericht, a project Immendorff carried out in the early 1970s, and his book Hier und Jetzt: das tun, was zu tun ist. In this part, the author examines Immendorff’s self-critic discourse and practice in his transformation from an avant-garde art practitioner to a Maoist follower. The author argues that Immendorff’s crit-icism and self-criticism not only reveal the predicament of institutional critique, but also the para-doxical relationship between individual and collective, concept and practice that avant-garde art is faced with.