對漫遊者的批評(Critique of the Flâneur )-Francis Alÿs作品分析。

Francis Alÿs (書名)
Phaidon Press (2007/6/19出版)
ISBN: 9780714843216

本文是翻譯這本書裡，墨西哥策展人Cuauhtémoc Medina所寫的一章 〈Fable power〉
其中一節 Critique of the Flâneur ( P74-78 )，在下一篇裡會翻譯，"Why Painting?"

Critique of the Flâneur
With his promenades Alÿs entered a long genealogy of practices that employ the artist's legs to intervene in the social and symbolic imaginary and to assert the right of the citizens to a social space devised for human beings, not for their machinery, traffic and policing systems. Whether because marching became the mode of mass politics in the twentieth century – the theme of Giuseppe Pellizza da Volpedo's Quarto Stato (1898-1901) and Joseph Beuys’ La Rivoluzione Siamo Noi (1972) – or due to the search for new modes of visuality and mobility, walking has been one of the foremost catalysts of the modern imagination. Alys's political and poetical explorations of the city have frequently led to associations with two such strategies: the contemplative perambulations of the flâneur, as defined by Charles Baudelaire and Walter Benjamin, and the psychogeographic dérive practised by the members of the Situationist International.

對漫遊者(Flâneur)的批評
Alÿs通過他的長廊(long genealogy長的系譜)進行了長久的實踐譜系研究，他以藝術家的雙腳干預社會和象徵性的想像，並且主張公民享有公共空間的權利，因為公共空間是為人類設計，而不是為了機械、交通和警務系統。 是否因為遊行成為20世紀大眾政治的模式－這也是Giuseppe Pellizza da Volpedo的《 Quarto Stato（1898-1901）》和Joseph Beuys的《 La Rivoluzione Siamo Noi》（1972）的主題–或是為了尋求新的視覺表現和能動性，步行一直是現代想像力的重要催化劑之一。 Alÿs對城市政治且詩意的探索，經常讓兩種策略相關聯：Charles Baudelaire和Walter Benjamin定義中的沉思式漫遊者、國際情境主義者(Situationist International，簡稱SI)所實施的心理地理演練。
If walking has become so central in art and politics, it is due to the way in which it goes against the grain of the social, physical and psychic development of modern capitalism. While industrial means of transport threaten to make our limbs and our senses obsolete – confining daily life to an oscillation between jobs, media indulgence and shopping - walking persists in defining human life as a matter of territorial and political activity. However, it would be entirely mistaken to subsume this remaining space of freedom into a flat or homogeneous practice. The way in which walking interlocks with living and thinking actually opens up a polemical field of alternatives.
如果步行已經在藝術和政治中變得如此重要，那是由於步行與資本主義社會中，身體和心理發展背道而馳。 工業運輸手段有可能使我們的四肢和感覺過時（將日常生活限制在工作，媒體沉迷和購物之間的波動中），而步行卻始終將人類的生活定義為領土和政治活動。 然而，將剩餘的自由空間歸入平坦或同質的實踐中是完全錯誤的。 步行與生活和思維相互聯繫的方式實際上開闢了另類的爭論領域。
In many ways, and despite common assumptions, acts like Alÿs's walks can be discussed as a critique of the Baudelairean and Surrealist flâneur. Despite the fact that he opted to ramble in the midst of one of the largest urban concentrations on the planet, Alys's actions are not a form of social voyeurism because, among other reasons, they call attention both to the acts of the stroller and to his interference with his surroundings, rather than to the mere social scenery. In fact, one of his most significant walks was aimed at distracting his sensibility from the 'civilized’ living conditions of Copenhagen, which he saw as a veritable caricature of European bourgeois values. Intending to be 'physically present in a place, while mentally elsewhere', in May 1996 Alÿs drifted through that city for seven days, each of them under the influence of a different psychotropic drug. Rather than a mere experiment in intoxication, Narcotourism (1996) allowed Alys to point out his distance from the expectations of regulation and self-control in the developed world.
儘管有共同的假設，但在許多方面，可以將像Alÿs的散步之類的行為視為對波特萊爾和超現實主義fléneur的批評。儘管他選擇在地球上最大的城市集中區之一中漫步，但Alÿs的舉動並不是社交偷窺的一種形式，因為除其他原因外，它們引起了嬰兒車及其嬰兒推車行為的關注。干擾他的周遭環境，而不是單純的社交風光。實際上，他最重要的舉動之一是分散他對哥本哈根“文明”生活條件的敏感性，他認為哥本哈根是歐洲資產階級價值觀的真實諷刺畫。為了使自己“實際存在於某個地方，而精神上卻存在於其他地方”，1996年5月，阿爾斯（Alÿs）在該城市漂流了7天，每個人都受到一種不同精神藥物的影響。 Narcotourism（1996）不僅是對陶醉的實驗，還使Alÿs指出了自己與發達國家對調節和自我控制的期望的距離。


Francis Alÿs
Born in 1959
藝術家網站：https://francisalys.com/

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