Abstract

The essay attempts to draw a parallel between the ascetic, negative late modernist aesthetics of Samuel Beckett and Alberto Burri, tracing their post-humanist poetics and artistic practices of impoverishment, achievementlessness and their responses given to the crisis of humanist European culture and of a modernist ethos of mastery in the wake of WW2. It attempts to show how Burri’s works in the late 1940s–1950s converge with the articulation of Beckett’s visual aesthetics in his coeval essays on art, and how the artistic procedures of both move from prewar modernist models toward an embodied aesthetic of finitude, toward an ethical rupturing, scarring of frameworks and structures of mastery, by privileging a material imagination of indigence that is grounded in detritus, and finally, by creating forms of an art of melancholia that stage the ongoing disaster of contemporary history.

摘要

这篇文章试图在塞缪尔·贝克特和阿尔贝托·布里的苦行、消极的晚期现代主义美学之间进行对比，追溯他们的后人文主义诗学和贫困、无成就的艺术实践，以及他们对人文主义欧洲文化和现代主义危机的反应二战后的精通精神。它试图展示 Burri 在 1940 年代后期至 1950 年代的作品如何与贝克特在他同时代的艺术论文中的视觉美学表达融合，以及两者的艺术程序如何从战前的现代主义模式转向体现的有限美学，转向伦理通过赋予以碎屑为基础的贫困的物质想象，最终，