为“合目的的无目的性”一辩：从艺术哲学看当今艺术产业

赵毅衡^[1]

摘要 康德提出艺术的本质是“无目的的合目的性”，这是艺术哲学史上的经典论述。对当代勃兴的艺术产业，阿道尔诺讽刺地称之为“合目的的无目的性”。今日艺术产业已经成为当今文化与经济不可或缺的部分，我们不得不重新回顾几个世纪以来艺术哲学这个最关键的争论。从批判学派对艺术产业的强烈谴责，到马克思与部分马克思主义者对艺术商品化的冷静分析，都提醒我们应当更全面地对待艺术产业。本文分析了当代艺术产业化的五个方面，指出阿道尔诺的嘲弄语“合目的的无目的性”，可以是艺术产业的一个比较准确的描述。只是也必须看到，在当代艺术产业中也存在大量过于目的化的恶俗。

关键词 艺术产业 文化工业 艺术哲学 无目的 合目的

Abstract According to Immanuel Kant’s classical definition，art is，by nature，of “purposeless purposiveness”. When Theodor Adorno examined the art industry appearing in the States in the 1950’s，he described it sarcastically as “purposeful purposelessness”. Today，art industry has become an indispensable part of culture and economy，we have no choice but to review the crucial argument in the history of art in the last few centuries. The cultural criticism condemned art industry，whereas Karl Marx and some other Marxists offered a more clear-headed analysis. We are reminded to handle it with a better perspective. The present paper，after examining the five aspects of art industry today，realizes that Adorno’s sarcasm could be regarded as a more or less accurate description，though it should be seen that there is a huge amount of kitsch which are simply too purposeful.

Key words art industry cultural industry philosophy of art purposeless purposeful