بررسي نظام نشانه اي وانمودگي از نظر بودريار و تطبيق آن بر گستره عكاسي پسامدرن با تاكيد بر آثار شري لواين

S tudy of Simulation Sign Sys tem in Art in Baudrillard’s point of view and its Adjus tment with Pos tmodern Photography with the emphasis on Sherrie Levine’s Works

ژان بودريار فرهنگ پسامدرن را چيزي نمي داند جز سيطره وانموده ها و آفرينش فضاي فراواقعي. به تعبير بودريار تصاوير ديگر واقعيت را نمايندگي نمي كنند، بلكه خود تبديل به واقعيت مي شوند و واقعيت وانموده پديد مي آورند؛ امروزه تصاوير واقعي تر از واقعي جلوه مي كنند. وي يكي از متفكراني است كه در انديشه هاي خود به خوبي اين وضعيت دوگانه ميان واقعيت و وانموده را مورد پرسش قرار مي دهد و سعي در تبيين وضعيت تازه اي دارد؛ وضعيتي كه در آن دو مولفه ايماژ (تصوير) و بازي نشانه ها حيات اجتماعي بشر را تحت كنترل دارند. به موازات انديشه هاي بودريار، عكاسان پسامدرن سعي دارند وضعيت مذكور را به واسطه آثار خود نمايش دهند. از جمله اين هنرمندان شري لواين است كه بر سرشت بازتوليد پذيري رسانه عكاسي تاكيد مي كند و بر آن است كه همه چيز قبلا ديده شده است. از آنجايي كه مفاهيم وانمايي و فراواقعيت به شالوده بيشتر پژوهش ها درخصوص بودريار و امر بصري تبديل شده است، پژوهش حاضر تلاش دارد كه ضمن بررسي چرايي نظر بودريار در مورد بي اعتباري هنر معاصر، آن را با شاخه عكاسي پسامدرن تطبيق دهد و به روش توصيفي و تحليلي به اين پرسش پاسخ دهد كه اين هنرمندان چگونه از هويت تصوير به مثابه وانموده بهره گرفته اند. دستاوردهاي حاصل از تطبيق نمونه حاضر و انديشه هاي بودريار نشان داد كه لواين با ارائه تصاوير فراواقعي، در پي بازتوليد كنايه آميز وانموده ها برآمده است.

Jean Baudrillard believes that pos tmodern culture is the only domination of simulacra and hyperreal field creation. In Baudrillard’s interpretation, images do not represent reality anymore, but also they themselves become reality and create the simulated reality. Today, images appear more real than real. He is one of the thinkers who ques tions this dual s tatus between reality and simulation in his ideas and tries to explain a new s tatus: a s tatus in which two components- image and signs’ play- control the social life of human being. Baudrillard discusses the mo s t radical theory in pos tmodernism. He transfers the pos t s tructualism ideas from language theory to medias world. From his point of view in pos tmodern soceity, codes and signs and cybernetic media,dominate over the whole aspects of life. Baudrillard is not looking for reveiling the truth or meaning of images. In his thoughts predominance images and signs are over comprehensive that the real has vanished in serious way. The era life above the images have expired for always and nowadays the only recognizable thing is medias simulacra. In his words it is necessery to hesitate the origin of images, because they are not refer to real things. In pos tmodern situation it is very difficult to dis tinguish between originality and copy, because there is no gap between reality and cybernetics. In Baudrillard point of view, the reality as a categoty that seperated from its signs, in the world saturated of information and media dominance, has been eliminated. He called this situation as Heperrealism. In simulation sys tem of Baudrillard, the language is free from its references. Buadrillard explains that visual signs are simulations that has no relations with the real world. Illusion plays with the reality and produce the reality cause that the images depraves his illusive power. In his words the aes thetics theory could not explain the situation of art contemporary and therefore creates the concept of simulation to explain the contemporary situation. Baudrillad believes that we are confronted with empty future and no new occurence is waiting for us. Pos tmodern photographers were affected by Baudrillard’s ideas about saturation of today’s societies by images. Sherrie Levine is one of them who emphasizes the reproducible nature of photography and believes that everything has been already seen. Today, the concepts of simulation and acute reality have become to the foundation of mos t researches about Baudrillard and the visual thing, especially in cultural production and artis tic critique. This research is trying to analyze the causes of Baudrillard’s ideas about discredit of contemporary art and its adjus tment with pos tmodern photography. As well, it is trying to answer this ques tion in a descriptive and analytical method that how these artis ts utilize the nature of image as simulacrum. The achievements of adjus tment of the present example and Baudrillard’s ideas show that Levine wanted to reproduce the simulacra in a sarcas tic manner by presenting the hyperreal images.