Abstract

Yves Klein’s conceptual project Theatre of the Void is associated with two well-known works: the single appearance of the newspaper Dimanche, which Klein published on 27 November 1960 with a declaration that the world is voided for twenty-four hours; and the iconic image Leap into the Void, which appears in it for the first time. This article reframes the project—by offering an inclusive, structural, and theoretically contextualized reading of its interrelated components. Seen as one level of action embedded within another, the simulated newspaper infiltrated the city; within the urban site it constitutes a declaratory performative act of total voiding; responding to the declaration, the leap is the agency of the total transformation into the voided world; and this world is potentially established and reflected by the interdisciplinary scenarios printed in Dimanche. Within this framework, the article discusses the project’s conceptual “socio-metaphysical” duality. One aspect of this duality is the project’s conception of total voiding as a metaphysical endeavor aiming at transcendence. The other is the insight that the project qualifies existence itself as a voided socio-political fabrication.

摘要

伊夫·克莱因 (Yves Klein) 的概念性项目“虚空剧场”与两部著名作品相关：克莱因于 1960 年 11 月 27 日出版的Dimanche报纸的一次面世，宣布世界二十四小时都是虚无的；和标志性的图像跳入虚空, 首次出现在其中。本文通过提供对其相互关联的组件的包容性、结构性和理论上的上下文阅读来重新构建该项目。模拟报纸被视为嵌入另一层的行动，渗透到城市中；在城市场地内，它构成了一种宣示性的完全排泄行为；作为对宣言的回应，飞跃是完全转变为空虚世界的媒介；这个世界可能是由Dimanche印刷的跨学科情景建立和反映的. 在此框架内，文章讨论了该项目概念上的“社会-形而上学”二元性。这种二元性的一个方面是该项目将完全排空作为一种旨在超越的形而上学努力​​的概念。另一个是该项目将存在本身定义为一种无效的社会政治捏造的洞察力。