本篇論文從拉岡／紀傑克精神分析理論的角度論述了中國當代前衛藝術如何由於以一種扭曲、破碎的方式表達「實在界」內核中的精神創傷。本文首先從對中國當代影像史的考察出發，探討了主流的視像作品（包括毛時代的政治宣傳和後毛時代的商業廣告）中的符號化超我如何蘊涵了一種具有自我解構潛力的「剩餘快感」。文章的主要部分分析了吳山專、張曉剛、王廣義、岳敏君、曾梵志、方力鈞、王勁松、劉大鴻等前衛藝術家的作品如何從主流視像符號體系中喚醒了記憶深層的創傷性幽靈，而這種幽靈的重現是對歷史創傷的指認。在中國前衛藝術裹，革命與狂歡、英雄與蠻痞、癡愚與機敏、痛感與快感、激情與厭倦混雜在一起，形成了對創傷性記憶的反諷式表達。

This essay examines, from the perspective of the Lacanian/Zizekian psychoanalytical theory, how Chinese avant-garde art expresses traumatic affect in the kernel of the Real in a distorted and fragmentary manner. The essay starts with a study of the history of contemporary Chinese visuality, and discusses how the symbolic superego in mainstream visual works (including political propaganda in Mao's age and commercial advertising in the post-Mao age) contains surplus enjoyment with self-deconstructive potential. The main part of the essay analyzes how the works of Wu Shanzhuan, Zhang Xiaogang, Wang Guangyi, Yue Minjun, Zeng Fanzhi, Fang Lijun, Wang Jinsong, Liu Dahong and other avant-garde artists conjure up, from the symbolic system of mainstream visuality, phantom images in the deep depth of memory, to identify historical trauma as a spectral recurrence. Chinese avant-garde art is a mixture of revolution and carnival, hero and hooligan, folly and wit, pain and pleasure, passion and ennui, forming an ironic expression of the traumatic memory.