- 期刊
由內而外或由外而內？台灣美術的後殖民主義觀點評論狀況
Inside out or Outside in? Post-Colonial Art Criticism in Taiwan
摘要
在文化版圖中，「由內而外」(inside out)或「由外而內」(outside in)是關係的位置概念，其中的那道區隔是界分的必要存在，而「內」與「外」的界定則是主觀的詮釋。以「我」為核心所開展的世界定義為「內」－我的所屬，其餘為「外」－非我所屬；擴大成集體，則「內」是「想像的共同體」，「外」是非我族類的「東方」（或西方）。「由內而外」反映一種弱勢者的發聲，建構一種對位的態勢重新書寫自我，並讓「強外」得以改變其霸權式的擴散主義。「由（弱）內而（強）外」也是一種擴散主義，但其目的不在宰制，而在主導建構自己的主體性、化解「（強）外」對它的刻板印象或誤解，而不是歐美中心論或後殖民觀點的「由外而內」的角度。可見，「由內而外」表達出主體的真相與真實性。本文將依據上述的邏輯，考察台灣現代美術的後殖民評論，並且思考「不思歐洲中心」(unthinking Eurocentrism)的啟示下，是否也「不思後殖民」，這種觀看位置的思 辯與後續的敘述解析，有助於未來台灣視覺藝術解讀的更深一層的理解。
並列摘要
1. In the cultural map, ideas of ”inside out” or ”outside in” are worldviews. It is necessary to have a boundary for that separation in our daily lives. Nevertheless, the definition of the inside and outside actually is a subjective interpretation. If we define the pronoun ”I” as the central, the rest of the world is perceived outside. Expanding the idea into a collective situation, the inside is the ”imagined community” and the outside is the ”the Oriental or the Occidental.” The idea of ”inside out” reflects the weak side's way of speaking, trying to confront or resist a position. It is also a strategy of re-writing the subjectivity of the subject. Moreover, this kind of projection changes the strong side in terms of its hegemonic expansionism. Therefore, ”the weak inside out” is also an expansionism, but its purpose is not to subjugate, but to construct its own subjectivity and to destruct stereotypes and misunderstanding from the strong outside. It is of course not similar to Eurocentrism or the so-called ”outside in” by the post-colonial discourse, which is gradually used in the field of art criticism or visual analysis. 2. The discourse of post-colonialism is a popular subject in literature and culture studies since the 1990s in the western world. The trend also prevails in the field of visual culture and art criticism. Taiwanese art criticism reflects the same situation. It seems that using postcolonial critical concepts in the commentary of visual art is taken for granted. However, according to some scholars, it is problematic to apply the discourse directly on the discussion of visual art. The problem starts from a fundamental positioning, ”inside out” and ”outside in” as discussed above. Post-colonial art criticism needs to think carefully then it will avoid jumping into the trap that post-colonialism has pointed out. The discussion about ”inside out” and ”outside in” will reach a dilemma: unthinking post-colonialism, like unthinking Eurocentrism. In Asian countries like Taiwan, the past colonial history makes Taiwanese art criticism easily categorized into the post-colonial discussions. This paper exams the formation of this situation. The appropriation of postcolonial discourse in visual art criticism is indeed problematic and unclear. Art critics should be more careful to utilize this theory, not to wield the power of this theory to stop other art criticism.