形色之下的角力場－試以“101現代藝術群”分析80s~90s初期台灣繪畫中批評意識之更迭

The Force Fields under the Appearances-Analyzing the Change of the Critical Consciousness in Taiwan Painting From 1980s to Early 1990s by Example of "101 Modern Art Group"

洪劭涵(Shao-Han Hung)

《藝術論壇》 3期 (2005/05) Pp. 193-211

https://doi.org/10.6236/JAF.200505_(3).0008

摘要

本文以「101現代藝術群」為主要研究對象。從1980年初期至1990年前期他們的作品與創作論述中，我們可以大致窺見台灣於這段時期年輕藝術家評意識的轉變，且此一變動與整個文化環境的變動密切相關。在1980年中期以前，藝術家要求尋找鉅變表象下的絕對秩序，並服膺於進化思想，認為歷史必須在不斷翻新中進步。1980年中期直到末期，藝術家在現代主義和後現代主義的交鳴下顯得立場模糊，線性歷史觀似乎已然瓦解，但藝術家仍基於求「新」的立場上，以新繪畫攻南形式主義流派；而在認同主體方面也將東方／中國與本土相混淆。約莫進入1990年後，一個能相應於後現代論述中多元、去中心、區域化的論述空間產生，對於文化差異性的認知產生了不同的「適合」的藝術，本土於是成為創作首要標的。

關鍵字

現代 ； 求新 ； 批評意識 ； 本土

並列摘要

This thesis takes ”101 modern art group” as main research object. From Earlier 1980's to earlier 1990's, we can find the transformation in criticize consciousness of many young Taiwan artists in their works and in the creation discourses, also this change Related closely entire cultural environment change. Before middle 1980's, the artists requested the absolute order under the great change representation, and they obeyed to the evolution thought. They think the history must unceasingly progress. In middle 1980's until the last stage, the artist appear the standpoint fuzzily because of the Correlation by the modernism and post-modernism, the linear conception of history as if already disintegrates, but the artist still based on asked 'was new' in the standpoint, attacked formalism school by creating new painting. But in identity aspect, they also confused with Eastern/China and native. Roughly entered 1990, a discourse space appears, this space could correspondingly in the post-modernism, the pluralism and decenter. Cognition the differences between cultures, the ”suited” art appeared, the native thereupon bad become the most important creation goal.

並列關鍵字

modern ； innovation ； critical consciousness ； nativity