差異的經驗：馬來西亞當代藝術與文化場域的獨立行動（1990-2010）

當代馬來西亞的藝術進程真所謂挑戰與機遇並存。始於一九九〇年代中期，創意社群裡相繼湧現張揚自己動手做（DIY）的自立互助態度，抑或仿效非政府組織（NGO）的集體管理及合作模式，這些參與其中的藝術工作者，藉由另類傾向的生存策略為本地當代藝術與文化場域注入豐富生命力。晚近十年來，愈來愈多擁有差異經驗的新生代中介者，他�她們從夢魘似的國家議程和主宰階級的文化想像中跳脫出來，自我決定走向主流體制之外的生活空間進行創作，以及致力於推展以社區為導向的公共藝術計劃，有意無意地回應、批判與舒緩了基礎設施發展不濟的有限狀況。這些自我組織之替代空間以及積極主動（pro-active）的獨立行動顯然更能彰顯多樣性、應急性和實驗性的試探。本文主要是考察獨立圈子於馬來西亞當代藝術的發展過程中所遭遇的各種問題與挑戰，場域外部的社會�文化條件和場域內部的歷史�美學軌跡，兩者都是制定相關解釋框架所不可或缺的參考依據。由一九九〇年至二〇一〇年，綜觀在地政治、經濟、文化政策以及施政方面均出現鬆綁傾向，藝術工作者也借勢爭取更多有益於推動發展的社會資本：這些符合自主性原則的所作所為，在軟、硬體設施皆缺乏規劃的馬來西亞的而且確地開展、落實、乃至於形成一個足以互惠互利的關係網絡。從文化再制的面向來講，新生代中介者始終依循他�她們個人的自由意志、認知需求或生存技能，在主流和非主流之間任意滑動、位移，遂開創一種新形態的生產機制；這些策略性操作不僅僅強化了行動主體的獨立精神，乃至驅使獨立圈子變成一個充滿動勢的可能空間。

關鍵字

當代藝術；文化場域；獨立行動；差異經驗

並列摘要

The development of contemporary Malaysian art is encountering both challenges and opportunities simultaneously. Beginning in the mid-1990s, the creative community gradually embraced the do-it-yourself (DIY) self-reliance and self-help attitude, or emulating the collective management and cooperation mode of non-governmental-organization (NGO). These art practitioners have enriched the local contemporary art and cultural field with vitalities and dynamism with alternative survival strategy. The recent decade has witnessed more and more new generation agents of different experiences, whom escape from the nightmarish National Agenda and the cultural imagination of dominant class; and self-chosen to strive towards a living space for creation outside the mainstream institutions, and even committed to promoting community-based public art program, intentionally or unintentionally responding to, criticizing and relieving from the limited condition of lack of infrastructures growth. Clearly, such self-organized alternative spaces and the pro-active independent initiatives could better manifest a diverse, contingent and experimental approaches. This paper aims to investigate the various issues and challenges faced in the progress of the independent circle in the contemporary Malaysian art. Both the social/cultural conditions outside the field, and historical/aesthetic trajectories within the field, are indispensable references that interrelated to the configuration of the interpretative framework. As an overview, from the year 1990 to 2010 the local political, economic, cultural policies and governance aspects appeared to be loosened or less-regulated, art practitioners had taken the occasion to strive for more social capital with developmental benefits: in Malaysia which lacks planning in both software and hardware infrastructures, such actions embodying autonomous principles began to grow, took root and shaping to a network of mutual benefits. From the aspect of cultural reproduction, the new generation agents stay true to their individual free will, cognitive needs or survival skills, and slide, displace randomly between the mainstream and non-mainstream, creating a new form of production mechanisms; these strategically maneuverings not only strengthen the independent spirit of the operative subjects, and further drive independent circles to becoming a space of possibilities filled with momentum.

並列關鍵字

Contemporary Art ； Cultural Field ； Independent Initiatives ； Different Experiences

參考文獻

Bourdieu, Pierre（1990），In Other Words: Essays Towards a Reflexive Sociology，Cambridge︰Polity Press；Stanford︰Stanford University Press

Bourdieu, Pierre（1993），The Field of Cultural Production，New York︰Columbia University Press.

Chua, Kevin（2011），On Teaching Modern and Contemporary Southeast Asian Art，Third Text, Vol. 25, Issue 4, July, 2011，pp467-473，London︰Routledge.

Danto, Arthur（1997），After The End of Art: Contemporary Art and The Pale of History，Princeton, New Jersey︰Princeton University Press.

Grenfell, Michael and Hardy, Cheryl（2007），Art Rules: Pierre Bourdieu and the Visual Arts，New York︰Berg.

國際替代計量

差異的經驗：馬來西亞當代藝術與文化場域的獨立行動（1990-2010）

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