- 學位論文
當代藝術中的冷戰遺緒 —以謝德慶的「生命作品」為例
The Cold War Legacy of Contemporary Art — Taking Tehching Hsieh’s “Lifeworks” as Example
摘要
藝術家謝德慶完整的藝術活動歷程，可以說從一九六零年代末至今，1974年跳船離開台灣至紐約，空間上跨越台灣到美國，是少數在戰後到美國發展而被寫入西方現當代藝術史的亞裔藝術家。但是，近年的「謝德慶現象」卻突顯了中、西方評論上的困難，一方面受制於國族國家的本土文化論述無法觸及謝德慶全面的創作，另一方面，直接嫁接西方的全球化論述又忽略其中「體制」作用的效果，因此將謝德慶的創作路徑放回彼時的戰後中美合作/共構的冷戰歷史結構進行分析，應該能對現有的謝德慶美學論述做一個具體而脈絡化的開展。 因此，本論文第二章的部份，回溯美國主導的文化冷戰與台灣美術現代化的關係。戰後台灣處在「反共」、「崇美」、「親華」意識形態政權中，塑造政治冷感、經濟至上的現代社會價值觀。無論是五〇至六〇年代「中國現代畫」的抽象藝術狂潮或是六〇至七〇年代具有「現實回歸」前衛性格的「複合藝術」，都同樣是緊隨著歐美資產階級引領的文化形式主義的腳步前進。 第三章的部份，冷戰對立趨緩之際新自由主義同時席捲國際，1978年正值謝德慶在紐約開始創作「一年系列表演」作品，從謝德慶「生命作品」中「身體冒險」與「自由思考」的人生哲學，理解這些外部效應的轉化。在當代政治視野下，討論其作品在特定時空下的有效性與局限性，以問題化其「自我立法」的藝術宣稱。 第四章，進入「後冷戰」的當下，冷戰的歷史重建與檢視得以可能，以此作為當代藝術視野具脈絡化與政治性的實踐動力。
並列摘要
The oeuvre of artist Tehching Hsieh spans from the late 1960s until today, from leaving Taiwan to jumping ship and arriving in New York in 1974, and spatially covering the distance between Taiwan and the United States, he is one of the few Asian American artists to be established in the United States after the war and to be written into western contemporary art history. Over the recent years, however, the “Tehching Hsieh phenomenon” begins to reveal an obstacle between Chinese and Western discourse. On the one hand, the constraints of nationalism in localist criticism hinder the ability to permeate the full extent of Hsieh’s work, and on the other hand, ascribing to the western discourse of globalization disregards the “institutional” effects. Hence to analyze Hsieh’s creative career in the context of postwar Sino-U.S. cooperation/co-construction during the Cold War era, will perhaps be a more specific and contextual development in the existing discourse on Tehching Hsieh. Therefore, the second chapter of this thesis evaluates the relationship between the U.S.-led cultural cold war and the modernization of Taiwanese art. Postwar Taiwan was under a regime ideology of "anti-communism", "pro-America", "pro-China", molding the modern social values of political apathy and economic prioritization. Whether it is the "Modern Chinese Paintings" abstract art frenzy of the 50s to 60s, or the "Return to Reality" avant-garde character of the "Complex Art" of the 60s to 70s, both are equally in step with the middle-class Euro-American values of cultural formalism. The third chapter of the paper will analyze the external effects of the international neo-liberalism wave in the decline of the Cold War through the “bodily risk-taking” and “free-thinking” philosophy of Hsieh’s “Lifeworks”, as he begins in 1978 the “One Year Performance” series in New York. In the perspective of contemporary politics, it will discuss the validity and limitations of his work in a particular time and space to problematize its artistic claims of "self-legislation". The fourth chapter will, as we now enter the "Post-Cold War" era where reconstruction and retrospection of Cold War history becomes possible, endeavor to place contemporary artistic vision in context and serve as a means for political action.