藝術的歸來－地方的經驗與再現

Landed Art in the Society - Experiences and Representations of a Place

鄭安齊(An-Chi Cheng)

指導教授 ： 李蕭錕

國立臺北藝術大學/美術學院學術論文/美術學系碩士班創作組/碩士(2014年)

https://doi.org/10.6835/TNUA.2014.00154

摘要

在當代藝術浪潮的激盪中，水墨藝術 也不可避免的正在面對一種典範轉移。我特別要擷取出來討論的部分，是文人畫當中，並且特別是文人們對山水景緻描寫的類型。我將由文人山水畫中隱含的烏托邦式想像視點談起，到我的作品之中對於一個地景的建構－特別是藝術家與他所處的環境之間－以及後續因此而產出的作品。水墨創作這種目前以媒材決定論以及形式美學立足於藝術世界中的類別，在當代藝術狀況中究竟會有甚麼可能呢？

由於我的創作，在使用的媒材上以及創作觀念與機制有一段不小的轉變過程－從水墨山水一路到現地製作（Site-Specific）、空間介入式的作品，但一致貫穿在我作品當中的，是對於「地方」、「環境」、以及各種「特殊空間」（城市中的拆遷地、命名錯綜交雜的街道）的關懷。在地的概念雖然在台灣當代藝術理論中一度被提及，但是在實際轉化的層面上卻又各自有所不同，甚至長時間遭到擱置－自1996年的「1996雙年展：台灣藝術主體性」，「台灣」、「主體」這兩件事情被大大的標舉出來之後 ，直到這一兩年，「在地」、「地方」、「空間」這些問題，也許是我們又面臨一個政治、經濟以及國際態勢（新自由主義）的衝擊之時機點，才重新再被翻出來。我將在論文當中，討論關於「在地」、「地方」、「空間」這些概念，並一併述及包括我所製作過的作品，團體一同進行的策展展演、藝術行動，甚至包含了參與抗爭的經驗。關於媒材上的轉向以及後來創作上觀念的改變，將在後面的篇章詳述。我企圖以我的這些創作、行動、策展計畫等等，對現今台灣的環境�空間建構提出回應、重新定義，甚至是對抗。

類比以水墨藝術在當代的狀況，後面我將開始論及到我自身作品的轉型，而且此轉型是爲了因應到我在真實面對到，我的創作觀念與社會事件碰撞在一起時，必須為之的一種轉化。這部分的書寫，將會比較大量的碰觸到實際的事件敘述。接著就是在我的作品面對到轉型之後，我採取的不同行動方式。這部分則關於我自身的創作脈絡釐清－為何我採取這種類型的介入？還有這樣子的類型在我的製作經驗當中累積了何種可能，藝術家是否有更多類的方式來面對與社群的互動？或者，若水墨本身即面臨形式化的危機，那麼我現在轉變之後使用的方式又有哪些盲點？

我認為，此其中有一種水墨創作以另種姿態潛伏於當代藝術中的可能性。當水墨畫－特別是在文人畫這個脈絡底下，其實一直是個必須以藝術形式承載著創作者對於他周遭環境「感知」、「測量」並且「記錄」之後，作出回應的類別。並且，水墨畫的再現模式，一直以來就與我們所熟知的西方藝術（泛指文藝復興以降一脈）不同：水墨畫掌握的非光學上的寫實，卻是一種多重角度的複合。那麼如果回歸到我自身的創作，當我承繼了這樣的態度在面對我的藝術觀以及創作時，這些想法又在我的創作和藝術觀之中產生了何種效應呢？若說水墨山水中有一種不同於西方立基於「透視法」之上的空間觀，那我們又能如何以此為本，逃脫出所謂「資本的空間」?

最後我將作這些行動、事件或實驗之後的經驗整理，包括我每次的調查結果，每次實地創作面對不同回應的因應策略，在那當中藝術與社會交互產生的作用，以及往後我更多可能的創作模式。

關鍵字

藝術行動 ； 空間 ； 風景 ； 土地 ； 社會運動

並列摘要

With the rapid change of contemporary art scene, the definition of cannon in Chinese ink painting also faces challenges. In the thesis I would like to focus on the Chinese literati paintings, especially the abstract way artists’ choose to present the scenery. I will begin from the Utopian imagination hidden from the literati paintings, to the forming of landscape in my works. I will focus on the relationship between artists and the environment, and how the relationship influences the artworks creating. Chinese ink painting, a special genre in the current form-oriented art world, what should be its possibility in contemporary art scene?
The choices of materials and motivation to create in my artworks have gone through a series of changes, from the Chinese ink painting, site-specific installations, to rather space-intervening installations. What’s consistent in my works is the concern to “local”, “environment” and the “heterogeneous spaces” (The ruins waiting to be renovated, the complicatedly named streets, etc.). The concept of local has been frequently mentioned in many discourses of Taiwanese Contemporary Art, but each appropriation explains different fields. There were also times when the concern to local has been neglected. Since 1996 Taipei Biennial-Subjectivity of Taiwanese Art, which emphasized the importance of “Taiwan” and “Subjectivity”, until our recent strike by the politics, economics and international relationships, people finally realized its importance of “local”, “place” and “space”. I will stress emphasize on the concepts of “local”, “place” and “space” in my thesis, also explain how they have been applied to my artworks, including of curatorial project of group shows, action arts, and my experience in participating in social activities. The shift of material choices and the change of concept in art-creating will be explained in later chapters. I attempt to react, redefine, or go against the current environmental/spatial understanding in Taiwan by my artworks, actions and curatorial projects.
In allegory of Chinese Ink Painting’s situation in contemporary art, I will begin to narrative the turning in my artworks. The turning is a reflection of my experiencing of reality, when my motivation of art-creating collides with the social activities, the turning thus appeared. In this part of writing I will give more description of my engagement to social events. And then I will explain the different actions I chose before and after the turning. This part also reflects to my own art-creating context. What are the concerns of my decision making in social intervention? What possibility has been generated in the experiencing different artwork-creation methods? Can artists use different approaches to participate in communities? Or, if Chinese Ink Painting has suffered from the limitation of its form, is there any blind spot in my resolutions after the turning?

In my opinion, there is a possibility of Chinese Ink Painting in Contemporary Art concealed by another position. Chinese Ink Painting, especially under the context of literati paintings, has long been used as an artistic form to reflect artist’s perception, observation and record of the environment. Besides, the way of representation in Chinese Ink Painting is very different from the Western Arts (ever since Renaissance) which people are familiar with. Chinese Ink Painting doesn’t follow the optical realism, it’s rather a combination of different points of view. Return to my artwork creation, when I succeeded this kind of attitude in facing my value of art and artwork creating. What kinds of effect are generated by these stimuli of these values in my artworks? If there is a different understanding of space in Chinese Ink Painting compare to Western “linear perspective”, how can we stick with it and try to escape from the “space of the capitalism”?

I will review the actions, events or experiments which I have done, including of the researches. With the reactions and solutions made when completing artworks and projects, I experienced the interactions between Art and the Society. I am also given more inspirations of artwork-creation in the future.

並列關鍵字

art activity ； space ； landscape ； land ； social movement

參考文獻

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8. David Harvey，王志弘譯. (2008年一版). 新自由主義化的空間. 台北: 群學出版社.

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