台灣當代藝術中之「新台風」(1995-2005)

"New Tai Feng" in Taiwan Contemporary Art (1995-2005)

黃怡嘉(Yi-Chia Huang)

《研究台灣》 4期 (2008/06) Pp. 1-41

https://doi.org/10.6456/JTS.200806.0001

摘要

2005-2006年是「新台客」能量釋放的顛峰，在各種社會及官方論述力的激盪共鳴下，「新台風」此一新語彙在台灣當代藝術中被加冕，成為「台客文化」再生產的周邊論述。「台風」早在「台客」掀起社會波瀾之前，就已存在於台灣美術的發展脈絡中。解嚴初，藝術家希望在全球化的藝術語彙中，走出一條建構台灣主體的視覺風格，來衝撞、摧毀過去的舊聖像，因此在內容及元素上多從常民文化中汲取集體記憶。九0年代中期後，「台風」出現從「草根味」到「文化品牌」的轉折，成爲一股對抗過去黨國箝制壓抑、與「全球化」同質性抗衡的在地能量。當政治抗爭退燒、本土能量醞積後，「反文化」強烈批判的火藥味已較少呈現於藝術創作中。台式菁英的「秀異」反動及次文化風格美學的操作，將源自台灣勞動階層生活中打拼、直爽的性格，常民廟會慶典中生猛、俗豔的特質，或是與強勢文化雜交變異後的特殊調性，轉而呈現後殖民社會中諧擬、嘲諷、向下學習的「新台風」藝術樣貌。本研究取樣1995-2005年間，符合「新台風」美感特質的代表作品進行比較與分析，檢視台灣當代藝術中之「新台風」是如何被放入「台客文化」的框架下去思考，又是如何共振出「新台風」的主要基調，期能更深入地洞悉「新台風」在台灣當代藝術中騷熱、消退、哄抬的過程效應，及如何面對未來多重走向的分水嶺。

關鍵字

台灣當代藝術 ； 台客 ； 新台風 ； 全球化 ； 次文化 ； 後殖民主義

並列摘要

2005-2006 is the peak of ”New Tai-Ke” energy liberation. Due to the extensive discussions and debates by society and authority, ”New Tai Feng” (New Taiwanese Style) becomes a crowned new vocabulary in Taiwan Contemporary Art and extends discourses beyond ”Tai-Ke” culture. ”Tai Feng” has existed in the development of Taiwanese Art long before ”Tai-Ke” stirred up public interests. At the beginning of martial law abolishment, artists hope to create a unique Taiwanese mainstream visual style in order to crash old authority, therefore most of the contents and elements are gathered from folk culture. After mid 90s, ”Tai Feng” undergoes a transition from vulgar to cultured brand and becomes an opposing force against government strangulation and globalization. When political defiance fade away and local energy ferments, the amount of countercultures that is used in artistic creations to heavily criticized the government is also decreasing. Taiwanese elite's distinction defiance and subculture art style manipulation transform the hardworking and forthright characteristics of the labor class; the energetic and tawdry traits of religious festivities; or the special quality of a hybrid mainstream culture into ”New Tai Feng”, a metaphorical, sarcastic and lower class admirable artistic form of post colonial society. This study analyzes on how ”New Tai Feng” enters into Taiwan contemporary art and understands the social background, during the years of 1995-2005. Furthermore it compares and analyzes from the selected representative art works which matched the special artistic attributes of ”New Tai Feng”, in order to have an insight into the courses and effects of New Tai Feng's blooming, decline and bulling activities, and also have a clear understanding of how it stands at the watershed of the multi-trended future.

並列關鍵字

Taiwan Contemporary Art ； Tai-Ke ； New Tai Feng ； globalization ； post colonialism ； subculture ； post colonialism