現代美術學報│31期

 

主編語
Editor-in-chief’s Note

在當代資本主義社會裡,我們生活在大眾傳播媒體所報導、宣傳和製造的文化之中。從書刊、廣播、電視和電影等傳統管道,演變到今日的網際網路、虛擬遊戲、社群平台等新興形式,媒體文化不斷提供新聞和娛樂,形塑輿論和流行趨勢,並且營造了虛實難辨的影像世界。媒體公司也經常透過贊助美術館的方式,參與甚至支配展覽的策劃走向,提升企業形象和商業利益。

 

就藝術發展而言,自從普普藝術借用新聞事件和消費文化的素材以降,當代藝術始終和媒體文化存在著複雜的對話關係。藝術創作與大眾媒體看似位居不同的文化位階,各具有不同的形成因素和社會效應,兩者之間仍然維繫著緊密的關聯。本期專號關注媒體文化的題材和技術,如何作為藝術家所挪用和轉譯的文本?藝術家如何運用或介入主流媒體,或建構另類媒體?在藝術推廣和行銷的過程中,媒體扮演甚麼角色?   檢閱完整文章   下載完整文章(PDF)

 

 

 

 

艾未未的社群媒體運用與認同生產

Ai Weiwei’s Social Media Utilization and Identity Development

鄭惠文 Cheng Hui-wen

華梵大學美術與文創學系助理教授

Assistant Professor, Fine Arts and Culture Creative Design Department, Hua Fan University

摘要

近年來,社群媒體逐漸成為社會中的關注重心,藝術場域亦是如此。在當代藝術家中,艾未未對於社群媒體有著高度的熱情,他不僅將之作為個人發聲的管道,還靈活運用並發展出具有社群時代特色的大型創作。然而,越大型的社群媒體藝術創作,則越需要龐大的網絡力量共同參與,艾未未如何吸引眾多網民為之效力是本研究的核心問題,從其中衍生出的是:社群媒體在這之中又如何被運用著?產生了什麼樣的形象認同?本研究將聚焦於艾未未使用量最高的兩個社群平台:部落格與推特,分析他如何運用社群媒體,建構行動意義,產生認同。首先,我將透過社會、藝術的改變以陳述一個社群時代的開始。其次,我將分析艾未未如何透過部落格演練自主傳播、組織串聯工作,進而形成一個足以與政府抗衡的力量。最後,我將指出艾未未如何透過推特的使用,精密的設計了一次次的網路行動,因而獲得了對追隨者的支配權。

 

Abstract

In recent years, social media has gradually become a focal point for public attention and discourse, and of artists. Among those artists interested in social media, Ai Weiwei is among the most passionate. He employs social media as a channel to give himself a voice, and in the flexible creation and development of large-scale community times features. However, the larger the social media art creation, the more powerful the Internet presence needed for participation. How Ai Weiwei attracts netizens to work for him is the question at the core of this research, and from this other questions derive, such as: how is social media used? What kind of image recognition does it develop? This research focuses on two social platforms, blogs and Twitter, which are most often used by Ai Weiwei, analyzing how he utilizes social media, establishes the meaning of actions, and develops recognition. I begin by elaborating the rise of social media era via changes in society and art. Secondly, I analyze how Ai Weiwei rehearses autonomous propagation and organizational connections through his blog to create a force strong enough to contend with the government. Lastly, I will indicate how Ai Weiwei repeatedly, intentionally designs an Internet movement via Twitter capable of directing his followers.

關鍵字:艾未未、社群媒體、部落格、推特、認同

Keywords: Ai weiwei, social media, blog, Twitter, identity

檢閱完整文章  下載完整文章(PDF)

 

 

解讀「中國:鏡花水月」展

Looking at “China: Through the Looking Glass”

朱紀蓉 Chu Chi-jung

輔仁大學博物館學研究所助理教授

Assistant Professor, Graduate Institute of Museum Studies, Fu Jen Catholic University

摘要

2015年紐約大都會藝術博物館的「中國:鏡花水月」展,是該館參觀人數最多的時尚展,也是開館以來第五大受歡迎的展覽,更在中國得到盛大報導與討論。搭配此展的慈善晚會,也受到了高度的媒體曝光,並為大都會藝術博物館帶進極為可觀的收入。這個由博物館服裝藝術部 (Costume Institute)主辦的展覽,首次以結合電影、藝術、時尚的方式,呈現時尚設計師透過對中國的想像,將中國元素納入作品的樣貌。本展的視覺呈現,為何如此受歡迎?從博物館研究的角度,又帶出哪些討論議題?本文透過分析館方資料與過往文獻,媒體、社群網站報導與評論,以及作者的參與觀察,首先說明並討論本展的策展理念與展示設計,以及館方宣傳、操作展覽的方式。本文接續討論新近出現的「時尚博物館學」與博物館時尚展的特色,並且提出博物館時尚展在博物館倫理議題上,可能面臨的兩難。最後,本文討論觀眾一片叫好聲之外,媒體與網路社群對此展的其它評價。

 

本文認為,大都會藝術博物館憑藉豐沛的資源,建構了清楚、簡要的策展理念,再透過跨領域專業人才的技術合作——尤其是電影的加入,將與中國有關的時尚展帶入展示設計的新里程。然而,本展所建立的視覺經驗,將會和其他型態的展覽同時存在;博物館與私部門合作辦理時尚展上的動態關係,以及倫理議題,也將持續受到討論與檢驗。

 

Abstract

The Metropolitan Museum of Art’s spring exhibition of 2015,“China: through the Looking Glass”, drew a record number of visitors to the Costume Institute and became the fifth most popular exhibition in the museum’s history. Met Gala, the fundraising event designated to benefit the fashion exhibition, also attracted considerable media attention and raised a significant amount in donations to the museum. “China: through the looking glass”, an exhibition resulting from a collaboration between the Asian Department and the Costume Institute, was the first at the Institute to combine fashion, film and art in a single exhibition. It presented how, in their creative processes, Western designers were inspired by Chinese aesthetics. How was the exhibition presented, and what issues arose out of the exhibition? Through materials from the museum’s website, media reviews, fashion literature, audience responses, and the author’s own observation, this article discusses several inter-related issues including the curatorial ideas, exhibition design, the promotion of the exhibition, the ethical dilemma involved in fashion exhibitions, and critiques from the audience. This article concludes that, with abundant resources, the exhibition constructed a succinct curatorial statement. Together with a design team consisting of talents from various fields—especially the film industry—the exhibition created an unprecedented on site visual experience and established a new milestone in exhibition design. However, the dynamic between the museum and its sponsors, and the ethical issues involved in fashion exhibitions, remains contested.

關鍵字:策展、展示設計、時尚展、博物館倫理

Keywords: curatorial study, exhibition design, fashion exhibitions, museum ethics

檢閱完整文章  下載完整文章(PDF)

 

 

動畫的補丁匠之夢:動畫家與操作美學
Animation as the Tinkerer’s Dream: The Animator and the Operational Aesthetic

戴芃儀  

Tai Peng-yi

國立中央大學英文系助理教授

Assistant Professor, Department of English, National Central University

摘要

本文認為,補丁匠是動畫家的自我形象的原型,而透過補丁匠角色,得以理解動畫家在不同的勞動過程中的折衝抗衡與自我想像。回顧美國的工業動畫史,補丁匠角色約在1920年代晚期出現,卻在十年間幾近消失,而此一發展正與動畫公司由小型工作坊轉為大型生產線的發展貼合。同時,此一發展亦可透過操作美學的演變來映證。當動畫公司轉為密集勞動分工,純粹的操作美學亦逐漸取代了補丁匠角色。綜合上述,本文將以早期迪士尼、弗萊雪的作品為主,阿德曼「酷狗寶貝」系列為輔,並從動畫家個人、動畫公司的生產模式與操作美學的呈現等三個面向,深入分析補丁匠角色與所相伴的操作美學的演變,探索其文化與社會意涵。

 

Abstract

The tinkerer may not be the most pervasive character in the history of the American animation, but its presence often marked important turning points in the early development of the animation industry. In the late 1920s, the character of the tinkerer first appeared in popular animated cartoons, but disappeared within a decade. Interestingly, its demise coincided with the labor rationalization process that was implemented to produce feature-length animated films. In many ways, the division of labor clashed with the work of the tinkerer, not only in industrial society as a whole, but with animators, who I argue to have always invested in the tinkerer identity. Moreover, the development of the tinkerer character can be identified through the transformations of the operational aesthetic which in turn began to eclipse the tinkerer character in the final stage of full labor rationalization. The essay will therefore approach the tinkerer character in animation from the perspective of the animator, the mode of production of the studio and the operational aesthetic in the major works by early Disney, Fleischer, and Aardman Animations in order to explore their social and cultural meanings.

關鍵詞:動畫、勞動、補丁匠、麥凱、弗萊雪、迪士尼、阿德曼、DIY、操作美學
Keywords: animation, labor, tinkerer, Winsor McCay, Fleischer, Disney, Aardman, DIY, operational aesthetic

檢閱完整文章  下載完整文章(PDF)

 

 

以其人之道,還治其人之身:景觀與皮耶.玉格的格式策略

Tit for Tat: Pierre Huyghe’s spectacle-as-format

陳蕉 Chen Chiao

國立台南藝術大學造形藝術研究所助理教授

Assistant Professor, Graduate Institute of Plastic Arts, Tainan National University of the Arts

摘要

在媒體社會中,現實與虛構已不再處於一種截然的二元對立,它們相互延伸、互為滋養,終至難以區分彼此。本文將從玉格的〈第三記憶〉、〈白雪公主露西〉、〈百萬個王國〉三件作品,探討藝術創作如何不只是流於對於媒體社會的控訴,而是直接進入那些讓影像得以產生的規則之中,發現虛構的潛力,並且強化這樣的潛質,「讓虛構延伸成為現實」?如何藉由創造景觀本身來呈現一個發生在自我認同過程中的現實/虛構之間的複雜變形過程?我們究竟如何蛻變為一個形塑自己的想像影像的「能動者」,在媒體影像與現實轉譯的過程中,創造出屬於自己的影像真實?而真實又將如何因為一種比真實還更真實的事物的出現而消失?

 

Abstract

In the media society, the strict binary opposition between fact and fiction no longer exists. The real and fictional intertwine and mutually nourish each other in a way that blurs easy distinctions between them. Through a case study of three of Pierre Huyghe’s works, The Third Memory, Snow White Lucie, and One Million Kingdoms, this article investigates the following questions: How can art enter into a set of rules that produce imaginary actualities to discover and intensify the potential of fiction and to “extend fiction into reality” rather than simply accusing the media of alienating society? How can art, by creating a spectacle, present the complicated transformation between fact and fiction in the self-identification process? How does one become an “actor” who builds his/her imaginary self in this transformation? How can the real eventually disappear due to the presence of something that is more real than the real?

關鍵字:現實、虛構、自我認同、影像流變、超真實
Keywords: reality, fiction, self-identity, becoming-image, hyperreal

檢閱完整文章  下載完整文章(PDF)

 

 

重述災難:塔奇塔.迪恩作品《俄羅斯結局》中的文字與圖像

Reframing Disaster: Word and Image in Tacita Dean’s The Russian Ending

凱瑟琳.布朗  Kathryn Brown

英國羅浮堡大學現代與當代藝術課程助理教授

Lecturer, Modern and Contemporary Art, Loughborough University, United Kingdom

摘要

本文探討塔奇塔.迪恩2001年的蝕刻凹版系列作品《俄羅斯結局》,檢視當中的圖文關係。在這組作品裡頭,藝術家藉由媒材之間的跨界相交,讓原本眼見為憑的紀實攝影得以拓展其所指涉的內容。為了支持這個論點,本文仔細爬梳迪恩運用的各種手寫技法,看她如何自原始照片衍生出虛構敘事,將圖像置入不同的歷史架構內,並於畫面上疊加電影拍攝的指令,以及,示意每個場景所遭遇的機運之吻。透過親手操作,迪恩將她所發現的二十世紀初照片轉化為一系列的蝕刻凹版;照片因此不再囿於純粹指涉的功能,從而告訴我們更多這個世界的蛛絲馬跡。

 

Abstract

This article examines the relationship between word and image in a suite of photogravures produced by Tacita Dean in 2001 entitled The Russian Ending. It is argued that this intermedial encounter expands the signifying content of documentary photographs beyond that which is visible on their surface. This thesis is supported by an analysis of the different uses to which handwriting is put in the work. This includes the creation of fictions derived from the original photographs, the placement of images within different historical frameworks, the superimposition of cinematic directions, and the signaling of chance features that have impinged on each photographed scene. In her transformation of ‘found photographs’ of early twentieth-century disasters into a series of hand manipulated photogravures, Dean liberates photographic images from indexicality and broadens the nature and extent of information that they communicate about the world.

關鍵字:電影、羅蘭.巴特、塔奇塔.迪恩、紀實、手寫、跨媒材、攝影
Keyword: cinema; Roland Barthes; Tacita Dean; documentary; handwriting; intermediality; photography

檢閱完整文章  下載完整文章(PDF)

 

 

醫美世代與韓國當代藝術

Cosmetic Surgery in Contemporary Korean Art  

李秀眞  SooJin Lee

南韓弘益大學(世宗校區)文學院助理教授

Assistant Professor, Liberal Arts, Hongik University (Sejong Campus), South Korea

摘要

本文探討年輕一代的韓國藝術家如何在作品中呈現、批判韓國眾所皆知的整形文化。特別是Mind C、金泰延,以及呂至這三位藝術家,他們近期的作品雖然在網路上廣為流傳,也吸引了不少觀眾點閱,但尚未得到評論界較具深度的回應與關注。經過仔細的分析,我認為這些圖像帶出了一些重要而複雜的議題,觸及流行文化裡一直未曾正視的醫美觀點,諸如性別刻板印象、手術副作用、改頭換面的過程中所經歷的疼痛與投射的慾望,以及今日不斷演變的南韓美學和倫理。為了便於比較,我將先從流行文化中的整容典型切入,接著再針對本文提到的作品進行討論。分析的角度除了將藝術家視為文化評論者以外,同時也將其作品視為整形文化的產物,成為南韓日益熱門的醫美話題之一。文章內容將引用南韓整形手術與文化的相關論述與期刊報導。

 

Abstract

This essay examines how South Korea’s conspicuous cosmetic-surgery culture is represented and critiqued in visual works by young Korean artists. In particular, I pay attention to the recent works by Mind C (Kang Min Gu), Kim Tae Yeon, and Ji Yeo (Yeo Ji Hyeon), widely circulated online and attracting much viewership, but which have not received much in the way of critical evaluation or in-depth examination. Based on a close analysis of the images, I argue that they raise some important and complex issues with respect to cosmetic surgery and beauty culture that have previously been under-discussed in popular culture, such as gender stereotype, side effects, and the pain and desire involved in extreme makeovers, and the changing aesthetics and ethics of contemporary South Korea. For comparison, I will first review pop-culture representations of cosmetic surgery before discussing the artworks under consideration. My analysis of the artworks will highlight the role of artists as cultural critics, but it will also suggest that the artworks are products of the culture, and partake in the production of the growing discourse on South Korea’s expanding cosmetic surgery culture and industry. Both scholarly and journalistic writings on South Korea’s cosmetic surgery practice and culture will be used in this analysis. 

關鍵詞:當代藝術裡的整形文化、整形手術、韓國藝術、網路文化、美容文化、Mind C、金泰延、呂至、性別、形象
Keywords: cosmetic surgery in contemporary art; cosmetic surgery; Korean art; Internet culture; beauty culture; Mind C; Kim Tae Yeon; Ji Yeo; gender; representation

檢閱完整文章  下載完整文章(PDF)

 

 

從關係美學探討杜象獎藝術家的創作風格,以2014 得主朱利安.佩維厄為例

 Discussion of the Relational Aesthetics of Marcel Duchamp Prize-winning Artists: A Study of 2014 Winner Julien Prévieux

林素惠  Lin Su-hui

國立臺灣師範大學圖文傳播學系副教授
Associate Professor, Department of Graphic Art Communications, National Taiwan Normal University

摘要

法籍策展人尼可拉.布希歐 (Nicolas Bourriaud) 依據其1998年著作《關係美學》的理念,策劃2014臺北雙年展。《關係美學》法文版問世以及「杜象獎」2000年的開展,其背景都是1990年代以後的國際當代藝術,因此「杜象獎」藝術家創作中普遍具有該書中所提及「關係藝術」的特質。尤其2014年杜象獎得主朱利安.佩維厄 (Julien Prévieux)的作品,與社會、歷史、文化與未來之間的關係十分密切,其所給予觀眾的啟示令人深思,值得深入探討。本文首先針對「關係美學」、「杜象獎藝術家」進行文獻探討;接著檢視佩維厄創作裡「關係美學」的特點。期望研究結果可作為臺灣當代藝術發展研究及有關工作者的參考,同時提醒觀眾,他們可以和當今藝術家共同完成作品,於其中獲得生命認知方面的新啟示。

 

Abstract

French art curator Nicolas Bourriaud undertook exhibition planning for the Taipei Biennial 2014 following the approach outlined in his 1998 work Esthétique relationnelle (Relational Aesthetics).The publication of the original French edition of Esthétique relationnelle and the launch of the Marcel Duchamp Prize in 2000 each reflected major international trends in contemporary art in the 1990s, and many of the artists who have been awarded the Marcel Duchamp Prize since its establishment produce work characterized by embodying some of the characteristics of “Relational Art” as outlined in Bourriaud’s book. In particular, the works of Julien Prévieux, the winner of the Marcel Duchamp Prize in 2014, demonstrate a very close relationship with society, history, culture and the future; his thought-provoking art encourages the viewer to engage in deep reflection. The present study begins with a review of the literature relating to Relational Art, and to the winners of the Marcel Duchamp Prize, before analyzing works created Julien Prévieux and exploring the characteristics of his Relational Art. It is anticipated that the results obtained in the study will provide useful references for research on the development of contemporary art in Taiwan, and for those working in related fields. The results will also contributing to raising public awareness of the potential for collaboration with contemporary artists on the completion of art works, and thereby develop new insights and perspectives.

關鍵詞:關係美學、關係藝術、杜象獎藝術家、朱利安.佩維厄
Keywords: Relational Aesthetics, Relational Art, Marcel Duchamp Prize, Julien Prévieux

檢閱完整文章  下載完整文章(PDF)

 

 

本期主視覺提供│朱利安.佩維厄,〈我們該怎麼辦呢?第二系列〉,2014. Courtesy of Jousse entreprise gallery  

 

Online ISSN 1560-4713
GPN 2008700071