主編語
Editor-in-chief’s Note

《現代美術學報》第34期由本人策劃、台北市立美術館與春之文化基金會合辦的「檔案轉向：東亞當代藝術與台灣（1960-1989）國際學術研討會」論文為內容。會議在2017年4月8-9日舉行，來自澳、德、美、中、馬、新、日、港、法、菲、韓、台等多國學者，共發表共15篇論文發表與8篇個案研究，是近年來國內藝術界較具規模與學術深度的國際會議。會議係為了回應近年來國際間對二次大戰後東亞各國的當代藝術的重探歷史趨勢。

主編語

A Note from the Editor-in-chief

蔣伯欣 CHIANG Po-Shin

國立台南藝術大學藝術史學系助理教授

Assistant Professor, Department of Art History and Institute of Art History and Art Criticism, Tainan National University of the Arts

摘要

《現代美術學報》第34期由本人策劃、台北市立美術館與春之文化基金會合辦的「檔案轉向：東亞當代藝術與台灣（1960-1989）國際學術研討會」論文為內容。會議在2017年4月8-9日舉行，來自澳、德、美、中、馬、新、日、港、法、菲、韓、台等多國學者，共發表共15篇論文發表與8篇個案研究，是近年來國內藝術界較具規模與學術深度的國際會議。會議係為了回應近年來國際間對二次大戰後東亞各國的當代藝術的重探歷史趨勢。

Abstract

The No.34 issue of the Journal of Taipei Fine Arts Museum is composed by the theses from the international symposium titled Archival Turn: East Asian Contemporary Art and Taiwan (1960-1989). Collaborating with Taipei Fine Art Museum and Spring Foundation, I planned the conference, which took place on 8th and 9th April 2017, with the participation of scholars from various countries, such as Australia, Germany, America, China, Malaysia, Singapore, Japan, Hong Kong, France, the Philippines, Korea and Taiwan. Fifteen essays and eight case studies were presented at the venue, and it was an international symposium with relatively massive scale and academic depth in the Taiwanese art circle lately. The conference aimed to make a response to the recent trend to re-explore the history of contemporary art in various countries of East Asia after World War II.  

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嵌於白南準早期作品實驗中不明確的時間性：從1959至1963

Indeterminate Temporality Embedded in Nam June Paik’s Early Experiments from 1959 to 1963

金嬉英 KIM Hee-young

韓國首爾國民大學校藝術大學美術學部敎授

Professor, Department of Fine Art, College of Arts, Kookmin University, Seoul, Korea

摘要

本論文以1959年至1963年間白南準於德國創作的實驗作品為歷史資料，雖然這些歷史資料尚未成為歷史，但仍能助於我們理解當代經驗的不確定性，通過檢視他早期作品的歷史、美學、社會文化脈絡，試圖喚起眼望未來的記憶模組。白早期的作品承載了他對於音樂、聲音、電子、時空間存在的傳統邊界之批判性提問，最早，他對於音樂的興趣源於電子樂，其後延伸至相關表現。以電視作為媒材，白在德國烏朋塔（Wuppertal）的第一個個展《音樂展─電子電視》（Exposition of Music-Electronic Television）為他的在藝術中的激進實驗提出了聲明。本文主張白早期挑戰藝術常規的實驗是一種侵入性的努力，以介入被中心化與建制化的一切；以戰後的西德為歷史背景，本文檢視使白得以發展其對於不定的暫時性之興趣的概念與實踐路徑——他激進的實踐，不論對於美學或政治來說，都是巨大的反叛。

Abstract

This paper revisits Nam June Paik’s early experiment from 1959 to 1963 in Germany as an archive, which is not fixed in history, but still viable to our understanding of the indeterminacy in contemporary experiences. It intends to evoke a future-oriented model of memory by investigating the historical, aesthetic, and socio-cultural context, in which his early work was formed and structured. His early work addresses his critical questions posed on the conventional boundaries between music, sound, electronics, space, and time. His initial interest in music had developed by embracing electronic music and consequently performance. Employing television as a medium, his first solo exhibition Exposition of Music-Electronic Television in Wuppertal manifested his radical experiment in art. This paper contends that Paik’s early experiment, which challenged the conventions in art, was an invasive effort to intervene what was centralized and established. It looks into the conceptual and practical paths, in which Paik developed his interests in indeterminate temporality against the backdrop of the historical context of postwar West Germany. His radical experiment made a breakthrough in both the aesthetic and the political rebels.

關鍵字：白南準、不定、行動音樂、電視、《音樂展─電子電視》

Keywords: Nam June Paik, indeterminacy, action music, television, Exposition of Music-Electronic Television

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降入日常：1970年代東南亞批判性展覽的興起

Descent to the Everyday: The Emergence of Critical Exhibitions in Southeast Asia in the 1970s

辛友仁 Seng Yu Jin

新加坡國家美術館資深策展人

Senior Curator, National Gallery Singapore

摘要

本文重點介紹了70年代在東南亞出現和擴散的新的展示模式——批評性展覽的誕生。它追溯了該地區的歷史，並找出了出現冷戰的關鍵展覽，導致了學生抗議運動，工業化快速，國際化和新興民族主義。批評性展覽標誌著向概念轉變，發現物體的集合，將「白色立方體」畫廊解散成街道等公共空間，參與式和社會參與的願望，顛覆了歐洲美洲人的觀念和以「轉向日常生活」從日本出生的Miyakawa Atsushi的「反藝術：每天下降」（1964年）中都有這樣的一個短語：解釋了藝術與日常生活之間障礙的轉變。本文借鑒了日常生活理論，將日常生活中熟悉的習俗作為一種對現代性經驗的抵製作為日常，重複，官僚和資本主義的一種形式。重要展覽轉變為抵制權力關係的一個場所，挑戰固定層次作為非殖民化進程的載體。

Abstract

This paper focuses on the birth of a new exhibitionary mode—the critical exhibition—that emerged and proliferated across Southeast Asia in the 1970s. It traces the exhibition histories of the region and locates the emergence of the critical exhibition out of the Cold War that resulted in student protest movements, rapid industrialisation, internationalism, and emerging nationalisms. The critical exhibition marked a shift towards the conceptual, the assembly of found objects, the dissolution of the ‘white cube’ gallery into public spaces like streets, a desire for participatory and social engagement, to subvert Euroamerican notions and categories of art centred on a turn to the everyday. The descent to the everyday, a phrase taken from Miyakawa Atsushi's influential text, 'Anti-art: Descent to the Everyday' (1964) that explains the shift towards the rupturing of barriers between art and everyday life. This paper draws on the theory of the everyday as a process of defamiliarising the familiar in everyday life as a form of resistance against the experience of modernity as routine, repetition, bureaucratic and capitalistic. The critical exhibition was transformed into a site for resistance to re-order power relations, and challenge fixed hierarchies as a vehicle in the process of decolonisation.

關鍵字：展覽、東南亞、美術史、日常生活

Keywords: Exhibition, Southeast Asia, art history, the everyday

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延遲影形力：1980年代華語語系單頻道錄像藝術的政治批判芻議

Delayed Plasticity: A Preliminary Investigation of the Political Criticism of Sinophone Single-Chann

孫松榮 SING Song-yong

國立臺南藝術大學動畫藝術與影像美學研究所教授

Professor in Graduate Institute of Animation and Film Art, Tainan National University of the Arts

摘要

臺灣、香港及中國的錄像藝術發展興起於1980年代。1983-84年從海外留學歸國與在地創作的藝術家的影像實踐開啟臺灣和香港錄像藝術創世紀，中國則要晚至1980年代末期才有首件錄像藝術作品的誕生。此種源於西方世界的現代藝術形態，不僅為兩岸三地的藝術家實驗精神的體現，更是反映政治變遷與時代變動的關鍵媒介。其中，單頻道錄像藝術堪稱代表。本文在奠基於1980年代臺灣、香港及中國錄像藝術發展脈絡的同時，聚焦藝術家們如何透過單頻道錄像藝術在一波接著一波且愈加激烈波動的政治事件（1984年「中英聯合聲明」、1987年臺灣解除戒嚴令，1989年「六四事件」等）之中，展現美學試驗與政治批判。而受到歷史事件演變衝擊的藝術家，影響所及，除了立即反映於作品的詩性、語言及政治立場之外，更以某種事後效應持續地形塑創作者的藝術實踐與思想生成。本文以華語語系之名，透過殊異影像美學和跨地多語多音系統的藝術實踐呈顯多重抗殖行動與反霸權精神，重新賦予1980年代邊緣而弱勢的單頻道錄像藝術饒富政治批判的當代藝術表徵。

Abstract

Video art emerged in Taiwan, Hong Kong and China during the 1980s. While video art came into existence in Taiwan and Hong Kong during 1983-1984 when their overseas-studying artists returned to the native lands with new thoughts, it had to wait until the late 1980s to have its nascent stage of development in China. The adoption of this Western media, especially single-channel video art, not only allowed those Chinese-speaking artists to embody the experimental ideas, but also helped them to record the political transformations at that time in Sinophone regions. This paper aims to recount the early days of video art development in Taiwan, Hong Kong and China, with a special focus on how artists responded to waves after waves of local political turbulence (the Sino-British Joint Declaration in 1984, the lifting of martial law in Taiwan in 1987 and the Tiananmen Square protests of 1989) with the artistic experimentations and political criticism of their single-channel video art. The impacts of these volatile events immediately influenced the poetic, linguistic and political expressions of the art works, and continuously shaped the practices and beliefs of the artists long after. Through the lens of particular visual aesthetics, this paper examines the anti-imperialist and anti-hegemonic tone of art works in these three places to cast the fledgling video art of the 1980s in Sinophone area in political light.

關鍵字：單頻道錄像藝術、華語語系、1980年代、延遲影形力、政治批判

Keywords: Single-Channel Video Art, Sinophone, 1980s, Delayed Plasticity, Political Criticism

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當代泰國藝術的攝影情狀

The Photographic Conditions of Contemporary Thai Art

克萊•維爾 Clare Veal

新加坡拉薩爾藝術學院亞洲藝術史研究所講師

Lecturer, Masters of Asian Art Histories, LASALLE College of the Arts, Singapore.

摘要

羅莎琳・克勞斯（Rosalind Krauss）在〈超現實主義的攝影情狀〉（The Photographic Conditions of Surrealism）文中描述了攝影的指示功能（indexical function）與其位置，為超現實藝術實踐做了最佳舉證，本論文以此為基石，同時檢視泰國當地對於攝影的藝術位置與被預設的指示性質在態度上的改變，作為從現代到當代的典範移轉之例子。從作為藝術表現的媒材到被認可為藝術，攝影在此一轉變中扮演了重要的角色，一方面，攝影以藝術形式被接受反映了在合理性的層層重疊網絡之中的發展與隨之而來在後冷戰期間國際性的教育與展覽機會的提升；另一方面，當用渴望追求不同來標注自身，攝影的情狀——或其本體論——將當代給概念化。藉由檢視許多當代泰國藝術家的作品，本文主張攝影將「光學無意識」（optical unconscious）視覺化，讓人可以滿足對於同時性的追求，並點再現出作為主張同時性的方法有其侷限。

Abstract

This paper takes as a point of departure, Rosalind Krauss’ essay ‘The Photographic Conditions of Surrealism’, in which she describes the relationship between photography’s indexical function and its position as the example par excellence of Surrealist artistic practice. In the same way, this paper examines changing attitudes in Thailand towards photography’s artistic status and presumed indexicality as paradigmatic examples of a transformation from the modern to the contemporary. Photography’s crucial role in this shift is located in key alterations to the medium’s functions and perceptions of its artistic legitimacy. On the one hand, the acceptance of photography as an art form reflects developments in imbricated networks of legitimation, occurring with the rise of international education and exhibition opportunities in the post-Cold War period. On the other hand, the conditions of photography itself, or rather its ontology, produce a conceptualisation of the contemporary as manifested in a desire for proximity with difference. In examining works by a number of contemporary Thai artists, I argue that photography’s visualisation of the ‘optical unconscious’  allows one to fulfil this desire for contemporaneity, while also pointing to the limits of representation as a means of asserting coevality.

關鍵字：當代泰國藝術、當代東南亞藝術、雙年展、攝影、記錄文獻

Keywords: contemporary Thai art, contemporary Southeast Asian art, Biennales, photography, documentation

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