主編語
Editor-in-chief’s Note

主編語

Editor's Note

陳貺怡 Kuang-Yi CHEN

摘要

本期學報的主題是「藝術中的記憶與認同」：思想家們如現象學創立者胡塞爾（Husserl）描述了揭示並持續塑造我們身份的「記憶意識」（conscience-mémoire）、保羅．利柯（Paul Ricoeur）則以敘事身分的概念分析記憶對身份認同的重要性，並考察了主體的身份認同如何與記憶產生關連。以上兩位年齡相差半世紀的學者僅是浩瀚學海中的兩位而已，記憶與認同之間的關係已是當今多門社會科學的核心問題，當然包括藝術學。記憶如何被構建？何謂身份認同？是個人的，抑或集體的，甚至是世界的？身份的認同又如何依賴於既是關注來源也是認同來源的他者？而在藝術史的書寫、美學理論或藝術批評的建構，以及藝術的創作與表現上，記憶扮演著什麼樣的角色，與所謂的「藝術作品」之間有何關聯？創作主體與客體之間的身分認同如何在複雜的權力關係中被建立起來？這其中的關鍵字眼應是記憶術、權力書寫、集體記憶、文化記憶、自傳記憶、再現與公共藝術等等不一而足。
 

本議題有幸吸引了多位優秀學者賜稿回應，並收錄了4 篇主題相關的論文：張雅婷的〈記憶之術與繪畫：丹尼爾．阿哈斯的結構理論與闡釋〉一文，描述了法國知名藝術史學家阿哈斯（Daniel Arasse）如何在英國女史學家葉茲（Frances A. Yates）的著作《記憶之術》（Th e Art of Memory）的研究基礎上，推論出歐洲繪畫在透視法發明之前的運作方式乃是「記憶的體系」。文中除了清晰的介紹了場所與影像如何作為上古即已確立的「記憶之術」之綱領外，亦列舉書中觸及的多項案例如朱里奧．卡米羅．戴爾米尼歐（Giulio Camillo Delminio）的「記憶劇場」（Th eatre of Memory）對阿哈斯詮釋方法的影響；旋即進入阿哈斯的假設及其建立於文藝復興諸多圖像分析上的精采論證。最後更神來一筆的帶到阿哈斯對當代藝術家基弗（Anselm Kiefer）如何以工作室的「場景配置」（mises en scène），來處理德國文化根源與集體記憶的問題。

王家男的〈作為「記憶之場」的臺灣眷村〉亦以莫里斯・哈布瓦赫（Maurice Halbwachs）的「集體記憶」（Collective Memory）、阿比．瓦爾堡（Aby Warburg）的《記憶女神圖集》（Mnemosyne）、皮埃爾．諾拉（Pierre Nora）的「記憶之場」，和阿斯曼夫婦（Jan Assmann and Aleida Assmann）的「文化記憶」（kulturelles Gedächtnis）、保羅．利科的記憶與空間的概念、葉茲的「記憶之術」以及她所提及的戴爾米尼歐的「記憶劇場」等一脈相承的相關理論作為工具，深入探詢「場所」（lieu）與記憶的關係。但有趣的是其研究案例乃是親身經驗所及的北投眷村「中心新村」及其在當地進行的研調，藉此提出批判性的建議：人們對於作為文化資產的眷村之維護，應透過藝術再現的方式強化其「意象」（Image），以凝聚成為精神上的「記憶之場」，而非僅僅建造成相對僵化的物質性博物館。

張敏琪的〈被觀看的臺灣，誰的記憶？從森山大道的《臺灣紀行》談起〉，首先亦提及皮埃爾・諾拉（Pierre Nora）的「記憶之場」，並以被稱為「記憶之鏡」的攝影影像為研究對象，來研究作為一個「地方」，臺灣的記憶如何被不斷地重塑與再詮釋。作者先爬梳了大航海時代以來文獻記載，以及早期紀實攝影中的臺灣身影。之後分析「街拍傳奇」日本攝影家森山大道鏡頭下的臺灣影像之記憶構成，宣稱他所呈現的是一種以攝影師為中介所形成的混合記憶（mémoire mixte），為攝影者與被攝者、主體與他者所共享，「使鏡頭前的此時此地成為了疊合不同時空印象的載體」。
 

王曉華同樣研究攝影作品中的記憶建構及主客體關係，她的論文〈他者是我：波東斯基早期自傳式攝影作品中記憶的消逝與建構〉，以法國藝術家波東斯基（Christian Boltanksi）1968 至1975 年間的自傳式攝影作品為研究對象，以哲學性的推論指出波東斯基那充滿虛構的、令人真假莫辨的「家庭相簿」等自傳式攝影，如何在巴特（Roland Barthes）的攝影定義下，動員大量他者的影像為其自傳背書，並建構出關於「波東斯基」的「神話」或「普世記憶」。作者亦強調波東斯基透過宣稱影像中的所有角色都是「我」，而在以「他者是我」的照片召喚出他人的生命與記憶，亦同時抹煞本人的記憶，翻轉主客，使原應該強調個別性的自傳獲致一種普世的性質。
 

本期提供了與「藝術中的記憶與認同」相關的研究論文，及一篇一般稿件，並透過匿名雙向審查制度，確保論文的品質，以饗《現代美術學報》的讀者們。前述環環相扣的四篇論文，不僅在主題的範圍內精彩的串連了作為方法的記憶理論，並在時空上橫跨了西方上古至今日臺灣，在媒材上則遍及繪畫、攝影與城市規劃。周怡秀的〈二十世紀早期抽象潮流中的音樂靈感：繪畫和音樂類比的時間問題〉，作者探討二十世紀初期現代藝術潮流中抽象藝術如何從音樂中提取靈感，研究的對象眾多，但主要聚焦在保羅．克利（Paul Klee）與法蘭提塞克．庫普卡（František Kupka），研究目的則是繪畫與音樂相較時所涉及的時間、空間問題，以及繪畫中的節奏表現方式。

Abstract

The theme of this issue is “Memory and Identity in Art.” Philosophers such as Edmund Husserl, who established the school of phenomenology, characterized the “conscience-mémoire” that reveals and continues to shape our identity. Also, Paul Ricoeur analyzed the importance of memory to identity with the concept of narrative identity and investigated how an individual’s identity is related to memory. Husserl and Ricoeur, half a century apart, were merely two scholars within the vast array of scholarship. Th e relationship between memory and identity is now a core issue in social sciences, including art. How is memory constructed? What is identity? Is it individual, collective, or even global? How does identity depend on the other, which is both a source of attention and recognition? What are the role of memory in the writing of art history, the construction of aesthetic theory or art criticism, and the practices and expression of art? How does it relate to the so-called “artworks”? How is the identity between the subject and the object established in a complex power relationship? The keywords here may be mnemonics, the writing of power, collective memory, cultural memory, representation, and public art, to name a few.

We are honored to receive responses from several outstanding domestic scholars and include four articles on this issue. Ya-Ting CHANG illustrates how the renowned French art historian Daniel Arasse, based on the British historian Frances A. Yates' The Art of Memory, deduced that European paintings operated as a "system of memory" before the introduction to perspective in The Art of Memory and Painting: Daniel Arasse's Structural Theory and Interpretation. In CHANG's article, she clearly demonstrates how place and image function as the protocol of "the art of memory" established in ancient times and cites some cases mentioned in the book, including how Arasse's method of interpretation was infl uenced by Giulio Camillo Delminio's Theatre of Memory. The article then moves on to Arasse's hypothesis and his brilliant arguments based on the iconographic analyses of the Renaissance works. Finally, CHANG off ers an excellent twist and discusses Arasse's opinions on how contemporary artist Anselm Kiefer deals with his German cultural roots and collective memory through the "mises-en-scene" in his studio.

WANG Jianan explores the relationship between “place” (lieu) and memory and employs a series of works and concepts as his methods in his article “Military Dependents' Village in Taiwan as a Les Lieux de Mémoire.” The concepts include Maurice Halbwachs’s Collective Memory, Aby Warburg’s Mnemosyne, Pierre Nora’s “site of memory,” Jan Assmann and Aleida Assmann’s “cultural memory” (kulturelles Gedächtnis), Paul Ricoeur’s idea on memory and space, Yates’ “the art of memory,” and Giulio Camillo Delminio's Theatre of Memory she discussed. Interestingly, he takes the “Heart Village,” a military dependents’ village which he has experienced personally in Beitou, as a case study. Wang poses a critical suggestion: To maintain the military village as a cultural asset, we should enhance its “image” to solidify the place into a spiritual “site of memory,” rather than turning it into a rigid physical museum.
 

In “Whose Memory does Taiwan’s to-be-looked-at-ness Belong to? Moriyama Daidō’s Taiwan Travel Notes,” Min-Chi CHANG also refers to Pierre Nora’s “site of memory” at the fi rst place. She examines how the memory of Taiwan has been constantly reshaped and reinterpreted through photography, which is also known as “the mirror of memory.” CHANG encapsulates the document from the maritime era and Taiwan’s image in early documentary photography. She then analyzes the memory composition of Taiwan’s image under the lens of Japanese photographer Daido Moriyama, a “snapshot legend.” Also, she declares that what Moriyama presents is a mémoire mixte formed through the photographer as the agency. Mémoire mixte is shared by the photographer and the photographed, the subject and the other, “making the present before the camera lens a carrier that overlaps the impressions of diff erent time and space.”

WANG Hsiao Hua also investigates the construction of memory and the relationship between subject and object in photography. In her article "Other am I: Memory Construction and Disappearance in Christian Boltanski's Early Autobiographical Photograph," WANG takes the autobiographical photographs of French artist Christian Boltanksi from 1968 to 1975 as the subject of her study. With philosophical inferences, she attempts to point out how Boltanksi's autobiographical photographs, such as the fi ctitious and indistinguishable "family albums", mobilize a large number of images of the other to endorse his autobiography and construct a "myth" or "universal memory" about "Boltanksi" under Roland Barthes's defi nition of photography. Th e author also emphasizes that by claiming that all the characters in the images are "I", Boltanksi evokes the lives and memories of the others through the "other am I" photographs while at the same time erasing his memories and reversing the role of subject and object, so that the autobiography, which is supposed to emphasize individuality, obtains a universal character.
 

We provide articles related to “Memory and Identity in Art” and a feature article in this issue. Through an anonymous review system, we ensure the quality of the articles for the reader of the Journal of Taipei Fine Arts Museum. Th e four aforementioned interlocking articles brilliant take theories on memory as the methods and span from the ancient times to the present day, covering from the West to Taiwan and dealing with issues such as painting, photography and urban planning. In Yi-Hsiu CHOU’s “Musical Inspiration in the trandence of Abstraction in the Early 20th Century: The Question of Time and Rhythm in the Analogy Between Painting and Music,” she explores how abstract art extracted inspiration from music in the early twentiethcentury modern art. The researched subjects are various; however, CHOU mainly focuses on Paul Klee and František Kupka. The purpose of the study is to examine the temporal and spatial issues involved in the comparison between painting and music and the rhythmic expressions in painting.

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記憶之術與繪畫：丹尼爾．阿哈斯的結構理論與闡釋

The Art of Memory and Painting: Daniel Arasse's Structural Theory and Interpretation

張雅婷 Ya-Ting CHANG

國立臺灣師範大學美術學系美術理論組博士

Doctor, Program of Art History and Theory, Department of Fine Arts, National Taiwan Normal University

摘要

法國著名的文藝復興藝術史學家丹尼爾．阿哈斯（Daniel Arasse），對於繪畫的詮釋有其獨到的見解。其中最大的特色是他的研究很大程度是建立在一個假設之上：文藝復興的繪畫承載了從記憶體系到修辭體系的過渡。事實上，阿哈斯的假設起源於法蘭西絲．葉茲（Frances A. Yate）的《記憶之術》（The Art of Memory）。本文因此嘗試透過葉茲的文本所描述的記憶術之基本原則與歷史傳統，揭示阿哈斯如何藉之提出假設與論證。從而分析並且比較阿哈斯如何在此基礎上解讀文藝復興繪畫，以及闡釋德國當代藝術家安塞爾姆．基弗（Anselm Kiefer）的當代藝術。
 

Abstract

The famous French Renaissance art historian Daniel Arasse has his own unique insights into the interpretation of painting. One of the his most specialised aspects is that his research is largely based on a hypothesis: Renaissance painting carries us through the transition from the memory to the rhetoric. In fact, Arasse's hypothesis originated from Francis A Yate's The Art of Memory. This article therefore attempts to use the basic principles and historical traditions of the mnemonics described in Yate's text to reveal how Arasse used it to formulate his hypotheses and arguments to analyze and compare how Arasse interprets Renaissance painting, as well as interprets the works by contemporary German artist Anselm Kiefer.
 

關鍵字：記憶術、丹尼爾．阿哈斯、繪畫、場所、圖像

Keywords: mnemotechnics, Daniel Arasse, painting, loci, imagine

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作為「記憶之場」的臺灣眷村

Military Dependents' Village in Taiwan as a Les Lieux de Mémoire

王家男 WANG Jianan

福建江夏學院講師，國立臺灣藝術大學當代視覺文化與實踐研究所博士生

Lecturer of Fujian Jiangxia University. Ph.D. student, National Taiwan University of the Arts.

摘要

本文從文化記憶研究、建築現象學以及藝術學的跨领域視野，對臺灣眷村展開討論。在本人對眷村居民口述訪談的分析之後，採用皮埃爾．诺拉（Pierre Nora）「記憶之場」（Les Lieux de Mémoire）的概念作為理論工具，來反思對於眷村的保護僅停留在對其物質性實體的博物館化之上，而忽略了「場所」的媒介性。以及作為文化資產的眷村，應該以藝術總體性經驗的方式來強化其「意象」（Image），凝聚成為「記憶之場」，從而得以對抗記憶的工業化。
 

Abstract

This article discusses the Military Dependents' Village in Taiwan from the interdisciplinary perspectives of Cultural Memory Research, Architectural Phenomenology, and Art. After an analysis of the oral interviews with the residents of the Military Dependents' Village, I apply Pierre Nora's concept of "Les Lieux de Mémoire" as a theoretical tool to reflect upon the problem on the protection of the Military Dependents' Village, which merely “museumize” the material entities and ignores the mediality of the “Loci". As a cultural asset, the Military Dependents' Village should employ holistic artistic experience to strengthen its "image" to form a "Les Lieux de Mémoire" so as to fight the industrialization of memory.
 

關鍵字：場所、記憶之場、意象、藝術創作

Keywords: Loci, Les Lieux de Mémoire, Image, Artistic creation

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被觀看的臺灣，誰的記憶？從森山大道的《臺灣紀行》談起

Whose Memory does Taiwan's to-be-looked-at-ness Belong to? Moriyama Daidō's Taiwan Travel Notes

張敏琪 Min-Chi CHANG

巴黎高等社會科學研究院博士

Ph.D. École des hautes études en sciences sociales, Paris

摘要

作為「記憶之鏡」的攝影，是曾經存有之事物的見證，也是將遙遠他方展現於眼前的重要媒介。在資訊傳播迅速的今日，影像更是能帶領我們跨越現實的限制，以虛擬的方式繼續開展世界的探索。其中最重要的關鍵，便是影像的生產者，也就是實際走訪各地的攝影師。他們以各具特色的觀看方式，來賦予地方不同的色彩。當中，被譽為「街拍傳奇」的森山大道，不只帶我們走遍日本與歐美，也曾造訪過臺灣。他以森山式的拍攝直覺，捕捉不同城市的生活痕跡與美感，並透過其影像，將城市的氣味展露出來。不過，他鏡頭下所呈現的，並不僅僅是個別的經驗事實，而是一種以攝影師為中介所形成的混合記憶（mémoire mixte）。這記憶，使鏡頭前的此時此地，成為了疊合不同時空印象的載體。事實上，這現象並不侷限於個體經驗，它也存在於許多異域的觀看之中。這些觀看影像所投射出的記憶是共構的，也是共享的。因此，我們將透過森山大道的攝影與記述，來爬梳其影像中的記憶構成，同時，我們也將借其攝影下的臺灣，來探索屬於或不屬於我們與他者的記憶。
 

Abstract

As a "mirror of memory," photography is a testimony to what has existed before, and an important medium for bringing faraway things right before our eyes. Today, with the rapid spread of information, images can lead us to overcome the limitations in reality and continue to explore the world in a virtual way. The key to making this dream come true is the producer of the image, that is, the photographer who actually visits various places. Their unique observations will give a place a distinctive color. Among them, Daido Moriyama, known as the "street photography legend," not only has taken us to Japan, Europe and the United States, but also traveled to Taiwan in his footsteps. He captures the traces of living and beauty in different cities with Moriyama-style shooting, and reveals the scent of the city through his images. However, what he presents via his lens is not just individual empirical facts, but a kind of mixed memory formed by the photographer. This memory makes hic et nunc in front of the camera a carrier of superimposing different time-space. In fact, this phenomenon is not limited to individual and personal experience, it has also existed in many foreign gazes. The memory projected by this viewing image is co-constructed and shared. Therefore, we will use the photographic images and text records of Daido Moriyama to sort out the memory structure under his photos. At the same time, we will also explore Taiwan in his photography to further investigate what memories belong to us and others and what do not.
 

關鍵字：地方、森山大道、攝影、臺灣紀行、混合記憶

Keywords: place, Moriyama Daidō, photography, Taiwan Travel Notes, mixed memory

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他者是我[1]：波東斯基早期自傳式攝影作品中記憶的消逝與建構

Memory Construction and Disappearance in Christian Boltanski's Early Autobiographical Photograph

王曉華 WANG Hsiao Hua

國立臺北藝術大學關渡美術館助理研究員

Assistant Research Fellow, Kuandu Museum of Fine Arts, Taipei National University of the Arts

摘要

本文以法國藝術家波東斯基自1968年起至1975年間的自傳式攝影作品為主要討論對象，探究藝術家如何賦予其影像具有堪比文學領域自傳文體的威力，以寫就出一部關於「波東斯基」的神話自傳。傳統自傳強調真實性，向來容不下半點造假虛構，而傳統攝影更如巴特所說，包含著「真實與過去」。透過分析這些根本不是波東斯基本人的「波東斯基」影像，本文嘗試在第一部分指出，波東斯基既不意在曝顯傳統自傳、攝影的不可能性，更反倒使兩者從其本質上即得為他那在標題上虛構的自傳式攝影背書。而整個創造神話人物「波東斯基」的大業，最終自然也僅留下關於「波東斯基」的普世記憶，本文於第二部分將接續此進一步論證，波東斯基因悅納並宣稱影像中的所有角色都是我，致使一張張「他者是我」的照片所觸及並召喚的，只會愈加是與他人有關的生命與記憶，而再無他本人真實的記憶，以期最終提出記憶的建構與消逝，在波東斯基早期的自傳式攝影作品中，並非繫於其可靠性與否抑或單純地出自於遺忘，而是在他通過影像為自己作傳的過程中，波東斯基把它們給普世化了。
 

Abstract

This article discusses the autobiographical photograph in French artist Christian Boltanski’s early work from 1968 to 1975. The article examines how the artist empowered his photograph the features of autobiographical narrative in literature to create a mythic autobiography of “Christian Boltanski.” Traditional autobiography emphasizes authenticity; thence there is always no room for falsification and fiction. And traditional photography contains “real and past”, as Roland Barthes said. By analyzing these “Christian Boltanski” images that are not even Boltanski himself at all, the first part of this article attempts to demonstrate that Boltanski does not intend to highlight the impossibility of traditional autobiography and photography, but rather makes them necessarily endorsed his totally fictional caption in the autobiographical photograph from their essences. And the second part of this article continues to argue that it was precisely because of Boltanski’s uses of photography allows him to claim that all the characters in the image were he, the photograph of “other am I” hence touched and summoned only the lives and memories related to others. The creation of the mythical character “Christian Boltanski” therefore left only the universal memory of “Christian Boltanski”, and no real memories of him eventually. In light of this, the article concludes that the memory construction and disappearance in Boltanski’s early autobiographical photograph are not tied to its reliability or simply result of forgetfulness, but instead in the process of writing his own autobiography through images, Boltanski made them universal.

關鍵字：自傳式攝影、記憶、他者、波東斯基、「波東斯基」

Keywords: autobiographical photograph, memory, other, Christian Boltanski, “Christian Boltanski”

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二十世紀早期抽象潮流中的音樂靈感： 繪畫和音樂類比的時間與節奏問題

Musical Inspiration in the trandence of Abstraction in the Early 20th Century

周怡秀 JOU Yi-Shiou

藝談網站副總編輯

Associate Editor of Artium.co

摘要

二十世紀初期的現代藝術潮流中，許多藝術家放棄了傳統上對自然的客觀描繪，為了探尋新的創新可能而另闢蹊徑。其中有部分藝術家嘗試從音樂⸺這個富於精神性且最抽象的藝術⸺提取靈感，作為造形藝術的參照。

然而這種嘗試也是五花八門的，有只借用音樂表面圖像的；有將聆聽感受在畫布上即興發揮的；有選擇表現特定樂曲象徵內涵的；也有以理性科學角度，將音樂結構或特質視覺化的。然而，畢竟繪畫與音樂兩種藝術之間存在根本上差異，而打破時間藝術與空間藝術的觀念間隔，則是不可缺少的課題。

本文將探討繪畫與音樂兩種藝術類比時所涉及的時間、空間的問題，並延伸探討節奏（Rhythm）在繪畫中的表現形式。文中主要參考兩位二十世紀初畫家⸺保羅．克利與法蘭提塞克．庫普卡⸺在這方面的論述與其在創作中的經驗。其中如庫普卡提出的印象時間，牽涉到創作時的畫面元素安排與欣賞時觀者內在感知的現象；又如克利認為從創造到欣賞，一切涉及到運動、變化都是時間；而繪畫的多向性（multiderection）時間比音樂的單向性時間更為自由。最後討論到美學原理之一的節奏問題，兩位畫家在創作上對節奏的理解。特別是克利提出的結構性節奏與個體性節奏，如同規律與變化兩種性質的對立與互補，點出了古今相通的美學觀點，並成為其創作中特色之一。他們的經驗反映出了二十世紀初期抽象潮流中一部分創作思想根源。

Abstract

In the modern art trend of the early twentieth century, many artists gave up the traditional objective depiction of nature, in order to explore new and innovative possibilities. Some artists try to extract inspiration from music, the most spiritual and most abstract art, as a reference for creating art.
 

However, such attempts are also varied and complicated. Some only portrait the various scenes of music concerts or fragments of the images of different instruments or musical line on the score; some would improvise with picturale elements onto the canvas from the sensation of Listening to music; some choose specific pieces to express a programmatic idea; some analyze from a rational and scientific perspective, and then visualize the structure or characteristics of the music in their works.
 

This article will discuss the time and space in the analogy between painting and music, and the expressions of rhythm in painting. The article takes the reference from the artworks and statements of two early twentieth-century painters—Paul Klee and Frantisek Kupka.
 

Kupka proposed the “Impressional duration,” for instance, that involves the arrangement of elements in the painting and the phenomenon of internal perception of viewers. Klee, as another example, believed that time was involved in the movement and transition in a painting from creation to its being appreciated by viewers. And the multi-directions of time in painting is more flexible than the one-direction of time in music.

Finally, the article discusses rhythm, one of the aesthetic principles, and the understanding of rhythm of these two painters in their artworks. In particular, Klee's dividual rhythm and Individual rhythm, like the opposition and complementarity of the two natures, regularity and variety, show the similarity between ancient and modern aesthetic views, and establish one of his own unique features of creation.
 

Their experience reflects certain ideological basis in the abstract art of the early twentieth century.
 

關鍵字：音樂性、節奏、印象時間、結構性節奏、個體性節奏

Keywords: Musicality, Rhythm, Impressional duration, Dividual rhythm, Individual rhythm

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