主編語
Editor-in-chief’s Note

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

邁向檔案的未來：重返東亞當代藝術的歷史與運動

《現代美術學報》第34、35期由本人策劃、臺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、臺等多國學者，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

Toward the Future of the Archive: Revisiting the History and Movements of East Asian Contemporary Art

The No.34 and No.35 issues of the Journal of Taipei Fine Arts Museum are 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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未來的檔案──論第三預存的概念

Archives of the Future —Remarks on the Concept of Tertiary Protention

許煜 Yuk Hui

德國呂納堡大學哲學研究所／數位文化與美學研究所講師

Lecturer, ICAM/IPK, Leuphana University Lüneburg, Germany

摘要

本文重新審視預存與持存之關係在胡塞爾、德希達，乃至斯蒂格勒等人的思想著述中的闡釋，其中胡塞爾後期所著之〈貝爾瑙手稿〉對此議題提出新的觀點，因此以額外篇幅深入探討。本次發表亟欲藉由這道歷史軌跡，將筆者於《論數位物的存在》一書中所發展的第三預存概念加以申論，而此一概念將有助理解從債到期待這個範圍之內的預期技術，亦演示了不能被化約成任何持存的第三預存，會變成數位自動化現處階段的核心問題，形成新的政治體制。我們必須有系統地檢驗第三預存的議題並使之完善，以便處理對全新心智生態學的思索。

Abstract

This paper revisits the relation between protention and retension in the work of Husserl, Derrida to Stiegler, with special attention to Husserl’s later Bernau manuscripts, which shed new light on this question. Through this historical trajectory, this talk hopes to elaborate on what I developed in On the Existence of Digital Objects the concept of tertiary protention, by which we can understand as technologies of anticipation ranging from debt to prediction. It suggests that tertiary protention, which cannot be reduced to any form of retention, becomes the central question of the current stage of digital automation and constitutes a new regime of politics. In order to inquire into the new ecologies of mind, we will have to systematically examine and integrate the question of tertiary protention.

關鍵字：第三預存、數位物、現象學、檔案、第三持存

Keywords: tertiary protention, digital objects, phenomenology, archives, tertiary rention

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異世界：本土、國家與非具象

Other Worlds: The Native, the National, the Non-Objective

派崔克．佛洛雷斯 Patrick D. Flores

菲律賓大學藝術系教授

Professor, Department of Art Studies, University of the Philippines

摘要

本文旨在反思大學美術館為回應檔案化要求所採取的作為。此種要求促使在大學脈絡下的美術館透過研究與展覽，為其館藏創造出論述性與美學式的互動條件。更確切地說，本文藉由「本土」、「國家」與「非具象」三個類別所引發的概念架構，研究菲律賓現代性的可能軌跡。這三個類別分別由三位在二十世紀上半葉活躍於菲律賓的人物所體現，包括收藏家暨官員豪爾赫．巴爾加斯（Jorge Vargas）、雕刻家吉列爾莫．托倫蒂諾（Guillermo Tolentino），以及評論家、策展人暨詩人奧雷利歐．阿爾維洛（Aurelio Alvero）。關於菲律賓的現代性，本文在渴望尋求差異的脈絡下，重新檢視「國家」這個觀念；這種渴望並不必然受到西方現代主義理念的支配，而是追溯其本身的論據至一個更為宇宙論式與世界主義式的起源。「本土」與「非具象」這兩個術語因而被突顯，以使「國家」概念複雜化。

Abstract

The essay reflects on the work of the university art museum as it responds to the archival imperative. Such imperative prompts the museum, which is situated in the context of the university, to create conditions for its materials to interact discursively and aesthetically through research and exhibitions. More specifically, the essay looks into a possible trajectory of the Philippine modern through conceptual frameworks evoked by the categories “native,” “national,” and “non-objective.” The latter are referenced by three figures who were active in the first half of the twentieth century in the Philippines: the collector and bureaucrat Jorge Vargas, the sculptor Guillermo Tolentino, and the critic, curator, and poet Aurelio Alvero. With regard to Philippine modernity, it revisits the notion of the national in the context of a desire for distinction that is not necessarily governed by the tropes of western modernism and instead traces its arguments to a more cosmological and cosmopolitan source, thus the terms “native” and “non-objective” are foregrounded to complicate the “national.”

關鍵字：檔案、現代性、國家、非具象繪畫、美術館、典藏

Keywords: archive, modernity, nation, non-objective painting, museum, collection

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游牧者的化外之地： 謝德慶《一年行為表演：戶外，1981-1982》

A Nomad in Nowhereland：Hsieh Tehching’s One Year Performance (Outdoor Piece), 1981-1982

謝佩君 Hsieh Pei-chun

紐約州立大學賓漢頓分校藝術史研究所博士生

PhD student at SUNY-Binghamton, Art History Department

摘要

本論文闡述藝術家謝德慶呈現的《一年行為表演（戶外，1981-1982）》如何主動地擾動機構化的現代性國家與社會。有別於其他的一年行為表演，《戶外》作為一件以曼哈頓下城區為主要地點的現地製作表演藝術，謝德慶的臺灣戰後記憶、非法移民身分迴響著當時紐約Fluxus（激浪派）運動對空間再行定義的動能與政治批評 。近期藝術史家明確地將謝德慶的作品認定為時延美學 (durational aesthetics)。然而，他們忽略了謝德慶在追求自由、活躍的藝術空間時所展現的流動性與游牧；更進一步地說，藝術史家需再行檢視《戶外》作品中隱含的雙重遊牧──從臺灣到紐約，從他自囚的牢籠到大都會的探索之間所伴隨的政治批評與美學意義。

本論文追溯謝德慶的壯遊，並詳細說明移民者如何成為流動的美學與政治位址。《戶外》作為主要的聚焦點，不僅呈現了藝術家從自我禁錮到解放的過程，也展露出他在游牧生活中的不適與脆弱。經過了一年流浪者在紐約市的戶外生活，謝德慶不僅釋放了在臺灣戰後專政治理下，作為國家機器一環被動的身體記憶，且更重要的是將他的行為表演重新框架成一件批判式的現地製作，作為國家慾望下的現代化身體以及他自身藝術實踐的難題之間所發動的逃逸路線。如同之前所提，謝德慶在戶外作品中對於身體與空間的再定義，是一場對臺灣戰後藝術、身分認同以及歷史的重新改造。

Abstract

This essay asserts that One Year Performance (Outdoor Piece, 1981-1982) conducted by Taiwanese-American artist, Hsieh Tehching, actively generates a critique towards the modern state and society.  As a space-oriented piece, it is set in dialogue with Hsieh’s pervious pieces while resonating with his martial law body memories in Taiwan and Fluxus art movement in New York City.  Recent art historians have rightly considered Hsieh’s works as a durational aesthetic, yet they also overlook the mobility and nomadism that Hsieh carries out in his search for art-fertilization under the restricted atmosphere in postwar Taiwan and his illegal alien status in U.S. In addition, art historians neglect the politic messages that are inherent within his travels from Taiwan to New York and from his self-isolated cage to an exploration of the metropolis.       

This essay aims to trace and specify Hsieh’s grand voyage, a migrant body as both an aesthetic and political site. Crystallized in the third piece of his One-Year Performance series, Outdoor Piece, this piece sets him in motion from sedentariness to itineracy and mobilizes his vulnerabilities. Through living a nomadic, outdoor life in New York City for a year, Hsieh’s reveals his body memories under the dictatorship in postwar Taiwan, reconciled with the state apparatus, and more importantly, reframes his performance to a critical site-specific art.  This one-year nomadic life leads Hsieh to a line of flight away from the modernized body desired by the state and the conundrum of his own art practice. In this light, Hsieh’s use of body in Outdoor Piece is reformed by postwar art, identity, and history of Taiwan. 

關鍵字：謝德慶、游牧、逃逸路線、德勒茲與瓜塔里、行為表演藝術、去領域化

Keywords: Hsieh Tehching, Nomadism, Line of Flight, Deleuze and Guattari, performance art, Deterritorializatio

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冷戰臺灣與身體政治：蘭陵劇坊的初步實驗與開放性

On What does Lanling Theatre Workshop Experiment? The Openness and Politics of Body in the early 19

汪俊彥 Wang Chun-yen

國立臺灣師範大學臺灣語文學系助理教授

Assistant Professor, Dept. of Taiwan Culture, Languages, and Literature, National Taiwan Normal University

摘要

本論文透過考察金士傑所執導蘭陵劇坊的《荷珠新配》，試圖理解蘭陵劇坊所提出現代戲劇的初步實驗是面對什麼課題，又在怎樣的歷史物質條件之中實驗與提出解決？這個最終以「開放」為名而形塑的身體實驗，如何較為宏觀地放在戰後臺灣與世界的關係中閱讀，又暗示了八〇年代以後的臺灣現代戲劇怎樣的身體方向？透過對《荷珠新配》與《蘭陵劇坊的初步實驗》的表演與論述分析，本論文期待重新檢視蘭陵劇坊《荷珠新配》身體表演的文化政治，並透過一再被強調與宣稱的「開放性」，連結美國戰後前衛劇場的精神，再脈絡於戰後美國與臺灣的全球冷戰關係，思考自蘭陵開始影響臺灣現代劇場甚鉅的「開放性」究竟指示了什麼文化物質線索？

Abstract

The article looks into the experiments that Lanling Theatre Workshop (hereafter LTW) conducted, by examining the politics of body in the play Hezhu’s New Match (Hezhu xinpei) directed by Jing Shi-chieh. It particularly pays attention to the historical and material condition in which LTW existed with regards to cultural materialism. It investigates cultural politics and discourses of LTW that may closely relate to American alternative theatre in the 1960s, the geopolitics of the Cold War as well as the dispositif and influence of area studies in the post-war era. The article aims to come to terms with the so-called “openness” of the body experiment emphasized and claimed by LTW as a re-articulation of the 1980s Taiwan theatre in the post-war world.

關鍵字：身體政治、蘭陵劇坊、《荷珠新配》、臺灣戲劇、冷戰

Keywords: Lanling Theatre Workshop, Hezhu’s New Match (Hezhu xinpei), Taiwan Theatre, Cold War

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