国 台 南 艺 术 大 学
艺术史与艺术评研究所 硕 士 文
明弘研究: 花布,空间,与认同
A Study of Michael Lin: Floral Textiles, Space, and Identity
研究生:赖骏杰 指导教授:蒋伯欣
中华民国九十八月
文提要
本文以明弘自 1994 至 2009 上半的系创作为对象,探究其观看意 义,及与艺术家,空间装置,观者之间的互动过程.其中花布的使用,为贯穿本 研究的发展主轴. 本文将以米尔的「后设图像」概,将研究视角返回经常被忽的「花布 图像」 ,探讨其作为一图像所涉及的复杂网络.本文企图涵盖传统艺术史 所关注的个人生成,求学与师承,以及形式风格等面向,而是审视其视觉图像, 与展览机制,空间部署,观者关系之间的辩证,由小大地探究其中的文化建构 过程. 本文首先考察明弘的创作发展脉络,以求全面性解.透过分析整后, 可将其展览脉络视为四条无泾渭分明的承接或断之轴线,其为互相共生影响的 创作实践.而后进入本文讨重心,分别於第三,四,五章以「图像」「空间」 , , 与「认同」三个同角入,探讨:1. 图像的后设观看;2. 花布空间的部署 策;3. 花布与台湾意及其家族认同的复杂网络.第三章将花布图像分为三 个观看层次:第一,第二,与后设次序.藉由后设图像方法,返回花布自身存有 的原始场所,探讨其「物」的观看层次:花布非仅被使用的客体,意图揭示出其 所迸射的客体欲望,以及断变动游移其间之主体位置.而透过空间的介 入,本文意图揭其花布空间之权建制,指出其「第三空间」的建构手法:从 边缘到核心的扰动,试图将其放置於现代艺术史发展脉络,探究其对於媒材与空 间的使用.而后,则将视角再次回艺术家主体,以精神分析方法探讨其深层潜 在的心动机:选择花布的欲望程式.在此,也将以「家」为轴心,自明弘遥 指其曾祖父献堂,证家族认同遗绪与现今创作展演的关系.最后以《岛屿生 活》为示,企图透过认同证其主体性的悬搁,并解决此前未曾证的问 题.
I
根据本文,明弘的花布绝非单纯澄透的创作载体,而是具有高主动性介 入能的后设图像:花布的表面印记与手工绘制,及乳胶漆等工业涂的使用, 唤起的只是符号与文化认同的第二次序再现,而能镶嵌於图像层次中,使图像 作为「物」的意义上之文化建构.站在传统艺术史学积的成果上,本文希望以 后设图像对於图像观看等同视觉文化角,揭隐於花布表面下的各种「图 象」 (image-picture) .
II
Abstract
The thesis focuses on Michael Lin's serial works from 1994 to the first half year of 2009. I try to explore the meaning of seeing, the interaction among artists, special installations, as well as spectators in Michael Lin's serial works. Especially, the use of floral textiles by Michael Lin is the main axis of this research. Quoting W. J. T. Mitchell's conception of metapictures, I concentrate on the "floralpictures" which are always overlooked, and explore the complicated network concerning what are involved — as theoretical pictures. I do not intend to make the research to cover artist's personal growing, education and style of artwork. But rather to scan the dialectic process among Lin's visual pictures, exhibitive institution, spatial disposition and spectators' relationship, and investigate the whole process of cultural construction from this small point. First, I inspected the context of Lin's progression of art working for totally understanding. Through analysis and arrangement, I think his exhibitive context can be viewed as four going lines without distinct continuity or intermittence, and they are interactional and symbiotic art practice. Thus, the center of this thesis will be in the third, fourth, and fifth chapters. The following points are what I mainly discussed: 1. Meta-seeing of Pictures; 2. Strategies of Dispostif of Floral Space; 3. Complicated Network Among the Floral Textiles, Taiwanese Consciousness, and Lin's Familial Identity from Three Different Ways of "Picture," "Space," and "Identity." And In

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