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藝術作為創造自我能力(power)的可能,蘊含對生命課題的探討,拉近與社會現實的間隔,也展現了一時代思潮的藝術語言與社會特徵,藝術似乎成為報導、紀錄與批判反思的介質,大敘事下的歷史展現,或個人生命記憶的故事。政治藝術或帶政治語境的藝術而言,最終仍得在藝術本質上出發,藝術從來都是一種想像的蔓延,本研究以陳界仁藝術創作對於當下社會徵狀、文化意義及歷史演進的銘刻,試圖找到何種當代思辯的方向。本研究第一章為緒論,第二章從當代藝術(contemporary art)中觀念、身體、跨域、影像藝術等特異媒介(media specifit),所呈現社會文化議題,作為接續論述的基石,並返回臺灣歷經60年代現代思潮、70年代鄉土風潮、80年代社會運動迸發、90年代全球化狂潮迄今科技資本一體現象,梳理臺灣藝術發展脈絡。第三章進一步回望陳界仁的創作路徑,涉及表現形式、議題內涵及核心思想,瞭解藝術家創作與實踐,介於內在感知與外在事物關係性質(relational property),透過身體去突破、衝撞當時的政略體制,去試圖用「説」以外的方式,蛻現內在的感受,以「造影」作為對抗科技技術,讓歷史記憶中的斷裂缺口,重新被看見。第四章從生命經驗、歷史記憶出發,回應當代社會文化關係,係思想家、藝術家、抑或行動實踐者,以觀念、思想與意識展開社會文化敘事、社會關係對話與思想語彙傳達主題探討。第五章結論,從藝術家的創作史,思考藝術的社會精神及語藝傳達,開啟另一扇「再閱讀」(re-reading)的觀景窗。研究發現,陳界仁的藝術創作計畫與行動,對於社會、政治與個人精神擴延意義,以及後續觀者解讀的想像,其產生無數「再創作」詮釋的潛能;「時間」是陳界仁作品中一直探詢的母題,援引佛法思考觀,試圖揭弊看不見的無明(avidyā)與不斷位移座標的彼岸,影像敘事時間中,緩慢鏡頭恍惚凝結的瞬間,讓事件的時序脫離,邀請觀者進入並提問,以「空性」(śūnyatā)作為超脫幻象的循環,成為陳界仁映照世界的方法論。
Art is the possibility to create self-power, with the implication of the study to the subject of life, to get closer to the interval of the social reality, and also present art language and social characteristics under the Zeitgeist. The art seems to be the report, record, and the medium of criticizing reflection, and become the historical presentation under master narrative or the story of the memory of personal life, the political arts or the art with political context, eventually it still needs to depart at the essence of art, the art has always been spread of imagination. The purpose of this study was to investigate the Chen Chieh-Jen’s artistic creation for the current social symptoms, the meaning of culture, and the practical engrave of inheritance of historical evolution.The first chapter of this research is the introduction, Chapter 2 to study takes the specific medium at the concept, the body, field-crossing and the video art of contemporary art, the presentation of subject at social culture is the cornerstone for the subsequential discourse, and go back to the past in Taiwan experienced modern though in the 60s, the local fever in 70s, the bust of social movement in 80s, the wave of globalization until now and the phenomenon of unity of technology and capital in 90s, to comb the developing context of art in Taiwan. Chapter 3 to further look back Chen Chieh-Jen's route of creation, with involvement of type of presentation, the connotation of the subject and core of thought, to understand the artist's creation and implementation, the nature of the relationship between the inner perceive and external affairs. The collision is made to the political system at that time through the body to breakthrough and tries to use some other ways other than" speak" to carry out what's inside your heart and make " film a video" as the technique to against the technology, broken flaw of the memory in history can be visible again through fiction and re-creation to Referring to how the voice is to be spoken out and how the listener interprets, eliminating the voice in the (blank) image is also a strategy to construct and narrate. Chapter 4 departing from the life experience, the memory of history and to correspond the relationship between contemporary society and culture, the thinker, artist, or even the action practicer by taking the concept, thought, relationships and the expression of thought and lexicon to the investigation of the subject. The conclusion of chapter 5 on the history of the artist's creation to think about the art's social spirit and visual and rhetorics communication, to open up the other "re-reading" the dialogue box. The study findings are the meaning of society, politics and extending personal spiritual, and the imagination to subsequential watcher's interpretation, which generates countless potential of "re-creation" through the research over the art creation plan and action. "The time" is the motif that has been explored in Chen Chieh-Jen's masterpiece. To use theway of thinking in Dharma, try to disclose the invisible"avidyā "and the other side of shore with continuously moving coordination, by the time the video narrating, at the moment the slow shot is in a trance is frozen, let go of the event chronologically and then invite the audience to enter and to raise the question, to take "śūnyatā" to withdraw the cycle of mirage. It becomes Chen Chieh-Jen's methodology to mirror the world.



陳界仁, 錄像藝術, 當代藝術, 社會實踐, 佛法左派, Chen Chieh-Jen, video art, contemporary art, social practice, left buddhism