歷史文本參照、劇場性與性別操演：蘇匯宇近期錄像作品研究（2016 - 2020）

Abstract

臺灣錄像藝術自1980年代以來，歷經類比媒材探索、影像語彙自我反思、數位轉型與歷史檔案挖掘等階段性演變。2010年代後，隨著數位檔案公開與藝術參與，促成歷史檔案與當代創作的參照趨勢。「破身影」（2017）展覽即為代表案例，蘇匯宇於此展覽中展現劇場性影像語言與性別操演的身體展演。本研究聚焦在蘇匯宇如何運用歷史文本參照為方法、創造編導式劇場性影像，以及身體的性別操演策略，探討其創作於臺灣當代錄像藝術的重要意涵。本研究採用藝術家傳記式研究、影像文本分析與深度訪談，分析蘇匯宇五件代表性作品─〈超級禁忌〉（2016）、〈屁眼．淫書．速克達〉（2017）、〈唐朝綺麗男（1985，邱剛健）〉（2018）、〈The White Waters〉（2019）與〈女性的復仇〉（2020），探討蘇匯宇如何以歷史文本作為影像創製的參照源頭，運用編導方式建構劇場性視覺語彙，經由身體來言說性別操演的身分認同。研究發現，蘇匯宇近年的創作實踐呈現三個特徵。首先，他從早期戲仿手法發展出「補拍」方法，透過歷史文本參照建立文本的互文性，補述主流歷史論述中被忽略的邊緣敘事。其次，他將美術背景運用至影像創作，整合身體展演、空間編排、物件造型與視聽感官，建構出感官強烈的劇場性影像語言。第三，在性別操演的實踐，透過裸體展演、變裝策略與身體排練，結合影像後製技術，發展出以身體為核心、操演為策略、社群為支持的創作方法。蘇匯宇作品透過歷史文本參照觸動個人記憶與集體歷史，成就視聽感官強烈的影像美學，並將身體視為操演性場域，透過反覆的行動建構性別與身分認同。此種創作實踐可視為理解其在臺灣當代錄像藝術中歷史記憶與身體政治獨特位置的關鍵。Taiwanese video art has undergone significant evolutionary phases since the 1980s, including exploration of analog media, critical reflection on visual vocabulary, digital transformation, and excavation of historical archives. Following the 2010s, the accessibility of digital archives and artistic engagement have facilitated a trend of referential dialogue between historical archives and contemporary creative practices. The exhibition Broken Spectre (2017) exemplifies this trend, wherein Su, Hui-Yu demonstrated theatricality, visual language, and corporeal manifestations of gender performativity. This thesis examines Su's methodological approaches to historical text reference, theatricality, visual direction, and gender performativity strategies, investigating the significance of his oeuvre within contemporary Taiwanese video art. This thesis employs artist biography, textual analysis, and in-depth interviews to examine five representative works by Su, Hui-Yu – Super Taboo (2016), The Walker (2017), The Glamorous Boys of Tang (1985, Kang-Chien Chiu) (2018), The White Waters (2019) and The Women's Revenge (2020). The analysis focuses on how Su appropriates historical texts as referential sources for image creation, constructs theatricality and visual language through directorial methods, and articulates gender performative identity through corporeal expression.This thesis reveals three characteristics in Su's recent five representative works. First, he has evolved from early parody to develop a "re-shooting" method, establishing intertextuality through historical text references to supplement marginalized narratives overlooked by mainstream historical discourse. Second, he applies his fine arts background to video creation, integrating corporeal performance, spatial arrangement, object design, and audiovisual sensoriality to construct theatrical visual language. Third, in his gender performativitystrategies, he employs nude performance, drag strategies, and corporeal rehearsal, combined with post-production techniques, to develop a creative methodology centered on the body, strategized through performativity, and supported by community. Su, Hui-Yu’s works trigger personal memory and collective history through historical text reference, achieving a sensorial audiovisual aesthetic in which the body is a performative site wherein gender and identity are constituted through repeated actions. This creative practice serves as a key to understanding his unique position regarding historical memory and body politics within Taiwan's contemporary video art.