隱藏在照片背後的意象：安德里亞斯・穆埃〈家族〉中的虛構與現實

Abstract

家族肖像屬於傳統肖像類型，多著墨於血緣關係和快樂的家庭場景。然而，德國當代攝影師安德里亞斯・穆埃（Andreas Mühe，生於1979年）於2019年4月26日至8月11日，在柏林-漢堡車站美術館展出以〈家族〉（Mischpoche）為題的攝影作品系列，質疑傳統家族肖像所具備的形式與意義。該系列作品不僅含有攝影師對其家族的看法，也展示了他將死去親人重現為雕像的複雜過程。根據現有的訪談資料，本文將首先闡明攝影師的個人背景。接著，將特別探查穆埃用作其創作靈感的圖像，以便了解他的創作動機。此外，本研究將特別關注攝影與雕塑之間的關係，以了解穆埃如何將古老的再現方式（建模、雕刻、鑄造）應用在他的攝影作品中。同時，本文亦試圖闡述藝術家如何將〈家族〉系列遺留下的雕塑重新運用於其它攝影展覽。最後，以「烏有史」（uchronia）一詞作為探討穆埃作品的新研究方法，進而闡析其攝影作品與現實重疊交錯出的時間裂縫。由於穆埃通常為特定系列作品鋪成影像脈絡，同時回頭檢視舊有的底片，並將其再利用於其他攝影系列中，因此該攝影手法將得到重新審視。最後，本研究將成為一個深入認識穆埃作品的重要契機。

The family portrait has been for a long time a conservative genre. It often centers on biological bonds and happy family scenes. Yet, the genre has been questioned by contemporary German photographer Andreas Mühe through his series of photographs entitled Mischpoche which was exhibited for the first time in 2019 at the Hamburger Bahnhof – Museum für Gegenwart in Berlin. The series not only provides a personal view of the interrelationship within the Mühe family, but also shows the photographer's complicated production process, as his pictures display some of the deceased members of the family under the shape of realistic sculptures.

Based on the existing interview materials, the present thesis will first shed light on the photographer’s personal background and analyze the sources, especially those Mühe has chosen as his visual models, which might help us to better know his motivation. Special attention will be paid to the relationship between sculpture and photography, to see how Mühe applied outmoded methods of production (modeling, carving, casting) to his photographic work. We will also attempt to illuminate Mühe’s way of recomposing in his later exhibitions the sculptures that remained after the Mischpoche series. The term"uchronia" will serve as a new methodological approach to explain the time-crevasse which separates Mühe’s photographs from reality. As the photographer usually creates prints for specific series, it will be also necessary to reconsider his tendency to revisit and repurpose some of his negatives in other series. Finally, this thesis will provide a major opportunity to advance the understanding of Mühe’s oeuvre.