1990年代臺灣美術「多元主義」現象研究 The Research on the phenomenon of Pluralism in Fine Arts of Taiwan in the 1990s

Date
2022
Authors
蔡佩玲
Tsai, Pei-Ling
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Abstract
1990年代的臺灣美術界,普遍存在這是一個「甚麼都可以的年代」想法;允許不同藝術價值存在的默契,亦在90年代後期成為藝壇共識;這藝術態度上的鉅變讓當代藝術更顯自由繁華,欲探究「多元主義」如何可能是本文研究動機的起點。是「話語」在形塑看法,文本取向以藝術評論、藝術教育、創作者創作自述、藝術主題座談會與理論論述等,研究方法上以考古學式「話語」實踐分析,檢視成就某種選擇規律性的「話語」資源;亦結合系譜學研究探求明顯差異的「出現」如何可行。探究臺灣美術理應「多元主義」這「批評意識」如何可成,諸如體現民主、政治解嚴鬆動禁忌,必要條件是尊重與包容差異的共識。論及美術界如何以美術的方式回應「多元主義」,是足以體現後現代藝術創作的方法學,與創作自由的堅持。「多元主義」體現在藝壇對「他者」的包容,與認識真正臺灣美術需增加異質認同來建構。「多元主義」對準則的背離,造就反對僵化藝術教育體制與反對官展標準的威權。意識到當代藝術是「多元主義」,讓臺灣藝術以開放的主體性(多方共存的本土化)邁向國際藝壇,「多元主義」不停努力拓展未來藝術可能。90年代後期,臺灣美術界對藝術整體意義執著「出現」鬆動,態度上接受藝術擁有不同藝術價值,許多方向的「甚麼都可以」邁向藝術的黃金時代。
The idea of “anything goes” has been popular in the art world in Taiwan during the 1990s. In the late 1990s, to acknowledge different artistic values has become an accepted consensus. As a result, this paradigm shift liberated modern art in Taiwan and the art scene boomed. To inquire about the becoming of pluralism in art is the main research motivation of this dissertation.“Discourse” forms perspectives and viewpoints. Therefore, this research employs multiple approaches such as art criticism, art education, first-person narrations of the artists, panel discussions on art, and theoretical narratives. In terms of research methods, I employ discourse practice analysis in archaeology to scrutinize resources that made certain discourses selected regulations alongside with genealogy research to explore the coming into being of some apparent differences.One should implement pluralism when approaching modern Taiwanese art by observing how the critical consciousness came to be, namely how democracy is embodied in art, taboos are relaxed after the end of martial law, and to have the consensus of mutual respect and inclusion as the premise. Artistic responses to pluralism embody methodologies in post-modern art and insist freedom in creation. Pluralism exemplifies the inclusiveness in the art world and the realization that the recognition of differences is needed to create modern art in Taiwan. Turning against conventional standards in pluralism helped abandon the rigid artistic education system and challenge the authority of government standards in exhibitions and competitions. Being aware of the pluralism in modern art pushes Taiwan into the international art platform via the autonomy of openness (localization of diversity). In other words, pluralism keeps exploring possibilities of art in the future.In the late 90s, the art circle loosened its attachment toward the meaning of art as a whole and started to accept different values and the “anything goes” mentality led to the golden age of art in Taiwan.
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Keywords
批評意識, 多元主義, 考古學, 系譜學, critical consciousness, pluralism, archaeology, genealogy
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