從最低限到無限：羅伯特‧莫里斯作品的「空間場域」概念研究

Abstract

羅伯特‧莫里斯（Robert Morris , 1931~）是少數在這五十幾年中，從來沒有將自己侷限在某一種形式語言中的美國或國際藝術家，他的作品注重表達互動性的空間關係，使用多元的媒材，甚至是他自己的身體。然而人們往往只思考他的作品本身而忽略他的創作整體觀念；或者只把他侷限在「最低限藝術」來討論。很少有人試著把他的視覺作品和他的文章連在一起，以及他眾多作品之間的關聯，更忽略他的作品在其他領域的相關性。根據莫里斯的創作理念就是「建立觀眾和作品的迎面交逢」，他認同梅洛龐蒂的喚醒知覺，而賦予了新雕塑不同的定義－即它不是單獨存在，而是可以讓我們察覺到我們自已的身體為知覺的主體，亦就是觀者如何和作品建立關係。本論文研究動機為探討莫里斯的作品在當代藝術中的跨領域特質，以及人、時間、空間在莫里斯作品中的內涵。 自從在最低限藝術年代中，莫里斯致力於將雕塑自抽象繪畫理論中解放，他將藝術作品作為一種行為的形式過程，解讀對觀者經驗所產生的影響。其次，他常以過多的哲學的「否定」論，建立在作品與觀眾之上的策略性，在他的作品「場域」裡始終拒絕被藝術史之敍述進行輕易的同化。再者從莫里斯一貫之作品中看到他所強調的衝突形式，始終關注在二元論的辯證上，表現出無限的對立與衝突概念。最後，本研究整理了自六○年代以來，許多研究者對於莫里斯作品解讀之分歧關鍵，以及莫里斯的作品帶給這個世代的省思。 本論文的研究方法著重於史料的考據和文獻的比較和探討，並分析觀念藝術家、梅洛龐蒂、現象學等影響現代主義乃至當代之哲學美學觀，如何隱藏在莫里斯的作品中。在結論中我們審視了莫里斯長期以來使用各種不同的媒材，企圖在創作中找到治療的途徑─亦即他所面對的永恆問題，身體的焦慮與執著－藝術家個人面對歷史上「人－身體－知覺」之處境。

Robert Morris (1931- ), in his 5 decades of sculpturing, is one of the few American or international artists who have never limited themselves to a particular style. He focuses on expressing mutual spatial relationships in his works, using a wide variety of mediums, even his own body. However, people usually explore his art forms and overlook the whole concept of his creations, or just regard his work as “Minimal Art.” Few people try to make the connection of his visual works to his written articles or try to figure out the relationship among his numerous works, not to speak of making the connection between his creative works and his many other fields. According to his concept, which is “to establish a face-to-face meeting between the viewer and the sculpture,” Morris identifies with Maurice Merleau-Ponty’s Perception. He endows his new sculpture with a different definition that “ it doesn’t exist alone.” It makes us aware that our body is the subject of our consciousness, namely, how the viewers establish a relationship with a work of art. The motivation of this study is to probe into the multi-field characteristics of the works of Robert Morris in contemporary art and his intensions in terms of people, time and space.

First, since the beginning of Minimal Art Morris has committed himself to liberating sculpture from the theory of abstract paintings – he makes art a form of the process of behavior from which he interprets its effect on the viewers’ experiences. Second, he uses too many philosophical theories of “negation” to establish the strategy between his works and the viewers; in his work “Field,” it rejects from its beginning to its end the criticisms stated in art history which tried to assimilate him. Moreover, from Morris’s works we can see the form of conflict he consistently emphasizes and the dialectics of dualism he obsesses himself with, embodying the conception of infinite confrontation and conflict. Finally, this study is to organize and demonstrate on the key factors of why, since the 1960’s, quite a few researchers have such diverse interpretations of Robert Morris’s works and the reflection his works bring to this generation.

The research method of this dissertation focuses on the verification of historical facts by comparing and examining related documents. It will also analyze conceptual artists, Merleau-Ponty, phenomenology and other factors which influenced modernism and contemporary aesthetics and how they are hidden throughout Morris’s works. The conclusion examines Morris’s long-term use of a variety of diverse mediums and his attempt to find the healing ways in the creations, namely, the question he will forever face, his anxiety and persistence of the body that every individual artist faces in their endeavor toward “ human – body – consciousness” in history.