挪用-當代藝術創作方法-從古調新彈到移花接木

Abstract

在 20世紀以來，「挪用」在當代藝術創作中一直備受爭議且引人注目，無論是利用現成物或大眾文化所熟悉的形式與符號，都是在創作者「別有用心」下去實現的藝術創作。 這東西是誰動手做並不重要，關鍵是將極為普通的日常東西或是具有權威性的經典，去賦予它新的語彙與新的觀念和角度，那麼它原來的作用則就消失了 提出這觀點是達達主義的杜尚，這為「挪用」在當代備了書，使其更可光明正大的「合理化」、 「普遍化」。它打破傳統藝術的觀念並在後現代主義下的背景，挑戰了現代主義追求個人獨特精神的形式語彙，企圖去對它進行批判與省思。 「信息全球化」、 「讀圖時代」的來臨了，不外乎也是另外一個推手，於是挪用的產生，有著它存在的必然性，充分的利用挪用對象所承戴的豐富信息與大眾視覺經驗通過語境的改變，去完成其傳統藝術手段難已實現的藝術功能，企圖讓藝術最大限度的貼近大眾。 挪用僅僅只是一種創作的方法，樣式是創作出來的結果，而不是創作的前提，倘若因挪用，而使其為樣式所限，那麼則失去藝術創作的精神追求同時間，不可否認著，有必要性的小心防範著媒介文化同質化所帶來的個性風格的喪失。

個人採取了利用挪用來面對傳統經典，既不是格守傳統的規範，也不是一味的趕時髦，期許自己可通過在對傳統的深入研究並不斷挖掘傳統精隨內容，融合當代現實生活中的體驗趣、反思，使其作品既可對傳統經典藝術的重新詮譯，也可借鑑傳統藝術形式而延伸出來的當代藝術語彙，在相互的對話下，從而催生了新的關係，產生新的藝術。Since the beginning of 20th century, “Borrowing” has been controversial and eye-catching in the contemporary art works. Either with something available or the familiar forms and signs of popular culture, they all came into being by the artists with “design hearts” that put them into practice. It does not matter who worked them out, the focus is that the common daily products or classics with authority were endowed with new vocabulary as well as new concepts and new angles to be viewed. As a result, their original functions have disappeared. The Dadaist Marcel Duchamp proposed the concept and that prepared a book for borrowing in contemporary to make it reasonable and universal to the public. It then broke the concepts in traditional arts. In the modernism background, it challenged the form language of unique spirits that modernists had pursued, and criticized and reflected upon it with attempts. Two other forces to make it appear are the advents of “message globalization” and “age of picture reading.” As a result, the production of borrowing is a necessity so that it could fully utilize the abundant messages within the borrowed subject and the changes through the audience vision experiences to complete its art functions that is difficult to be reached with the traditional arts. Its purpose is to have audience approach arts as much as they could. Borrowing is only an approach or art creation, so styles are the outcomes of art creation, not the creation itself. If the art works is limited simply because of the approach of borrowing, the spirit of art works creation is lost in the pursuit of styles. While at the same time, we can not deny that simulation in media cultures could possibly lose the styles created by unique personality if it is not taken care of with great cautions. Personally I adopted skills of borrowing to deal with traditional classics. Neither did I stick to the norms in the traditions, nor did I try to catch up with the times. I made a promise to myself that I should probe deeper into traditional research to dig out the essence in the tradition, and I should also merge myself in the contemporary life to have fantastic experience to reflect upon myself. I should reinterpret the traditional classic art in the works and extend the contemporary art by learning from the traditional art forms. Through the dialogue and interaction between tradition and modern arts, the new relationship would come into existence and the new forms of art would follow.