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題名:內外流轉:論物件至裝置藝術的創作過程
作者:梁莉苓
作者(外文):Liang, Li Ling
校院名稱:國立臺南藝術大學
系所名稱:藝術創作理論研究所博士班
指導教授:薛保瑕
龔卓軍
學位類別:博士
出版日期:2015
主題關鍵詞:裝置藝術物件空間互文性Installation artobjectspaceintertextuality
原始連結:連回原系統網址new window
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本研究探討二十世紀初期立體派第一次使用日常物件於繪畫之表現,其創作思維與裝置藝術(Installation Art)發展為起始,接續至當代關切物件至裝置藝術的創作過程的演變,以建構並拓展裝置藝術的認識觀。
本論文主要探究方向為:一、本論文的研究基礎建基於裝置藝術的發展歷史,探討筆者對個人創作與裝置藝術發展之間,是否存在「互文性」(intertextuality)對話關係。二、研究裝置藝術作品中觀眾參與的情境,在物件承載藝術家賦予的意義之下,作品轉變為訊息交織的「關係場」(relationship field)。三、研究筆者創作與裝置藝術發展之間的關係,藉此探討「內外流轉」的現象,如何開展於藝術家、觀眾與作品之間。
論文共分成五章:第一章〈緒論〉,概述研究動機與目的、問題意識、研究方法、名詞界定,以及研究內容與範疇。第二章〈創作者∕研究者的裝置藝術創作解析〉,著重討論筆者的創作與裝置藝術發展的關係。第三章〈物件作為身體的延伸〉,由第二章研究結果延伸討論,裝置藝術中如何「開展藝術材料的傳統」、「日常物件的陌生化」與「編織訊息交織的關係場」,敞開物件作為身體的延伸的論點,與其如何回應「內外流轉」的裝置藝術觀。第四章〈裝置藝術作品作為「互文性」的對話空間〉,聯結筆者創作與裝置藝術發展的關係,並以「開展展出的場所意義」、「建構場所的特定意義」與「打開『互文性』的對話空間」三部分,歸納出「內外流轉」的現象,如何開展於藝術家、觀眾與作品之間。第五章〈結論〉,總結本論文的研究中,涉及裝置藝術的發展歷史與筆者裝置藝術創作間的「互文性」關係的內容。其次,由裝置藝術的發展對空間場所的概念,推演出場所與非場所的辯證,在觀眾與裝置物件的實際互動過程中,得以將展出的場所轉化為形塑觀眾經驗的環境,進而在藝術家特定記憶的投射下,將展出的公共空間轉變為個人記憶的私密空間,使作品轉變為訊息交織的「關係場」表現形式。最後,歸納整理「內外流轉」的現象,如何開展於藝術家、觀眾與作品之間,並提出「內外流轉」實則為「文本中的文本」所串聯出的意義場域。
本論文所採取質性研究的研究方法,除文獻分析法與個案研究法之外,採取詮釋學的闡釋循環方法,且在個案研究中運用「自我關注」(care of self)的概念;以提供讀者理解,創作者由自我與自我的對話關係為途徑,在面對藝術歷史的發展中,如何創造一種闡釋循環的關係,使作品成為一種不斷衍生其意義的文本。
This study examines the first use of cubism on painting ordinary objects at the beginning of 20th century. The discussions start by evaluating the development of creative thinking and Installation Art, following by the current concerns on objects and the advancement of the creation of Installation Art, in order to construct and expand understandings on Installation Art.
The present study seeks to explore three main areas: (1) Whether a dialog of intertextuality exists between the hundred-year history of the advancement of installation art and the development of the author's own installation art and other creative work; (2) An examination of the way in which, through the participation of visitors in installation art, and because the work is imbued with meaning by the artist, the work is transformed into a “relationship field” of interleaved messages; (3) An attempt to clarify the relationship between the author's own creative work and the evolution of installation art, so as to explore how the phenomenon of “inside out” operates between the artist, the audience and the work.
The paper is divided into five sections. The first section (the Introduction) states the motivation for and purpose of the research, outlines the nature of the problem, the research methodology used, defines the key terms used, and the content and scope of the research. The second section (Analysis of the researcher's own installation art creation) focuses on the relationship between the author's creative work and the history and evolution of installation art. The third section (The work as an extension of the self) builds on the results presented in the second section to discuss how installation art furthers the development of artistic materials usage traditions, permits the defamiliarization of everyday objects, and creates “relationship fields” of interleaved messages, thereby opening up new possibilities for discourse regarding the extension of the self, and addressing the question of the response to the concept of installation art as a form of “inside out”. The fourth section (Installation art as a dialog space for intertextuality) links the author's own creative work with the history of installation art, and examines three key aspects of the “inside out” phenomenon - the significance of the exhibition venue, the creation of specific meaning from the exhibition venue, and the development of a dialogue space of intertextuality - to see how “inside out” emerges between the artist, the audience and the object itself. The fifth section (Conclusions) summarizes the results of the research in terms of the relationship of intertextuality between the hundred-year history of installation art and the author's own installation art creation. This section also analyses the development of installation art in terms of the concept of exhibition space to deduce a dialectical relationship between “site” and “non-site”; it considers how the interaction between audience and installation work allows the exhibition site to become transformed into an environment for the creation of audience experience, with the projection of specific memories belonging to the artist causing the public space in which the exhibition takes place to be transformed into a private space of personal memory, so that the work becomes a “relationship field” form of expression based on interleaved messages. Finally, the author considers how the concept of “inside out” emerges between the artist, the audience and the work, and suggests that “inside out” may actually constitute a field of significance relating to a “text within the text.”
The main goal of the present study was to open up, through analysis of the author's creative work, the “collective unconscious” shared with other installation artists that is hidden within the author's subconscious, and to explore the historical aspect of the essence of the human being, and the latent potential for interaction and exchange between individuals based on “historical texts” or “memory texts.” Through this exploration, the study examines the relationship between the artist and their own experience of growing up, their socialization experience, and their creative experience, thereby seeking to understand the methods used by the installation artist to incorporate into the artist's own work the techniques and ideas that have accumulated over the course of the historical evolution of installation art.
The paper adopts a qualitative research method. Apart from literature review and case studies, the method of hermeneutic circle was used, while the case studies adapt the concept of care of self. The methods used help readers to comprehend the dialogues between the self and the dialogues with self of the art creator, in order to create a relationship with the historical development of art by hermeneutic circle and make the creative work a text that is continuously coming into being.
一、專書
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Lynton, Norbert.(諾伯特.林頓)著,楊松鋒譯,《現代藝術的故事》(The Story of Modern Art),臺北市:聯經出版社,2003。
McLuhan, Marshall.(馬歇爾.麥克魯漢)著,鄭明萱譯,《認識媒體:人的延伸》(Understanding Media: the Extensions of Man),臺北市:貓頭鷹出版社,2006。
Meecham, Pam.(帕姆.梅德卡姆)、Sheldon, Julie.(朱莉.雪登)著,王秀滿譯,《最新現代藝術批判》(Modern Art: A Critical Introduction),臺北市:韋伯文化國際,2006。
Merleau-Ponty, Maurice.(莫里斯.梅洛龐蒂)著,姜志輝譯,《知覺現象學》(Phenomenologie de la Perception),北京市:商務印書館,2001。
Oliva, Achille B.(伯尼托.奧利瓦)著,毛建雄譯,《超級藝術》(Superart),臺北市:遠流出版社,1996。
Pattion, Michanel Quinn.(米高.奎因.巴頓)著,《質性研究與評鑑》(Qualitative Evaluation and Research Methods),吳芝儀、李奉儒譯,臺北縣新店市 : 桂冠,1995。
Poggioli, Renato.(雷納托.波奇歐里)著,張心龍譯,《前衛藝術的理論》(Teoria Dell'arte D'avanguardia.),臺北市:遠流出版社,1992。
Richter, Hans.(漢斯.利希特)著,吳瑪悧譯,《達達:藝術和反藝術》(Dada),臺北市,藝術家出版社,1988。
Robertson, Jean.(簡.羅伯森)、McDaniel, Craig(克雷格.邁克丹尼爾)著,匡驍譯,《當代藝術的主題:1980年以後的視覺藝術》(Themes of Contemporary Art: Visual Art after 1980),南京市:江蘇美術出版社,2013。
Rotzler, Willy.(威利.羅茲勒)著,吳瑪悧譯,《物體藝術》(Objektkunst),臺北市:遠流出版社,1991。
Samovault, Tiphaine.(蒂費納.薩莫瓦約)著,邵煒譯,《互文性研究》(L' Intertextualité, Mémoire de la Littérature),天津市:天津人民出版社,2003。
Segaller, Stephen.(史蒂芬.賽加勒)、Berger, Merrill.(墨瑞兒.柏格)著,龔卓軍、曾廣志、沈臺訓譯《夢的智慧:發現人類內在世界的哥倫布》(The Wisdom of the Dream: The World of C.G. Jung),新店市:立緒文化出版,2000。
Siegel, Jeanne.(珍.席格爾)著,林淑琴譯,《藝聞錄:六、七○年代藝術對話》,臺北市:遠流出版社,1996。
Siegel, Jeanne.(珍.席格爾)編,王元貞譯,《藝聞錄:八○年代早期藝術對話》(Artword 2: Discourse on the Early 80s),臺北市:遠流出版社,1996。
Sokolowski, Robert.(羅伯.索科羅斯基)著,李維倫譯,《現象學十四講》(Introduction to Phenomenology),臺北市:心靈工坊文化,2004。
Sontag, Susan.(蘇珊.桑塔)著,黃茗芬譯,《反詮釋:桑塔格論文集》(Against Interpretation and Other Essays),臺北市:麥田人文出版社,2008。
Stachelhaus, Heiner.(海湼・史塔赫豪斯)著,吳瑪悧譯,《波依斯傳》(Joseph Beuys),臺北市:藝術家出版社,1991。
Stein, Murray.(莫瑞.史坦)著,朱侃如譯,《榮格心靈地圖》(Jung's Map of the Soul: An Introduction),新店市:立緒文化出版,1999。
Todorov, Tzvetan.(茨維坦.托多羅夫)著,蔣子華、張萍譯,《巴赫金、對話理論及其他》(Mikhail Bakhtine le Principe Dialogique),天津市:百花文藝出版社,2001。
Wallis, Brian.(布莱恩.沃利斯)主編,宋曉霞等譯,《現代主義之後的藝術:對表現的反思》(Art After Modernism: Rethinking Representation),北京市:北京大學出版社,2012。
Wolfram, Eddie.(伊迪.沃爾夫朗)著,傅嘉琿譯,《拼貼藝術之歷史》(History of Collage: an Anthology of Collage, Assemblage and Event Structures.),臺北市:遠流出版社,1992。
Waidacher, Friedrich.(弗德利希.瓦達荷西)著,曾于珍等譯,《博物館學:德語系世界觀點》(Handbuch der Allgemeinen Museologic),臺北縣:五觀藝術管理出版,2005。
Yin, Robert K.(羅伯特.英)著,周海濤、李永賢、張蘅譯,《個案研究:設計與方法》(Case Study Research: Design and Methods), 臺北市:五南圖書出版,2009。

英文參考書目
Bal, Mieke. Louise Bourgeois' Spider: The Architecture of Art-writing. Chicago: University of Chicago Press, 2001.
Beil, Ralf, and Bartomeu Mari, eds. Janet Cardiff & George Bures Miller: The Killing Machine and Other Stories 1995-2007. Ostfildern, Germany: Hatje Cantz, 2007.
Bergson, Henri. Matter and Memory. Trans. Nancy M. Paul and W. Scott Palmer. New York: Zone Books, 1988.
Bernadac, Marie-Laure. Louise Bourgeois. New York: Flammarion, 1996.
Bishop, Claire. Installation Art: A Critical History, London: Tate, 2005.
Boltanski, Christian. Christian Boltanski. Milano: Charta, 1997.
Bourgeois, Louise. Destruction of the Father / Reconstruction of the Father: Writings and Interviews, 1923-1997. Eds. Marie-Laure Bernadac and Hans-Ulrich Obrist. London: Violette Editions, 1998.
---. Louise Bourgeois: Retrospective, 1947-1984. Paris: Galerie Maeght Lelong, 1985.
Cabanne, Pierre. Dialogues with Marcel Duchamp. Trans. Ron Padgett. New York: Da Capo Press, 1987 (1971).。
Catherine, Grenier. Annette Messager. Paris: Flammarion, 2001.
---. Annette Messager. Trans. David Radzinowicz. Paris: Flammarion: Centre national des arts plastiques, 2012.
Chilvers, Ian, and Harold Osborne, eds. The Oxford Dictionary of Art. New York: Oxford University Press, 1997(1988).
Chiu, Melissa, ed. Sarah Sze: Infinite Line, New York: Asia Society Museum , 2011.
Christov-Bakargiev, Carolyn, Guillermo Faivovich, and Nicolás Goldberg, eds. dOCUMENTA (13) Katalog III/3, The Guidebook, Ostfildern: Hatje Cantz, 2012.
Croce, Benedetto. Aesthetic as a Science of Expression and General Linguistic. Trans. Douglas Ainslie. London: Peter Owen, 1972
Crone, Rainer, and Petrus Graf Schaesberg. Louise Bourgeois: The Secret of the Cells. London: Prestel, 2008.
Cros, Caroline. Marcel Duchamp. Trans. Vivian Rehberg. London: Reaktion Books, 2006.
Crowther, Paul. The Language of Twentieth-Century Art: A Conceptual History. New Haven: Yale University Press, 1997.
Denys, Riout. Yves Klein: Expressing the Immaterial. Paris: Editions Dilecta, 2011.
Elderfield, John. Kurt Schwitters. London: Thames and Husson,1987.
Grenier, Catherine. Christian Boltanski. Paris: Flammarion : Centre national des arts plastiques, 2010.
Grinten, Franz Joseph van der. Joseph Beuys: Olfarben / Oilcolors 1936-1965. Trans. John Gabriel. Munchen: Prestel-Verlag, 1981.
Halbwachs, Maurice. On Collective Memory. Ed and trans. Lewis A. Coser. Chicago: The University of Chicago Press, 1992(1950).
Hopps, Walter, ed. Kienholz: A Retrospective. New York: Whitney Museum of American, 1996.
John, Elderfield. Kurt Schwitters. London: Thames & Hudson Ltd., 1985.
Kaprow, Allan. Essays on the Blurring of Art and Life. Ed. Jeff Kelley. Berkeley: University of California Press, 2003.
Kaye, Nick. Site-specific Art: Performance, Place and Documentation. New York: Routledge, 2000.
Keller, Eva, and Regula Malin, eds. Louise Bourgeois: Emotions Abstracted: Werke/works, 1941-2000 . Zurich: Daros, 2004.
Kienholz, Edwar. Kienholz: A Retrospective. Ed. Walter Hopps. New York: Whitney Museum of American Art, 1996.
Krempel, Leon, ed. Janet Cardiff and George Bures Mille: Works from the Goetz Collection. Trans. Lutz Koepnick, Nikolaus G. Schneider, and George Frederick Takis. Munchen: Stiftung Haus der Kunst, 2012.
Kristéva, Julia. Powers of Horror: An Essay on Abjection. Trans. Leon S. Roudiez. New York: Columbia University Press, 1982(1980).
---. Desire in Language: A Semiotic Approach to Literature and Art. Ed. Leon S. Roudiez. Trans. Thomas Gora, Alice Jardine, and Leon S. Roudiez. New York: Columbia University Press, 1980.
---.Revolution in Poetic Language. Trans. Margaret Waller. New York: Columbia University Press, 1984.
---.The Kristeva Reader . Ed. Toril Moi. Oxford: Basil Blackwell , 1986.
Kuspit, Donald. The End of Art. New York: Cambridge University Press, 2004.
Langer, Susanne K. Feeling and Form: A Theory of Art Developed From Philosophy in a New Key. New York: Charles Scribner's Son Press,1953.
---. Problems of Art: Ten Philosophical Lectures. New York: Charles Scribner's Son, 1957.
Lissitzky-Kuppers, Sophie. El Lissitzky: Life, Lletters, Texts. Trans. Helene Aldwinckle and Mary Whittall. London: Thames & Hudson, 1967.
Lucie-Smith, Edward, ed. The Thames and Hudson Dictionary of Art Terms. London: Thames & Hudson Ltd, 2003.
Lynn, Gumpert. Christian Boltanski. Trans. Francis Cowper. Paris: Flammarion, 1994.
Merleau-Ponty, Maurice. Phenomenology of Perception. Trans. Colin Smith. New Youk: Routledge, 1994(1962).
Morris, Frances, ed. Louise Bourgeois. New York: Rizzoli, 2008.
Oliveira, Nicolas de, Nicola Oxley, and Michael Petry. Installation Art. London: Thames & Hudson, 1994.
Oliveira, Nicolas de, Nicola Oxley, and Michael Petry. Installation Art in the New Millennium: The Empire of the Senses. New York: Thames & Hudson, 2003.
Poggi, Christine. In Defiance of Painting: Cubism, Futurism and the Invention of Collage. New Have: Yale University Press, 1992.
Ran, Faye. A History of Installation Art and the Development of New Art Forms: Technology and the Hermeneutics of Time and Space in Modern and Postmodern Art from Cubism to Installation. New York: Peter Lang, 2009.
---. Technology, Time and Space in Modern and Postmodern Art from Cubism to Installation. New York: New York University Press, 1998.
Reiss, Julie H. From Margin to Center: The Spaces of Installation Art. Cambridge, MA: MIT Press, 2001.
Rosenthal, Mark. Joseph Beuys: Actions, Vitrines, Environments. Houston: Menil Collection, 2004.
Rosenthal, Mark. Understanding Installation Art: From Duchamp to Holzer. Munich New York: Prestel Press, 2003.
Scholte, Tatja, and Glenn Wharton, eds. Inside Installations: Theory and Practice in the Care of Complex Artworks. Amsterdam: Amsterdam University Press, 2011.
Schulz, Isabel, ed. Kurt Schwitters: Color and Collage. New Haven, Conn.: Distributed by Yale University Press, 2010.
Semin, Didier. Christian Boltanski. London: Phaidon, 1997.
Siben, Isabel, ed. Joseph Beuys: Posters. Munich London: Prestel, 2004.
Solomon, Robert C. Living with Nietzsche: What the Great "Immoralist" Has to Teach Us. Oxford New York: Oxford University Press, 2003.
Smithson, Robert. Robert Smithson, Art in Continual Movement: Ed. Ingrid Commandeur and Trudy van Riemsdijk-Zandee. Amsterdam: Alauda Publications, 2012.
Suderburg, Erika, ed. Space, Site, Intervention: Situating Installation Art. Minneapolis: University of Minnesota Press, 2000.
Sze, Sarah. Sarah Sze. London New York: Thames & Hudson, 1999.
---. Sarah Sze. New York: Abrams, 2007.
Tsai, Eugenie, ed. Robert Smithson. Berkeley: University of California Press, 2004.
Turner, Jane, ed. The Dictionary of Art. New York: Grove's Dictionaries Press, 1996.
Waldman, Diane. Collage, Assemblage, and the Found Object. New York: Harry N. Abrams, 1992.
Witkovsky, Matthew S. ed. Avant-Garde Art in Everyday Life: Early-Twentieth-Century European Modernism. New Haven: Distributed by Yale University Press, 2011.
Solomon, Robert C. Living with Nietzsche: What the Great "Immoralist" Has to Teach Us. Oxford New York: Oxford University Press, 2003.

二、期刊論文與評論
中文部分
林平,〈藝術展覽的價值和空間的關係〉,《博物館學季刊》第十九卷第1期,2005年1月,頁29-37。new window
許遠達,〈以現代藝術之名〉,《藝術觀點》第12期,2001年10月,頁24-29。
吳孟晉(KURE, Motoyuki),林暉鈞譯,〈《等待果陀》與戰後台灣的前衛美術:論《劇場》雜誌與黃華成之裝置藝術作品〉,《藝術觀點》第41期,2010年1月,頁48-59。
洪世謙,〈「虛擬」的悖論:從解構哲學觀點探討網路空間〉,《人文及社會科學集刊》第26卷第1期,2014年3月,頁41-61。new window
高子衿,〈卡塞爾:從邊境到中心〉,《典藏今藝術》第238期,2012年7月。
張鼎國,〈歷史、歷史意識與實效歷史:論高達美哲學詮釋學中「歷史性」概念之演變〉,《揭諦學刊》第11期,2006年6月,頁185-216。new window
梅丁衍,〈美術小典–裝置藝術(Installation)〉,《炎黃藝術》第50期,1993年月,頁15。
陸蓉之,〈誰的裝置藝術為誰?〉,《藝術家》第273期,1998年2月,頁358-365。
陸蓉之,〈藝術與環境結合:三至四度空間的藝術〉《藝術家》第162期,1988年11月,頁106-115。
劉昌元,〈分析美學與藝術表現論〉,《新亞學術集刊》第9期,1989年,頁63-72。
盧人仰,〈「進入」波依斯的「Plight」〉,《現代美術》第58期,1995年2月,頁44-48。
龔卓軍,〈間距存有學之微差:梅洛龐蒂與傅柯論視覺〉,《晚期傅柯與傅柯之後:跨文化視野下的主體問題與自我技術研討會論文集》,臺北市:中央研究院中國文哲研究所,頁201-225。

英文部分
Kaprow, Allan. “Notes on the Creation of a Total Art.” in Essays on the Blurring of Art and Life, ed. Jeff Kelley. Berkeley: University of California Press, 2003.
Kristéva, Julia. “Word, Dialogue and Novel.”in The Kristeva Reader. Ed. Toril Moi. Oxford: Basil Blackwell, 1986.
Smithson, Robert. “The Spiral Jetty.”in The Writings of Robert Smithson. Ed. Nancy Holt. New York: New York University Press, 1979.
Shklovsky, Victor. “Art as Technique.”(1917) in Modern Criticism and Theory: A Reader. Ed. David Lodge. Trans. Lee T. Lemon and Marion J. Reis. New York: Longman, 1988.

三、影音資料∕網路資訊
〈竹師藝術空間簡介〉(1997/01/14),〈竹師藝術空間(NHCUE ART SPACE)〉,截取日期(2014/01/22)〈http://www.nhcue.edu.tw/~dface/nas/intro.htm〉。
〈每27分鐘就有一個孩子被性侵 誰來阻止?〉(2008/08/29),〈財團法人勵馨社會福利事業基金會(The Garden of Hope Foundation)〉,截取日期(2009/08/05)〈http://www.goh.org.tw/news/main.asp?ym=200808&id=ac08082902〉。
〈新藝術人文美學藝條通–20號倉庫〉,〈20號倉庫(Artstock20)〉,截取日期(2014/03/28)〈http://stock20.boch.gov.tw/about_20.php〉。
吳瑪悧,〈以藝術之名:藝術家訪談吳瑪悧〉,〈伊通公園(ITPARK)〉,截取日期(2014/7/10),〈http://www.itpark.com.tw/artist/essays_data/13/670/42〉。
Beaven , Kirstie. “Performance Art 101: The Happening, Allan Kaprow.”(2012/5/30)〈TATE Museum〉, 截取日期(2013/10/10)〈http://www.tate.org.uk/ context-comment/blogs/performance-art-101- happening-allan-kaprow〉.
Cardiff. Janet, and George Bures Miller. “Alter Bahnhof Video Walk.” (2012/07/23), 〈YouTube: Alter Bahnhof Video Walk〉, 截取日期(2014/10/21),〈https://www.youtube.com/watch?v=sOkQE7m31Pw〉.
Millington, Barry. “ Gesamtkunstwerk.” In Laura Macy ed., Grove Music Online. Oxford University Press, 2001.〈Grove Music Online〉, 截取日期(2014/10/21)〈http://www.grovemusic.com〉.
Sze, Sarah. “Asia Society Museum Presents Sarah Sze: Infinite Line.”〈Asia Society Museum〉, 截取日期(2014/09/02)〈http://sites.asiasociety.org/sarahsze/press/〉.

 
 
 
 
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