本文試圖探討當代紀錄文件裡紀實見證與藝術觀念之間的辯證關係，以及其在當前社會中所能衍伸思考的政治性課題。從傳統攝影單一影像的客觀記錄、多重構成的攝影蒙太奇、具觀念性表達的行為紀錄、或是探討真實性的虛擬影像等等，這些日漸多元的紀錄文件呈現方式，一方面代表的是當代紀錄文件之特徵在於使用多元化的攝影觀念，能成為是連續的、系列性、或是檔案類型的自由形式；另一方面，這些關連到客觀事實或是與藝術家個人主觀表現性有關的紀錄文件，是否能進一步地擴張其詮釋當代社會議題的文化或政治性力量？此篇論述欲藉由第52屆的威尼斯雙年展中一些較具紀錄特性的攝影影像作品來做思考與觀察，所謂的紀錄特質，在當代藝術多元開放的領域中，應不再僅是著重探討單純的藝術與紀錄性兩種雙重性格，而是轉而指向對政治社會的深入探討或針對藝術體制的批判與論述。

This text tries to explore the dialectical relation between testimony documentary and artistic concept in the contemporary documentary art, and the political issues leading to contemplation in current society. From the objective document of single image in the traditional photography, the multiple structure of photomontage, the performance of conceptual documentary art, or the pseudo-documentation of discussing the reality, etc., these gradually become diversified forms in the area fo documentary art. On one hand, the characteristic of the contemporary documentary art lies in the diversified use of new photographic concept, which may evolve the sequential, serial, or archival form. On the other hand, these documentaries arts that connected to the objective fact or to the subjective expression of individual artist, whether this can further explain the cultural or political power of contemporary social problem? This text aims to exploring and observing the characteristic of documentary art through some works of documentary image in 52[8e60] Biennale di Venezia. In the diversified and open areas of contemporary art, the emphasis lies no longer in debating the double characteristics between the pure art and the documentary. Instead, the attention turns more to the profound investigation about politics and society or to the criticism and narration of art discipline.