從視覺媒介到敘事填充——文化場域現象中的臺灣錄像藝術發展變遷

From a Visual Medium to a Narrative Supplement: The Evolution of Taiwan’s Video Art in the Phenomenon of the Cultural Field

本文借用布爾迪厄（Pierre Bourdieu）對於文化場域的觀察，透過「學院建構」、「藝術評論」與「展演競賽」的相關對應，提出臺灣錄像藝術變遷的至要關鍵。換句話說，前述三者所搭建出的文化場域建構模型，深化了臺灣錄像藝術從「視覺媒介」到「敘事填充」的發展景況。另外，如果解嚴前後的時間點，標示著臺灣第一代錄像藝術創作者的啟蒙意義，那麼2007年林宏璋拋出「頓挫（frustration）藝術在臺灣」的世代交鋒議題，令臺灣藝術場域產生強烈的激辯與論述，則是新世代創作者們的轉向關鍵。因此，本文將著重於此階段的文獻梳理，進而深究今日臺灣錄像藝術作品，何以轉向對於想像性歷史增補的敘事化特質。

This study adopts Pierre Bourdieu’s observation on the cultural field, and asserts important keys in the development of video art in Taiwan with reference to the“establishment of institutes,”“artistic reviews,”and“exhibitions and competitions.”The constructive model of the cultural field established by the foregoing three aspects has deepened the development of video art in Taiwan from a mere“visual medium”to a“narrative supplement.”Alternatively, supposing that the repeal of martial law marked the enlightenment of the pioneer video artists of Taiwan, the agenda of generational conflict harbingered by Lin Hong - john’s“Art of Frustration in Taiwan”in 2007, which led to intense debates and discussions in Taiwan’s artistic field, can be seen as the key contributor to the transition of new generation creators. Therefore, this study focuses on the analysis of literature from this period, and thoroughly examines the cause of the transition of the narrative feature of Taiwan’s video artworks to the supplement of imaginary history.