非洲離散──從他者文物到當代藝術的多元詮釋

The Diaspora of African Art: From the Heritage of Others to the Diversity in Contemporary Art

20世紀之交，當代藝術對作品的關注由形式轉為內容，觀念大於形式，對審美體驗的討論轉向經驗哲學，認為藝術不應該永遠高高在上，根植於日常才是美學價值所在。當代藝術強調概念運用，是一種文化研究轉向。作品產生當下有其社會脈絡，意義來自交互編織的文本，舉凡藝術種種都是被建構的，把作品想像付諸實踐，有著無限可能，展現了浪漫詩意，卻也是競逐不斷的過程。
東方主義發軔於想像，實踐於殖民體制，嫁接在博物館收藏，就成為文化政治的部分縮影。非洲大陸幅員廣大，種族文化的異質性高，本身是個概念模糊的集合名詞，亦是薩伊德東方主義的想像他者。當所謂他者文物被抽離既有脈絡，以親近性為由，忽視個體差異，假原始藝術之名與當代藝術互論，卻在華麗轉身藝術殿堂同時，悄悄失了根，產生離散之心。離散的過程產生文化質變，從原鄉到他鄉，混和了舊與新，對揉雜的新文化體產生不同展示與詮釋。
本研究從後殖民研究出發，以文化研究角度分析，研究對象以90後當代非洲藝術展覽為主，研究方法採文本分析，主要以薩依德東方主義為理論框架，更深的問題意識則探討後殖民的當代非洲藝術，如何藉離散議題耙梳過往並反思，特別是有關長期主體缺席的難題，如何在千禧後的博物館多元詮釋。東方主義的實質內涵是再現批判，除了顛覆理所當然，對博物館展詩意與政治的論述，亦是一段破與立的實踐。

Since the 20th century, the focus of Contemporary Art has shifted, from an emphasis on forms to attention to context. The concept of art has become more important than the form. For this reason, the aesthetic discussions also have turned to emphasise the Empiricism, which was believed that the art should not far removed from the masses and reality. The orientalism was based on an imagination and fulfilled by the colonization. This characteristic of cultural politics also reflect on museum’s collections, especially on African Art. Furthermore, in view of extensive area and diversified ethnic culture of Africa, the term‘African Art’is an equivocal words that included the concept of‘imaginative others’. Although it was named as a primitive art in contemporary critics, the interpretation was decontextualized, which neglected the individual differences and originality of art. Hence, this diaspora art blended the new and old cultures and produced various presentations and definitions. In the interest of postcolonialism, this paper will focus on the Contemporary African Art’s expositions. Though the text analytics and the concept of Said’s Orientalism, to examine the issue of post-colonial Art, such as: After reviewing the diaspora issue of African Art, and some long term neglectful problems, how are these themes presented diversely in the 21st century museums. The purpose of this paper is to break through the old and establish the new rhetorical, political discussion of museum expositions.