以紀凱淵「地方三部曲」分析臺灣當代錄像藝術的抒情缺位

Study the Lyrical Absence of Contemporary Video Art in Taiwan with CHI Kai Yuan's ''Place Trilogy''Place Trilogy''

嚴格來說，藝術家紀凱淵的創作特質，無法用太過單一的類型進行理解。從早期的行為記錄、限地製作，到後來更為多樣性的進行複合媒材、錄像裝置創作等。換言之，紀凱淵的創作精神，主要仍然圍繞於其欲探索的美學議題，再根據創作需求進行媒介轉化。有趣的是，近年貫穿於「地方三部曲」系列作品的創作方法，多聚焦在非敘事性的錄像表現手法。尤其在「似即若離」（2022）個展中，可以發現紀凱淵延續〈72海浬〉（2020）作品的抒情語境，透過輕薄及隱晦的蒙太奇影像，卻是滿溢著情感的心境，來進行一種忽遠又忽近的場面調度。
臺灣當代錄像藝術作品，近年來有不少內容利用增補式的想像歷史，部署錄像作品中的調研檔案，並且透過畫外音的語意實踐，進行一種探究式的描述與外顯。相較之下，紀凱淵「地方三部曲」系列中的錄像風格，看似與今日多數作品格格不入，但事實上，透過臺灣錄像藝術作品的史觀回顧，我們可以發現這類型抒情語境的創作手法，在2000年至2010年間，曾經有過為數不少的比例。據此觀之，本文的問題意識，即是冀望透過紀凱淵「地方三部曲」的錄像作品分析，與臺灣曾經在某段時期的創作潮流，進行比較論述，藉此探究近年臺灣錄像藝術作品中抒情缺位的現象。

Strictly speaking, the characteristics of artist CHI Kai-Yuan's creations cannot be understood by using asingle genre, in terms of the early days of behavior recording and limited-site production, as well as the more diverse mixed media and video installations later on. In other words, the spirit of CHI Kai-Yuan's creation still revolves around the aesthetic issues he wants to explore, and then transforms by the media according to the needs of creation. Interestingly, in recent years, the creative method that has been used in the ''Place Trilogy'' series is mostly focused on the non-narrative video technique. In particular, in the solo exhibition ''Traversing and Passing'' (2022), it can be found that CHI Kai-Yuan continues the lyrical context of the work ''72 nautical miles'', and through light and obscure montage images, but with an overflowing emotional state of mind, adistant and near scene is modulated.
In recent years, many contemporary video art works in Taiwan have used supplementary imaginative history to deploy the research files in video works, and through the semantic practice of off-screen voices, inquisitive description and externalization are conducted. In contrast, the video style in CHI Kai-Yuan's ''Place Trilogy'' series may seem out of step with most works today, but in fact, through ahistorical review of Taiwanese video artworks, we can find that this type of lyrical contextual creative technique was used in asignificant proportion of works between 2000 and 2010. From this perspective, the focus of this paper is to analyse the creation of video works through CHI Kai-Yuan's ''Seemingly Separates'' solo exhibition and compare it with the creativetrends in Taiwan during acertain period of time, in order to explore the phenomenon of lyrical absence in recent Taiwanese video art works.