| 英文摘要 |
In recent years, research-based art has emerged as the predominant trend within the realm of contemporary art in Taiwan. The primary factor contributing to this phenomenon is the interplay between the mainstream Western art, the local art scene, and the evolving artistic landscape. Artists today are able to engage in a meaningful dialogue with the contemporary“knowledge economy,”which emphasizes thematic exploration and information dissemination. This departure from the traditional confines of art aesthetics allows creators to avoid stagnation and embrace new possibilities. Previous methods of creation have undergone scrutiny due to their limited consideration of social concerns and intellectual innovation. The process of creating contemporary art is consequently more distinct.
Nevertheless, the development of research-based creation has been the subject of considerable controversy. For proponents of artistic integrity, the practice of prioritizing research and focusing on specific issues in the creative process is viewed as a form of utilizing art to address and enhance research objectives. The phenomenon in which opposing perspectives and positions are maintained by both parties can be regarded as a potential source of tension within the realm of contemporary art. This article aims to examine the concept of“clashing”and its implications within the context of research-based creation. The article seeks to analyze both the positive and negative perspectives surrounding this phenomenon, as well as delve into the notion of“artistic knowledge”that emerges from research-based creation. Additionally, it explores the characteristics of openness, indefiniteness, and the associated boundaries within this creative. |
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