論臺灣當代藝術論述中的諸種主體性及其思辨

Speculative Notions of Subjectivity in the Practice and Discourse of Taiwan Contemporary Art

本文首先回顧「臺灣藝術主體性」（the subjectivity of Taiwanese art）的相關文獻及討論。接著，以藝術書寫及評論為主要分析的文本，藉由既有資料的收集與爬梳，考察臺灣當代藝術於2000至2010年代浮現的諸種主體性論述。一方面探討相關評論者與創作者們的論述，展現何種對藝術主體性的思考；另一方面，也探討這些論述背後動用的知識論、視角和主體性思維之間的關係。本文企圖指出，2010年代浮現的諸種主體性論述之間並非各自分立或無關的論說，而是在面對晚近臺灣當代藝術實踐——包含民俗觀念與泛靈思維——具有高度關聯的主體性思辨；甚而是將主體性的問題地域化（provincializing），來回應動態且沉重的認知殖民及知識支配問題。

Over the past two decades, the concept of subjectivity in contemporary Taiwanese art has been shaped by evolving sociopolitical conditions, the influence of globalization, and ongoing negotiations of local cultural identity. While previous studies have explored artistic subjectivity in relation to national identity, postcolonial theory, and aesthetic traditions, limited research has systematically examined how subjectivity is constructed through art criticism and creative discourse. This study addresses this gap by analyzing primary texts, including art writing and critiques, to investigate the discursive formations of subjectivity in contemporary Taiwanese art from the 2000s to the 2010s. On the one hand, it examines the discourses of art critics and creators, unveiling their reflections on artistic subjectivity. On the other hand, it explores the relationships between epistemological foundations, discourse perspectives, and modes of subjectivity underlying these discussions. The findings reveal that diverse discourses on subjectivity emerging in the 2010s are not isolated or unrelated narratives but rather deeply interconnected reflections and speculations. These reflections are closely intertwined with recent practices in contemporary Taiwanese art, which encompass folk beliefs and pan-spiritual thinking. Furthermore, these discourses seek to recontextualize subjectivity within a localized framework in response to dynamic and multilayered issues of cognitive colonization and knowledge domination. Specifically, this study reveals how contemporary Taiwanese art constructs multilayered subjectivities to navigate the dialectical relationship between globalization and local cultural identity. This phenomenon not only challenges the concept of subjectivity rooted in Western modernity but also offers a knowledge production framework grounded in Taiwan’s cultural context.