在不確定的當代藝術文本中呈現藝術——以劉柏村為例

Presenting Art in the Ambivalent Context of Contemporary Art: the Case of Po-Chun LIU

本論文主要探討當今藝術領域的一個關鍵弔詭，即藝術圈存在一大部分的創作者養成於現代主義文本，卻必須創作展示於「當代性」語境之中。這種情況經常產生一種對文本的誤讀而產生創作與詮釋的主體分裂情境。事實上面對一個仍然在發展中，無法被完整定義的所謂「當代」藝術，如何呈現作品形式幾乎是當今藝術創作者永不止息的焦慮之一。本研究企圖以兩個理論模式來提供此一弔詭文本一個可能的解釋。首先是傅柯（Michel Foucault）所提到的「知識圖式」（epistheme）轉折過程中那些以舊有的認識論認知面對已經轉化過的新的文本的處境。其次是布赫迪厄（Pierre Bourdieu）的內化基模系統理論與慣習（habitus）的詮釋，特別是所謂的遲滯（hysteresis）現象，並且以雕塑藝術家劉柏村為例，討論在此一文本困境中藝術創作者的有效因應策略。劉柏村將兩者的認識論文本與詮釋語言經由長時間努力而形塑成一種內化了的基模系統（systemes des schemes interiorises），而且是一種能夠持續自我展延繁衍，極具生產動能的生產力基模（scheme productif）。劉柏村以某種完整的雕塑技術訓練的本質，面對這個持續變動的不完備當代藝術文本，也隨著這個不完備，持續在轉化過程中的「當代」藝術以某種滾動的本體論策略去實踐它的內化作用，並投射於他每一個創作的作品當中。他因而逃逸於那個傳統藝術面對當代藝術的困境，他並且以創作優先，不被當代理論的抽象語言的這個假議題凌駕創作，甚至置換了創作的本質。

This research focuses on a key paradoxical issue in the domain of contemporary art. A great number of art creators received their formative education in modernist context, yet create and exhibit in the contemporary art context. Thus a certain misreading generate ruptures between creation and interpretation. Indeed, it’s been a perpetual anxiety for today’s artist about how to present their art when they engaged in a contemporary art context which is still in development, thus no existing common consensus about contemporary art could be acquired. This research intends to offer two theorical models as possible explanations. The first one is the epistheme theory by Michel Foucault, and the other one is the“systemes des schemes interiorises”and the“habitus”notions by Pierre Bourdieu, especially his idea about the“hysteresis”. And we will take the sculptor Liu Po- Chun as example to explain how an artist find an effective response or adaptive strategy to confront this paradoxical issue. With a subtil susceptibility, and a long term effort, Liu interiorized the two epistemologies of modern art and contemporary art’s discourses to molda“systemes des schemes interiorizes”. And such schemes could automatically multiply to reproduce, become some“scheme productif”. With a essence of complete craftsmanship like solid technique training, Liu realizes a transforming ontologie strategy to put into a practice of his“interiorisation”, and reflects this effect on his creations. With the creation precedes the superficial notions, artist Liu’s artworks keep off being exceeded or replaced by abstract contemporary theories thus he maintains the autonomy of an artist.