「資本拜獸教」——論臺灣藝術家賴昱旻作品中所形塑的當代神話

'Worship of Animal Nature in Capitalism''–On the Contemporary Mythology Formed in the Works of Taiwanese Artist Deon Lai

臺灣青年藝術家賴昱旻的創作多通過賤斥驚悚的材質和「資本垃圾」、自然物件等媒材作為載體，使用軟雕塑的雕塑語言形塑出猶如利維坦般的恐怖巨獸，並藉空間裝置、燈光營造、影音播放等呈現方式，塑造出具宗教氛圍感的暗黑神性空間。此種媒材的使用和空間展現詮釋了藝術家個人的生命經驗及對社會現實中人與人之間物化關係和利己利益的發現。透過自身的能動性與被侷限住的疏離關係，藝術家探究了人性在資本社會的異化下，所展現的原始獸性狀態。此獸性狀態，正被社會主流所膜拜，是為「資本拜獸」的當代神話景觀。如羅蘭．巴特所言的神話概念，神話是一種意指方式，它關乎的不是內容，而是一種形式。通過分析神話的過程使人們認識到神話是具有明顯的動機性，與普遍的神話含義有著共同之處—虛假。日常生活中哪怕最微不足道的現象都與資本主義的發展與擴張有著密切的關係，也包括政治的、意識形態的密切關係。賴昱旻通過藝術創作所形塑的「資本獸神話」與羅蘭．巴特的神話學說都指向了神話製造者的意圖，即將神話社會化、讓人們理所當然地將神話視為「自然化」的產物。本文透過對賴昱旻雕塑作品中的〈資本獸〉系列作品進行分析，試圖觀看資本社會中的當代神話現象。

The works of young Taiwanese artist Deon Lai mostly use the abject and scary materials,“Capital garbage”and natural objects as carriers in his works, he uses thetechniques of soft sculpture to form a leviathan-like monstrous beast. By means of space devices, lighting constructions, video and background music displaying, showing a sense of religious atmosphere of the dark divine space. The use and spatial representation of this medium and creative interpretation represents the artist’s personal life experiences and his discovery of the materialized relationship and self-interest between people in social reality. Through his initiative and confined alienation, the artist explores the primitive animalistic state of human nature under the alienation of the capitalist society. This animalistic state is being worshipped by the mainstream of society. It is a contemporary mythological landscape for“Worship of animal nature in capitalism.”As the Roland Barthes puts forward the concept of myth, myth conveys connotation. It is about form instead of content. By analyzing myths, people realize that myths have obvious initiative and common meaning of myth-falsehood. Even the most trivial phenomena in daily life are closely related to the development and expansion of capitalism, including political and ideological relations. Both the“Myth of the capital Beast”created by Deon Lai's artistic creation and Roland Barthes' mythology point to the intention of the creator of the myths, which means to socialize myths and make people take them for granted as a product of“Naturalization.”This paper aims to observe the contemporary mythological phenomena in the capital society through the analysis of the capital animal series in Lai Yumin＇s sculpture works.