是句法而非單詞：年輕世代兩種擴充雕塑意涵的策略

That is syntax not words: Two Strategies for Expanding Sculptural Implications by Young Generation Artists

後現代評論者Rosalind E. Krauss在現代藝術已達顛峰之後，1981年以〈前衛的原創性〉一文討論著羅丹雕塑的複製性，是否能作為藝術家「原創性」的思考起點？1993年法國理論家Thierry de Duve就在一場關於「藝術家與學院派」的研討會中發表了一篇認為現代教育強調「創造力」的典範，已經轉變為當代藝術的創作「態度」。相信無論是現代藝術、後現代時期，甚至是當代藝術剛萌生的初期，都很難想像時隔三十年之後，當代藝術於今的多樣性與蓬勃朝氣。根據筆者觀察，現今學院雕塑教育仍在複製性製作技術與觀念性反思態度之間擺盪，年輕創作者如何從當代多語喧嘩間突圍？2022年高雄獎兩位優選獎的得獎者陳肇彤、吳瑋庭，他們的創作都以一種「是句法而非單詞」的獨特手法，進行現地製作的雕塑空間裝置，各自以不同的物質性材質、造型邏輯、空間語法，構成了充滿輕盈感的空間詩句，彷彿在反思著「雕塑」是什麼的創作實踐中，擴充了百年以來現代雕塑的語法原則，展開了當代雕塑的新篇章。

Postmodern commentator Rosalind E. Krauss discussed the reproduction of Rodin's sculptures in her article“Avantgarde Originality”in 1981 after modern art had reached its peak. Can it be used as the starting point for artists to think about“originality”? In 1993, French theorist Thierry de Duve published an article in a seminar on“Artists and Academics”, arguing that the model of“creativity”emphasized in modern education has transformed into the“attitude”of contemporary art creation. I believe that whether it is modern art, the post-modern period, or even the initial stage of contemporary art, it is difficult to imagine the diversity and vitality of contemporary art after thirty years. According to the author's observation, the current college sculpture education is still oscillating between replicative production techniques and conceptual reflection attitudes. How can young creators break through the contemporary multilingual hustle and bustle? The two winners of the 2022 Kaohsiung Award, Chen Chao-Tung and Wu Wei- Ting, both use a unique technique of“that is syntax not words”to create sculptural space installations on site, each using different material materials , modeling logic, and spatial grammar constitute a space poem full of lightness, as if in the creative practice of reflecting on what“sculpture”is, expanding the grammatical principles of modern sculpture over the past century, and opening a new chapter in contemporary sculpture.