重探臺灣錄像雕塑——兼論邱子晏作品的（非）模型化景觀

Revisiting Taiwanese Video Sculpture: Discussion on the (Un) Modeled Landscapes of Ciou Zih-Yan's Works

錄像藝術歷經了數位變革與藝術創製媒介的多元開展，今日該如何重新定義「錄像雕塑」？傳統造型特質的美學依據，是否仍舊適用？此問題意識將有機會重組錄像藝術的時代論述，並拓展此創作類型從1970年代以來的媒介擴張意義。據此，本文將著手探討西方錄像雕塑以及臺灣的發展脈絡，以數位科技發展作為時代的界分，爬梳整體史觀進程作為當代錄像雕塑研究的方法學，並且，兼論藝術家邱子晏近年的錄像雕塑作為取樣，比較分析臺灣錄像藝術場域當中，具備錄像雕塑特質作品的研究，藉以描繪此創作類型的當代輪廓。

Video art has undergone a digital transformation and has experienced diverse development of mediums for artistic creation. How should“video sculpture”therefore be redefined in the present day? Are the esthetic principles of traditional sculpture still applicable to this new medium? Awareness of this issue has the potential to reshape the contemporary discourse surrounding video art and expand on the significance of the growth of this creative genre since the 1970s. Accordingly, this study will delve into the developmental trajectory of video sculpture in Western and Taiwanese contexts, using the development of digital technology as a demarcation of the different eras to study contemporary video sculpture from a comprehensive historical perspective. Moreover, this study will use recent video sculptures produced by artist Ciou Zih-Yan as research samples to compare and analyze works possessing the characteristics of video sculpture in the Taiwanese video art scene, aiming to detail the contemporary profile of this creative genre.