影像中的肉體雕塑：歐蘭《自我混種》系列中的「實體」媒材

Carnal Sculpture in Images: The ''Substantial'' Medium in ORLAN's Self-Hybridation Series

以往的藝術家以各種繪畫或雕塑的材料形塑人體，而創造肉體藝術（art charnel）的藝術家歐蘭（ORLAN）則以手術的方式直接地對自己的肉身進行塑造，並使用「雕塑」（sculpture）來形容她對自己身體的操作，以此反應與對抗外在世界的價值觀對女性身體的壓迫。她將身體視為雕塑的媒材，也將被雕塑過的身體視為作品。然而在1994年後，歐蘭的《自我混種》（Self-Hybridation）系列作品將所有對肉體的雕塑轉移到了影像之中進行，不再對自己的身體進行手術的改造。此般創作形式的轉變雖是從一個實實在在的肉體材料換成了似乎無關痛癢的虛擬影像，但它仍被歐蘭視為是經歷手術塑造後，另一種對自己身體改造的延續。因此，解讀這系列作品的關鍵似乎在於如何將歐蘭創作的核心材料「肉體」，延續到其影像作品的詮釋之中，賦予影像中的歐蘭形象更多現實意義的實體感。本文首先爬梳歐蘭的肉體藝術脈絡，與她對應且試圖扭轉的基督教文化，接著從歐蘭《自我混種》系列作品中分析這些影像形式的作品如何能召喚她實際的肉體。最後，本文以「這是我的身體」（Ceci est mon corps；Hoc est corpus meum）作為詮釋的途徑，並引用基督聖體實體轉變（transsubstantiation）的相關探討與相關再現理論加以詮釋歐蘭《自我混種》系列的影像作品。在這個詮釋下，肉身的材料或許得以在影像中更加實體地存在，並更加接近於某種實質地被雕塑的意義。

While artists used media for painting or sculpture to shape the human body, ORLAN, the artist who created carnal art (art charnel), used surgical operation to sculpt her own body, and used the term“sculpture”to describe the transformation of her own body, as a way of reacting to and resisting the oppression of the values of the external world on the female body. She considered the body as a medium for sculpture, and the sculpted body as a work of art. However, after 1994, ORLAN’s Self-Hybridation series moved all the manipulation of the physical body into images, and no longer performed surgical modifications on her own body. Although such a change in the form of creation from the actual physical material to the virtual image, the Self-Hybridation series are still regarded by ORLAN as another continuation of her body sculpture after the plastic surgery. Therefore, the key to interpreting this series of works seems to lie in how to extend the core material of ORLAN creation,“body”, into her image works, and to provide the images more realistic sense. This article firstly examines ORLAN’s carnal art and the Christian culture that she corresponds to and tries to reverse, and then analyzes how the works of the Self-Hybridation series can evoke her physical body. Finally, this paper takes“This is my body”(Ceci est mon corps; Hoc est corpus meum) as an approach to interpretation, and invokes the related discussions on the Eucharist and the related theories of representation to interpret ORLAN’s Self-Hybridation series. Under this interpretation, the body as a medium may be able to exist more physically in the images and assume a certain meaning of being substantially sculpted.