腿、吊頭、酷兒孕肚－－臺灣原住民藝術節中的陰性雕塑

Legs, Hanging Heads, Queer Pregnant Bellies—Feminine Sculpture in Taiwanese Indigenous Art Festivals

臺灣原住民當代藝術順承著1980年代解嚴前後的文化復振思潮，在爾後三十年間再因於各種時代意識的交錯、國家立場的扶植，在今日已儼然成為一種極具辨識度的美學與文化現象。這一看似獨立於主流藝術史之外、自成一格的美學場域，因此實則有其複雜的時空條件與基礎，其中包括它勢必與上世紀末期由第一批男性知識青年們主導而起的文化行動與批判傳統有關，並高度擴延著他們在文化生產場域首先提出的「山海」文化論述；這樣的論述，在近年的當代藝術現場有了大幅度的具現與變異，其中又以起始於2010年代中期、在臺灣東海岸與原住民藝術社群緊密相關的地方性戶外藝術節尤有代表性。
本文意在指出，此一今日已成為經典意象的原住民山海意符，從一開始，就在其特殊的時代條件下，共構著某種陽剛主體性。2010年代中期開始出現的地方性藝術節，起初在展示與地景共生的大型雕塑、裝置作品邏輯中，更加劇延續了這種山海美學的陽剛情境。但與此同時，藝術節又在現代國家立場的完全介入下，早已與過往原住民文化行動中的批判傳統越走越遠。在這個弔詭的情境裡，本文試圖把過往三十年被遺落的性別政治視角放回史觀的前沿，並主要以2010年代首先出現、至今影響甚鉅的《東海岸大地藝術節》及其後幾個不同的原住民藝術節中的女性藝術家為例，聚焦討論在林介文、宜德思、林安琪等三位創作者作品中的女性主體性或酷兒生命政治，如何與這一漫長的陽剛藝術傳統作用出不同層次的闡連關係，並漸次提出一種未定的、具有抵抗意義與創造性的「陰性雕塑」雛型。

Contemporary Indigenous art in Taiwan has followed the wave of cultural revitalization that emerged around the lifting of martial law in the 1980s. Over the subsequent three decades, shaped by the intersections of shifting historical consciousness and reinforced by state support, it has developed into a highly recognizable aesthetic and cultural phenomenon. Although it may appear as an autonomous field distinct from mainstream art history, this aesthetic domain is in fact rooted in complex historical and spatial conditions. Among these are its inevitable ties to the cultural actions and critical traditions led by the first generation of male Indigenous intellectuals at the end of the twentieth century, as well as the substantial expansion of the“mountain–sea”discourse they first introduced in the sphere of cultural production. In recent years, this discourse has been vividly materialized and transformed, most notably through the emergence, in the mid-2010s, of localized outdoor art festivals along Taiwan’s east coast, closely connected to Indigenous art communities.
This article argues that the Indigenous“mountain–sea”symbolism, now a canonical image, was from the very beginning co-constructed with a certain masculine subjectivity under its specific historical conditions. The local art festivals that began in the mid-2010s—especially those centered on large-scale sculptures engaging directly with the landscape—further intensified this masculine aesthetic of mountains and seas. At the same time, however, with the full involvement of the modern state, these festivals have diverged more and more from the critical traditions once integral to earlier Indigenous cultural movements. Within this paradoxical context, the article seeks to reintroduce the long-neglected perspective of gender politics to the forefront of historical interpretation. Focusing on the Taiwan East Coast Land Art Festival, which emerged in the 2010s and has since had considerable influence, as well as several subsequent Indigenous art festivals, it examines how the works of Labay Eyong, Idas Losin, and Ciwas Tahos articulate female subjectivity or queer biopolitics in dialogue with the long-standing masculine tradition of Indigenous art. Through this engagement, the paper gradually outlines a tentative theoretical prototype of a“feminine sculpture”that is resistant, generative, and yet unresolved.