藝動主義在台灣：從行動主義走向環境主義的藝術實踐

“Artivism”in Taiwan: Art Practice from Activism to Environmentalism

台灣在近年經歷迅速的都會化、政治、經濟與社會變遷，有許多不容忽視的人為因素而帶來城鄉差距與環境的破壞，造成地方與環境意識的高漲，也帶來藝術家對於介入公眾議題的創作中攸關城鄉更新、地方特殊歷史與集體記憶的社會實踐，逐漸引起更多公眾的參與及重視。本文從1990年代全球行動主義談起，探討台灣的藝術行動主義（簡稱藝動主義）如何發展，其中主要包括藝術家吳瑪悧的環境藝術行動、與社群交往的計畫和策展，以及姚瑞中與LSD的《海市蜃樓：台灣閒置公共設施抽樣踏查》，從檔案記錄到藝術行動的一系列的創作計畫，這些具有長時間性與歷程性的系列創作，這不僅是對體制的批判，也是對於台灣當下環境的行動，本文將這樣的系列創作其置於一個全球與在地性歷時與共時的語境下，去思索藝術家、觀者、行動者結合的藝動主義所提出的問題，探討藝術如何與公眾面對面、挑戰美術館展演空間的機制，而其後走向對環境與生態議題的關懷歷程與案例。台灣的藝動主義流動於解嚴後在地特殊脈絡的記憶連結與認同、多元社群觀點以及公民行動的實踐，藝術家從作為行動主義者到走向環境主義者的角色，試圖喚起改變的力量，也使藝術從藝術的世界，走向真實的世界。

In recent years, Taiwan has experienced rapid urbanization, socio-political and economic changes. The urban-rural gap and environmental damage have caused a rise in local and environmental awareness, and artists have become more involved in the public sphere. Socially engaged art practices involved in urban and rural renewal have gradually allowed for more public participation and attention to specific local histories and collective memories. This article maps the emergence and development of “artivism”in Taiwan since the end of the 1980s during the lifting of Marital Law, the global activism of the 1990s, and the subsequent environmental activism to this day. In particular, the article will discuss both Wu Mali‟s environmental art action and curatorial projects interacting with the communities, as well as the series of works by Yao Jui-Chung and LSD （Lost Society Document） entitled Mirage: Disused Public Property in Taiwan that comprise archive records and artistic actions. All these long-term projects are not only critical of the system; they are also environmental actions that address the current situation in Taiwan. The article thus endeavours to put such projects into global and local diachronic contexts; reflect on what issues the combination of artists, viewers and activists can raise; and explore how artivism achieves to connect with community people by attending to the public sphere as well as challenges the apparatus of exhibition spaces in museums and art galleries in light of the need to address environmental and ecological issues. Artivism in the aftermath of Martial Law reflected the specific contexts and diverse identities of the local communities as much as called for civil engagement. From engaging as a societal activist to becoming an environmentalist, the „artivist‟ has constantly sought to arouse the power of change and make art shift from the art world to the real world.