解放、連結與批判整體論：初探當代藝術中的河流實踐

Exploring River Practices in Contemporary Art: Emancipation, Connection, and Critical Integralism

臺灣當代藝術領域對於河流的關注，從過往的視覺化趨勢，聚焦在地景形貌的美學轉譯。一直到近年來，透過藝術行動框架下所產生的多層次對話。不同時期對於河流所展現的不同藝術觀點，除了代表藝術觀點的在地轉變以外，也遙遙回應著廣義地理科學上的觀點變動，也就是從鄉愁式的、鄉土式的人文地理學轉向環境地理學、批判地理學、地質地理學乃至鬼魅地理學等。
本文首先以90年代「空間解嚴」下的前衛藝術介入河流的行動為例，聚焦在「淡水河上的風起雲湧」（1995）以及「河流－－新亞洲藝術，台北對話」（1996）兩件策展，分析這段時期藝術創作與河流所交織出的前衛精神樣貌。其次，透過吳瑪悧的《人在江湖—淡水河溯河行動》（2006）、《樹梅坑溪環境藝術行動》（2010-2012）為案例，探討當代藝術從空間解嚴到進入公民社會連結的過程。最後，則以龔卓軍所策劃的「2022Mattauw大地藝術季：曾文溪的一千個名字」（2022）為主，進一步整理環境藝術中的「整體論」（holism）及其批判性觀點，同時也摸索當代藝術認識論轉向（epistemology turn）的契機。
本文的核心在於：（一）、當代藝術對於河流的空間觀點為何？（二）、河流如何連結公民社會，其可能與不可能性為何？（三）、河流如何成為藝術行動的倡議介面，並且如何召喚另一個藝術的認識論？

The contemporary art in Taiwan has undergone a notable transformation in its approach to rivers. Initially, there was a prevailing emphasis on visual representation, with artists primarily concerned with capturing the aesthetic essence of landscapes. However, this focus has since evolved into a more intricate and nuanced exploration, characterized by the generation of multilayered dialogues through the framework of art actions. In recent times, a multifaceted discourse has emerged within the realm of artistic praxis. The diverse artistic viewpoints regarding rivers throughout different time periods not only encapsulate the localized shifts within the annals of art history, but also serve as a distant reflection of the transformations occurring within the broader realm of geography. These shifts encompass a transition from a sentimental and agrarian human geography to an encompassing focus on environmental geography, critical geography, geology-based geography, and even the enigmatic realm of spectral geography.
Within this article, we commence by examining the avant-garde artistic interventions that transpired upon rivers during the 1990s, operating under the theoretical framework of“spatial deconstruction.”Our primary focus is directed towards two curatorial exhibitions, namely“The Storms over the Tamsui River”(1995) and“Rivers - New Asian Art: A Dialogue in Taipei”(1996). Through a meticulous analysis, we aim to unravel the intricate interplay between the avant-garde ethos embedded within these artistic endeavors and the rivers themselves, during this particular epoch. Furthermore, we delve into the transformative journey of contemporary art, specifically examining the works of Mali Wu, such as“Of the River - A Community Based Eco- Art Project”(2006) and“Art as Environment - A Cultural Action at the Shumeikeng Creek”(2010-2012). These artistic endeavors serve as a conduit for the evolution of spatial liberation within the realm of art, ultimately culminating in a profound connection between art and society. The“2022 Mattauw Earth Art Festival: The Thousand Names of Zengwen River”(2022), under the curation of Gong Jow-Jiun, effectively consolidates the concept of“holism”and its associated critical perspectives within the realm of environmental art. Concurrently, it delves into the potential for an epistemological shift within the domain of contemporary art.
The crux of this article revolves around (1) What spatial perspective contemporary art adopts when examining rivers (2) In what manner does the river establish a connection with civil society, and what are the potentialities and limitations inherent in this relationship (3) In what manner do rivers serve as a conduit for the promotion of artistic endeavors, and how do they elicit an alternative framework for understanding the nature and epistemology of artistic expression?