重探臺灣當代藝術的歷史編撰學：以複時書寫與機構分析作為方法

Rethinking Historiography of Contemporary Art in Taiwan: Multiple Temporal Narrative and Institutional Analysis as Method

今日臺灣當代藝術史的研究，大多延續著西方美術史之編撰法的傳統，以傳記著述、圖像分析、形式研究，或者藉由廣納不同理論面向的「新藝術史」（New art history），來予以研究對象一個特定的史學詮釋位置和時空脈絡的參照點。但關於臺灣當代藝術之「當代性」特質的研究視野與方法，似乎仍存在著許多有待開展的空間。因此，本文試圖先以探討「當代」之歷史意涵的哲學論述出發，梳理臺灣當代藝術「複時」的歷史成因及其當代性。接著，文章一方面從臺灣當代藝術之「體制化」的現象，突顯以「機構」（institution）界定「歷史分析範疇」的必要性；另一方面，則是透過寇克蘭（Anne Cauquelin）當代藝術的機構網絡理論，以及臺灣近三十年來剖析當代藝術體制的文獻，進一步呈現國內藝文生態之「體制化」的發展痕跡與困境。最後，經由機構分析（Analyse institutionnelle）開放的辯證史觀，本文提出開創「共生網絡」的歷史書寫途徑，並期望在機構生態之史學研究的基礎上，拓展臺灣當代藝術之編撰法和認識論的可能性。

Most researches on contemporary art history in Taiwan today are influenced by the Western historiography tradition of art history which focuses on artists’biography, image analysis, or on various theoretical approaches of the New Art History. Nevertheless, in order to highlight the“contemporariness”of contemporary art in Taiwan, it is essential to further discover another historiography approach that could reveal the specific socio-political context entwined with this island’s art history. Therefore, this paper will start from bringing light to the historical conditions of contemporary art in Taiwan through the idea of“multiple temporalities”stemming from a critical reflection on the meaning of“contemporariness”. Following this reflection, it will be apparent that the phenomenon of“institutionalization”characterized in the development of contemporary art in Taiwan points out the importance of the category of“institution”in historiography research. Furthermore, by referring to Anne Cauquelin’s network theory and Taiwanese literature about contemporary art, this research will explore the conundrums of institutionalization that confront Taiwanese artists today. Finally, in the light of the dialectic discourse of Institutional Analysis, the challenge of institutionalization will open up possibilities for Taiwanese contemporary art practices to create the network of commoning while unfolding diverse local art histories. The main goal of this research thus consists in expanding the possibilities of historiography and epistemology of contemporary art in Taiwan.