山海酷族：台灣原住民當代藝術中的酷兒路徑

Indigiqueer of Mountains and Seas: Queer Pathways in Contemporary Indigenous Art of Taiwan

台灣原住民當代藝術發展史上，自1990年代開始，每一個時代，都會有評論者跳出來對著藝術家的實踐做出「是／不是」原住民藝術的指認。從上世紀末期，拉黑子的木雕作品第一次被東管處以「不是原住民藝術」為由而退件、到2000年代，安聖惠開始用複合媒材創作而引發媒材與文化之間的論證，論者們對於「原住民藝術」的想像與判準，通常也反映著每個時代所徵現的文化認知、侷限，及其可能擴延的問題。不過，我們總以為藝術史的發展會帶給人們啟發，在台灣原住民當代藝術的場域裡，這種霸權式、乃至於父權式的知識生產方式與批評傳統，至今卻沒有消失過，只是易裝整容、換過包裝，有時把矛頭指向更加複雜的問題叢結中，包括——性別。
進入2010年代，原住民當代藝術場域就和過去每個時期一樣、迎來了諸多時代性的發展與現象，亦確實刮起了幾陣「看似」與過去的原住民藝術發展無甚起承關係的怪風，迷幻、也困惑了評論者和觀眾的品味與習慣。此際回望，這些現象其實共同體現著此一時代的特殊性，並且彼此之間實則有著高度的關聯。在本文中，我將重點放在三個向度，交叉討論包括「媒材」、「世代」，與最關鍵的「酷兒」現身。
本文欲從這三個角度切入，分析2010年代開始台灣原住民當代藝術場域中的酷兒藝術，其於過去的原住民創作方法與脈絡中遭遇到怎樣的評論空白、認知侷限、二元困境，又如何在這些困境中拓闢路徑、發展至今，並影響著原住民藝術過往所建立起來的美學傳統與性別典範。事實上，「原住民酷兒」這一看似晚近才出現的概念與語言，不只揭露了過去原住民藝術建構論中的某種霸權與父權，也揭示著早已淵源有自的本土酷異性別能量；它從未脫離過原住民的文化與歷史，也同時是酷兒的文化與歷史。

In the history of the development of contemporary Indigenous art in Taiwan, since the 1990s, critics have emerged in each era to determine whether or not an artist's practice qualifies as ''Indigenous art. '' From the late 20th century, when Rahic Talif’s wood sculptures were rejected by the East Coast National Scenic Area on the grounds that they were ''not Indigenous art,'' to the 2000s, when Eleng Luluan began creating with mixed media, sparking debates about the relationship between materials and culture, critics’notions and standards of ''Indigenous art'' often reflect the cultural awareness, limitations, and potential issues of each era. However, while we tend to believe that the development of art history will inspire people, in the field of contemporary Indigenous art in Taiwan, this hegemonic, even patriarchal mode of knowledge production and critical tradition has yet to disappear. It has merely changed form, sometimes targeting even more complex issues, including—''gender. ''
Entering the 2010s, the contemporary Indigenous art scene, like every previous era, saw significant developments and phenomena. Some ''peculiar'' trends, seemingly disconnected from earlier Indigenous art, confused critics and audiences alike. However, in retrospect, these phenomena collectively reflect the uniqueness of the era, and they are closely related to one another. In this paper, I focus on three dimensions—''material,'' ''generation,'' and the most critical, the ''emergence of queerness''—to discuss these intersections in the context of contemporary Indigenous art in Taiwan starting in the 2010s.
This paper aims to analyze queer art in contemporary Indigenous art from 2010 onwards through these three lenses, exploring the critical voids, cognitive limitations, and binary dilemmas it has encountered in traditional Indigenous creative methods and contexts. It also examines how queer art has carved out a new path amidst these challenges, influencing the aesthetic traditions and gender paradigms previously established in Indigenous art. In fact, the concept of ''Indigenous queer,'' which seems to have only recently emerged, not only exposes certain hegemonic and patriarchal aspects in previous Indigenous art discourses but also reveals a long-existing local queer gender energy. This energy has never been detached from Indigenous culture and history; it is simultaneously part of queer culture and history.