媒材的逆襲：康雅筑與羅懿君雕塑實踐的「材料轉向」

Materiality Strikes Back: The Material Turn in Ya-Chu Kang and Yi-Chun Lo’s Sculptural Practice

本文試圖對臺灣當代雕塑中的「材料轉向」進行初步的概念爬梳與案例討論，從康雅筑與羅懿君兩位臺灣藝術家對於媒材的重新關注來分析近十年來當代雕塑回應全球化的地方性策略。從纖維藝術的脈絡出發，康雅筑發展出「原物料思維」的創作模式，其獨特的「泥毯」創作形式，經由觀眾的參啟動觀眾的「觸覺感知性」，並將作品回復到「原物料」的狀態。康雅筑在藝術實踐中探究「材料」的文化與經濟意涵，以及不同文化之間如何藉由對織物的生產與應用產生連結與共感。而羅懿君的「殘渣美學」利用乘載臺灣歷史文化記憶的經濟作物如香蕉、菸葉與甘蔗等的剩餘物，經過複雜費時、費力的程序處理成創作的媒材，並形塑出探討全球經濟生產鏈的裝置與雕塑作品。透過對媒材的重新思考，當代藝術家回應自身在全球化中的處境，並將其創作實踐落實在地方性的歷史脈絡中。康雅筑與羅懿君的作品不僅在藝術史的脈絡中更新了我們對雕塑材質與現成物等概念的當代意涵，也回應了比爾．布朗思考「物」如何打開認知邊界，以及珍妮佛．羅伯茲關於物質與文化關係上所提出的理論。在全球化資本主義的浪潮下，雕塑的「材料轉向」為我們提供了思索如何對抗均質化的可能路徑，讓我們在看待不論是藝術或是構成我們現實環境的物件時，得以跳脫消費主義的局限，看到被商品經濟所隱蔽的「原物料」與「勞動」。

This article attempts to analyze the recent“material turn”in Taiwanese contemporary sculpture since the 2010s. Focusing on the case studies of two Taiwanese artists, Ya-Chu Kang and Yi-Chun Lo, I discuss the significance of this renewed attention on materiality in sculptural practice. Kang, trained in the field of fiber art, develops a mode of practice based on“the logic of raw materials.”Her “dirt carpet”series open up the viewers’“tactile sensibility”through participation, which then restores the work of art back to its raw material state. This re-engagement with materiality prompts reflection on the cultural and economic meanings of objects within both art practice and consumer society, as well as the ways in which different cultures are interconnected through the production and use of raw materials. Yi-Chun Lo’s“aesthetics of residue”employs leftover materials from cash crops—such as bananas, tobacco, and sugarcane—that carry cultural meanings and historical memory in Taiwan. Through complex, labor-intensive processes, she transformed banana peels and sugarcane bagasse into sculptural and installation works that interrogate the global economic production chain. By rethinking materiality and the medium of sculpture, both artists respond to their positions within the process of globalization and ground their practice within localized historical contexts. Kang and Lo not only provides concept for our understandings of sculptural materials and readymade in the art historical context, but their works also resonate with Literary scholar Bill Brown’s thing theory and Jennifer Roberts’discussion on new materialism. The“material turn”in contemporary sculptural practice opens up a path for us to challenge the homogenization brought by the process of the capitalist globalization. It offers a way to escape the logic of consumerism and urged us to reflect on“raw materials”and“labor”concealed by the commodity economy.