原址播放：一個與歷史性場域有關的理論及其諧擬

Multimedia Installations on Original Filming Locations: A Historic Site-Related Theory and its Parodies

作為評論用語的「原址播放」，原是意指陳界仁將錄像作品帶回拍攝現場進行播放的展呈方式，往往需先選定特定的歷史性場域並搭配敘述，方能為觀眾導引出某種被其命名為「謠言電影」的顛覆力道——由於所選定的通常是具爭議性的歷史性場域，且在影像與場域間置入的敘述又有批判意味，這種儀式性的展呈經常為參與者形成一道望向歷史的集體目光，事實上，幾年間，「原址播放」也引導著台灣當代藝術在特定議題上的焦點。本文的第一個階段性目標為進行「原址播放」的理論化，與此同時，由於這種理論化進程讓我們一再遭遇具高度相關性的關鍵字詞甚或案例——前者，諸如靈光、歷史性場域、敘述、儀式性等，後者則可視為其他藝術家或團體有意無意間針對「原址播放」的各種諧擬——如此的多重現象也讓我們發現，這種藉由敘述並生產著各種與歷史性場域之關係的藝術實踐方式所啟發的遠遠不限於當代藝術範疇，如果我們將這種把作品帶回到製作現場的方式視為某種認同生產，地方出現極為相似的操作也就不足為奇，當然，這些「原址播放」間中存在著意義深遠的差異，在台灣的當代藝術脈絡中探討這些差異，也就成為本研究第二個階段性目標。

The term ''multimedia installations on original filming locationstime-based media on historic sites'' as an art commentary originally referred to Chen Chieh-Jen's artistic expression which encompasses broadcasting artistic multimedia at the location in which it was filmed. It often requires the selection of specific historic sites combined with a narrative, thus allowing the audience to be led to the cogency of subversiveness in what is regarded as ''yao-yan'' (rumor) films. Since most chosen historic sites are controversial and the narratives inserted into the visual media and the site usually entail criticism, such ritualistic form of expression often configures into a collective gaze on history among its viewers. In fact, in the past few years, the concept of ''multimedia installations on original filming locationstime-based media on historic sites'' has guided the Taiwanese contemporary art scene into certain thematic focuses. The primary objective of this essay is the theorization of ''multimedia installations on original filming locationstime-based media on historic sites'' as an artistic concept. At the same time, this process repeatedly renders us to encounter either keywords or cases that are highly relevant. The former includes keywords such as aura, historic sites, narrative, and ritualistic; while the latter can be discerned as other artists' and groups' parodistic efforts, either by design or accident, in response to ''time-based media on historic sitesthis artistic concept.'' The multiplicity of the phenomenon also led us to realize that this form of artistic practice— which narrates and builds various relationships with historic sites—is able to inspire change far beyond the confines of contemporary art. If we view such an art form that involves returning the artwork to where it was created as some sort of identity production, the occurrence of thoroughly similar efforts in the local scene would not be surprising after all. Surely, there are significant distinctions between different ''multimedia installations on original filming locationstime-based media on historic sites.'' The secondary objective of this essay is to discuss these differences in the context of Taiwan's contemporary art scene.