藝術與文化政治：戰後台灣藝術的主體形構

Abstract

台灣現代藝術的發展，緣起於日治時期跟隨殖民母國藝術的支流開始萌芽，戰後則在強力東漸的西方藝術潮流影響中成長。在這樣的歷史背景下，台灣藝術界一方面希望能夠得到強勢文化如歐美的認可，另方面卻又憂心自身藝術風格過度受外來影響而隱沒，自戰後至今，面對以西方為中心的藝術世界，台灣藝術的發展始終伴隨著因西方強勢影響而導致的焦慮，同時也在內部的社會文化變遷情境中確立其定位。

本研究以檔案、報紙、雜誌、口述訪談等史料為文本進行論述分析，重新思考台灣藝術發展中受西方影響的歷史因素，並以文化政治的角度檢視戰後台灣藝術主體化的歷程，提出三個階段座標：1950-1960年代「以西方為做座標：美援時代的知識生產」、1970年代「在本土定錨：民族意識中的異質想像」、1980-1990年代「現代藝術的體制化：台北市立美術館的政治糾葛」，探討台灣藝術在各時代的社會文化背景中如何確立自身。

The modern art in Taiwan which burgeoned during the Japanese governed period and made further development after World War Two has been heavily influenced by the western art. In such a historical context, Taiwanese art world has been eager to gain recognition from the West, particularly Europe and North America, while at the same time be worried about its art style to be assimilated to the West. However, the construction of the subject of Taiwanese art has been resulted from power relations among western culture, local politics and institutions.

This study applies the method of discourse analysis based on texts including archives, newspapers, magazines, diaries and oral histories. It aims to rethink the impacts of western art and culture on Taiwanese art and examine the process of subjectification of Taiwanese art through the perspective of cultural politics. This study proposes a three-phase process of subject formation of art in Taiwan after World War Two. First, the West as an anchor: the knowledge production in USAID period in 1950-60s; Second, the heterogeneous imagination of native: the national identity in 1970s; Third, the institutional modern art: Taipei Fine art Museum and the politics in 1980-1990s. These phases revealed how Taiwanese art has been identified through the ages.