離散的群島、間續的系譜：一部臺灣基進性創作之「剩餘史」的可能

Abstract

綜觀臺灣從二十世紀初至今的美術史，深受北美與西歐前衛藝術影響的創作者們，在面對過去不同殖民政權的壓迫、新自由主義的剝削，乃至於今日全球資本主義崩解的危機之時，皆透過不同的抗爭實踐以及特定時空脈絡的迴返與連結，孕生出各自創作內在的基進性特質與政治性動能。然而，臺灣基進性創作之政治動能，卻也經常跟政治場域裡的異質能量相互產生矛盾與衝突。在此情形下，某種暫時懸置於雙方矛盾中的「剩餘」之抵抗動能，便直指藝術抗爭實踐最為核心的意涵。如果「剩餘」意指的是，在不同生活層面的縫隙及邊界上游離且不斷形變之抵抗能量，又如果「剩餘」指向的也是那些無法被既定的文化生產體制所制約之另類生產模式，那麼，基進性創作在進入展覽與歷史之再現機制的同時，是否意味著「剩餘」之抵抗動能的收編與異化？而若回到所謂「美術史」書寫的命題裡，我們是否又能夠穿透上述「剩餘」的弔詭，並形構出一部離散、間續的「剩餘史」，進而藉此開展再次從體制內脫逃的可能？本文試圖將焦點置於臺灣檔案室、意識部落以及MIGA的研究材料之上，並佐以洪席耶（Jacques Rancière）的美學與歷史書寫之論點，以及曼恩（Paul Mann）對於藝術之「剩餘」狀態的剖析，期望為上述的提問梳理出一條分析路徑。

In the History of Art in Taiwan, Taiwanese artists develop in a unique way the radicality of their art practices which are deeply inspired by North-American and West-European Avant-garde. In fact, this artistic radicality is also built on its resistance to oppression by the different colonial regimes, to exploitation by the neoliberalism, and to the current global crisis in the collapse of capitalism. However, the radical art practices in Taiwan are often confronted by the reactions coming from the political sphere. And in this situation of confrontation or even contradiction between art and politics, the force of resistance generated by radical art practices turns out to be suspended in a state of the ＂rest＂. If this state of the ＂rest＂ is the very place where artists create their force of resistance at the limits between different spheres of life, and develop a new mode of production to temporarily flee from the absorption by capitalism, will the ＂rest＂ be instantly alienated and dissolved when radical art practices are subjected, on the one hand, to the system of representation in the exhibition, and on the other hand, to the system of interpretation in the History? And if the history writing is an inevitable way to capture the traces of the ＂rest＂ in radical art practices, would it be possible to write an ＂history of the rest＂ and escape at the same time from the taming of the History? This article will develop different approaches to these questions not only with Paul Mann's criticism on the ＂rest＂ and Jacques Ranciere's aesthetic and historiography theory, but also with the artist collectives like Taiwan Archives, Open Circle Tribe, and MIGA. The aim of this research is to bring a new perspective on the history of radical art in Taiwan.