論馬修巴尼《Cremaster》中場概念的生成

Abstract

本論文之研究主題為討論藝術家馬修巴尼(Matthew Barney)作品《Cremaster》(1994-2002)場(Field)概念中之生成(Becoming)。以法國哲學家德勒茲(Gilles Deleuze)動態詮釋哲學概念作為方法，探究與解釋作品中以場概念為單位的作品形式中，作者如何從男性身體經驗出發，在影像，音像，時間與空間疊合下的敘事場中產生力量，致使作品中的符號、文化與角色之間，進行著意義的交換、延展與生成，研究者試圖追溯、陳述與描繪作品中，力量生成的路徑與圖示。

本研究結果發現，馬修巴尼將競技場、身體與地理空間視為場，疊合於男性生理運作並對應於社會文化規範之中。《Cremaster》是競賽也是戲劇，場生成為舞台，在敘事衝突中搬演著男性欲望的自我質問與認同之戲碼，生成即是在意義與符號的拆解與重組下，以循環與再現回歸性別未分化狀態；在層次有序的場框架中，生成影音形式辯證下的力量圖示，為當代藝術形式注入新可能。

The purpose of this research is studying Matthew Barney’s “Cremaster” film series (1994-2002) centered on the concept of “Field” and “Becoming”. Using the interpretative theories of Gilles Deleuze as methods, the researcher follows Barney’s male physical experiences to examine and analyze how the imagery, the sound, time and space in “Cremaster” are interwoven in the narrative, generate forces, and enable the meanings among symbols, cultures, and characters to interchange, extend and become, also try to trace, narrate and build the path and the diagram of “Becoming” in “Cremaster” series.

The study has found that in “Cremaster” series, Matthew Barney uses sports ground, body and space as “Fields”. In them, the physiology of male body corresponds to the norm of society. Sports and forces are means of “becoming” on the stage/field. In the confinements, the constant challenging and questioning of inner body and outer space make the infinite possibilities become realities. “Cremaster” is the game and also the drama, “Field” is a stage performing the dramas of self-questioning and identification of male desire in the conflict of narrative , “Becoming” refers to the processes of deconstruction and reconstruction, taking the means of the circulation and representations as the return of sexual undifferentiation; following “Field frames” in order, “Becoming” is an energy diagram via the dialogue of images and sounds for creating the possibility of the form in modern art.