記憶的轉向

Abstract

此篇論文在記憶的主軸上前行，緒論中以自身歷程為開端，述說由於文字與日記的書寫習慣，以及受到過往影響所形成的易感內在，進而觸碰了記憶的主題。第二章主題探討，以班雅明所著《柏林童年》中「自主回憶」與普魯斯特《追憶似水年華》中「非自主回憶」的兩種不同手法，作為前往記憶的通道，並以保羅‧策蘭在詩作中用以指向個人或集體資訊的「資訊碼」與羅蘭‧巴特所提出由於時間所造成的「刺點」說明觀者在面對作品時所感受到的障礙與情感，進而討論Doris Salcedo與Ilya Kabakov 兩位藝術家作品中記憶的重現。第三章轉向之一，闡述2012年《For those cannot be seen》系列作品中所展現的記憶樣貌，與創作過程中自身態度由封閉漸向開放的轉變。第四章轉向之二則描述2013年《The Rabbit》系列作品中，藉由保護者的角色將過往記憶的意象由負面轉向正面。第五章結語中回顧與省視，以作為下一階段的開端。

This thesis of artistic creation focuses on the turn of memory. Chapter I, “Introduction”, is started by describing my habit of writing journals and sentimental inner world influenced by the past, and how they led me to approach the topic of memory. In Chapter II, “Topic Review”, I interpreted “subjective association” in “Berlin Childhood around 1900” by Walter Benjamin and “unconscious memory recalling” in "A la recherche du temps perdu" by Marcel Proust as two passages to reach memory; and further, I explained the obstacles of artworks and emotions of viewers by the writing way of Paul Celan which is putting “Daten” into poetry to refer to his own or collective information, and also “punctum” by Roland Barthes. And then, I introduced the work of two artists, Doris Salcedo and Ilya Kabakov, to discuss the reappearance of memories. In Chapter III, “The First Turn- For those cannot be seen”, I narrated the appearance of memories in the series work, “For those cannot be seen”, and the gradual change of my attitude toward memory from close to open during the process of making this work. In Chapter IV, “The Second Turn- The Rabbit”, I described the turn of memory’s image from negative to positive through the character, protector, in “The Rabbit”. In Chapter VI, “Conclusion”, I made a review of past and pondered another start for the next stage.