事件的美學政治：二二八展覽（1993-2007）、美術及其後

Abstract

本論文預定以1993~2007年的二二八展覽及相關藝術作品為研究對象，討論此期間的二二八展覽如何在國家官方主導與民間團體承辦所構築的美學體制之中，形成二二八事件的政治美學化與見證藝術的侷限。在重新書寫二二八展覽中的見證美學、刻畫二二八事件的木刻版畫，以及反映二二八發生前後文化矛盾的風景畫等等論述裡，最後以在展覽中被定位的後二二八世代藝術家們的作品為例，討論其作品如何利用前輩畫家風景圖像的寓意與攝影媒介的屬性，展現展覽美學體制之外的藝術政治性實踐，從對此政治性實踐的討論之中，開拓關於二二八美展與在後二二八時代中，如何開展關於歷史事件的影像美學政治性討論。

本論文分為兩部分，第一部份是從當代美學政治談論的感性分享與美學體制的劃分，來提出二二八展覽的美學體制在各種詮釋與言說、政治性活動扣連之中所形成的展覽框架。此外，探討見證藝術除了既有的象徵符號圖示，是否藝術詩學可回應見證的（不）可能性與見證他者創傷。第二部分承接第一部份已提出的問題化觀點，試圖重新提出開創性的論述，第四章討論黃榮燦恐怖的檢查的見證屬性不在於是第一個畫出二二八事件發生的作品，而是在於當時代黃榮燦版畫創作的個人涉身性的藝術政治性創作。第五章提出從近代美術開始的學院訓練到當代藝術的創作，風景畫與其中的象徵內涵如何轉化為二二八展覽與受難藝術家作品中的重要圖徵。此圖徵又如何接續在第六章提到的，為後二二八世代藝術家藉此表現歷史認同瓦解與情感記憶的非─場所影像。後二二八世代藝術家也與其他當代藝術家構築了後二二八時代氛圍中的當代美學共同體，藝術家們在個人與家庭成長的經驗裡，透過攝影媒介的屬性展現對於未曾經歷事件的歷史觀感與時代記憶。

本論文最後希冀延伸以上各章的討論，思辨事件後影像的批判性是否能不斷出現且持續被討論。此也呼應本論文何以以美學政治的研究方法介入討論二二八事件之後的美學形式。事件之後的各種展覽與紀念活動構築的感性共同體中，藝術創作的政治性如何能在共識分享的結構中製造異識，是使得事件後的詮釋不陷入偏頗對立與發生持續討論的可能。以西方當代學者對於猶太屠殺事件影像與真實的再現爭議中提出的歷史影像批判的可能性為例，本論文也涉及了與藝術政治性、歷史影像的辯證與影像政治性等相關連命題的討論。最終不能忽略的，事件的美學政治性的倫理轉向之中，受難者的證言、藝術／影像的詮釋與美學表現一樣，都不能陷入任何被絕對化的位置。

This thesis focuses on discussing the exhibitions of 2-28 incident, and its related artworks from 1993 to 2007. By literarily reviewing the formations and critics of these exhibitions, this thesis argues that these exhibitions has constructed the aesthetics regime about the presentation of 2-228 and the artistic expression, particularly the limited display of the witness. This thesis thus would propose some important main subject to discuss the 228 exhibitions and the related artworks: the expression of witness art of the 228 event, the culture paradox before the 228 event and after, and the response of Taiwan contemporary art.

The discussion of this thesis will be divided into two parts. The first par, Chapter 2 and Chapter 3, mapping the historic formation of the he exhibitions of 2-28 incident, and point out the framing work about the exhibition and commemoration of 2-228 incident is becoming an aesthetics regime and restricting the meaning of witnessing art. With the discursive critics and problematic issue deduced from the first part, the second part attempts to propose a new and also important discourse about the aesthetics of 2-228 incident.The Chapter4, by re-finding the firsthand articles, life resource, and the woodcuts of Huang Rong-Can（黃榮燦）, reclaims the politics of Huang Rong-Can’s woodcut resides in his unique aesthetics of artistic expression, which is involved in his social practice of people’s life and is indeed different from the appliance of revolution art, advocated by the artists of the Chinese Left –wing Woodcut Movement. The Chapter 5 re-examines the landscape painting in early Taiwan modern art; the important case is the artworks of Chen Cheng-Bo（陳澄波）. Chapter 5 indicate that, due to the doubleness of cultural identity and affection beneath in landscape painting, the landscape painting would be a symbol featured the White Terror after 2-28incident, though the landscape painting ever been an genre painting under the gaze of Japan colonial government. The Chapter 6 focuses on the politics of the images in the era of post 2-28 artistic works. Through the has- mentioned post 2-28 artists work and intervene with the former artists, they create a field happening about the non-lieu image which presenting how their historic identity collapse; furthermore, other contemporary artists have also work out the photo-mages about how to deal with the historic event and give a critical angle for discussing it.

This thesis lastly would like to propose the potential of the critics in the aftermath of the event, like the 2-28 incident has been mentioned. This is also the reason why the theory of the politics of aesthetics been adopt as the research methodology of this thesis. With elaborating the discussion of the aesthetic effect and the dissensus of the aesthetic community, the thesis seeks to think the possibility of departing from any binary interpretation based in opposition location. The subject of this thesis thus will be assigned on some important topic: the politics of art, dialectics of historic images and the politics of image. Nevertheless, when the ethic discussion of 2-28 incident be included, namely the ethic turn of the politics of aesthetics, what cannot be neglected is the continual critics about the absolution sacred of the victim.