中文摘要

今年初甫於高雄市立美術館展出之美國錄像藝術家，湯尼・奧斯勒（Tony Oursler，以下簡稱奧斯勒）《黑盒幻魅於形－湯尼・奧斯勒個展》，此展覽中，除了展示藝術家長期關注人類心理活動以及當代視覺文化下的流行圖像語彙，也展露出這些作品的「後台」，也就是毫不掩飾的投影機、線路等等作品必須具有的設備，但又不屬於觀看體驗一部分的物件。
本文以此展覽中所展出奧斯勒 2009年的〈LOCK 2,4,6〉為主要研究對象，並梳理藝術家其他作品所擁有的「後台」特質，並作為理解其作品的關鍵途徑。此處所用一詞「後台」，自貝托爾特・布萊希特（Bertolt Brecht）提出暴露後台的「間離效果」（Distancing effect）；奧斯勒作品所投影的具象寫實影像，因展間只有一個出入口而成為「四面牆式」的空間，而形成具有強烈的劇場性質，使觀眾沉浸入奧斯勒製造的視覺效果之中。當觀者走入作品時，無論是因為路線規劃必然的遮擋投影機之光線，或是時，無論是因為路線規劃必然的遮擋投影機之光線，或是投影載體的簡陋，而從觀看經驗上被抽離，並了解到這是投影載體的簡陋，而從觀看經驗上被抽離，並了解到這是一場視覺騙局，這些屬於破壞展覽的視覺經驗卻成為觀看一場視覺騙局，這些屬於破壞展覽的視覺經驗卻成為觀看奧斯勒作品方式中的必要條件。透過此種「後台前移」的奧斯勒作品方式中的必要條件。透過此種「後台前移」的展示，使觀眾意識到這層景觀不過是建構在簡陋物質之上展示，使觀眾意識到這層景觀不過是建構在簡陋物質之上的幻影。此外，「後台」的前移也是藝術家對社會、政的幻影。此外，「後台」的前移也是藝術家對社會、政治、文化等外部性的揭露，以及內部性藝術與現實的並治、文化等外部性的揭露，以及內部性藝術與現實的並置，而置，而這些原先被認為作品中必須隱藏的「後台」，卻成這些原先被認為作品中必須隱藏的「後台」，卻成為藝術家作品語言的一部分，如同他作品中強烈的手作痕為藝術家作品語言的一部分，如同他作品中強烈的手作痕跡般，都是要加強藝術作為幻象的提醒。跡般，都是要加強藝術作為幻象的提醒。

Abstract

At the beginning of this year, Black Box, was exhibited at the Kaohsiung Museum of Fine Arts. In addition to showing the artist’s long-term attention to human psychological activities and popular image vocabulary under contemporary visual culture, it also reveals the "backstage" of these works. That is, the undisguised projectors, overt cables, and others. Such equipment that are necessary to present the work, but not a part of the viewing experience.

This research focuses on Oursler’s LOCK 2,4,6 in this exhibition. The primary purpose is to sort out the "backstage" characteristics of the artist's other works, also use it as an essential perspective to understand his works in a more comprehensive way. The word “backstage” used here comes from the “Distancing Effect” proposed by Bertolt Brecht to expose the backstage. Because of “the fourth wall”, Oursler's works has a strong theatrical nature that better immerse the audience in the visual effects on the projected realistic images. When the viewers walk into the display room, they will notice the projector and the crude image carriers because of the planned route that intentionally leads them to block the light. These disruptions during the viewing experience cause them to unattached from the aura and understand that this is a visual deception. These disruptive visual experiences have become a necessary condition in the way of viewing Oursler’s works. Through this display of " moving the Backstage forward ", the audience realizes that this spectacle is nothing but a phantom built on a simple substance. Furthermore, the forward movement of the "backstage" is also Oursler's exposure on externalities such as social, political, cultural, etc. The movement skillfully presents the juxtaposition of externality, internality art and reality. Originally, these "backstage(s)" must be hidden, but they became a part of the artist's work symbols. Among them, the strong hand-made traces in his works are reminders to strengthen the notion of art as a phantom.

參考文獻

（一）、中文專書
柯念樸、Tony Oursler Studio主編，《黑盒－幻魅於形：湯尼．奧斯勒》（高雄：高雄市立美術館，2021）。
范景中主編，沈語冰、張曉劍翻譯，《藝術與悟性：論文與評論集》（江蘇：江蘇鳳凰美術出版社，2013）。
陳嘉映主編，《維特根斯坦讀本》（上海：上海人民出版社，2020）。
（二）、翻譯書籍
E.H.貢布里希（ Ernst Gombrich），《陰影：西方藝術中對投影的描繪》，王立秋譯，（重慶：重慶大學出版社，2016），頁23-58。
W.J.T米歇爾（William John Thomas Mitchell），《圖像學：形象、文本、意識形態》，陳永國譯，（北京：北京大學出版社， 2020）。
米歇爾．傅柯（Michel Foucault），〈外邊思維〉，洪維信 譯，（台北：行人出版社，2003）。
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（二）、中文期刊論文

米建國，《維根斯坦論可說與不可說》，正觀雜誌第二十七期，2003年。

（三）、西文專書
Oliver Grau, Virtual Art: From Illusion to Immersion, Cambridge: The MIT Press. 2003.
Lara Stevens, Anti-War Theatre After Brecht, Palgrave Macmillan, 2016.

（四）、西文期刊論文
Billy Rubin, Dummies / Dolls, Published in Vox Vernacular, Feb. 25, 2014.
Elizabeth Janus and Tony Oursler, Talking Back: A Conversation with Tony Oursler , Williams College Museum of Art, Apr. 4, 2010
Frederic Vallee-Tourangeau, Neville G. Austin, Sandra Rankin, Inducing a Rule in Wason's 2–4–6 Task: A Test of the Information-Quantity and Goal-Complementarity Hypotheses, The Quarterly Journal of Experimental Psychology A, 2007.
Grewal, JS; Bordoni, B; Ryan, J, "article-36176", Anatomy, Head and Neck, Sublingual Gland, StatPearls Publishing, 2020.
Kunsthaus Bregenz, LOCK 2, 4, 6 - Press Release, Published in KUB, Oct. 24, 2009 - Jan. 17, 2010.
Martin Heidegger, The Age of the World Picture, Published in Palgrave Macmillan, London, 1977.
Michael Fried, Art and Objecthood, Gregory Battcock (Editor), Minimal Art: A Critical Anthology, CA University of California Press, 1995.

（五）、網路資料
Billy Rubin, Lock 2, 4, 6, 2009, Published in Vox Vernacular, 2014.

Website: <https://tonyoursler.com/articles-by-billy-rubin> (2021/06/06)

Frederic Vallee-Tourangeau, Neville G. Austin, Sandra Rankin, “Inducing a Rule in Wason's 2–4–6 Task: A Test of the Information-Quantity and Goal-Complementarity Hypotheses”, The Quarterly Journal of Experimental Psychology A, 2007.

Website: <https://www.researchgate.net/publication/233105607_Inducing_a_Rule_in_Wason's_2-4-6_Task_A_Test_of_the_Information-Quantity_and_Goal-Complementarity_Hypotheses> (2021/06/06)

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