連續的行程-李佳珈創作實踐研究
Forming of Continuous-Art Practices by Lee, Chia-chia中文摘要
談論「連續」的質地將會引起一連串實踐的思考和分析。這種質地縱然隱晦，卻仍顯現在各材料處理及作品之中。筆者的作品在感知與觀念的協調中進行，而「連續」不僅作為創作工作中的質地，也能在作品上發現可見的形式與可循的蹤跡，並且透過不同作品的交織，發展出意料之外的意義。此質地來自筆者重新觀看與回想2019年至今（2021年）的作品，雖然當時沒有以此為作品核心，但並不是毫無意識，或許也能稱作創作的興趣與直覺。本研究將從筆者作品與此概念的相合之處著手回答，瞭解「形成連續的要件與實踐方法為何？」藉此建立自身創作實踐的檢驗系統。
「連續」先是一種感官上的質地，也是對過程、動勢的反思，接續思考創作行為與作品關係的研究，如同探討著作品的「形成」。研究受到生活中諸多連續的感知啟發，因此引述有關作品與理論，試圖釐清生活中的感知事實、比對創作手法及背後意義。本文根據作品理念與實踐方式解析筆者2019年至2021年間的幾件創作，試圖領略這些作品中，如何蘊含著與「連續的形成」的觀念。除了觀念的歸納，研究中各項作品面對不同問題，顯示連續在作品中以多元的方式顯現。連續既作為創作的觀念又在創作手法上透露端倪，文中加以瞭解幾項材料的使用思考。根據筆者的認知，賦予了材料特定形象的因此影響著使用方式。最後，提到與本文書寫期間同時進行的創作實踐，實踐內容與本文相關聯，藉此期望推動此研究的未來發展。
Abstract
Discussions about “the texture of continuous” arouses a series of thoughts and analyses centered on art practices. Such texture, though obscure, is evident in the materials processed and works created. My work is inseparable from perception, and “continuous” is not just a texture found in my work – it has visible forms and trackable signs, unexpectedly intertwining with other meanings in different works of mine. This texture widely appears in the art pieces I created during 2019 to 2021. Although it was not the core concept of my work at the time, it did not show up unconsciously – perhaps it originated from my interest in artmaking, or from my intuition. Therefore, this study explores “the fundamental elements of continuous as well as the methods to create such texture” through where my works and such concept overlap. In this way, I aim to establish an examination system for my own creative practice.
“Continuous” is first a sensory texture, followed by a reflection on the process and movement. Thinking about the relationship between artmaking and artworks is like exploring how artworks are “formed”. My study was inspired by “continuous” found in daily life, and therefore, by citing relevant artworks and theories, I tried to clarify the essence of perception and compare creative methodologies and the meaning behind them. According to the concepts and methods of my works between 2019 and 2021, this study tried to realize how the continuous formed and contained in my art practices. In addition to the generalization of concepts, each work in the study confronts different issues, showing that continuum manifests itself in multiple ways in these works. “Continuous” is both a concept and a sign disclosing my art approach, so I explained in this essay why I chose certain materials and what they mean in my works. Finally, I also mentioned the creative practices that took place while I was working on this paper, looking forward to further advancing this study.
參考文獻
一、中文書
計成，《園冶》，明，1582-1642，胡天壽譯注，臺北：信實文化，2016。
許慎，《說文解字（大字本）卷六》，徐鉉校訂，北京：中華書局，2017。
二、中譯書
Ackerman, Diane. 《感官之旅》（A Natural History of the Senses），1990，莊安祺譯，臺北：時報文化，2018。
Bachelard, Gasto. 《空間詩學》（La Poétique de l'Espace），1958，龔卓軍、王靜慧譯，臺北：張老師文化，2003。
Baudrillard, Jean. 〈氣氛的結構〉，《物體系》（Le Système des Objets），1968，林志明譯，臺北：麥田出版，2018，頁105-148。
Bergson, Henri. 《時間與自由意志》（Essai sur les données immédiates de la conscience），1889，吳士棟譯，北京：商務印書館，2010。
Buchloh, Benjamin H.D. 《新前衛與文化工業：1955年到1975年間歐美藝術評論集》，范景中編，南京：江蘇鳳凰美術，2014。
Burger, Peter. 〈前衛藝術作品〉，《前衛藝術理論》（Theory of the Avant-garde），1974，徐明松、蔡佩君譯，臺北：時報出版，1998，頁71-87。
Gehl, Jan. 《交往與空間》，1971，何人可譯，北京：中國建築工業出版社，2002。
Greenberg, Clement. 〈架上繪畫的危機〉，1948，《藝術與文化》（Art and Culture），張心龍譯，臺北：遠流出版，1993，頁159-162。
Kaprow, Allan. 〈藝術環境的形狀〉，1968，《藝術與生活的模糊分界》（Essays on the Blurring of Art and Life），徐梓寧譯，臺北：遠流，1996，頁139-144。
Krauss, Rosalind. 〈塞拉，一種譯寫〉，《前衛的原創性》（The Originality of the Avant Garde and Other Modernist Myths），1985，連德誠譯，臺北：遠流，1995，頁359-377。
Mirzoeff, Nicholas. 《給眼球世代的觀看指南》（How to See the World），2015，林薇譯，臺北：行人出版，2016。
Mitchell, William J.T. 《圖像何求》（What do pictures want），2005，陳永國、高焓譯，北京：北京大學出版社，2018，頁70。
Plinius Secundus, Gaius. 〈第三十五卷 繪畫、雕刻和建築〉，《自然史》（Historia Naturalis），67-77，李鐵匠譯，上海：三聯書店，2018，頁347-367。
Rosenberg, Harold. 〈繪畫中的行動觀念〉，《藝術品與包裝》（Artworks and Packages），1969，錢正珠、謝東山譯，臺北：遠流出版，1998，頁227-244。
Rosenberg, Harold. 《拆解藝術》(The de-definition of art) ，1972，周麗蓮譯，臺北：遠流，1998。
Virilio, Paul. 《消失的美學》(Esthétique de la disparition)，1980，楊凱麟譯，臺北：楊智文化，2001。
《白立方內外：ARTFORUM當代藝術評論50年》，北京：三聯書店，2017。
〈未來主義〉《現代藝術理論》第一冊（Theories of modern art: a source book by artists and critics），Herschel B. Chipp編，余珊珊譯，臺北：遠流，2004，頁406-445。
三、外文書
Berger, Maurice. et al. Robert Morris: The Mind/ Body Problem. The Solomon R. Guggenheim, 1994.
Boccioni, Umberto, et al. Boccioni’s Materia: A Futurist Masterpiece and the Avant-Garde in Milan and Paris. London: Thames & Hudson, 2004.
Boccioni, Umberto. “Technical Manifesto of Futurist Sculpture.” (La Scultura Futurista.) 11 Apr. 1912, Futurism, The Museum of Modern Art, 1961, pp 129-132.
Boccioni, Umberto. “Writing- What Divides Us from Cubism” Umberto Boccioni, edited by Coen, Ester, The Metropolitan Museum of Art, 1988, pp. 243–48.
Burger, Peter. “The Avant-Gardiste Work of Art.” Theory of the avant-garde, translated by Michael Shaw, Manchester: Manchester University, 1984. pp.55-82.
Foucault, Michel. This Is Not a Pipe. University of California Press, 1983.
Greenberg, Clement. “The Crisis of the Easel Picture” Art and Culture: Critical Essays. Beacon Press, 1984, pp.154-157
Heering, Peter. “The Enlightened Microscope: Re-Enactment and Analysis of Projections with Eighteenth-Century Solar Microscopes.” The British Journal for the History of Science, Cambridge University Press, 2008, pp345-367.
Monte, James, and Tucker, Marcia. Anti-Illusion: Procedures/ Materials. Witney Museum of American Art, 1969.
Morris, Robert. Continuous Project Altered Daily. London: The MIT Press. 1993.
Parker, D. H. “The Problem of Aesthetic Form” The Analysis of Art. New Haven, 1926, pp. 31-62.
Rossi, Laura Mattioli. “Boccioni Between Paining and Sculpture.” A Futurist Masterpiece and the European Avant-Garde, London: Thames & Hudson, 2004. pp. 35–43.
Futurism. Edited by Joshua C. Taylor, NY: The Museum of Modern Art, 1961.
四、期刊文章
沈游振，〈論布迪厄的傑出階級與反思社會學〉，《哲學與文化》2003，頁93-120。
韓承靜、蔡介立，〈眼球軌跡記錄－科學學習研究的明日之星〉，《科學教育月刊》310，2008，頁 2-11。
Boccioni, Umberto. “La Scultura Futurista.” 11 Apr. 1912, https://www.gutenberg.org/files/28144/28144-h/28144-h.htm. Accessed 1 June 2020.
Bochner, Mel. “The Serial Attitude.” Artforum, Dec. 1967, pp. 28–33.
Bochner, Mel. “Walls.” Murs, Paris：Centre Georges Pompidou, 1981.
Bear, Liza. “Discussions with Barry Le Va.” Avalanche, no. (Fall 1971), 64-75.
Carrà, Carlo. Russolo, Balla, Severini. “La Pittura Futurista.” 11 Feb. 1911, https://www.gutenberg.org/files/28144/28144-h/28144-h.htm.
Frampton, Hollis. “Eadweard Muybridge: Fragments of a Tesseract.” Artforum, Mar. 1979.
Groys, Boris. “Comrades of Time.” E-flux, 2009, https://www.e-flux.com/journal/11/61345/comrades-of-time/.
Haladyn, Julian Jason. “Empire of boring: The unbearable duration of Andy Warhol’s films.” Kinema: A Journal for Film and Audiovisual Media, 35, 2011, pp. 105- 113.
Heering, Peter. “The Enlightened Microscope: Re-Enactment and Analysis of Projections withEighteenth-Century Solar Microscopes”, The British Journal for the History of Science , Sep., 2008, Vol. 41, No. 3, pp. 345-367
Marinetti, F.T. “The Founding and Manifesto of Futurism.” English Edition, Le Figaro, Feb. 1909.
Marinetti, F.T. “Fondazione e Manifesto Del Futurismo” 20 Feb. 1909, https://www.gutenberg.org/files/28144/28144-h/28144-h.htm.
Marx, Karl. “The Labour-Process and the Process of Producing Surplus-Value.” Capital, Volume I, Progress Publishers, 1887, pp. 127–31.
Morgan, Jayne. “Eadweard Muybridge and W. S. Playfair.” History of Photography, vol. 23, no. 3, Sept. 1999, pp. 225–31.
Morris, Robert. “Anti-Form.” Artforum 6, no. 8 (April 1968), 1968z, pp. 33-35.
Morris, Robert. “Notes on Sculpture Part 1.” Artforum, 4, no. 6 (February 1966), 1966, pp. 42-46.
Morris, Robert. “Notes on Sculpture Part 2.” Artforum, 5, no. 2 (October 1966), 1966, pp. 20-23.
Morris, Robert. “Notes on Sculpture Part 3: Notes and Nonsequiturs.” Artforum, 5, no. 10 (summer 1967), 1967, pp. 21-29.
Morris, Robert. “Notes on Sculpture Part 4: Beyond Object.” Artforum, 7, no. 8 (April 1969), 1969, pp. 50-54.
Morris, Robert. “Some Notes on the Phenomenology of Making: The Search for the Motivated.” Artforum, 4, no. 8 (April 1970), 1970, pp. 62–66.
Serra, Richard. “Rigging.” Cover, Jan. 1980.
Wood, Catherine. “Spirit Movies: The Art of Simone Forti.” Artforum, Jan. 2015.
五、電子資源
國立故宮博物院《說古地圖》展覽網頁，展期23 Apr. - 22 July 2021，https://theme.npm.edu.tw/exh110/AncientMaps/. 30 Apr. 2021瀏覽。
線上韋氏辭典，https://www.merriam-webster.com/dictionary。
“Eva Hesse's spontaneous artistic process”, San Francisco Museum of Modern Art, https://www.sfmoma.org/watch/eva-hesses-spontaneous-artistic-process/. Accessed 18 Apr. 2021.
“Simone Forti. Dance Constructions.” The Museum of Modern Art, 1961, https://www.moma.org/learn/moma_learning/simone-forti-dance-constructions-1961/. Accessed 29 Jan. 2021.
“Simone Forti. Thinking with the Body: A Retrospective in Motion.” The Museum der Moderne Salzburg, 2014, https://www.museumdermoderne.at/en/exhibitions-events/detail/simone-forti-thinking-with-the-body-a-retrospective-in-motion/. Accessed 29 Jan. 2021.
Bernard Tschumi Architects (伯納德．屈米建築事務所), http://www.tschumi.com/.
Fondation Le Corbusier (勒．柯比意基金會), http://www.fondationlecorbusier.fr/.
Westerman, Jonah. “Robert Morris, Tate Gallery 1971; Bodyspacemotionthings, Tate Modern 2009” Performance at Tate: Into the Space of Art, Tate Research Publication, 2016, https://www.tate.org.uk/research/publications/performance-at-tate/perspectives/robert-morris. Accessed 28 Jan. 2021.