系譜匱缺下的撿拾與拼湊—臺灣錄像藝術發展研究之困境
Authors: 洪鈞元 洪鈞元 
Published: September 2023

<p>臺灣的錄像藝術發展由1980年代肇始至今逾40年，2015年學者孫松榮、王柏偉等人，透過完整而細膩的田調訪查與文獻整理，完成「啟視錄：臺灣錄像藝術創世紀1983-1999」之研究及展覽，建構出臺灣錄像藝初期發展的研究基礎。此外，洪鈞元的《臺灣錄像藝術的場域變遷&mdash;《啟視錄》研究之後》（2021）博士論文研究，則承接前述範疇，補充1980年代中晚期部分內容，並初步梳理2000-2020年臺灣錄像藝術的場域變遷。就此看來，雖然臺灣錄像藝術的發展研究已具備階段性雛形，但筆者認為臺灣相關文獻的有限篇幅中，整體的史觀脈絡仍舊過於零碎，無論在研究的史料搭建與認識論的對位上，皆需要更深入的組織與探究。錄像藝術剛引進臺灣的前十到廿年之間，盧明德、郭挹芬、王俊傑、袁廣鳴、陳永賢等人，都是身兼創作者與研究者。從自身的創作實踐、策展研究到教育推廣皆積極推進，在臺灣錄像藝術發展初期占有重要分量。時至今日，錄像藝術已成為一種普遍而常見的創作型態，但筆者觀察出一特殊現象，近年關於臺灣錄像藝術相關研究成果多為學者所進行的分析與論述，形成理論學者與藝術創作者的明顯分家。此外，也因為整體發展歷程的檔案資料缺乏，我們對於臺灣自身錄像藝術的史觀意識理解有限。事實上，對於自身史觀理解上的斷裂，與此論題的文獻檔案過於鬆散、相關檢索系統缺乏具體建置邏輯，而產生研究上的困境息息相關。有鑑於此，本文的研究方法與論述架構將針對「史觀組織」、「研究取樣」以及「認識論」的三種面向，進行臺灣錄像藝術發展研究困境的探討，並說明三大面向之間的循環關係，進而提出未來的研究對策，以及具備研究成效與系統架構的「臺灣錄像藝術資料庫」搭建之可能方法。</p>
<p>&nbsp;</p><p>The development of video art in Taiwan spans nearly four decades of history since its inception in the 1980s. In 2015, Song-Yong Sing, Bo-Wei Wang, and other scholars completed a study and exhibition entitled REWIND_Video Art in Taiwan, based on a holistic and meticulous field survey and literature review, establishing the foundations of future research on the initial development of video art in Taiwan. In 2021, the Ph.D. dissertation &ldquo;The Transitioning Fields of Video Art in Taiwan&mdash;After the Study of REWIND,&rdquo; which followed up on the study of REWIND, added new details from the mid to late 1980s, and provided a preliminary summary of field transitions in the development of video art in Taiwan from 2000 to 2020. Although research on the development of video art in Taiwan has so far produced certain rudimentary results, the author consciously recognizes that information concerning the overall historical perspective and context remains excessively fragmentary given the limited amount of related research. Therefore, organization and exploration in greater depth are required regarding the type and scope of research, aesthetic evaluation, and development system. Both areas require more in-depth analysis and exploration. Ming-Te Lu, I-Fen Guo, Jun-Jieh Wang, Goang-Ming Yuan, and Yung-Hsien Chen, among others, were both creators and researchers of video art during the early days when this type of art was first introduced to Taiwan. They all played significant roles in the initial development of video art in Taiwan by actively promoting it through their creations, through their exhibition curation and research, and with their education and advocacy efforts. Although video art exhibitions and presentations have become commonplace in the art field today, the author has observed the following phenomenon in particular. During the early development of video art in Taiwan, senior Taiwanese video artists proposed many personal viewpoints from a researcher&rsquo;s perspective. In contrast, most Taiwanese artists today who create art based on extensive use of videos have focused on the Western context and historical perspectives, before considering how video art has developed in Taiwan. This has diminished their understanding of the origins of video art development in Taiwan to some extent, and has, in turn, resulted in some conceptual misunderstandings. The gaps in the understanding of historical perspectives on video art development in Taiwan are inextricably associated with the overly loose organization of literary documents on this topic and the consequent challenges encountered in this research. In view of this observation, the present study aims to explore challenges in research on the development of video art in Taiwan, with a special focus on three areas, namely, organization of historical perspectives, research sampling, and epistemology. Further, this paper proposes relevant research strategies and highlights the pressing need to create an archive database in the future.</p>
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