無遮蔽的鄉痛造形：論臺灣當代生態藝術中的人類世問題

Abstract

保羅．阿登納（Paul Ardenne）在他的生態藝術論述中，反省了「生態藝術」定義上的困難，並視之為一種正在生成的藝術。除了藝術家在自然地景中工作，而成為無遮蔽戶外空間中的「地景藝術」外，在造形上，依據廣義的「鄉痛症」（solastalgia）的線索，而記錄生態危機、譴責人類活動破壞生態的藝術行動，也成為生態藝術的重要特徵。最後，還有以關懷照顧為驅動力的藝術表現，針對不同物種與環境生態的維護與復甦，也屬於當代生態藝術的造形原則。本文在生態記錄式的藝術行為之外，選擇針對「鄉痛症」的生態藝術造形，突顯「人類世」（anthropocene）問題叢結的複雜性，並提出台灣當代生態藝術與河川污染、海岸開發和族群生態文化復振等問題的內在關聯，並指出「當代原民藝術」這個概念的不足，以生態藝術觀點加以補充。  In his statement of ecological art, Paul Ardenne reflects on the difficulties of defining “eco-art” and treats it as a kind of becoming art. Beyond the traditional definition of “eco-art” as artist working in natural landscape and their works become landscape art in the open air, the main characteristic of eco-art and its plasticity, for Ardenne, depends on how it recording the ecological crisis and disputing the ecocidal human activities in responding the clues of soastalgia with artivist form. And finally, in his eco-art thoughts of plastic principle, the artistic expressions of caring and curing of diverse living beings and recovering and sustaining the ecosystem environment are also important eco-art’s feature. After introducing the kind of artistic recording the ecological crisis, this paper aims specifically at the eco-art plasticity of solastalgia for featuring the complicated problematic of Anthropocene. Revealing of the scenario of Taiwan contemporary arts, this paper will also take many eco-art events as examples which focused on river management, coastal area development and renovation of indigenous ecological knowledge including their inner relationships. The last point of this paper will point out the conceptual flaw of “contemporary indigenous art” for it needs the complementary pairing of the concept “ecological art”.