摘要
通过对摄影作品的影像分析以及对艺术家侯淑姿的创作历程进行回溯,我们考察了对照片原作进行负片化处理、影像叠加文字的形式如何在纪实摄影的真实基础上引入观念摄影的美学实验,以"阅读图像"和"观看文本"的并置来实现作者批判视角的植入和叙事空间的开启。回顾侯淑姿20余年的创作经历,其视角延伸到眷村地景暗含了对时下眷村改建政策的批判姿态;以摄影来强有力地介入社会议题延续着艺术家对台湾不同族群在历史偶然性之下的文化身份投射一以贯之的关注。作品的独特之处在于挖掘家园与移民之间的张力,以文化错位和边界穿梭来实现想象力的返乡。
Based on a detailed photographic analysis and a retrospective view on artistic creation, this paper mainly investi- gates how the aesthetic experiment of conceptual photography has been introduced into documentary photography by either the processing of the negative or the practice of ＂ photo-text＂. Consequently, the juxtaposition of ＂ image and text＂ has ful- filled the transplantation of a critical perspective and the opening up of fresh narrative space. A review of Lulu Shur-TzyHou＇s photographic journey reveals that her works criticize the official policy of the radical demolition of Taiwan Residents Veterans＇ Villages, a policy that destroys the homeland of immigrants from China's Mainland to Taiwan during the great mi- gration in 1949. This aesthetic ingenuity brings to the fore the controversial urban issues in contemporary Taiwan Residents society, continuing her major concerns with cultural dislocation and identification anxiety of different Taiwan Residents ethnicities. The u- niqueness of this series of photographic works demonstrates the tension between immigration and homeland, which fulfills the homecoming odyssey by a boundary crossing in imagination.
出处
《美育学刊》
2014年第4期32-37,共6页
Journal of Aesthetic Education
关键词
台湾摄影
当代艺术
侯淑姿
左营眷村
Taiwan Residents photography
contemporary Aat
Lulu Shur-TzyHou
Zuoying Navy Villages
