日常的反身與政治—安內‧梅莎潔1970年代藝術實踐; The Everyday Reflection and Politics: Annette Messager’s Artistic Practice in the 1970s

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题名:	日常的反身與政治—安內‧梅莎潔1970年代藝術實踐;The Everyday Reflection and Politics: Annette Messager’s Artistic Practice in the 1970s
作者:	姚建如;Chien-Ju Yao
贡献者:	藝術學研究所
关键词:	法國女性主義;娛嬉;1970年代女性藝術;日常政治;身分;女性氣質;日常;安內•梅莎潔;Annette Messager;everyday;femininity;identity;the politics of everyday life;1970s women's art;playfulness;French feminism
日期:	2010-07-30
上传时间:	2010-12-08 14:12:29 (UTC+8)
出版者:	國立中央大學
摘要:	安內．梅莎潔(Annette Messager, 1943- )自1970年代初出藝壇至今創作不懈，她的作品跨越裝置、文件、攝影、繪畫、雕塑及織物等多元媒材，始終保有新穎的藝術活力，近年來更於世界各地舉行回顧展，成為法國當代舉足輕重的女性藝術家之代表。本論文聚焦在她早期1970年代的作品，主要為《寄宿生》(The Boarders, 1971-72)與《收集冊》(Collection Albums, 1971-1980)，在此兩個重要系列中，梅莎潔捐棄先前學院所教授的傳統藝術途徑，選擇以生活中常見、簡樸的日常素材及形式進行創作，並且在陽剛標準主導的藝術領域中，有意識地投身於與自己切身相關的女性題材，這在1970年代法國與「日常」相關的文化政治，以及同代歐美女性藝術的勃興之脈絡下顯得別具意義。本論文的寫作目的與關注議題，即在於梅莎潔作品中所顯露的「日常性」(everydayness)，亦即再現這些原被歸屬於家庭或私領域的瑣碎日常經驗，其作品虛實建構的特質，以及「女性氣質」(femininity)指涉與身分分化，於進入當時男性中心的藝術體制中所激發的提問與探究中，進一步形塑其1970年代藝術實踐中所蘊含的政治批判能量及個人娛嬉(playful)藝術型態。 Since the early 1970s, Annette Messager (1943- ) has long created works vigorously across multiple mediums such as installation, document, photography, painting, sculpture and hand knitting stuffs. Being a major contemporary French female artist, Messager has recently traveled around the world for her retrospective exhibitions, and received much more attention to her artistic achievements. This thesis will focus on art works that Messager created in the 1970s, mainly on her two representative series: The Boarders (1971-72) and Collection Albums (1971-1980), and illustrate her characteristic approach and the connotation holds within these works. In these works, Messager abandoned the traditional approach favoured by the academic instruction, and chose to use the common materials and object form in everyday life. Most significantly, she consciously dedicates herself to the feminine issues differentiated from masculine art canons. Thus, this thesis aims to address the significance of Annette Messager’s artistic practice in the 1970s by examining under the institutional context of the everyday cultural politics and 1970s women art revolution, for she exposes the daily experiences concerned women’s traditional domestic sphere in an intimate approach and fictional construction with the real fragments in popular life. Then, the thesis will further illustrate her idiosyncratic strategy of the division of identity which suggests helping herself for acquire more flexible expressive space in art establishments and interpret the playfulness within her art works.
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