想/ 像的雙面繆思：蘇菲．卡勒的《真實故事》;The Dual Muse of the Imagination: Sophie Calle's True Stories

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Title:	想/ 像的雙面繆思：蘇菲．卡勒的《真實故事》;The Dual Muse of the Imagination: Sophie Calle's True Stories
Authors:	莊憶萱;JHUANG,Yi-Syuan
Contributors:	藝術學研究所
Keywords:	自傳性;蘇菲．卡勒;相片－文本;電視－真相;藝術家的書;互文性;photo-text;autobiographical;Sophie Calle;intertextuality;tele-reality;artist's book
Date:	2012-06-21
Issue Date:	2012-09-11 17:55:00 (UTC+8)
Publisher:	國立中央大學
Abstract:	蘇菲．卡勒自1978年起創作的《自傳》系列，在1994年由南方行動出版社彙編名為《真實故事》的小書，共收錄26則短篇故事，並逐年增補或因應特殊的展覽或獲獎機會衍生為相關的出版品。不同於藝術機構內觀賞原件作品的場域，本論文立基《真實故事》出版品上，衍生以下的研究動機：究竟它是否能像一般讀物等同於作品自身？它產生的脈絡為何？原自記事本的《自傳》系列與《真實故事》是固定以一組圖文相對的主題故事置於對開頁中，故事之間的順序沒有時序關係，左右對開頁成為貫穿作品的「雙面形式」，卻不同於典型的插畫書，圖文之間相互依存，缺一不可，進而引發本論文深入探究、分析與詮釋這種相片－文本作品的脈絡與其內涵。首章，回溯《真實故事》具有當代藝術家的書本性。1960到70年代隨著藝術對於記錄作品自身之展演過程的需要，以及攝影爭取自身是藝術的地位，推進檔案型態作品的發展，有些藝術家則選擇書本為作品載體，採納大眾文化的普羅讀物形式，與工業大量印刷與平價的現成品，期待與藝術機構不同的觀眾群，以及自身不斷擴充定義的複雜性，企圖翻轉藝術原件的概念。次章，透過文本的敘事分析，圖文互相參照的方式蘊含有新聞報導的接收模式，經由第一人稱為發話者引入帶有主體親身經歷的感受，藉此營造作品的自傳性，意圖融合彼此衝突的「真實」與「故事」。然而，讀者在後製的影像連帶的時間落差，以及敘事者自嘲的說詞中，有時又會產生疑惑，突顯圖文間不穩定的關係。末章討論持續再版的《真實故事》記錄下與作者並行的生命痕跡，繁衍為作品自身的厚度。當作品進入特定的場域時，作者也將《真實故事》融入他人的故事，形成多重視域與歧聲的文本。總結來看，《真實故事》展現出卡勒的創作具有影像與文本並行的雙重性格，進而開啟觀者的雙重視野：從書頁中圖文並置的雙面形式，再到讀者個人透過閱讀抗拒影像而誘發的思維；從文字質疑影像索引的實在世界，到相片推翻了文字報導的事件；重新還原被描繪之客體與創作主體之間，一邊看一邊想的機制，產生介於兩者之間不穩定的接收狀態，使得觀者需要來回參照，例示這些故事在「想」「像」之間的雙面繆思。From 1978 Sophie Calle created the series of Les Autobiographies which was published in a small-format book, entitled Des histories vraies (True Stories) by Actes Sud in 1994. The book comprised of 26 short stories. At the same time Des histories vraies were displayed in two separate panels on the wall in Sollertis Gallery in Toulouse. Through the passage of time, it has been re-edited, and has evolved to different designs for the special exhibitions or on the occasions of receiving awards. My thesis focuses on the publication of Des histories vraies and addresses the following questions: what is its context? Could it be the work of art by itself? Deriving from notebooks, Les Autobiographies and Des histories vraies always present one image facing one text on double-sided pages (recto-verso) independently, and the stories are not arranged in the chronological order. As a result, the double-sided pages become the typical characteristic of the work, but this book form does not resemble illustrated books. The image and the text cannot be separated from each other, so my thesis aims to analyze and interpret the context and meanings of this photo-text work.In the first chapter, I explore the nature of contemporary artist’s books. From the 1960s to the 1970s, Conceptual and Fluxus artists searched for a proper method to document the process of the Happenings and the performance work. At the same time, photography demanded to be considered as art too, and this led to the development of art in the form of document. Some artists started to choose the book as a carrier of works, and adopted the form of popular publications and the ready-made of industrial reproductions at affordable prices to reach different readers. In the second chapter, I apply narratology to analyze the reception of the photo-text which implicates popular magazines or the television news (tele-reality). Especially through the first-person narration, the text helps to bring about a witness’s subjective experience, self-representation, and memory. The first-person narration compromises “truth” and “stories” which could contradict each other. However there is always a gap in the time during the post production of the photos and the use of self-mocking words make readers confused and underline the unstable relation in the photo-text. As Des histories vraies was re-edited and added stories, the author’s journey of life was unfolded. In the last chapter I discuss the evolution of the work as a site-specific exhibition in the Sigmund Freud Museum, Appointment with Freud. This project presented double visions and polyphonic narrations through the integration of different people’s life stories.In conclusion, Des histories vraies sets an example of the dual nature in photo-text which characterizes Calle’s works and opens the reader’s double visions: one image facing one text in double-sided pages may induce the reader’s personal thinking which reverses the visual convention. Words question the reality constituted by the indexicality in photographs. Due to the duality in Des histories vraies I interpret the photo-text narration as the disposition of camera lucida which the artist sees both the scene and drawing surface simultaneously and which the artist needs comparing its dual imaging between the real and the representation of the object. In other words, Des histories vraies in the double-sided pages can provide us the dual muse which realizes the imagination of the photo-text stories.
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