當代藝術的動漫語境——以陳擎耀與陳怡潔作品為例;Contemporary Art in the Context of Animation / Comics: A Study in the Works by Chen Ching-Yao and Chen Yi-Chieh

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题名:	當代藝術的動漫語境——以陳擎耀與陳怡潔作品為例;Contemporary Art in the Context of Animation / Comics: A Study in the Works by Chen Ching-Yao and Chen Yi-Chieh
作者:	彭靖婷;Peng, Jing-Ting
贡献者:	藝術學研究所
关键词:	動漫語境;當代藝術;陳擎耀;陳怡潔;臺灣動漫美學;符號;制服少女;惡搞;資料庫;資料視覺化;抽象肖像;animation / comics context;contemporary art;Chen Ching-Yao;Chen Yi-Chieh;Taiwanese Animamix;symbol;uniform girls;KUSO;database;data visualization;abstract portraits
日期:	2024-07-11
上传时间:	2024-10-09 17:29:33 (UTC+8)
出版者:	國立中央大學
摘要:	過去如1990年代末日本村上隆的「超扁平」宣言，及臺灣陸蓉之於2000年初期的「動漫美學」，試圖為帶有動漫元素的藝術作品定義「正統性」的美學。然而，這類策展僅限於日本動漫角色的片面形式，忽略了動漫媒介的豐富敘事及美學，致使藝術作品的深刻意涵無法完全顯現。動漫與藝術的連結不應僅限於形式風格的細緻性，而應包括藝術家如何透過動漫語境來為大眾提供作品閱讀的豐富性。因此，本文試圖深入討論動漫符號的藝術表現及其意涵，並通過研究藝術家陳擎耀「寫實」與陳怡潔「抽象」的藝術手法，描述二者如何利用動漫元素反映我們對社會與文化的認知，並細膩地將媚俗的動漫藝術融入藝術世界，讓作品超越「動漫美學」的框架，為動漫語境的當代藝術提供新的閱讀視角。本文共分為三章。第一章梳理臺灣動漫的歷史，概括1980至90年代藝術家陳擎耀和陳怡潔在動漫文化中成長的動漫歷史背景，接著探討2000年至2014年藝評家陸蓉之提出的「動漫美學」及相關展覽，透過其策展論述，描繪臺灣動漫美學的初始輪廓及其挑戰。第二章梳理陳擎耀「AK47少女」系列作品的製作，討論其個人創作脈絡及圖像分析。2015年發表的「AK47少女」系列運用「制服少女」和「戰鬥少女」符號，繪畫手法則模仿蘇俄「社會寫實主義」宣傳畫，讓寫實的年輕少女帶有動漫中的性感姿態，並在不同展場中與日治時期藝術家林玉山與陳進的戰爭作品相互映照，讓觀眾聯想臺灣的歷史及政治經驗。進一步，本論文探討「制服少女」的多種文化符旨，以羅蘭．巴特的「神話學」討論動漫符號如何成為神話，透過符號重新置換，擴大「AK47少女」對於「政治」、「規訓」、「消費文化」與「女體觀看」等討論。第三章梳理陳怡潔「函數色彩」作品概念，並著重2010年網路社群參與的《圈圈島》系列作品的創作歷程與概念，陳怡潔用抽象、跨媒材方式探討動漫角色的色彩資訊，以色彩同心圓做為角色的抽象肖像，這手法讓觀眾聯想到幾何抽象，整齊排列的肖像景觀又帶有普普藝術的視覺相似度，此抽象手法消除了動漫美學強調的「敘事性格」，此外，陳怡潔結合數位藝術的「資料庫」和「資料視覺化」手法，讓「函數色彩」展示了女性角色的色彩形象和動漫色彩的編年史。;In the past, Takashi Murakami′s "Superflat" manifesto in late 1990s Japan and Lu Yung-Chih′s "Animamix" in early 2000s Taiwan attempted to define the "orthodoxy" of aesthetics for art works incorporating animation / comics elements. However, these curations were limited to superficial forms of Japanese animation / comics characters, neglecting the rich narratives and aesthetics of the animation / comics medium, resulting in the profound meanings of the artworks not being fully revealed. The connection between animation / comics and art should not be confined to the refinement of formal styles but should include how artists use the animation / comics context to provide rich interpretations of their works for the public. This thesis attempts to delve into the artistic expressions and meanings of animation / comics symbols and, through studying the realistic art techniques of artist Chen Ching-Yao and the "abstract" technique of artist Chen Yi-Chieh, describe how they use anime elements to reflect our understanding of society and culture. By intricately integrating kitsch animation / comics art into the art world, the works transcend the framework of "Animamix," providing new perspectives for contemporary art within the animation / comics context. This thesis is divided into three chapters. The first chapter reviews the history of Taiwanese animation / comics, summarizing the animation / comics cultural background in which artists Chen Ching-Yao and Chen Yi-Chieh grew up during the 1980s and 90s. It then explores the "Animamix" proposed by art critic Lu Yung-Chih and related exhibitions from 2000 to 2014, outlining the initial contours and challenges of Taiwanese "Animamix" through her curatorial discourse. The second chapter reviews the production of Chen Ching-Yao’s "AK47 Girl" series, discussing his personal creative context and analyzing his pictorial imagery. The "AK47 Girl" series, exhibited in 2015, uses the symbols of "uniform girl" and "combat girl," with painting techniques mimicking Soviet "socialist realist" propaganda paintings. These realistic young girls are depicted with sexy poses from animation / comics, juxtaposed in different exhibitions with war-themed works by Japanese colonial period artists Lin Yu-Shan and Chen Chin, allowing viewers to associate Taiwan′s historical and political experiences. Furthermore, the thesis explores the various cultural significances of the "uniform girl" and, using Roland Barthes′ "Mythologies," discusses how animation / comics symbols become myths, expanding the "AK47 Girl" discussions on "politics," "discipline," "consumer culture," and "gaze on the female body" through symbolic replacement. The third chapter reviews the concept of Chen Yi-Chieh′s "Function Color" works, focusing on the creative process and concept of the 2010 online community-participated "Circle Island" series. Chen Yi-Chieh explores the color information of animation / comics characters using abstract, cross-media methods. Using color concentric circles as abstract portraits of characters, this approach reminds viewers of geometric abstraction, and the neatly arranged portrait format also visually resembles pop art. This abstract method eliminates the "narrative character" emphasized by "Animamix". Additionally, Chen Yi-Chieh combines the "database" and "data visualization" techniques of digital art, displaying the color images of female characters and the chronology of animation / comics colors in "Function Color."
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