| 摘要: | 日本當代藝術家森村泰昌（Morimura Yasumasa, 1951－）以諧擬與挪用策略創作自我肖像攝影作品，題材涵蓋藝術史、前衛主義、大眾文化、與歷史等多重面向，同時進行許多跨界展演，在日本或國際藝壇上都極為活躍。本論文以1985－2010年間的藝術家攝影為主，聚焦於《日本美術史》、《藝術史》、《女演員》、《安魂曲－戰場頂點的藝術》等系列作品，探討森村以文化認同的曖昧與選取主題的轉變，映照出自身的日本主體性。 有關森村泰昌的研究，多數以歐美學術論文為主，其中多為異國情調的論述。然而，近年在日本出現許多相關森村的藝評，加上藝術家數量豐碩的著作，成為本論文的書寫基調，意欲證實森村的日本文化積澱，形成滲透作品的種種意象。森村對若冲的諧擬開啟「日本回歸」的肇始，表現東方禪意的美學觀；再者，作品藉由西方的藝術史與大眾文化過渡日本歷經現代化的矛盾，並置前現代性的鄉愁與現代性的脆弱，進而發散日本現代藝術的光譜：前衛美術與反藝術展演。最後，森村以三島由紀夫作為文化載體成就自我的「日本回歸」，也製作致贈20世紀歷史男性的安魂曲。從《藝術史》到《安魂曲－戰場頂點的藝術》為止，觀者可見藝術家由女性轉至男性的多樣扮裝，作品與個人經驗的織絡顯露森村的私領域，因而賦予攝影與藝術家間更為細緻的對話。 從大師名作到歷史人物，森村泰昌探求自我的旅程未曾停歇。透過作品符號的拆解，藝術家的諧擬脫逸西方性別論述的侷限，指涉日本戰後氛圍對生活外在與精神內在的影響，因此，戰後脈絡裡的文化建構也終將表明森村的日本主體。在後現代情境的多重認同裡，本論文認為森村的作品有別以往隱晦的詮釋：表現藝術家更為明晰的定位，透過諧擬的幽默喜感，森村的自我肖像攝影形塑當代與傳統的文化混雜。 Contemporary Japanese photographer Morimura Yasumasa (1951-) creates self-portrait photographs with strategies of parody and appropriation. The motifs in Morimura’s oeuvres contain multiple spheres including history, avant-gardism, popular culture and history etc. Synchronically, Morimura proceeds with various crossover performances interacting between the realms of Japanese and international art. This thesis mainly concentrates on Morimura’s photographs created in the period of 1985-2010, with focuses on the series of “Japanese Art History”, “Art History”, “The Actress”, and “A Requiem: Art on the Top of Battlefield” to discuss the ambiguity of cultural identities and transformation of themes that are reflected in Morimura’s Japanese subjectivity. The majority of literature on Morimura has been from European and American perspectives, much of which are brought forth through the lens of oriental exoticism. However, the grounding tone of this thesis will be the recently emerged Japanese essays on Morimura, as well as the artist’s own prolific writings. This selection of literature aims to affirm the Japanese cultural accumulation for Morimura, which becomes manifold images that inspire his works. Morimura parodies an artwork of Jakuchū to initiate the “return to Japan” and expresses traditional eastern aesthetics of Zen. Moreover, these series of photographs carry the dilemma of modernization in Japan through western art history and popular culture, juxtaposing nostalgia of pre-modernity and vulnerability of modernity, then simultaneously dispersing the spectrum of Japanese modern art: avant-garde art and anti-art performance. Finally, Morimura accomplishes his own “return to Japan” through the cultural carrier of Mishima Yukio, and also composes requiem dedicated to the 20th century historical Men. From “Art History” to “A Requiem: Art on the Top of Battlefield”, spectators perceive diversified masquerades of Morimura from women to men, and the intertwinement of oeuvres with personal experiences reveals the private sphere of Morimura, thus renders a more delicate dialogue between photographs and artist. Morimura never ceases the voyage of exploring himself from masterpieces to historical characters. Through deconstructing the signs of artworks, parodies used by Morimura escape the confines of western gender narratives, indicating the affection of the Japanese with their external life and interior mentality in the post-war atmosphere. Furthermore, the cultural constructions in post-war context ultimately manifest the Japanese subjectivity of Morimura. In the post-modern condition of multiple identities, this thesis argues for a perspective on Morimura that is vastly different from previous obscure interpretations: one that attributes a more lucid position to the artist, where his self-portraits establish hybrids from contemporary and traditional cultures spiced with the comical elements of parody. |
