扁平中的皺摺——當代藝術中的東瀛女性形象轉向

Abstract

亞洲、女性、藝術，在當代藝術領域中是否有其特殊的交集領域？因接受西方訊息較早，日本的各式女性主義在1868年明治維新期間已啓動。隨現代化進程，真正具理論的女性主義藝術，則要等到1990年代以後才出現。自1990年代至2020年代，當代藝術中的東瀛女性自我形象轉向，成為亞洲女性藝術運動中的一個經典引例。這些不同生命處境的個體藝術家如何分別呈現亞洲女性藝術家的集體社會處境？其作品是否具有亞洲性或日本性的代表特質？她們又以那些美學呈現而受到國際矚目？從國際展中的東瀛性別意識、流行文化中的他者滿足形象、少女哪吒的投射世界、賽柏格式的神魔身體想像這四個區塊觀察，日本女性的身體能量之自覺與開發，在個人與群體意識上，均提供了強烈的傳統與現代之衝突，並在物語與靈幻的文化體系中，長出具異質的、多重性的自我形象。本論將從國際雙年展之參與脈絡，與藝術市場中的萌文化、腐文化之品味，提出日本女性藝術中的身體能量轉換，以及在消費文化、物化世界、後女性主義、虛擬本體論中所佔的位置，與其年代上的外延影響。  From the 1990s to the 2020s, the self-image of Japanese women in contemporary art became significant in Asian women’s art movements. How do individual artists from different life situations present collective social situations? Do those related artworks have representative qualities of Asian or Japanese characteristics in their time? What aesthetics have they brought to international attention? Observed from the following four blocks: 1) gender consciousness in international exhibitions; 2) the images of other-satisfaction in popular culture; 3) the reflecting worlds of the maiden Nezha; and 4) the digital imagining of the body of the god and demon，they all reveal that the realization and development of their bodily energy , and provide a strong conflict between tradition and modernity in terms of individual and group consciousness. In the traditional Japanese monologue and spiritual cultural system, figurations of Japanese women gradually develop a heterogeneous and multiplicity of self-image in the art world. Using the above four aspects, this paper will examine the transformation of bodily energy in Japanese women’s art from the context of participation in the International Biennale, the cute culture in the art market, and the taste of rotten culture. Through its position in consumer culture, materialized world, post-feminism, and virtual ontology, it will explore the transformation of the Japanese female figure in contemporary art and its extended influence on the era.