當代藝術脈絡中的繪畫位置與意義：以繪畫策展論述分析爲例

The Position and Meaning of Painting in Contemporary Art's Context: A Study on Discourses of Painting Exhibition

10.6793/JNTCA.200810.0059

譚力新(Li-Hsin Tan)

當代繪畫 ； 策展人 ； 藝術理論 ； 繪畫展覽 ； Contemporary Painting ； Curator ； Art theory ； Painting Exhibition

藝術學報

83期（2008 / 10 / 01）

59 - 76

繁體中文

本文希望藉由一些取樣性的當代繪畫策展論述分析，來探討當今繪畫的定位問題。論文將著重於提供新的繪畫實踐觀念論述，藉著影響當代繪畫的四個面向，反思繪畫與藝術史、理論、機制、及其對應倫理的對話，以辯證當代反繪畫的言說。首先，論文將說明展覽與藝術史的關係。其次辯證策展人和當代繪畫展覽的重要機制關係。第三，則是透過五個當代繪畫策展來分析繪畫在新科技媒材衝擊下的時代意義。最後，經過考慮另類現代理論方法的可能性，提供我們一種重新形塑繪畫意涵的認同觀照。

This essay reviews the position and meaning of contemporary painting throughout selected painting exhibitions. Unlike some critical theories against painting, I will argue in this paper that there is a positive relationship between theory and the practice of painting. I address on four impacts of association toward contemporary painting: art history, theory, institutions and ethics. The first section examines the relation between art history and a very moment of art exhibition. Secondly, I dispute the importance role of curator to understanding late modern painting. Third, I will select and analyze some discourses of painting exhibitions to create alternative view of painting in an era of new technology. The concluding section, I propose theoretical strategies for apprehending a broad range of alternative theory, utilizing new critical methodologies to recast painting that engages the ethics and identity.

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