2018 台灣藝術史研究學會年會暨學術研討會
徵稿啟事｜
會議日期_ 2017/3/24(六) – 25(日)
會議地點_ 國立臺灣師範大學
截止日期_ 即日起至 2017/12/15(五)止
主辦單位｜台灣藝術史研究學會
合辦單位｜朱銘美術館、國立臺灣師範大學美術學系
協辦單位｜國立臺灣藝術大學人文學院
會議主題｜
一、大會主題:藝術ㄐㄧㄝˋˇ嚴
1949 年 5 月 19 日臺灣戒嚴,全面遭受綑綁;1987 年 7 月 15 日解嚴,又煞然鬆解。臺灣社會受到影響長達 38 年又 56 天,對藝術的衝擊有多少?答案是:和其他領域一樣,巨大而深遠。解嚴也是臺灣藝術全面介入社會的重要時間點,臺灣藝術史的書寫因此必須重新翻開新的一頁來另立篇章。「讓藝術歸藝術,讓政治歸政治」似乎是過去「自我戒嚴」的藉口,後解嚴時代,臺灣藝術工作者積極投入文化改造工程。藝術創作活動雖標榜擁抱自由精神,解嚴前,卻是仍然存在各種意識型態,政治的、道德的、性別的禁忌等等。
例如:1949 年二二八事件烽起,林玉山將日本時代所畫的〈獻馬圖〉裡的日本國旗塗改成中華民國國旗,以免惹禍上身。而父親於二二八受難的廖德政,1951年獲第六屆省展特選第一名的油畫作品《清秋》描繪圍籬裡的一隻雞隻仰望天空,其實是期待政治自由的投射。解嚴後的臺灣藝術,延續現代與後現代主義批判、反中心精神,如猛虎出柙一般,狂野而肆無忌憚,一如我們民間常用的字眼:「生猛」。1987 年第一屆增額立委朱高正於國會揮出第一拳,楊茂林以「遊戲行為」系列做了「及時報導」。
2016 年元月於回顧展說明:「楊茂林將之融入在遊戲行為,發展出衝撞年代的本土圖像群,將現實中的鬥爭暴力予以奇觀化,畫面整體釋放難以抵禦的巨大能量。」,另外「MADE IN TAIWAN 政治篇」則是受到前述三月學運和「反軍人干政大遊行」的激發。這些創作,露骨而直接,但無須擔心任何秋後算帳,藝術禁忌直接解除。另一位藝術家梅丁衍,以極高的政治敏感度與藝術詮釋力,透過物件裝置反映符號與政治的反諷荒謬關係。兩位國家文藝獎得主陳界仁與吳瑪俐,以及威尼斯雙年展臺灣館藝術家吳天章,分別以不同角度省思台灣歷史命運,均是後解嚴時期以藝術積極介入社會的典型。
三十而立,臺灣藝術解嚴三十年可以獨立站起來了嗎?臺灣藝術仍是禁忌嗎?如果臺灣社會的藝術解放了,我們感到自由思考與書寫了嗎?如何「後故前瞻」?本次研討會,我們歡迎各界圍繞這個主題探討臺灣藝術的方方面面。
二、一般議題:臺灣藝術 \ 美術中的人、事、物
一般議題開放,不限任何藝術主題。
三、附加主題(與朱銘美術館合作):造像/破像—論臺灣雕塑發展
1950 年代開始臺灣的現代藝術發展,將藝術的探討純粹化,迴避著政治敏感的議題。對一向處於藝術邊緣的雕塑而言,1980 年初公共空間的雕塑以「景觀」企圖取代政治性強烈的人物塑像。在雕塑抽象化的過程中,符號的象徵意義時常被國家文化意識所操作,1987年前後最著名的莫過於 1985 年李再鈐的作品〈低限的無限〉於北美館展出時的「紅色事件」。
「規圓景以定環,攄神思而造像。」造像源自於對某個特定事物的崇拜,破像除了打破「像」的實體外,也象徵破除了某種現實、權力或神聖性。「造像/破像:論臺灣雕塑發展」藉著這次研討會,希望能夠重新爬梳臺灣戒解嚴前後雕塑發展的變化,無論是雕塑的造型、媒材或空間性,是雕塑語彙的崩解還是重建?戰後省展就存在著寫實與抽象的爭議,當時討論的核心是什麼?從偉人像到公共藝術,雕塑的本質發生了甚麼樣的變化?在不同的空間場域,雕塑的樣貌是否能夠精確反映大眾的集體性的審查,還是只是單方面權力操控下的產物?
投稿方式｜
一、本會接受中文及英文稿件,敬請備齊下列資料將電子檔寄至 twahaservice@gmail.com 電子信箱(主旨為「2018 台灣藝術史研究學會年會暨學術研討會」投稿論文摘要):
(一)投稿申請表一份(檔案名稱格式:投稿者申請表_您的全名),見附件一;
(二)論文摘要(檔案名稱格式:論文摘要全名_您的全名),見附件二,註:電子檔以Windows Word 版本為原則,收到本單位電子郵件回覆函,即完成申請手續,未收到回覆請來電確認。
二、建議論文摘要包括:問題意識或重要性、研究方法或設計、研究發現、預期結論或建議之說明、五個關鍵詞為原則。中文摘要以 500-1000 字為原則,英文摘要以 300 字為原則。
三、論文摘要截止日:即日起至 2017 年 12 月 15 日止。
四、審查方式:本會送請學者專家進行論文摘要審查,通過後始予發表。審查結果將於 2017年 12 月 20 日於台灣藝術史研究學會臉書專頁公告,並以電子郵件通知投稿者。
五、論文全文截止日:與會論文得以中文或英文撰寫,論文字數中文以 8,000 至 12,000 字為原則,英文則以 6,000 至 9,000 字為原則。論文撰稿體例以 APA、MLA 為主,體例引用須前後一致。論文摘要通過審查者請於 2018 年 2 月 28 日前繳交論文全文電子檔,論文全文不得為已出版者,文責自負,本會不額外提供稿酬。
六、聯絡人:台灣藝術史研究學會 執行秘書徐小姐,電話:(02)22722181 分機 2704,電子郵件:twahaservice@gmail.com。
七、研討會會議網址:臺灣藝術史研究學會臉書專頁
八、研討會徵稿資料下載:https://goo.gl/u46aes (內含徵稿啟事及徵稿表格)
註:本會保有更動的權利,如有變動將另行通知。
2018 Taiwan Art History Association Annual Meeting and Academic Seminar
【A Notice Inviting Contributions】
- Organizer:Taiwan Art History Association
- Joint Organizer:Juming Museum, National Taiwan Normal University, Department of Fine Arts
- Co-Organizers:National Taiwan University of the Arts, College of Humanities
- Time of Meeting:2018/ 3/ 24(Sat)- 25(Sun)
- Place of Meeting:National Taiwan Normal University
I. Theme of Seminar
2018 Theme of Taiwan Art History Association Annual Meeting and Academic Seminar is as follow:
A. Main Topic: The imposing and lifting of martial law in art
The government of Taiwan announced the imposing of martial law on May 19, 1949, where the whole country was restrained; then all of a sudden everything was loosened, liberated when the government lifted the martial law on July 15, 1987. The martial law had affected Taiwan’s society for thirty-eight years and fifty-six days, can one imagine the amount of impact was put on art? The answer is: the impact was deep and enormous, which was the same for any other field. The ending of martial law was also an important time point for Taiwan’s art to be fully involved in society. It was a turning point for Taiwan’s art history, where it must open a new page to start a new chapter.
“Let art be art and politics be politics” seems to be an excuse for “self-imposing of martial law” in the past. After ending the declaration of martial law, Taiwanese artists became actively engaged in cultural renovation projects. Even though, the activity for art creation approves and embraces free spirit, the ideology of politic, moral, and gender, etc. taboos still exists before the lifting of martial law.
For example: After the 228 incident in 1949, the Taiwanese artist Lin Yu-Shan (林玉山) changed the Japanese flag into the flag of the Republic of China in his painting Handing over Horses (獻馬), to avoid any troubles. Liao De-Zheng (廖德政), whose father was a victim in the 228 incident, received first prize of the sixth Provincial Exhibition in 1951, with his oil painting Clear Autumn (清秋) portraying a chicken that was kept within a fence looking up towards the sky, which intends the reflection of the hope for political freedom.
The art of Taiwan after the ending of martial law, continued the spirit of Modernism and Postmodernism, the criticism for anti-center, like a fierce tiger being let out of a cage, wild and without the slightest scruple, like the words often used among the people: “full of life and violent” (生猛). Ju Gao-Zheng (朱高正), one of the first supplementary legislative elected members, threw out the first punch in congress in 1987, where Yang Mao-Lin (楊茂林) proposed his series of paintings “Behavior of Game Playing” as a “live news” of this action.
In Yang Mao-Lin’s retrospective exhibition in January, 2016, it was explained that “Yang Mao-Lin had integrated the idea into his work Behavior of Game Playing, to develop a local group image of the era of conflict, to creating spectacles of the real life violent struggles, to release the overall image of the hard-resisting large energy.” Also, his work “MADE IN TAIWAN Politic Chapter” was inspired by the March student movement that was mentioned previously, and the “Anti-military interference of politics parade”.
These art creations are explicit and straight forward, but needs no worries in getting into trouble, since the taboos in art had been removed. Another artist, Mei Ding-Yan (梅丁衍), uses highly political sensitive and artistic interpretation force, to reflect the ridiculous relationship between signs and politics through installations. Two National Culture Arts Award winners, Chen Jie-Ren (陳界仁) and Wu Ma-Li(吳瑪俐), and the artist of the Taiwan Pavilions of the Venice Biennale, Wu Tien-Chang (吳天章), all uses different aspects in thinking about the faith of the History of Taiwan, they are all also classic examples of artists who actively engages in society through art after the lifting of martial laws.
To stand firm at the age of thirty (三十而立), it has been thirty years since lifting the martial law of Taiwan arts, is it now able to stand independently? Are there still taboos in art in Taiwan? If art has been liberated in Taiwan’s society, do we feel free to think and write unrestrainedly? How do we “review and prospect”? We welcome all people from different fields to discuss and talk about different aspects of the art in Taiwan in regarding this topic.
B. General Topic: The Who, Where, What of Art in Taiwan The general topic is open to any artistic themes.
C. Attached Topic(Cooperate with Juming Museum): Construct/ Deconstruct Statues: Discussion of the development of sculpture in Taiwan The development of modern art in Taiwan began in the 1950s, where the discussions for art was simplified and purified to avoid sensitive issues regarding politics. For sculpture, which had always been placed at the outskirt of art, it was placed in public spaces as “landscape” in attempt to replace the political appealing figure sculpture in the early 1980s. Within the process of sculpture abstraction, the symbolic meaning of symbols is often operated by the national cultural awareness; the most famous incident that happened around 1987, was the “red incident” in 1985, when Lee Zai-Qian (李再鈐) displayed his work “Infinity of the Lowest Limit” at the Taipei Fine Arts Museum.
“The conditions in making a jade bracelet is the complete regulations, to construct a figure is to disperse the thought of god.” The constructing of sculptures deprives from the worship in something particular, deconstruction not only means breaking the physical “figure”, but also symbolizes the removal of a certain reality, power, or sanctity. Through this topic “Construct/ Deconstruct Statues: Discussion of the development of sculpture in Taiwan” within this seminar, we hope to sort out the changes in the development of sculpture before and after the lifting of martial law in Taiwan.
The changes in modeling, media or dimension of sculpture, is the disintegration or reconstruction of sculpture vocabulary? The controversy between realistic and abstract had existed within the Provincial Exhibition since after the war, what was the core discussion of the time? From statues of great men to public art, what are the changes of the nature of sculpture? Within different space field, can the appearance of sculptures accurately reflect the collective review of the public, or is it only a product of under the control of unilateral power?
II. Submissions
A. The association accepts papers in Chinese and English. Please make sure to prepare all materials listed below and e-mail it to twahaservice@gmail.com (Subject as: “2018 Taiwan Art History Association Annual Meeting and Academic Seminar” Submitting Thesis Abstract):
i. Submission application form (format of file name: Application of Contributor_ your full name), see attachment 1;
ii. Thesis abstract (format of file name: Full title of thesis abstract_ your full name), see attachment 2, note: as the principle, please use Windows Word version, the application procedure is complete when you receive a replied e-mail, please call to confirm if you do not receive it.
B. In advice, the thesis abstract should include: descriptions of problem awareness or the importance of research methods or design, research findings, expected conclusions or recommendations, five key words in principle. Chinese abstract is based on the principle of 500-1000 words, English abstract is based on the principle of 300 words.
C. Deadline for thesis abstract: from today till December 15, 2017.
D. Review procedure: the association will ask scholar experts to review the abstracts, and will be published after passing the review. The results will be posted on the Taiwan Art History Association Facebook page on December 20, 2017, and will also send an e-mail to inform the contributor.
E. Deadline for full thesis paper: the paper can be written in Chinese or English, in principle the number of characters for Chinese thesis is between 8000 to 12000, for English thesis 6000 to 9000 words. Please use the APA, MLA format in writing your thesis, make sure the format in reference is consistent. The thesis abstracts that passed the review, please submit a soft copy of the full paper before February 28, 2018. The thesis paper should not had been published before, the contributor is responsible for his/her own paper, the association will not provide additional remuneration.
F. Contact information: Taiwan Art History Association Executive Secretary Ms. Hsu, office:(02)22722181 #2704 e-mail: twahaservice@gmail.com
G. Website of seminar: https://www.facebook.com/TaiwanArtHistoryAssociation/ (Taiwan Art History Association Facebook page)
H. Download materials for seminar submission: https://goo.gl/u46aes(contains contribution notice and form)
Note: The association reserves the right in making changes, there will not be changes until further notice.