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ABSTRACT
This article will examine Wang Gongxin's and Zhang Peili's moving-image installations, critically reviewing their relationships with spaces they inhabit and are inhabited by as a dominant issue in these works. I argue that both artists are globally engaged and art-historically informed agent, fully aware of the complexity of their living spaces in their transcultural and historical entanglements and therefore that these artworks are constituted by interrogations of art's critical capacities. Wang and Zhang seem to scrutinize and compare the critical potential of a representational understanding of art that places its emphasis on objectification. In doing so, a distanced and analytic spectatorship is challenged in favour of a performative concept that emphasizes the mediating quality of art through a participant viewer. Their artistic interventions implicitly propose the concept of the artist and the viewer as embodied participants and constituents of the artwork, as opposed to a dualistic and distanced relationship.
摘要
本文将审视王功新及张培力的动态影像装置作品，并批判性地回顾他们和其 所在、以及被这个所在建构的空间关系如何成为他们作品中的首要议题。笔 者认为这两位艺术家身为一种全球性的、艺术史性的行动者，皆对他们自己 身处空间的跨文化和历史纠葛的复杂性有所体悟，也因而让这些作品皆围绕 着他们对艺术所能承载的批判能力的质疑而展开。王与张两人仔细地审视与 比较，当艺术作品主张其具有代表性的客观诠释时，其存有的批判潜力。在 这个审视的过程中，传统远距、分析式的观者概念不仅受到了挑战，也突显 了表演性(performative)， 此概念强调艺术品的媒介特质。观者与作品间艺 术性的交流间接的诠释了艺术家创作的概念，这时观者成为艺术作品的具体 参与者，甚至是作品的一部分，而非原本所认知的观者与作品间二元的、远 距的关系。