兩個芙烈達．卡蘿： 森村泰昌之邊緣凝視

Abstract

In this essay, I am trying to interpret the implication and significance of Morimura Yasumasa's work, which takes Frida Kahlo as an object of parody. By cross-dressing, Morimura's photography questions the ambiguity of self-identity, and such multifaceted self-identity includes the conflicts between nationality, gender, and cultural capitalism. The transformation from visual to mental and extrinsic to intrinsic in his photography is further elaborated in this essay. By examining his work, I attempt to rethink the relationship between art and commerce in imperial discourse from a postmodern perspective and reverse the visual symbol in Kahlo's work again, in order to develop Morimura's discourse of the definition of the construction of art history further. In his work, the reference to inter-fluidity eventually returns to the issue of identity; it strengthens the sense of fragmentation of external reality and internal identity. The sense of fragmentation critiques the stereotype formed by culture and society, and it deconstructs cultural consumption constructed by capitalist myth. Morimura takes art as a political tool for social practice and tries to find a place for individual identity in contemporary society, in which all self-images are displaced and lost.