Loading
跳到主要內容
主選單
:::

地下塊莖圖譜:安聖惠(娥冷.魯魯安)的藝術創作

The Images of Rhizome: The Art of An Sheng-hui(Eleng Luluan)
台北雙年展-圖片 台北雙年展-圖片
安聖惠,〈遠行者的阿拜〉,2012

摘要

安聖惠是臺灣當代其中一位具有代表性的藝術家。她1968年生於屏東舊好茶。母親是魯凱族的頭目,所以她又以公主族名峨冷.魯魯安聞名。1990年代為族群認同而掙扎以及參與原住民社會運動。2002年她與一群藝術與音樂以及戲劇創作者,在臺東金樽海灘實驗駐地創作營。他們體驗祖先的原始生活以及沉思冥想過去;然而他們也討論著如何促進原住民未來權益。他們的聯結令人聯想德勒茲與瓜塔里的地下塊莖理念,「聯結任何一個點到其他任何一點」。近一步,地下塊莖「可能在特定一點斷裂,但將又從舊的線或新的線開始」,展現解脫疆界與重納疆界,以至於能夠「連續不斷地擴散與衍生繁殖」。在駐地創作營裡,安聖惠瘋狂著迷漂流木創作,後來創作了一系列的藝術作品,呼應地下塊莖的形像。

關鍵詞

地下塊莖、安聖惠、峨冷、漂流木

Abstract

An Sheng-hui is one of the representative artists of contemporary art in Taiwan. She was born in 1968 in the old Kuchapungan area of Pingtung. Her mother was the chief of the Rukai tribe; thus, Sheng-hui is also known by her princess name, Eleng Luluan. During the 1990s, she struggled with her cultural identity and became engaged in the sociocultural movements of Taiwan's indigenous people. In 2002 Eleng and a group of indigenous artists, musicians and actors organized an experimental camp on the beach of Chintsun, where they experienced their ancestors' primitive life and meditated on the past-while also discussing future rights for indigenous people. These connections among them are reminiscent of Deleuze and Guattari's concept of the rhizome, which "connects any point to any other point."[1] Further, a rhizome "may be broken...at a given spot, but will start up again on one of its old lines, or on new lines,"[2] demonstrating de-territorialization and re-territorialization, the ability to "continuously spread and multiply." During the camp, Eleng became fascinated with creating driftwood art, and later created a series of works echoing rhizomic images.

註解

  1. ^ Gilles Deleuze and Felix Guattari. A Thousand Plateaus: Capitalism and Schizophrenia, translated by Brian Massumi (Minnesota: University of Minnesota Press, 1987), 21.
  2. ^ Ibid, 9. 筆者對於地下塊莖思想與魯魯安在金樽海灘這段時期所受到的啟發,於《太平洋藝術學報》(Pacific Arts Journal)2014年的第2期,有作進一步相關的討論。由於筆者多年來,對於長期被忽略的原住民背景當代藝術家,特別關注。總覺得想幫這些藝術家的創作說一些話,然自己卻力有未逮,所以一再思想與反覆討論。2014年在南太平洋的藝術重鎮,法屬新克里多尼亞(New Caledonia)的棲包屋文化中心(Centre Cultural Jean-Marie Tjibaou)舉辦的太平洋藝術聯盟(Pacific Arts Association)研討會,筆者提出在安聖惠創作思想中,如何對應柏格森(Henri Bergson)的綿延(duration),以及透過德勒茲的綿延與地下塊莖思想,近一步的增補一些看法。與會中承蒙各國藝術家與學者們給與寶貴意見,所以決定修改後,以英文出版。修改出版中,並增補安聖惠被提名代表國家在2015年參加威尼斯雙年展台灣館的展出計畫。為籌備此一計畫,安聖惠返回大霧台地區進行田野調查。在這段嶄新的歷程中,安聖惠從女性的身體、部落的身體、到兼具國家的身體探索,使她對身分與身體,有一番新的理解。

Keywords

rhizome, An Sheng-hui, Eleng Luluan, driftwood

註釋
    回到頁首
    本頁內容完結