本文試圖詮釋森村泰昌以芙烈達．卡蘿作為諧擬對象其隱含的內在意義。森村泰昌的攝影作品藉以扮裝進入認同層面，這種自我認同的多重面向涵蓋國族、性別與文化資本之間的角力，從視覺外在轉化到心理內在的過程尚待剝絲抽繭地探討，以後現代姿態全面性地反思藝術與商業在帝國殖民的論述之下，再次翻轉卡蘿畫作中的視覺符號，使森村泰昌在定義藝術史建構的論述上，有更進一步的發展。在作品裡相互流動性的指涉，最後重回身分認同的議題，強化現實外在與內在認同之間的斷裂感，這種斷裂感抨擊了來自於對文化與社會形塑的刻板印象，拆解資本神話包裝裡的文化消費，以藝術做為社會實踐的政治工具，藉以在自我形象流離失所的當代社會裡，為個人身分尋找一處可棲之地。
諧擬、邊緣性、酷兒、文化消費、自我認同
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.
parody, borderline, queer, culture consumption, self-identity
