近十年來，印度當代藝術在國際藝壇間備受注目，分析其背景，全球化資本由歐美轉向新興市場應是背後主因。然這一類崛起於藝術景氣的作品，一時之間成了全球文化範例的現象，似乎說明了像印度這樣第三世界國家的藝術生產只是讓藝術行銷工作者把「民族認同」操作成一種方便行使的既有品牌而已。當中，只有在當代錄像與攝影的作品，還能夠看到關於再現的機制與修辭不斷的嘗試與辯證。基於此現實，本論文將要針對印度 90 年代以後所興起的一批優秀的影像藝術創作者之創作現狀進行討論。為了更加深刻理解印度自現代躍入當代的藝術發展歷程，本文首先將自印度獨立歷史進行考察，耙梳印度文化的內在紋理，同時筆者親赴印度異地採訪，藉參觀展覽的機會，與收集他們近幾年的展覽文獻資料，近距離觀察藝術家們如何回應當代環境的急劇變化，運用影像的語言、形式、邏輯，著眼於在地觀眾與題材，來表達屬於印度內部異質多元的後殖民情境，因此成功地躍上當代藝術重要的發表位置。
印度、當代影像、現代性、後殖民
Over this past decade, India contemporary art for the first time is drawing a much attention among the international art world. To analyzes the cause, the capital across the global shifting from Europe and America to new markets could be the main explanation. Nevertheless, art during the boom all of a sudden became a paragon of globalised culture, especially when it is seized on by marketers for whom national identification is used as a convenient pre-existing brand. Among these, one exception seems the continual playing up in contemporary video and photography of the mechanisms and rhetoric of representation, so that thoughts about political content face continual interference from those about how politics is represented. Based on this precondition, this essay is going to investigate how a group of video and film artists emerging since '90 in India , working in media's nature and form, create manifold narrative and appear in major contemporary art scenes in significant statue.
India, contemporary image art, modernisms, postcolonialism
