始於90年代之初，綜觀馬來西亞在地政治、經濟、文化政策以及施政方面均出現鬆綁傾向，藝術工作者也因此借勢爭取更多有益於發展的社會資本：這些符合自主性原則的所作所為，在軟、硬體設施皆缺乏規劃的馬來西亞開始開展、落實、乃至於形成一個足以互惠互利的關係網絡，亦即，獨立圈子。這些積極主動的獨立行動和自我組織的另類藝術空間顯然更能彰顯多樣性、應急性和實驗性的試探。惟從文化再製的面向來講，新生代中介者始終依循他／她們個人的自由意志、認知需求或生存技能，在主流和非主流之間任意滑動、位移，漸進地開創出另一類的生產機制（或體系）；類似策略性操作不僅僅強化了中介者自我的獨立精神，甚至驅使獨立圈子變成一個充滿動勢的可能空間。本文主要是梳理獨立圈子於馬來西亞當代藝術的發展過程中所遭遇的各種問題與挑戰，場域外部的社會／文化條件和場域內部的歷史／美學軌跡，兩者都是制定相關解釋框架所不可或缺的參考依據
獨立圈子、獨立行動 、另類藝術、另類體系
As an overview, since the early Nineties, when the local political, economic, cultural policies and governance aspects appeared to be less-regulated, art practitioners had taken the occasion to strive for more social capital with developmental benefits: in Malaysia which lacks planning in both software and hardware infrastructures, such actions embodying autonomous principles began to grow, took root and shaping to a mutual benefits network, namely, independent circle. Clearly, both the pro-active independent initiatives and self-organized alternative spaces could better manifest a diverse, contingent and experimental approaches. However, from the aspect of cultural reproduction, these agents from the new generation stay true to their individual free will, cognitive needs or survival skills, and slide, displace randomly between the mainstream and non-mainstream, creating a different form of production mechanisms (or systems); besides strengthen the independent spirit of the operative subjects, these strategically maneuverings further drive the circle becomes a space of possibilities filled with momentum. This paper aims to analyze the various problems and challenges faced in the progress of the independent circle in the contemporary Malaysian art scene. Both the social/ cultural conditions outside the field, and historical/aesthetic trajectories within the field, are indispensable references that interrelated to the configuration of the interpretative framework.
Independent Circle, Independent Initiatives, Alternative Art, Alternative System
