臺灣、香港及中國的錄像藝術發展興起於1980年代。1983-84年從海外留學歸國與在地創作的藝術家的影像實踐開啟臺灣和香港錄像藝術創世紀，中國則要晚至1980年代末期才有首件錄像藝術作品的誕生。此種源於西方世界的現代藝術形態，不僅為兩岸三地的藝術家實驗精神的體現，更是反映政治變遷與時代變動的關鍵媒介。其中，單頻道錄像藝術堪稱代表。本文在奠基於1980年代臺灣、香港及中國錄像藝術發展脈絡的同時，聚焦藝術家們如何透過單頻道錄像藝術在一波接著一波且愈加激烈波動的政治事件（1984年「中英聯合聲明」、1987年臺灣解除戒嚴令，1989年「六四事件」等）之中，展現美學試驗與政治批判。而受到歷史事件演變衝擊的藝術家，影響所及，除了立即反映於作品的詩性、語言及政治立場之外，更以某種事後效應持續地形塑創作者的藝術實踐與思想生成。本文以華語語系之名，透過殊異影像美學和跨地多語多音系統的藝術實踐呈顯多重抗殖行動與反霸權精神，重新賦予1980年代邊緣而弱勢的單頻道錄像藝術饒富政治批判的當代藝術表徵。
單頻道錄像藝術、華語語系、1980年代、延遲影形力、政治批判
Video art emerged in Taiwan, Hong Kong and China during the 1980s. While video art came into existence in Taiwan and Hong Kong during 1983-1984 when their overseas-studying artists returned to the native lands with new thoughts, it had to wait until the late 1980s to have its nascent stage of development in China. The adoption of this Western media, especially single-channel video art, not only allowed those Chinese-speaking artists to embody the experimental ideas, but also helped them to record the political transformations at that time in Sinophone regions. This paper aims to recount the early days of video art development in Taiwan, Hong Kong and China, with a special focus on how artists responded to waves after waves of local political turbulence (the Sino-British Joint Declaration in 1984, the lifting of martial law in Taiwan in 1987 and the Tiananmen Square protests of 1989) with the artistic experimentations and political criticism of their single-channel video art. The impacts of these volatile events immediately influenced the poetic, linguistic and political expressions of the art works, and continuously shaped the practices and beliefs of the artists long after. Through the lens of particular visual aesthetics, this paper examines the anti-imperialist and anti-hegemonic tone of art works in these three places to cast the fledgling video art of the 1980s in Sinophone area in political light.
Single-Channel Video Art, Sinophone, 1980s, Delayed Plasticity, Political Criticism
