漫步到月球：拼裝、邊界與湯姆．薩克斯的地球太空計畫Walking to the Moon: Bricolage, Boundaries, and the Terrestrial Space Program of Tom Sachs
摘要
本論文探討主題為湯姆．薩克斯（Tom Sachs, 1966-）的〈太空計畫〉及其實作方式，〈太空計畫〉是 NASA 阿波羅月球任務的具功能性的地面版複製品，筆者認為此作是依據克勞德．李維史陀（Claude Levi-Strauss, 1908-2009）的理論，策略性地為拼裝（Bricolage）賦予了新的意義。拼裝，意指再利用手邊現有素材而非創造新品的問題解決策略，但也因此常被用作加強一錯誤的觀念：現實為獨立封閉系統的集合。然而，李維史陀對藝術的探討倒是提供了一較具破壞性的拼裝形式，讓藝術家與觀眾能找到意義，而不需涉及內在與外在、自我與他者。薩克斯稱自己的作品為「美式拼裝」（American Bricolage），其可說是根據李維史陀對拼裝與藝術的討論再做延伸，該作品雖仍是以回收物製成，但卻跳脫當代主義的二元侷限，納入不同且創造不同。登月小艇由廢棄的警用路障木材組合而成，艇內放滿詹姆士．布朗（James Brown, 1933-2006）的唱片以及傑克丹尼威士忌（Jack Daniels Whiskey）。薩克斯和許多對太空探索史有興趣的藝術家一樣，反思的是 NASA 計畫當初所必須面對的本土需求，而非其體現之不合時宜的新殖民主義幻想。本論文認為薩克斯的〈太空計畫〉，包括新火星任務的第一階段，是對 20 世紀晚期及 21 世紀初期生活的探索，並提供對地球生活及藝術再想像的機會。
關鍵詞
當代雕塑、拼裝、克勞德．李維史陀、湯姆．薩克斯、太空計畫、當代藝術
Abstract
This paper considers Tom Sachs (1966-)’s Space Program, a functional yet terrestrial replica of the NASA Apollo Lunar Mission, and Sachs’s studio practice more generally as a strategic repurposing of bricolage as theorized by Claude Levi-Strauss (1908-2009). Bricolage, a strategy of problem solving based on re-using materials at hand rather than inventing new ones, has been demonstrated to reinforce a misleading perception of reality as a collection of independent closed systems. Within Levi-Strauss’s discussion of art, however, can be found a path to a more disruptive form of bricolage able to lead artist and audiences to find meaning in the world without reference to inside and outside, self and other. Sachs’s “American Bricolage,” as he calls his practice, expands upon Levi-Strauss’s discussion of bricolage and art to model a recyclative practice that engages and produces difference independent from binary limits of modernist thought. In a Landing Excursion Module made of lumber salvaged from police barricades and stocked with James Brown (1933-2006) records and Jack Daniels Whiskey, Sachs, like many artists interested in the history of space exploration, reflects upon the earthbound needs NASA addressed rather than the anachronistic fantasies of neo-colonialism it embodied. This paper proposes to discuss Sachs Space Program, including the first stage of a new Mars Mission, as an exploration of late 20th and early 21st century life and an opportunity to reimagine life and art on earth.
Keywords
Contemporary Sculpture, Bricolage, Claude Levi-Strauss, Tom Sachs, Space Program, Contemporary Art
MsgArticle---作者 彼得．凱博 Peter R. KalbZC165227ZC16522731總覽13314
2017.03
談卡漫文化與民俗信仰的視覺交集及其崇拜意識：楊茂林〈封神之前戲—請眾仙III〉On Visual Intersections and the Sense of Worship in Cartoon and Comics Culture and Folk Religion: Ceremonies before Rewarding–Inviting the Immortals III by Mao-Lin Yang
摘要
臺灣當代藝術家楊茂林（1953-）的創作生涯雖起源社會街頭的環境寫實，但從 1990 年晚期開始則將創作重心移往探討本土與外來文化的混合現象，因而創作了「Made in Taiwan：文化篇」的〈封神之前戲─請眾仙 III〉系列作品。 今日，崇拜意識不再只停留於民俗信仰中，卡漫文化透過全球性的傳播進入本土民俗信仰的場域，產生外來文化與本土文化的交融與反動效應，當代的崇拜意識也就在此再塑。鑒於卡漫文化在臺灣的落地生根，已走入臺灣本土年輕族群的生命經驗，進而形塑出年輕族群對於卡漫文化的崇拜意識，楊茂林亦藉由〈封神之前戲─請眾仙III〉作品來反映當今外來文化「本土化」的現象。然而，相對於卡漫文化的開放性特質，民俗信仰則有內部嚴謹的系統準則，但挪移到現代的時空背景下，民俗信仰中的神格特質及其儀式性的崇拜意識，已走向通俗化的發展歷程，以更具延展性的視覺方式來傳遞宗教性的普世價值。 楊茂林以藝術表現來轉譯文化混雜的現象，不僅體現出視覺意象上的符碼交叉，亦消弭存於新舊世代間既有的崇拜意識，自視覺語彙的系統重組，增加當代崇拜意識於卡漫文化與民俗信仰間的流動性，為當代環境植入新的時代價值與人文內涵。
關鍵詞
楊茂林、卡漫文化、次文化、民俗信仰、神話、崇拜意識
Abstract
Taiwanese contemporary artist Mao-Lin Yang (1953- )’s career started with realistic portrayals of the community and the society. However, in the late 1990s, he started to focus more on exploring the fusion of local and foreign cultures. Artworks Ceremonies before Rewarding – Inviting the Immortals III Series of the “Made in Taiwan: Culture Section” were thus created. Today, worship is no longer limited to folk religion. Cartoon and comics culture has been brought into folk religion via global media, which allows local and foreign cultures to fuse and react with each other. The sense of worship in modern times is thus redefined. Since cartoon and comics culture has taken roots in Taiwan and has been widely accepted by the younger generation, the younger generation in Taiwan has further developed a sense of worship towards cartoon and comics culture. Mao-Lin Yang therefore reflected such “localization” of foreign culture through his artworks Ceremonies before Rewarding –Inviting the Immortals III Series. Even though the nature of these two are different: cartoon and comics culture is more open whereas folk religion has relatively stricter systems and guidelines, in today’s society, rituals and worship of gods in folk religion have been popularized. Core values of religions are being preached by more flexible and common visual approaches. Mao-Lin Yang translates the fusion of cultures through his artworks. His artworks not only reflect the intersection of symbols in visual images, but also eliminate the existing sense of worship between the old and new generations. Reconstruction of the visual language system also increases the mobility of contemporary worship in cartoon and comics culture and folk religion, attaching new values and humanistic depth to the contemporary world.
Keywords
Mao-Lin Yang, Cartoon and Comics Culture, Subculture, Folk Religion, Mythology, Worship
Resin coating is susceptible to discoloration and degradation in natural environment due to ultraviolet radiation. In order to enhance weatherability of the coating, it is common to add light stabilizers to prevent damage caused by ultraviolet light from the sun. This study selected two types of light stabilizers, UV absorbers (Benzotriazole, BTA) and hindered amine light stabilizers (HALS). They were added to three types of resin coatings in different formulations. The resin coatings used are the ones commonly in use for wood conservation. They are urea-aldehyde resin (Laropal ® A81), hydrogenated hydrocarbon resin (Regalrez ® 1126) and acrylic resin (Paraloid ® B-48N). The resin coatings were put through the QUV accelerated weathering test, and variations in the properties of the coatings were measured. The results of experiments show that effectiveness of light stabilizers on the weatherability improvement depends on the kinds of coatings. In Laropal ® A81 and Regalrez ® 1126, adding both BTA and HALS to the resin coating improves weatherability most significantly, followed by adding only HALS, and lastly by adding BTA. Light stabilizers did not exhibit significant improvement in Paraloid ® B-48N. This coating exhibits excellent light stability in the experiment, and kept intact after the accelerating aging process (600hrs). The addition of light stabilizers impeded degradation, however the results are limited.
臺藝大校園雕塑藝術作品介紹之四：戒嚴末期由藝專培育出來的本土雕塑家Sculpture Art in the NTUA Campus, Series 4: The Local Sculptors Graduated from Taiwan National Academy of Arts During the Taiwan Martial Law Period (1970s-1980s)
