물체 · 신체 · 형체 - 1970년대 대만 현대미술의 시각 변형

Abstract

Recently, a discourse that studies on Taiwanese art history of the 1970s were continuity and expansion of postwar ‘Modern Pictorial Arts Movement’ in many aspects began. Under the background of local history movement in the 1970s, abstraction forming modernism was realized and developed for the arts such as modern sculpture, pottery and photograph. At that time, the world of art was changed from abstraction form to actual materials through the most of works for the regret and judgment of modernism. Furthermore, it was changed to inherent concept of Taiwanese art under the political marital system at that time.BR This thesis examined how Taiwanese world of art has expressed the form of object, body and figure by contemporary art after the modernism since the middle of the 1960s. It can be discovered in ‘Modern times’ discussed by Li zhongsheng(李仲生, 1912-1984), a pioneering leader of Taiwanese modern painting and his modernism is relatively closed to prewar historic avant-garde art center. As it focuses on individuality, anti-academism and non-perspective visual centrism, new avant-garde appeared after the 1960s also can explore the concept, ‘realities’ of materiality, again and it is the newest sign of modern world as a solution of formalism accepted to Li zongsheng.BR From the middle of the 1960s to the 1970s, modernism is main in Taiwanese world of art, but corruption and transgression of modernism can be found in moving of ‘sacred’ form, deformation, spectatorship of anti-painting, form of physical ego, transformation of object, etc. Therefore, while the experiment in difficulties in naming went through the common important accident, Taiwanese modern art converted alien expression of concept, system and environment to contemporary.