操作性螢幕：戰後台灣晦暗機制的藝術干預

The Operational Screen: Artistic Interventions in the Mechanism of Obfuscation in Postwar Taiwan

本文對自冷戰時期至今的「晦暗機制」進行歷史化研究，並探討晦暗對當代台灣視覺藝術產生的影響。本文的核心概念是「黑畫面」，這是一個在台灣廣泛使用的術語，用以描述官方監控畫面在發生國家暴力或政治不穩定時神秘地消失或不可見的現象。本章分析了陳界仁的影片《帝國邊界 I》（2008-2009）以及張紋瑄的裝置作品《某人傳》（2017-2019），這兩件作品共同反思了視覺與權力之間無法分割的交纏關係。「黑畫面」這一政治化的遮蔽概念可回溯至台灣歷史中的不同關鍵時刻，包括日本殖民時期以及國民黨軍事統治下的白色恐怖時期。儘管這兩位藝術家的作品形式各異（從半紀錄性影像裝置到偽檔案作品），它們都在系統性暴力的語境中，提供了對視覺與不可見性的思考。通過探討個人經歷如何從軍事政權過渡到民主化，以及研究一位二十世紀台灣女性共產黨人的被壓抑的生命故事，陳界仁與張文薰分別挑戰了國家規範下的可見性，從而為視覺藝術指出新的政治可能性。

 

This paper offers a historicization of the technology of ambiguity from the Cold War period to the present and examines to what extent obfuscation has had an impact on visual art in contemporary Taiwan. The key figure in this paper is the “black screen,” a widely used term on the island that denotes the tendency of official CCTV screens to go mysteriously blank at moments of state violence or political instability. The chapter examines Chen Chieh-Jen’s film Empire’s Borders I (2008-2009) and Chang Wen-Husan’s installation _____’s Autobiography (2017-2019), which together meditate on the inextricable intertwinement between vision and power. The concept of the black screen—a form of politically inflected concealment—extends from the present backward to manifest at different pivotal moments in Taiwanese history, including the Japanese colonial period and the long extent of the White Terror under KMT military rule. Despite the formal differences between these two artists’ work (from semi-documentary video installation to pseudo-archive forms), each provides a perspective on vision and invisibility in a context of systemic violence. By addressing personal experience with the transition from military regime to democratization, and researching the suppressed life story of a twentieth-century Taiwanese female communist, Chen and Chang, respectively, challenge the paradigm of state-regulated visibility and thus point to new political potential for visual art.