Collecting Fragments and Piecing Together Details in the Absence of Genealogy: Challenges in Research on the Development of Video Art in Taiwan
The development of video art in Taiwan spans nearly four decades of history since its inception in the 1980s. In 2015, Song-Yong Sing, Bo-Wei Wang, and other scholars completed a study and exhibition entitled REWIND_Video Art in Taiwan, based on a holistic and meticulous field survey and literature review, establishing the foundations of future research on the initial development of video art in Taiwan. In 2021, the Ph.D. dissertation “The Transitioning Fields of Video Art in Taiwan—After the Study of REWIND,” which followed up on the study of REWIND, added new details from the mid to late 1980s, and provided a preliminary summary of field transitions in the development of video art in Taiwan from 2000 to 2020. Although research on the development of video art in Taiwan has so far produced certain rudimentary results, the author consciously recognizes that information concerning the overall historical perspective and context remains excessively fragmentary given the limited amount of related research. Therefore, organization and exploration in greater depth are required regarding the type and scope of research, aesthetic evaluation, and development system. Both areas require more in-depth analysis and exploration. Ming-Te Lu, I-Fen Guo, Jun-Jieh Wang, Goang-Ming Yuan, and Yung-Hsien Chen, among others, were both creators and researchers of video art during the early days when this type of art was first introduced to Taiwan. They all played significant roles in the initial development of video art in Taiwan by actively promoting it through their creations, through their exhibition curation and research, and with their education and advocacy efforts. Although video art exhibitions and presentations have become commonplace in the art field today, the author has observed the following phenomenon in particular. During the early development of video art in Taiwan, senior Taiwanese video artists proposed many personal viewpoints from a researcher’s perspective. In contrast, most Taiwanese artists today who create art based on extensive use of videos have focused on the Western context and historical perspectives, before considering how video art has developed in Taiwan. This has diminished their understanding of the origins of video art development in Taiwan to some extent, and has, in turn, resulted in some conceptual misunderstandings. The gaps in the understanding of historical perspectives on video art development in Taiwan are inextricably associated with the overly loose organization of literary documents on this topic and the consequent challenges encountered in this research. In view of this observation, the present study aims to explore challenges in research on the development of video art in Taiwan, with a special focus on three areas, namely, organization of historical perspectives, research sampling, and epistemology. Further, this paper proposes relevant research strategies and highlights the pressing need to create an archive database in the future.
|關鍵詞||臺灣錄像藝術、史觀組織、研究取樣、認識論、資料庫、video art in Taiwan、 organization of historical perspectives、 research sampling、 epistemology、 database|