民族誌轉向：臺灣當代藝術中的「田野」論述及其爭辯

<p>自二十世紀中葉以來，歐美當代藝術逐漸轉向關注人類學的方法和理論，此種轉變被稱為當代藝術的「民族誌轉向」（ethnographic turn）。在2010年代，臺灣當代藝術的發展過程，也出現一系列民族誌轉向的創作趨勢及藝術論述，並以在地藝術家的創作案例為核心，進行創作倫理及方法論的探討和反思；後續亦有人類學者撰文，進行對話與回應。因此，本文回顧相關學者和評論者的書寫和論述，試圖進行脈絡性的討論；另一方面，則以相關論述之間的爭辯，除了指出將田野導向的創作予以類型化之危險，亦對藝術的展示邏輯進行反思，以此來展開對創作方法的思辨。</p> <p> </p><p>Since the mid-20th century, contemporary art in Europe and North America has gradually shifted its focus toward anthropological methods and theories, a transformation known as the “ethnographic turn” in contemporary art. In Taiwan, during the 2010s, the development of contemporary art also saw the emergence of trends and discourses related to the ethnographic turn, centering on the works of local artists. These works explored and reflected on creative ethics and methodologies, often leading to subsequent dialogues and responses by anthropologists. This article reviews the writings and discourses of relevant scholars and critics, aiming to contextualize these developments. It seeks to examine the tensions between critiques of anthropological fieldwork imitation, the questioning of fieldwork as a creative methodology, and the instability between methodological establishment and artistic production. On the other hand, debates within these discourses also reveal the risks of categorizing field-oriented artistic practices while critically reflecting on the logic of artistic display. Through these discussions, this article aims to initiate a deeper examination of creative methodologies.</p> <p> </p>