在無聲的世界裡，由於聽覺上的障礙，總試圖藉由藝術創作的詮釋，去發洩個人心靈上、情緒上的苦悶和壓抑，使得作品往往存在一股自我強烈意識形態的表現情境。在邁入研究所階段的過程中，花了很長的一段時間調整心情，試圖進一層了解藝術領域的深層意義及其它可能性，摸索尋找怎樣的表現方式才是自己所要的，最後個人回歸了自己最熟悉之所看、所感、所知的材質加以運用，以探尋藝術的內容，同時在適度的操作手段中讓藝術說出自己的話，讓觀眾們可以親近並介入，也讓作者、觀眾、環境種種因素也成為作品的一部分。
　　本篇依個人作品作為主要的研究，整理出屬於個人持有的作品獨特語彙：元素語彙與結構關係、作品附有的影子帶來密度跟錯覺、作品與空間之間的關係，尤其個人創作習慣找尋出對線性的喜愛，撲朔迷離之虛與實的關係、空間與時間之間的場域氛圍，特別對雕塑創作中「觸摸」的慾望，進而探討觀眾的「身體介入」深層感知。最後以期能釐清個人創作實踐及心境轉換過程等等問題、了解作者自己的創作特質，以標向未來之藝術世界尋求更多的突破，開啟屬於自己新藝術語言的國度。

線性、線體、延伸、身體介入

In the world of silence, hearing impairment often leads one to vent his mental and emotional agony and depression by means of artistic creation that usually demonstrates strong self-awareness. In the process of research, it took me a long time to adjust mood and further investigate the deeper meaning and possibilities of the field of art and explore the expression I wanted. In the end the material that's the most familiar with was utilized to explore the content of art and to allow art to express itself in proper means and to allow audience to access to it; in this way, elements such as the author, spectators and surroundings also become part of the works.

This was primarily based on personal works. At last personal unique
lexicon was sorted out: the relationship between elements and structure, the relationship between works and space; especially personal style tends to seek the lover for linearity, the density and illusion caused by works' shadow, the relationship between indistinguishable virtuosity and concreteness, and the ambiance between space and time. In particular, there's a desire to touch
sculpture works; therefore the deeper sense of physical intervention of the audience was further investigated. At last, it's hoped that issues such as the practice of personal creation and change of personal mood could be clarified to identify the traits of the author, to seek out breakthroughs in the future world of art and to create a realm of new language of art of my own.

linearity, linear structure, extension, physical intervention

　　每一場戰爭、革命的落幕，都不免經歷十足的震撼與程度各異的毀壞；斷垣殘壁的廢墟上，等待著的是新時代象徵再造的契機。政權更迭的成功與否，政客經常以目光所及之舊時代象徵為首要剷除對象，去舊迎新的意念化作執行的動力，也同時充當政治角力競逐的標記。恰如台灣社會曾經鬧得沸沸揚揚之「去蔣」；又如2007年初冬西班牙國會通過之「歷史記憶法」（Ley de Memoria Histórica），為移除佛朗哥（Francisco Franco， 1892-1975）雕像、匾額的行動提供了有效的法律依據；再者，於2003年以美軍為首的聯合部隊攻陷伊拉克首都巴格達時，對強人薩達姆‧海珊（Saddam Hussein，1937-2006）大型塑像的拆卸、搗毀。這一幕幕的視覺革命都隱喻著重獲新生前必須經歷的一場毀滅，以象徵舊體制的崩解與渴望轉變的決心。

然而，遠在西伯利亞的凍土上，自20世紀末共產主義瓦解至今，俄國邁入民主現代化國家的行列已十多個寒暑，政經改革開放後的街頭還是可見蘇聯時期遺留的大型雕塑建築，譬如座落於莫斯科紅場上的「列寧墓」、公共空間僅存1960、70年代的紀念雕像和碑群、或是為重整市容而規劃設計的雕塑藝術群等，受眾不論是懷著崇敬、好奇或純粹欣賞的心情，瞻仰參觀的人潮依然絡繹不絕。它不僅挑逗觀者的視覺神經，也喚起對於國家曾經輝煌、強大的歷史記憶。
　　對於兩次世界大戰期間，德國「戰爭經驗神話」（myth of the war experience） 在各種文藝形式中繼承與延續的表現，與之敵對的蘇聯也有一套愛國教育原則，其手法技巧可見相似性，但表現出的民族特色卻大不相同，作品的形式與數量也因屬戰勝國的成員而於戰後有逐漸攀升的趨勢，史達林崇拜於戰後在各項文藝的表現更是躍升到了頂點。
　　本文擬針對俄國哲學家的觀點，探討俄國人民自身與祖國關係的認知、戰爭之於俄羅斯民族的意義、與國家民族意識形塑的契機，觀察自1917年蘇維埃革命到二戰期間以至於戰後的時期，在文藝政策監督與各項資源合作的過程中，藉由視覺革命所達至的藝術呈現。這一系列以塑造英雄人物及推崇領導者形象為主的政治宣傳作品，時常展現與舊時光榮記憶的聯結，如此的創作意象，做為共黨主政下遙寄烏托邦世界的催化劑，是一種民族主義的哄抬與國家虛榮心作祟？還是，一種愛國心正是需要在這種懷舊的基礎上重新建構民族認同，藉由神話與記憶拼湊出一個想像的共同體？

蘇聯紀念碑雕塑、視覺革命、民族認同、愛國心

New statue and sculpture with symbolic ideology accompany often with the victory of the revolution or war. The obsolete artistic works are destined to be removed in order to demonstrate successor's ambition of building an ever more powerful regime that no other could compare. It is clear that Bolshevik Soviet devoted herself to decorating public space with magnificent sculptures and monuments. Every street and square is embellished with colourful visual artistic creations.

This essay intends to cross-think several Russian scholars' philosophical points of view on self with relation to national significance and the moment of raising the ethnic consciousness. I will observe the development and performance of artistic productions that the Soviet authority adopted for political use- a series of heroic sculptures and images on posters. I wonder if such a thematic style is highly appreciated by the Soviet in order to reconstruct the national identity based on the nostalgic patriotism. By means of reappearance the heroic myth can Russians rebuild an imaginary community.

Soviet monument and sculpture, Visual revolution, National
identity, Patriotism

　　本文旨在探究屬於二次大戰浩劫餘生世代的波蘭藝術家Magdalena Abakanowicz（1930-）的人體雕塑，聚焦討論其「身體化」的想像中如何再現歷史創傷與記憶，如何放寬表述格局，擴及普遍人類命運的反思。深刻的歷史創傷，形塑Abakanowicz作品的基調，本文據此而將首先檢視其作品中受創的身體意象，論證Abakanowicz承繼波蘭文化傳統中有關民族歷史的受難者意象，分享波蘭戰後具像雕塑家暗喻歷史殘酷真相的殘缺美學，以賦予個人及集體的創傷記憶既具體有力又悲愴感人的審美形式，而反映了自身的國家認同及其作品的時代特質。其次，量化的身體，是Abakanowicz雕塑中另一個常數，為本文繼而將著手探討的議題。她藉人像的數量視覺化浩劫所造成的大量死亡與創傷、對人類尊嚴與身份的摧殘，她對當時波蘭社會與政治現實的影射，以及對人類集體行為與歷史重複性的深刻思考，為討論重點。最後，本文將分析的是Abakanowicz作品中身體的「變態」，細察其中人類身體與自然有機世界的類比表現及其意義，並討論Abakanowicz如何結合儀式化的空間經營，訴諸人類共通的神聖性／宗教化情感，力使其觀眾深刻感悟自然萬物息息相連的神聖生命網絡、宇宙生命的生生不息，以求創傷情感的淨化與昇華、個人有限生命的超越。

Magdalena Abakanowicz、身體、人體雕塑、波蘭藝術

This study searches for the figural sculpture by Magdalena Abakanowicz (1930-), Polish artist survivor of the World War II. It explores, through the discussion of three body images, how she represents the historic trauma and memory by her "embodied" imagination and how she broadens the pattern of interpretation to strengthen the reconsideration of human destiny. First, this paper examines the "injured body" in Abakanowicz's work. This discussion
reveals how Abakanowicz's powerful and sorrowful aesthetic pattern for personal and collective traumatic memories is constructed, reflecting her national identity and feature of the age. Otherwise, the "quantified body" is another characteristic of Abakanowicz's work, which is also an issue that this paper is further concerned about. It shows how by quantities of human body Abakanowicz visualizes the heavy casualties caused by the war, the devastation of human dignity and the loss of identity as well. Her complex relationship with Polish immediate sociopolitical reality, her reconsideration of collective behaviors and repetition of history are also the subjects to explore. Finally, it will analyze the "metamorphosis body" in Abakanowicz's figural sculpture, and examine the analogy of human body and natural organic world and its meaning. As we shall see, the body in Abakanowicz's work represents the body of the artist, the body of Poles, and moreover, the body of all human, and therefore its significance is defined, which is not only autobiographical, historical, but also transhistorical and universalistic.

Magdalena Abakanowicz, Body, Figural sculpture, Polish art

　　「2009關鍵字：日常、雕塑、無處」（以下簡稱「關鍵字計畫」）是一個實驗性的藝術計畫，並以所謂「駐地創作模式」為計畫主軸。
　　本文的書寫目的，一方面，可視為作為策展機制參與者簡子傑之於「關鍵字計畫」的概念說明，其亦可權充作為計畫之展覽論述；另一方面，作為實驗性的藝術計畫，重點就不在於給出一個定論，而是展開的一個比較過程，但這個過程總是源於我們的思考模式，最終於藝術實踐中獲得落實，也因此，本文也將試圖聚焦在計畫所指的這些關鍵字與當代雕塑實踐活動之間的關係性質，進一步地，我們還將試著回答「關鍵字計畫」可能將這些思考延展至何處。

日常、雕塑、無處、策展機制、駐地創作、藝術計畫

"2009 Keywords: Everydayness, Sculpture, Non-place" (it will be called "Keyword Project" for short in the below) is an experimental project, and the main shaft of the project is so called "creation-in-residence model".

The aim of this text, on one hand, it can be regard as the exhibition curatorial mechanism participator, Jian Tzu-Chieh, explains the concept of "Keyword Project", which can also act temporarily as an exhibition statement; on the other hand, as an experimental project the point is to expand a compared process rather than to sum up a single conclusion. However, the process always origins from our thinking models, and finally fulfill within the artistic practice. Also, the main body of writing will try to focus on the relational properties between the keywords mentioned in the project and contemporary sculpture practicing activities. Moreover, we are trying to answer where the thought may extend by running the "Keyword Project".

Everydayness, Sculpture, Non-place, Exhibition curatorial mechanism, Creation in residence, Art project

　　台灣當代雕塑範疇隨著當代藝術的形式與創作方法的擴張，造成雕塑意義上模糊的認知處境，定義的動作反映了創作的意圖與操作的策略，筆者透過雕塑定義的理解，對當代雕塑產生的多元變異進行初步的分析。
　　台灣雕塑史的發展，展現了西方雕塑形式直接或間接的移植，過程產生了折衷的變異性發展，結合東方傳統思想與西方現代主義創作形式，形成台灣特有的類現代主義作品概念。隨之而來，缺乏藝術體制批判能力的前衛與來自生產代工體系的後現代物質條件，鋪陳出台灣的當代藝術之路；形式的翻新與擴展，的確生產具當代特質的創作，但在缺乏藝術體制批判能力的現代化、依附現實條件的現象中，台灣當代雕塑現象中，直接從創作個體的生活感知進行作品操作，所具備的多元表象，似乎只是反映了缺乏主體性的主體操作。台灣當代雕塑的主體建構透過部分的史學方法，陷入部分史料循環生產的模式，忽略創作者美學立場的偽客觀化作品質性分析，導致當代雕塑的定位始終處於時間軸的認定模式，處於當下卻不具當代性的雕塑形式，成為當代雕塑形式僵化的技術性歸咎，僵化的解放策略地成為當代雕塑對舊形式的鬥爭藉口。為了避免將部分固定形式的雕塑傳統，誤植為時間上的當代藝術，作為鬥爭策略的對象，筆者將在文中分析台灣當代雕塑被視為形式僵化的可能性因素與策略性思考。
　　本文第一部分在說明當代雕塑定義的操作模式及困境；第二部分概述台灣雕塑發展處境及折衷的主體發展過程；第三部分說明當代雕塑擴張的策略模式與藝術界限的取消，所涉及的主體建構問題；第四部分面對錯植傳統雕塑技術的當下為當代雕塑藝術的僵化說法，進一步分析形式僵化的思考架構；第五部分關於當代雕塑多元納入的權力思考；最後必須說明本文主要在面對台灣當代雕塑現象引發的一些基本問題，進行原則性的思辨。

當代雕塑、自我批判、主體性、形式僵化

According to the expansion of the contemporary art form and the creation method, the category of Taiwan contemporary sculpture has fallen into a vague cognitive situation. To give a definition of sculpture reflects the intention and the strategy of creation. Understanding through sculptures definition, we have to a preliminary analysis for the multiple variation of the contemporary
sculpture.

The development of the history of Taiwan's sculpture presents the
transplantation of Western sculpture forms direct or indirect. The concept of art form that combined Eastern traditional thought and Modernism is Taiwan's endemic class. The spirit of avant-garde has been lack of the critique ability of artistic system and the postmodern material conditions is full of the void form produced by the technique system of fabrication plant. These spread out the way of Taiwan contemporary art. The renovation and expansion of forms
indeed product some contemporary traits, but the modernization is short of critique ability on the artistic system and depend on realistic conditions. Taiwan contemporary sculptors whose artworks with multi-surface created from their living perceptions seem that only reflects the lack of subjectivity. Some method of the historiography plunged into recycle mode of the historical material and ignored the stance of creators' aesthetics that is pseudo objective analysis of material. The positioning of subjectivity of the contemporary sculpture is always cognized in time axis mode; a sculpture without contemporary nature but created now are also seem to a contemporary sculpture. Someone impute that technical formalization to contemporary sculpture, so liberate the formalization of contemporary sculpture becomes the pretext to struggle with traditional forms. Avoid misunderstanding some static forms of traditional sculpture for the contemporary art as a struggle object, we must analyze the possibility and game theory why contemporary sculpture in Taiwan are considered as a major object of formalization.

Contemporary sculpture, Self-criticism, Subjectivity, Formalization

　　藝術創作的材質從過去的不可見逐漸地發展出不但是可見，更是現今創作的主角之一。不鏽鋼因為材質本身的耐蝕性、外貌的穩定性，成為擺置戶外絕佳的材料。此外，不鏽鋼材質強烈的工業感，加上此一媒材於生活、建築、工業領域的運用，使得不鏽鋼材料無論於材料本身的特性、或是因生活、工業運用所形成的象徵，還有自身的反射特性及冷冽感，自20世紀初被發明以來，廣受藝術領域的喜好。最後，朱銘美術館「2009材質物語──不鏽鋼」中，現下創作者展現了不鏽鋼作為材料的許多面相。

不鏽鋼、雕塑、朱銘美術館、楊英風

From transparent to visible, nowadays, materials not only be a media but also plays a very important part in art works. Because of anti-erosion and stable surface, the stainless steel is the perfect material to install in the outdoor. Beside, strong industrial symbol, reflect character makes stainless steel a popular material in art field. This essay will review how different artists represent different aspects of stainless steel in their works.

Stainless steel, Sculpture, Juming Museum, Yuyu Yang

　　作為國內雕塑界中生代中相當活躍的藝術家，劉柏村的野心早已不自限於雕塑美感與造型的探討。他近十年來的作品放棄了幻象主義，充分掌握現代主義雕塑重視的「素材」的概念，並將素材延展至有形、無形的物質表現，進而脫離量體，進入結構、空間及相隨之時間、運動、光線、聲響等「非物質的素材」之開發。2008年的展覽「相對與複製」卻放棄現代主義，轉進後現代主義弔詭的「複製」課題，將符指與符徵分離，製造「轉移」，建立既真實又象徵的空間：此一空間，不偏不倚的正是人類生存的空間。本文試圖追溯劉柏村近十年來的創作發展脈絡，分析在「相對與複製」一展中，藝術家如何脫離現代主義的語法，轉進後現代主義的戰場，並面對台灣當代雕塑的情況，提出因應時代的解決之道。

劉柏村、現代主義雕塑、後現代雕塑、複製

As one of the active artists in Taiwanese sculpture field, the ambition of Liu Po-Tsun is not self restricted in the sculpture esthetic and the plastic discussion. For the past ten years, he had given up the illusionism in creating works, fully put on the modernist sculpture emphasis of material concept. He extended the so-called "material" to its visible and invisible expression, and
furthermore, abandoned the emphasis of the sculpture volume, but exploited "non-material material", such as construction, space and time, movement, light, and sound in stead. However, in the 2008 exhibition- "Relativity and Duplication", he further gave up the modernism, and moved on to the sophistic topic of "duplication"; To separate the signifiers and the signified, created the displacement, and established a real as well as symbolic space. It reflected precisely the space of Human Being.

This article attempts to trace Liu Po-Tsun's latest ten years' sculpture creation development, analyze how he gave up the modernism grammar, and shifted to the postmodernist sculpture topic in his exhibition "Relativity and Duplication". In addition, propose possible solution in coping with the present Taiwan sculpture situation.

Liu Po-Tsun, Modern sculpture, Postmodernism, Duplication

　　本文嘗試以「應用藝術／純藝術」的歷史架構來考察李再鈐的創作，同時以1986年的「紅色事件」為中心，探討在此歷史架構下的藝評呈現出什麼特徵。過去對李再鈐〈低限的無限〉的討論若不是從純藝術的角度，強調其低限主義的風格，就是把紅色事件當成是藝術家對抗體制的例證，而這些兩極化的觀點往往只呈現了美術環境的部分實況。
　　事實上，當時純藝術創作很難與應用藝術分開。在創作〈低限的無限〉之前，有十幾年李再鈐主要從事商業設計工作。長期的設計經驗很難無涉於純藝術的造型思考，也很難不聯想到〈低限的無限〉裡強烈的幾何風格。其次，該作的風格是一種開放性的形式。觀者可以圍繞著作品觀賞，而沒有單一主導或正面性的視角。這種開放性允許相當程度的自由詮釋，而且這種自由詮釋實際上也包含了使其成為「紅色星星」，並引發爭議的視象在內。
　　在戒嚴時期，紅星可以是指涉共產黨的政治禁忌。在紅色事件中，〈低限的無限〉很快地被界定為這類圖像，從而也顯示出政治性解讀在大眾視覺文化中的優位性。不過，當時的評論並未切中批評這種優位性，反而基於純藝術的理念將該事件歸因為大眾對藝術的無知。在此，筆者的評論即在於：該作品的評論關鍵點應在於獨斷的政治性解讀損壞了作品的開放性。不僅由此可看出〈低限的無限〉似乎只能在解嚴後找到它真正的觀眾，相對地，過去所謂的「純藝術」概念其實更多反應出對當時周遭政治社會氛圍的消極應對與恐懼。

李再鈐、低限的無限、紅色事件、藝術與政治

My paper tries to sketch Li Tsai-Chien's creation in the historical frame of "applied art/pure art", and at the same time discusses the characteristics of criticisms in the 1986's "Red Incident". Li Tsai-Chien's "Finite to Infinite" has long been considered either a Minimalism sculpture from the perspective of pure art, or a mere example of artists against the establishment in the 1986's "Red Incident". Those polarized perspectives, however, reveal only part of the story about the artistic condition.

In fact, the so called "pure artistic creation" was hard to be secluded from applied arts at the time. Li Tsai-Chien, for example, had been devoted to commercial designs for about 10 years before the making of "Finite to Infinite". It is hard to imagine his experiences of formal analysis in designs had nothing to do with his pure artistic creation, nor did the apparent geometric style in the "Finite to Infinite". Second, such a geometric style is also an open form. Without a privilege or frontal perspective, this work assumes that people can walk around it, appreciate it from any direction. This openness allows free interpretation in some extent, and in fact includes the controversial visual image that denotes this work as a red star viewed from a specific angle.

In the martial period of Taiwan, a red star could be a political taboo for its implication of Communism. In Red Incident, the "Finite to Infinite" was soon defined in this way, and thus reflected the priority of political interpretation in public visual cultures. However, instead of criticizing this priority, past criticisms, based on the idea of pure art, often imputed "Red Incident" to the general public's ignorance of artistic common sense. My criticism is that the work did not limit anyone to exert his own imagination on it even without any artistic knowledge. The critical point of this Incident is that the singular political interpretation has jeopardized the openness of the work. From this perspective, "Finite to Infinite" seems to find his presupposed audience in the post-martial period of Taiwan and, on the contrary, the idea of "pure art" and its relative criticisms seemed to reflect an attitude of passive responds to social and political ethos from 1970s.

Li Tsai-Chien, Finite to Infinite, Red Incident, Art and politics

　　在前人研究的基礎上，我的論文試圖藉由對1960年代臺灣現成物作品的探究以使「複合藝術」這樣的觀念更為精緻化。
　　1960年代的臺灣，一方面仍處在戒嚴中，另一方面也仍然是聯合國的一員。在這個對比強烈的時代裡，藝術家需藉著「國際交流」的名義彼此結盟，同時也必須符合中華文化現代化的命題，才能夠獲得藝術自由與前衛的合法性。例如成立於1961年，由義大利、西班牙、日本與台灣畫家組成的龐圖國際藝術運動，在1963年之所以能夠來台展出，原因即是臺灣蕭勤（1935-）、李元佳（1929-1994）是這個國際藝術團體的一份子，而其他的外國畫家在創作上受到中華文化的感召之故。
　　龐圖國際藝術展藉由它與臺灣畫家原有的社會關係，深化了五月與東方畫會成員間的差異，而這兩個藝術團體在當時在美術場域裡均佔據了主流地位。該展覽同時也深化了主流與其挑戰者間的差異。新的挑戰者來自於美術設計，在當時它在美術位階中被認定為末流。例如1966 年，黃華成在西門町圓環製作了驚人的現成物作品〈洗手〉， 作品是一把椅子上面擺著臉盆、椅背上貼著寫在紙片上的詩作。這件作品是「現代詩展」的其中一件作品，而這個展覽裡的參展藝術家幾乎清一色都有封面設計或是工業設計的背景。
黃華成是臺灣電視公司的美術指導，同時也是《劇場》的編輯， 這是一份透過譯作來介紹前衛戲劇與電影的期刊。這樣的背景使他可以同時運用不同藝術媒體範疇。例如〈洗手〉對文學與美術這兩種藝術媒體的稼接，其實在戲劇、電影，甚至是封面設計中常見的技巧。另一個優勢則是在美術設計的領域裡，官方文化意識形態可以被懸置，代之以存在主義，後者也是黃華成從貝克特的戲劇表演裡學到的觀念。
　　這些現成物作品看似符合一個朝向消費社會的遠景，但它們卻很快地消失了。究其原因，或許是媒體的力量過於廣泛強大，以致於任何尋求前衛性的藝術家都不會錯過它。其次在五月與東方的成員此時相繼出國後，最後在1971 年解散，製作現成物作品的藝術家似乎也失去了他們的假想敵。最後則是突然翻轉的外交局勢使得存在主義的光環迅速消退，而現成物作品的一般面貌，如荒謬性、諷刺性與自我放逐，在時興的國族與鄉土主義的氛圍裡，也連帶地不再能夠引起知識份子的興趣。

現成物、龐圖、五月畫會、東方畫會、黃華成、現代詩展、中國現代藝術季

Based on the previous studies, my article tries to elaborate the idea
of 'complex art' in 1960s Taiwan by concerning on the ready-made artworks, and their relative contexts.

In this period, Taiwan, as Free China （Ziyou Zhongguo）, was in martial law enforcement as well as still a member of the United Nations. Artists in this time had to organize themselves in the name of 'international exchange' and cope with the official cultural ideology, that is, the issue of modernization of Chinese culture, in order to achieve artistic freedom and the legality of avant-garde. For example, PUNTO International Art Movement which was founded by some artists from Italy, Spain, Japan, Taiwan, etc., was invented to exhibit in Taiwan in 1963 because the Taiwan painters, Xiao Qin (1935-) and Li Yuan-Jia (1929-1994) were its members, and the other foreign painters were inspired by the spirit of Chinese culture.

The PUNTO exhibition, with its social connections with Taiwanese artistic circle, had impacts on the bifurcation between painters of May Society (Wuyue Huahui) and of the Orient Society (Dongfang Huahui), which both occupied dominant positions in the artistic field with their abstract paintings. Furthermore, the dominant artists and their challengers were also bifurcated by this exhibition. The challengers came from the field of art design, which was deemed the periphery in artistic hierarchy. In 1966, an astonishing ready-made work, Washing Hand (Xishou), by Hua-cheng Huang (1935-1996) was placed on the roundabout in West Gate District (Hsimenting) which was a chair with a washbasin on its seat and a poetry wrote on a scrap of paper on the front of the chair back. This work was a part of Modern Poetry Exhibition (Xiandai Shizhan) hold as a section of Chinese Art Season (Jhongguo Yishuji), and in the exhibition, almost all the participating artists were devoted to cover or industrial design.

Huang was an art director in Taiwan Television Enterprise, Ltd. founded in 1962 and the editor of Theatre quarterly (Juchang), a journal introducing avant-garde theatre and movies by translation. His background had provided him some advantages. First, he could exercise different media across arts. His Hand Washing seems to be astonishing at first glance, however, the grafting of different arts in Hand Washing: literature and fine art, were in fact a common feature in theatres, in movies and even cover designs. Another advantage was that the official cultural ideology was suspended from the field of art design and replaced by the idea of Existentialism which Huang learned from the performance of Beckett's theatres.

Those ready-made artworks seemed to meet a social tendency towards a consumer society, but they disappeared soon instead. The reasons for this finality might be that the prevalence of media is so strong that any successive artists who search for avant-garde expressions would not ignore it. Moreover, the artists who made ready-made works lost their alternative imaginary enemies: the members of May Society and the Oriental Society went aboard in succession, and finally disbanded in 1971. Finally, the suddenly reversal of international relations of Free China made the prevalence of Existentialism faint quickly, and the common features of ready-made works: ridicule, irony and self-exile, relatively hardly raised any interests in the ethos of raising nationalism and vernacularism.

Ready-made artworks, May Society (Wuyue Huahui), The Orient Society (Dongfang Huahui), Hua-cheng Huang (1935-1996), Modern Poetry Exhibition (Xiandai Shizhan), Chinese Art Season (Jhongguo Yishuji)

　　20 世紀以來現代工業科技的發展，金屬材料也不斷地推陳出新， 在機具技術層面上的提昇，與在生活上必須倚重其生產與分配之結構， 使它成為文明世界裡主要代表性的材料。金屬是工業的基礎，在形態發展的質與量上亦較能直接突顯反映工業生活的面貌及時代背景的精神特色，尤其在金屬造形作品的運用上更是有著相當突出的表現與成長。特別20 世紀藝術品的發生與藝術史的形成，與科技與藝術的結合發展有著密切的關係，藝術不再只是傳統技術操作熟練度的課題，更是觀念、精神與物質的文化史。現代雕塑的發展，無論在形式的表現或內容的取材，均朝向更多元性的方式來發展，因此雕塑形態的表現已顯示和過往傳統的差異。
　　時代潮流強調著工業機器生產之能量與速度，其中對於金屬媒材的運用，在不斷地探索與實驗的精神中，也得到了不少具體成果。除了使藝術家的風格與態度有了極大的轉變，更展現了金屬造形之豐富多面向可能性的發展。因此本文透過對工業生產與製造、工業現成物件與再造、動力雕刻三個面相論述金屬材質在現代雕塑的發展上，是如何地顯示其獨特的地位與發展面貌，與其形式建構的特質，以及金屬材質的運用又是如何展現其擴展的面向。最後更回顧台灣藝術史中金屬造形發展的脈絡， 梳理出台灣金屬雕塑質素的獨特語言，尤其對於造形的表現、材質運用及空間的展呈或觀念的詮釋上，已確立與開啟一種多元而多重面向的體系，同時也表現出雕塑美學之獨特發展。

金屬造形、金屬直接雕刻、極限主義、動力雕刻、台灣雕塑

As industrialization continues to deepen, metal materials, whose
variety expands along, become critical representative substance of the 20th and 21st centuries. In particular, when applied to sculpting art, as they are fundamental to the construction of modern industries, their direct reflection of people's way of life and the spirit of the industrial era renders impressive results.

The power and speed of machine productions are more emphasized in the modern era. Influenced by this trend, sculpting artists set out to experiment on the use of different metal materials. These artists have made substantial progress in developing an alternative style to present their work.

The combination of modern technologies—represented by metal materials—and art, therefore, indicates that art is no longer about mastering techniques, but incorporating the artist's ideas, the spirit of the era and the applied materials to develop human culture, making the form and content of sculpting art much more diversified than before.

By analyzing industrial productions, ready-made industrial objects
and the re-production of them, as well as kinetic sculpture, this paper aims to show how metal materials have become so uniquely important in the development of modern sculpting art, their distinguished characteristics in forms, as well as the expanded use of such materials.

By reviewing the development of metal sculpting art in this island,
a unique language of sculpture in Taiwan is confirmed in this paper. This is a language in which diversified expressions are made through special interpretations to materials, space and ideas, all different from those in the old days. This is also a language that speaks the unique sculpting aesthetics in Taiwan.

Metal forms, Direct metal sculpture, Minimalism, Kinetic sculpture, Sculpture in Taiwan