楊育睿

Louise Yu-Jui Yang

藝術與工藝、纖維藝術、編織

art-versus-craft, fiber art, weaving

臺中纖維工藝博物館於 2023 年夏天推出「翻浪經緯線:文化工藝的美學實踐」 展覽。這篇評論探討了該展覽提出的數個不同的論述層面，包括它對於臺灣藝術史的 觸及，以及透過「纖維藝術」來切入「藝術與工藝」(art-versus-craft)辯證的 嘗試。該展覽將編織概念上的「經緯」(warp and weft)與地理概念上的「經緯」 (longitude and latitude)並置，巧妙地將編織的內在邏輯與地方性的實踐及地 理因素連結起來。除了提及著名的藝術家顏水龍對該領域的貢獻外，這次展覽一起展 出了許多藝術家的作品。他們將編織視為一種實現藝術價值的方法，而不僅僅將編織 視為功能美的日常操作。 回應本次展覽對個別藝術家與工藝作者的關注，本文選取 了數個編織實踐的案例，並分析他們對於「纖維藝術」與「美術」共享領域的詮釋。

The Museum of Fiber Arts in Taichung launched the “Taiwan Fiber Art Connection” exhibition in the summer of 2023. This review explored different discursive aspects of this exhibition, including its engagement in Taiwanese art history as well as the attempt to bridge the idea of “fiber art” and the “art-versus- craft” debate. Juxtaposing ideas of “warp and weft” and “latitude and longitude”, the exhibition resourcefully draws the parallel between weaving’s inner logic and local practices with geographical matters. Except for the legacy of Yen Shui-long, the artist of great renown, this exhibition includes artists who consider weaving as a method to approach artistic value instead of scoping weaving as merely daily operations of functional beauty. Along with this exhibition’s emphasis on individual artists and craft makers, several cases of weaving practice are selected in this review for analysing their divergent approaches to the nature of “fiber art”, which overlaps the domain of “fine art”.