| 摘要: | 本論文以藝術家陳慧嶠小姐2011年的「情欲幾何」個展為研究範圍，討論創作概念與文宣呈現之差異，以「符號」與「敘事」之觀點為輔，透過訪談、閱讀脈絡深入其作品意涵，進行創作概念與文宣文本的比較，並探究其作品裡乒乓球符號的明示與暗喻。研究發現，陳慧嶠作品裡的乒乓球元素是動態靈活的，在觀看時必需將乒乓球放在整體構圖中才能夠理解它的意涵。由於過往關於陳慧嶠的報導，許多內容都談及星座、夢境，強調她對於星象、神祕學的興趣與涉獵影響了文宣書寫的角度，間接將觀眾閱讀作品的視角引導至特定的方向裡。在文宣之外，觀眾也可以將展覽與作品的「命名」視為提示，這些名稱均來自於藝術家之手，其中所蘊含的意義與聯想，提供了一個閱讀展覽的切入角度。
This thesis focusing on the art exhibition “The Geometry of Passion: A Solo Exhibition by Chen Hui-Chiao” which discusses the differences between the artist’s creative concepts and brochures’ texts. In terms of “symbol” and “narrative”, we attempts to approach the artworks’ implications by interviews and the artist’s contexts of reading, and investigate the usage of ping pong balls’ symbols expression and suggestiveness. Our results indicate that because “ping pong balls” in Chen Hui-Chiao’s artworks are dynamic and flexible, audiences should observe a whole work to understand the balls’ implications. In the past, many reports noted Chen Hui-Chiao intrest constellations and dreams, so brochures’ texts were written tending to horoscope and mysteries. On account of this, audiences are guided indirectly to a specific point of view. Except the brochures, audiences may consult the title to see an artwork because titles are always set by the artist, and they can find new perspectives on artworks. |
