| Summary: | 碩士 === 華梵大學 === 建築學系碩士班 === 99 === After Abolishing Martial Law of 1987, Taiwan has marched towards the transitional stage of completely subverting, dissolving, and then reconstructing the traditional system during the1990s. Under this great change in society and politics, individualism becomes the main power.Hence in response to this new situation, the artist is no longer able to rely on old artistic languageand forms. In 1990s Taiwan, “Installation Art” then takes this chance to develop anddemonstrate itself and becomes the new mainstream of contemporary art.
For example, the artistic practice of “Installation Art” in “ Huashan Special Artistic Zone” is avery visible event. By using “the space installation in action’' in Huashan Ruins, left in the openand used, the artists, who dubbed themselves advocates of the post-modern have demonstrated apenetration of the city’s unused space; and at the same time commented on the ' politics ofrepression' .It can be regarded as a questioning of and attack on ' the contemporary artisticsystem ' and a yell at contemporary civilization .This article aims to study the process ofshouting out at the social space through the device of post-modern art. It not only examines thespace-form logic of creating “device art” and “social sculpture” in Huashan Artistic Special Zonebut also investigates the underlying cultural meaning, in order use this as a reference for furtherpractice.
Keyword: Avant-garde、Installation art、Transformation of social space、Ruins、 Huashan special artistic zone
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