從「香港前輩藝術家」展覽看香港的藝術史敘事的創建

Abstract

在1970年代末，「香港藝術家」的概念仍屬相對新穎，其定義在20世紀的重大社會與政治變遷中尚未穩定，仍處於流動與演變之中。於當時全香港唯一的公立美術館舉辦的展覽《香港前輩藝術家》，是首次嘗試敘述香港藝術史起源的展覽，反映了該機構在城市廣泛探討身份認同與藝術表現背景下的一種觀點。展覽展出了28位早期藝術家的作品，其中多數人在戰後遷居香港，並在1960至70年代為本地「藝術界」的發展奠定基礎。

本論文探討博物館及其策展人譚志成所扮演的角色。他的任命象徵著美術館在藝術收藏與展出策略上的關鍵轉變，強調文化再現的重要性及本地藝術敘事的正當性需求。本文從建構主義的視角出發，將該展覽置於這段轉型時期之中，主張其其實為一種對本地藝術史特定視角的制度化，尤其是在香港積極探索與中國及「中國性」之關係的時期。透過分析該展覽的策展方式與其影響力，本論文有助於深化對於20世紀香港藝術、身份認同與文化遺產三者交織關係的理解。

In the late 1970s, the notion of the “Hong Kong artist” was a relatively new concept, with its definition still fluid and evolving amidst significant socio-political change in the 20th century. Taking place in the city’s only public art museum, the exhibition “Hong Kong Artists: The Early Generation” was the first to present a narrative of the origins of Hong Kong’s art history, reflecting a particular institutional perspective within the context of city-wide negotiations of identity and artistic expression. The exhibition showcased the work of 28 “early” artists, the majority of whom had emigrated to Hong Kong after the war, and who would lay the foundations for the development of the city’s “art world” in the 1960s and 70s.

This thesis looks at the roles of the museum and its curator Laurence Tam. His appointment marked a critical shift in the museum’s approach to collecting and exhibiting artwork, emphasising the importance of cultural representation and the need to validate local artistic narratives. Through a constructionist lens, this thesis positions the exhibition within this period of transition, arguing that it institutionalised a specific vision of local art history, particularly in a period when the city was navigating its own connection to China and “Chinese-ness.” By analysing the exhibition's curation and impact, this thesis contributes to a deeper understanding of the interplay between art, identity, and cultural heritage in Hong Kong in the 20th century.