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Représentations des aborigènes de Taïwan au musée : entre art et ethnographie dans un contexte post-colonial

Abstract : The representation of the aborigines, whether due to aboriginal artists or based on an outside perspective, is an integral part of the construction of an identity, in particular when the act of creation is conceived as a mode of cultural transmission (in order to find their ancestral spirits). The first step to approaching the works of the aboriginal artists consists of multiplying points of view on the question of the cultural identity (the political dimension of self-affirmation) and the questioning of their intent to be considered an artist. The fact that the aboriginal artist regards himself as an artist, had already been attempted in the non-aboriginal community. However, this position has not been without controversy. After the ethnographical turn (contextual turn into specific identity), the aboriginal artist is obliged to think about his/her status, the way to create and the reason why (s)he would become an artist. The approach chosen by the four artists studied here has not led them to learn anything (act of construction or building of themselves) ; it is rather a question of unlearning, in order to associate with the cultural juxtaposition and the simultaneity of the others in the global and mobile world. Therefore, the artist as an aborigine-traveler causes a short-circuit in the interpretations. In this perspective, each presentation at the museum builds a relationship with the ‘visitor-viewer’ in a temporary or parallel space as it relates to the real space.This research is based at the same time on the analysis of the socio-cultural situation of the four artists (Rahic Talif, Walis Labai, Sapud Kacaw et Chang En-Man), the aesthetic analysis of their works and the historical analysis of the context of production, diffusion and exhibition of the aboriginal works in general between 1895 and 2017. By relying on a sociocultural and artistic representation, our research is designed to build a strategic vision for the post-colonial studies between art and ethnography. Developing a practice of the qualitative analysis, we wish to focus on three fundamental questions : How were the works of the aboriginal artists represented and « framed » in a control of identity discourse? How does the aboriginal artist consider the traceability of his/her feeling of belonging (like a trackable identity) through his/her representation? How does this representation introduce a short circuit of the cultural interpretations in the different modes of expression, perception, evolution and reception?
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Yu-Ta Lin. Représentations des aborigènes de Taïwan au musée : entre art et ethnographie dans un contexte post-colonial. Art et histoire de l'art. Université Sorbonne Paris Cité, 2017. Français. ⟨NNT : 2017USPCA164⟩. ⟨tel-01772756⟩

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