《台灣社會學》

晚近台灣當代文化及藝術領域中，伴隨原住民族歷史轉型正義及原民性（indigeneity）的思潮，不少藝術家、藝評人與策展人開始反思主流漢人社會底下的定居型殖民主義（settler colonialism），進行定居殖民批判觀點與藝術實踐之間的對話。然而，「原住民藝術」（indigenous art）在歷史上的被殖民境遇，當今亦持續面臨多重的殖民性（coloniality），使得原住民藝術除了在藝術史書寫中呈現多處斷裂和空缺；在藝術評論上幾近缺席；又在台灣藝術主體性論述中被排除在外，也必須同時面對這套知識背後隱含的西方學術判準，及其構成的權力與知識殖民等問題。雖然台灣當代原住民藝術的創作及展演，不乏對於殖民主義歷史的反思；但是，原住民藝術涉及到的不僅是原住民知識的生產，還有感知層面的創造活動。所以本文在討論原住民藝術時，會觸及「藝術」的概念、藝術史與知識的殖民性（coloniality of knowledge）；藝術品背後的展示權力，以及現代博物館的視覺殖民性之問題。除了對「知識殖民性」進行反思之外，也試圖探討感官、感知與殖民性之間的交纏關係，進而對於「解殖」（decolonization）所構成的挑戰，提出以原住民藝術作為一種解殖感知與殖民感官（colonial senses）的可能方法與路徑。

Within Taiwan's contemporary cultural and artistic fields in recent years, the discourse of historical justice for Indigenous peoples and rising awareness of indigeneity have led artists, critics, and curators to engage with the settler colonial structures embedded in mainstream Han society. This has fostered dialogues between settler colonial critique and artistic practice. However, "Indigenous art" has historically endured colonial conditions and continues to face multiple layers of coloniality today. These conditions have resulted in ruptures and absences in art historical narratives, the marginalization of Indigenous art within art criticism, and its exclusion from discourses on Taiwan's artistic subjectivity. Furthermore, Indigenous art must contend with the implicit Western academic frameworks that structure knowledge production, raising concerns regarding epistemic and knowledge colonialism. While contemporary Indigenous art in Taiwan often refl ects on colonial histories, its scope extends beyond the production of Indigenous knowledge to encompass creative engagements at the level of perception. Thus, this paper discusses the concept of "art" itself, the coloniality of art history and knowledge, the power structures underlying the display of artworks, and the visual coloniality of modern museums. Beyond critiquing the coloniality of knowledge, this paper also explores the relationship between the senses, perception, and coloniality, refl ecting on the challenges posed by decolonization. In doing so, it proposes Indigenous art as a method and pathway for decolonizing sensory perception and colonial sensory regimes.