「藝術式研究」(artistic research)的興起，和晚近當代藝術高度知識化的傾向有緊密的關聯，並企圖透過重新思考「研究」與「知識生產」的實踐性意涵，來挑戰「藝術」與「學術」在不同學科領域之間的分野;卻也在觀點上形成了諸多的分歧、爭辯及問題。近年的臺灣當代藝術場域，隨著重返地方與歷史踏查意識的興起，藝術家作為論述者或研究者，在藝術實踐的案例討論上，往往過於簡單地被指為某種「田野」，其中涉及到藝術、知識及研究的面向，始終沒有較為細緻的討論。另一方面，臺灣當代藝術涉及到藝 術式研究的實踐案例，鮮少被評論者及學者展開來討論;對藝術式研究的論述和分析也相對欠缺。因此，本文首先回顧藝術式研究在歷史中的發展脈絡，進而聚焦在藝術式研究中的知識生產與學術張力，並擴及至相關「知識/非知識」、「學科/非學科」等問題的論辯。最後，則會將焦點置於臺灣當代藝術的情況，探討在相關藝術家的實踐案例中，如何面對研究、知識權力與殖民史的問題，以及 呈現出何種藝術實踐的動力。筆者企圖指出: 此種拒絕知識殖民性的實踐性知識，是經由反思與批判認知支配和殖民權力關係形成的，並包括了以下幾種實踐途徑:歷史踏查與行動、從屬者的「自我田調」、以及探索「靈」的學術界限與研究，發展出一種以藝術家的創作生命與倫理為核心的「生存美學」(aesthetics of existence)— —這意味著從知識解殖的層次，終究需要朝向一種生命層次的「認識論解殖」(epistemological decolonization)，以便中斷吾人對於殖民性知識的依賴。

The emergence of “artistic research” is closely linked to the increasing intellectualization of contemporary art. This development involves a critical reexamination of the concepts of “research” and “knowledge production,” ultimately challenging conventional boundaries between “art” and “academia.” As artistic research traverses different disciplines, it has prompted various debates, disagreements, and questions about its nature, scope, and implications. Art researchers and artists alike have sought to define artistic research as a hybrid form of inquiry that integrates creative practice with critical and theoretical reflection. Its interstitial position between art and academia allows for a rethinking of disciplinary norms and opens up new possibilities for generating and sharing knowledge. In recent years, this discourse has gained particular relevance within the contemporary art scene in Taiwan, where artists have been increasingly drawn to local histories and a renewed sense of place. This trend has led to creative projects that delve into the cultural, social, and political histories of Taiwan, often engaging with marginalized narratives and overlooked spaces. However, these artistic engagements are often oversimplified as mere “fieldwork” by the artist, lacking sufficient recognition for their research-oriented dimensions. In many cases, artists’ deep and sustained investigations are reduced to site-specific explorations without acknowledging the epistemological and methodological contributions of their research work.

This neglect highlights a pressing need for in-depth discussion on the intricate relationship between “research” and “academic/artistic” practices in Taiwan. Despite the growing prevalence of artistic research globally, Taiwan has seen limited commentary and scholarly engagement with this field. Practical cases of artistic research within the context of contemporary Taiwanese art are underexplored, and existing discourse remains relatively sparse. This gap in scholarship underscores the importance of examining how artistic research functions as both a creative and intellectual practice within Taiwan’s unique socio-cultural context. To address this gap, this article begins by reviewing the historical development of artistic research, with a particular focus on its tensions with academic knowledge production. One key area of tension lies in the differing criteria for evaluating knowledge in the realms of art and academia. While academic research often prioritizes objectivity, replicability, and theoretical rigor, artistic research values subjective experience, processual inquiry, and embodied knowledge. The discussion will extend to debates concerning concepts such as “knowledge/non- knowledge” and “disciplinary/in-disciplinary” boundaries, emphasizing the complex dynamics between established academic paradigms and creative artistic practices.

Furthermore, this study shifts its focus to the specific context of contemporary art in Taiwan, exploring how artists address research- related issues through practical engagements. By examining these cases, the article reveals the practical forces inherent in what can be described as an “aesthetics of existence.” Through historical investigations and interventions, self-fieldwork conducted by marginalized individuals, and explorations of academic boundaries concerning supernatural being dimensions, artists in Taiwan are contributing to an evolving discourse on decolonization. These practices not only contest dominant knowledge systems but also propose alternative frameworks for understanding existence and creativity. For example, artistic research often involves revisiting sites of memory, conducting archival research, and engaging with local communities to reconstruct fragmented histories. Self- fieldwork by marginalized individuals foregrounds personal and collective experiences, challenging hierarchical knowledge structures. Meanwhile, explorations of supernatural dimensions push the boundaries of academic inquiry, inviting a more holistic understanding of existence. Central to this exploration is the notion that decolonization of knowledge must ultimately lead to “epistemological decolonization” on a deeper, existential level. This implies breaking free from entrenched colonial knowledge systems and fostering a new form of creative knowledge and ethical engagement. Such an approach recognizes that knowledge is not merely an abstract construct but is deeply embedded in lived experiences, social relationships, and cultural practices. Ultimately, the article argues that the decolonization of knowledge through artistic research is not merely an academic endeavor but a vital process of reshaping how artists, researchers, and society at large engage with the complexities of existence and history.