<p>本文旨在研究堀浩哉與其主導的「美術家共鬥會議」（簡稱「美共鬥」），如何在前衛終結和學運的動盪環境中，扮演他作為美術家的角色。研究重點分為三部分。第一，點出前衛終結的危機，透過回溯美共鬥的形成背景，指出堀浩哉的藝術動機；第二，探討堀浩哉如何形成他的美共鬥經驗，並在多元藝術類型的嘗試中思考創作的可能性，聚焦在堀浩哉1980年前進行的初期藝術實踐；第三，以堀浩哉1980年後的繪畫和行為藝術（performance）發展為重心，延伸並呼應了美共鬥的思想。研究的發現，在於堀浩哉以美共鬥思想對藝術實踐的探索和演進，他的行為藝術也不僅是繪畫邊緣的試探，兩者是獨立且共生的關係。</p>
<p> </p><p>The purpose of the study was to identify HORI Kosai and the student organization, “Bijutsuka Kyoto Kaigi” (in short, Bikyoto, which means Artists Co-Struggle Council in English), which he initiated; this study also evaluates the important role he played as an artist at the end of avant-garde, and during the instability of the late 60’s student movement. There are three main points to this study. Firstly, to point out the crisis at the end of avant-garde, and through reviewing Bikyoto, we identified HORI’s artistic motive. Secondly, to discuss HORI’s earlier exploration in multiple genres, as well as his experience in Bikyoto, and bring a focus to what shaped his art practice prior to 1980. Thirdly, I’d like to emphasize how HORI’s paintings and performances after 1980 extend the thoughts and ideas of Bikyoto. In conclusion, this study is to examine how HORI used the Bikyoto ideas to explore and progress his art practice, as well as how his performances weren’t merely an extension of his paintings’ boundary, both of which are independent entities, but mutually influenced each other.</p>
<p> </p>
