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  • 學位論文

當藝術與商業共舞:藝術經紀策展公司的分析

Dancing between Art and Commerce: The Analysis of Art Agent Curatorial Companies

指導教授 : 曾嬿芬

摘要


本研究將超級大展做為觀察台灣藝術推廣的策略點,以藝術經紀策展公司為研究對象,試圖理解當商業的市場力量參與藝術推廣活動時,藝術和商業的分野如何在藝術經紀策展公司舉辦過程中,透過行動者的操作而彼此交相滲透。 本研究主張,藝術與商業不是互斥的邏輯,也不是可以彼此化約的單元邏輯,他們是同時並存,並且交互滲透的。交換不只是鑲嵌於網絡中,交換同時是不斷伴隨著情感交流與相互形塑,導引至不同的理解、實踐、資訊、契約、權力、符號等媒介。因此,我也特別關注藝術經紀策展公司的符號象徵與隱蔽腳本,企圖了解對他們而言,什麼樣的形象是需要被確立、保護的,而那些價值則可以被放棄。 目前超級大展的市場發展,讓我們看到,許多積極的市場行動者使得超級大展不再是偶發的奇觀事件,而是逐漸偏向常態性的市場現象,成為藝術經紀策展公司產業化經營的一部分。台灣目前承辦超級大展的公司除了一直以來以兩大報業聯合報系與中時報系,近年出現的祥瀧、雙瑩、環球公司,以及寬宏藝術等公司也都紛紛加入了籌辦超級大展的行列。他們各自擁有不同的優勢與專長,試圖在超級大展的市場中獲取利益,並且逐漸延展了超級大展的業務與市場。 這些藝術經紀策展公司之間並不是完全對立的競爭者,而是一種「既競爭又合作的同業關係」。他們的組織、社會資本、合作網絡和文化資本都影響著超級大展的生產過程。另一方面,藝術經紀策展企劃者的角色認知也展現在他們籌辦超級大展過程中的操作差異。本研究區分出「溝通協調者」、「行銷文化商品者」和「文化播種者」三種角色認知同時並存於每一位藝術經紀策展企劃者身上。當遇到不同的行動者,需要做不同的決策時,他們便必須取得三種角色的平衡。 籌辦超級大展的過程中,還有主題的選擇、許多可控制的營收、不被明白說出的隱蔽腳本。這些協商與評估的過程不僅牽涉到藝術經紀策展企劃者的角色認知,也關係到不同的社會關係的組成。藝術經紀策展企劃者與不同行動的的溝通接洽,以及他們在當中不斷操作的結果,都影響了如今超級大展的呈現。以藝術經紀策展公司來看待這樣的議題,正可以讓我們用另一種角度思考超級大展的產業化發展,進一步反思藝術經紀與文化推廣的議題。

並列摘要


I used blockbuster as the strategy of observing art promotion in Taiwan. I research art agent curatorial company and try to understand how art and commerce interpenetrated by actors’ operation when art agent curatorial company participate in holding blockbuster. This research proposes that art and commerce neither the hostile logic, nor the reducible single logic. They are coexist and interpenetrated. Exchange not only embed in networks, but also conducted in particularized social and cultural settings with emotional interaction and mutual construction. Hence, I also focus on the symbols and hidden transcripts of the art agent curatorial companies for knowing what kind of images they preserve and what kind of value they abandon. There are many actively market actors are engaging in developing the blockbuster market, which shows that the development of blockbuster in Taiwan is becoming common rather than rare and becomes one part of the industrialization of art agent curatorial company. Except United Daily News Group and China Times Group, two of the major art agent curatorial companies hold blockbuster in the past, in recent years there are Artsource Corp., Cityxculture Co Ltd, Universal Impression Co Ltd., and Kham Ticket joining in this vigorous market. They independently have their own possession and try to make profit in the market by enlarging their business scale. These art agent curatorial companies are not completely competitive. The relationship among them is “competitive and cooperative at the same time”. Their organizations, social capitals, coefficient networks, and cultural capital affect the process of holding blockbuster. Besides, we can see multiple role perceptions of planners by observing how these companies operate blockbusters differently. I classify three different role perceptions which are negotiator, promoter of cultural product, and sower of cultural. I assert that these three perceptions are coexisting in every planner I interviewed. When they encounter different actors or need to make various decisions, they have to adjust the balance among these three roles. There are still many things play important part in preparing blockbusters, such as theme decision, reasonable profit control, unspeakable hidden transcripts and so on. They are not only related to the role perceptions, but also constructed by diverse composition of social relationships. How the planners of art agent curatorial companies communicate with different actors in the market and how they manipulate in the process affects what kind of blockbuster we see today. Using art agent curatorial companies as the strategy to research is just a good chance for us to understand the development of industrialization of blockbuster, and reflect the issues about art agent and cultural promotion in our society.

參考文獻


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