本研究旨在探討臺灣現存的替代空間。當初替代空間產生的原因,如官方美術館不接受前衛藝術展出、缺乏展示場所等已不復見,那麼替代空間仍持續出現的原因為何?原本打著反收編、反體制的口號,如今臺灣多數藝文空間及團體皆仰賴官方補助得以生存,那其存在的價值何在?此外,臺灣藝文環境已經改變,替代空間雖已有二十多年的發展歷程,仍需步步為營。本研究特別針對「竹圍工作室」、「伊通公園」及「佔空間」三個替代空間,探討其經營管理上之成功關鍵因素,使其能夠在眾多藝文空間的紅海中,以自己獨特的「藍海」策略,持續運作。 本研究透過文獻蒐集、質性分析與訪談,並結合關鍵成功因素與非營利組織的分析架構,使用藍海策略的「策略草圖」及「四項行動架構」進行分析與行動探討,最後再提出客觀的建議。研究結果發現,三個案例分別在發展智庫和育成平臺、透過對話形成藝術網絡及服務聚焦「常民」上,建立各自專屬的「藍海」。替代空間應發展出其特殊經營文化,以其不可取代的前端育成與中介平臺身分,不斷向外串聯,整合各自網絡;主動開放,讓更多跨領域人員參與,不斷提昇自我價值,成為不可替代的替代空間。
The causation of the art alternative spaces, such as for anti-institutionalization, the lack of exhibition spaces for avant-garde, are no more a question; yet why do they still exist today? And now most of Taiwan’s alternative spaces are dependent on official subsidies to survive, and then what are the values of their existence? In addition, the art environment has changed, though the alternative spaces in Taiwan have developed for more than twenty years, they still have to be cautious at every step. This thesis researches on "Bamboo Culture Studio", "IT Park" and "Artqpie", the three alternative spaces to explore their operation and management of success factors, and their own unique "Blue Ocean". This thesis introduces the "strategy canvas" and the "four actions framework" of Blue Ocean Strategy for analysis and action study, and finally put forward suggestions for their development. This study concludes that the establishment of its own think tank, incubation platform, the formation of arts network and the provision of service to the "ordinary people" are the “blue ocean” for these three alternative spaces. Through connecting with others to form stronger networks, recruiting people from multiple fields, and promoting self-value, the alternative spaces will become the irreplaceable spaces.
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