從樹梅坑溪環境藝術行動談新類型公共藝術的展示與評論問題

The Relationship between Exhibition and Criticism in New Genre Public Art, a Study Based on Environmental Art Movement at Plum Tree Creek

鄭惠文(Hui-Wen Cheng)

《南藝學報》 4期 (2012/06) Pp. 19-39

https://doi.org/10.29876/ATNNUA.201206.0002

摘要

2004年《量繪形貌》一書的翻譯出版開始，「新類型公共藝術」在臺灣開始以一個新的藝術型態被認知，發生實踐與論述，在臺灣公家單位的積極介入，接續了社區總體營造之發展延伸，發展出不僅是西方橫向論述移植而發展出地方的意義。本文以2010年國家文化藝術基金會視覺藝術策展類補助的二年計畫《樹梅坑溪環境藝術行動》為研究對象，連結以樹梅坑溪為軸的周邊生態，從中討論新類型公共藝術的展示問題，如何輻射出藝術內涵，並且從幾項對新類型公共藝術的批判出發，觀察樹梅坑溪環境藝術行動處理新類型公共藝術問題的方式。

關鍵字

新類型公共藝術 ； 樹梅坑溪 ； 環境議題 ； 對話性創作

並列摘要

Ever since the translated version of Mapping the Terrain was published in Taiwan, the New Genre Public Art has become known as a new pattern of art, deriving both discourses and practices. After governmental constructive involvements and Community Empowerment, it has developed not only western horizontal transplantation but also local significance. This article focuses on the two-year plan ”Environmental Art Movement at Plum Tree Creek”, which links to the ecological system of Plum Tree Creek to present artistic significance. Criticisms of new genre public all will also be used to discuss how the problems of new genre public art can be solved through this movement.

並列關鍵字

New genre public art ； the Plum Tree Creek ； environmental issue ； dialogue of creative autonomy