博物（美術）館與畫廊的互動

Creating Interactions between Museums and Profit-making Galleries

黃光男(Kuang-Nan Huang)

《視覺藝術》 1期 (1998/05) Pp. 41-60

https://doi.org/10.6960/VA.199805.0041

摘要

一般認為，博物（美術）館與（商業）畫廊，無論是藏品管理和展示功能上，皆具有不同的意義與目的。實務上，博物（美術）館與（商業）畫廊對藝術（品）及藝術發展的興趣和關切，卻多有重疊。如何探尋彼此的差異與關聯，以促成博物（美術）館本身的業務順利進行之外，對於博物（美術）館生態發展及其「周邊問題」的探討與觀察，亦是筆者從事十餘年的美術行政工作期間重視和關心的問題。
本文分別就博物（美術）館與畫廊的專業定位與角色，以及從市場導向談博物（美術）館與畫廊的功能等方面，探討彼此角色功能的差異，並尋求其交集與關聯性。其後，從博物（美術）館館長與畫廊經理人的特質和條件，論述博物（美術）館與畫廊的互動關係。
博物（美術）館與畫廊同時扮演著文化藝術「進入」到「產出」的仲介者角色。其中，畫廊又做為博物（美術）館的偵察者、仲介者、推動者，以及「前置空間」等，如何發揮其應有的專業角色，與博物（美術）館合作，達到所謂「官商結盟而非勾結」的理想典型。使博物（美術）館與畫廊在維持一個良性健全的藝術生態努力之下，共同引介國際藝術、推動本土藝術發展、提昇大眾藝術素質。在互惠互利、以及雙赢的機制下，走向博物（美術）館與畫廊並重的時代，亦即進入二十一世紀的新博物（美術）館時代。

並列摘要

In general, museums and profit-making galleries are considered at different ends and significance in terms of collections and exhibitions. In reality, they have overlapping interests and concerns in art and its development. How exploring differences and finding connections between each other is a relevant issue, which the author much concerns during his 12 years of experiences at museum careers.
This article is divided into five parts. At the beginning the author obtains the opinions and views of the galleries to museums and their relationship to the galleries by means of a survey. In the second and the third parts, he discusses the roles and the functions of museums and profit-making galleries, respectively, by the nature of both organizations and through the market-oriented point of views. Fourthly, he analyzes the characteristics of a museum director and an art dealer, and then explores ways in which museums and galleries can work together and create interactions to each other in order to the benefit of the whole art-cultural environment and the general public.
Lastly, the author sees museums and profit-making galleries as the intermediaries who play the roles of art input and output in the meantime. Furthermore, from the gallery's position, the gallery also plays the roles of the inspector, the intermediary and the supporter of the museum as well. The author proposes an ideal relationship between museums and profit-making galleries at the end, which are in alliance with each other not collusion with. In other words, museums and galleries can work together and make efforts on introducing international art, developing local art and promoting the quality of the public's life. Under a positive art-cultural environment, museums and profit-making galleries, with the mutual benefit and the win-win policy, can go towards the new era of the museum for the next century.