博物館作為方法：以香港「民間博物館計畫」為個案探討

Museum as Method: Community Museum Project in Hong Kong as a Case Study

呂佩怡(Pei-Yi Lu)

《博物館與文化》 9期 (2015/06) Pp. 3-31

摘要

「民間博物館計畫」(Community Museum Project)是2002 年成立的香港非營利文化組織。「民間」(community)、「博物館」(museum)、「計畫」(project)此三詞組具有內在矛盾：博物館通常收藏與處理「菁英」文化，它與「民間」的常民文化站在對立面；「博物館」為一永久性文化機構，而「計畫」則是有彈性的，具暫時性與變動性特質；「民間」是多元的自然生成，但「計畫」具有規畫、按部就班的意義。此詞組自身成為一個問題意識：在此矛盾之中，「民間博物館計畫」如何定位自己？此「博物館」又如何不同於一般的博物館概念？若以他們的說法：「以博物館作為方法」，此方法學的優缺點為何？是要將動態日常生活靜態標本化，還是要使日漸沉寂的社區回春活化？是收集展示歷史，還是製造歷史？是對博物館的讚揚，亦或針對博物館進行機構批判？此論文將以三個案例《示威遊／尤物: 一個看我們如何表態的展覽》、《整整一條利東街》、《小作業大智慧－深水埗手工匠圖譜》討論其方法學在理論與實踐層面上的問題，並進行批判。本論文認為「民間博物館計畫」自身的命名既可用來說明該機構的目標、方法與內容，同時也本文的問題意識，用以開展以上的疑惑。而其以「博物館做為方法」具有反思博物館的積極作為，一方面進行機制批判，另一方面提供其他角度去理解博物館與社會現實之關係。

關鍵字

博物館 ； 文化拾遺 ； 呈現社區 ； 社會策展

並列摘要

Community Museum Project (CMP) founded in Hong Kong in 2002 is a non-profit cultural collective. The terms ＂community＂, ＂museum＂ and ＂project＂ are intrinsically contradictory. A museum usually caters to and collects ＂elite＂ culture which is the opposite of indexing the lives of ordinary people; ＂museum＂ connotes permanence while a ＂project＂ suggests flexibility, temporality and variability; and a ＂community＂ grows organically while a ＂project＂ is developed under careful planning. By juxtaposing these terms together, the name＂Community Museum Project＂ prompts a barrage of questions. Thinking through these contradictions, how does the collective posit itself? How is this ＂museum＂ different from the concept of the museum as it is generally understood? As far as their dictum ＂museum as a method＂ is concerned, what are the advantages and disadvantages of the methodology that the collective deploys? Does this process help revitalising a community, or does it indeed turn the dynamics of everyday life into the piece specimen? Is it collecting and exhibiting history, or, making history? Does it pay tribute to the museum system, or does it bring forth institutional critique? This paper will take three projects by CMP, namely, 'Objects of Demonstration', 'Street as Museum-Lee Tung Street', and 'In Search of Marginalized Wisdom: Sham Shui Po Craftspeople' to critically discuss their methodology on two levels, theory and practice. I assert, in this paper, that the naming of CMP constitutes both the problematics the collective is addressing, and, its mission, method and scope. I further argue that the 'museum as a method' that CMP proposes could be a way of rethinking the museum as an institution of critique while, at the same time, providing other perspectives to understanding the relationship between museum and society today.

並列關鍵字

Museums ； Collecting Culture ； Visualizing Community ； Social Curating