藝術策展與臺灣主體性想像－以米蘭外帶臺灣館與倫敦設計展修龍／相撞為分析個案

Taiwanese Subjectivity in Curatorial Practices: Case Studies of Citizen Diplomacy Projects OPTOGO at Milan Expo 2015 and Eatopia at London Design Biennale

殷寶寧(Pao-Ning Yin)

《博物館學季刊》 31卷3期 (2017/07) Pp. 31-53

https://doi.org/10.6686/MuseQ.2017.31.3.2

摘要

進入90 年代後，藝術生產場域浮現了不同的變化。在藝術生產民主化的趨勢下，藝術家開始關切如何和社會溝通。另一方面，策展人重新關切社會變遷的課題，使得展覽成為創作而非展示的場域。關係美學、對話性創作等參與式藝術等概念受到重視。2014 年的318 學運後，草根民主的主張與年輕世代擅長運用數位社交媒體的趨勢，反映在藝術生產場域中，以公民外交計畫為名的米蘭外帶臺灣館與倫敦設計雙年展兩項展演行動，成為藝術介入社會，引導對話性創作的重要藝術實踐。這兩個展演活動的共同核心主張，乃是以飲食文化為主題，企圖以臺灣的飲食文化作為讓世界看見臺灣、認識臺灣文化的理解視角。本研究挪用關係美學的理論觀點，以前述兩項展演行動為分析個案，檢視其美學實踐與論述生產，將其置放於臺灣藝術策展實踐的歷史情境中，一方面回應於全球化潮流中，如何以策展美學實踐來突顯自身的文化主體再現，同時也反思此藝術展演中所浮現的論述危機，及其為了創造出對話空間，讓臺灣被看見的意識型態，而扭曲自身的存在，造成了雙重的他者化困境。

關鍵字

關係美學 ； 米蘭外帶臺灣館Optogo ； 修龍Eatopia ； 對話性創作 ； 參與式藝術

並列摘要

The art production field has experienced changes since the 1990s. In light of the trend of democratization of art production, artists have become eager to learn how to communicate with people, with curators seemingly serving as the main agents of art practice. Curators have increasingly placed importance on social change and related issues, with the result that exhibitions have been transformed into creation fields rather than display spaces. Importance has also been placed on theories such as relational aesthetics, dialogical art, and participatory art. In Taiwan, after the student movement of March, 18, 2014, the idea of grassroots, and the high level of digital and social media proficiency among the younger generation made the realization of citizen diplomacy projects possible. Examples include One Pavilion To Go (OPTOGO) at Expo Milan 2015 and Eatopia at the London Design Biennale. These two cases are examples of relational aesthetics, and are based on topics related to Taiwanese food culture. That is, the curators of these projects attempted to make Taiwan visible to the world by means of the presentation of local food culture and traditions. In this article, the process of implementation of these two cases is analyzed, especially the formation of curator discourse and practices of aesthetics. Particular issues are discussed. For example, in the face of globalization, how can cultural subjectivities be demonstrated through curatorial and aesthetic practices? Moreover, although these projects attempted to bring international exposure to Taiwan, the distortion of their existence led to the creation of double otheringness.

並列關鍵字

Relational aesthetics ； citizen diplomacy ； OPTOGO ； Eatopia ； dialogical art ； participatory art

參考文獻

Bishop, C., 2004. Antagonism and Relational Aesthetics. October, No.110 (Fall 2004), pp. 51-79.

觀點網站，2016。文化是設計的潛在發聲：吳雅筑，觀點網站，2016.12.6，網址：http://designperspectives.org/2016/12/06/rain-wu/（瀏覽日期：2017/06/05）。

Bourriaud, N., 2002. Relational Aesthetics. Dijon: Les presses du reel.

江慧真、舒子榕，2013。米蘭世博．我被拒國家館外，中時電子報，2013.12.07，網址：http://www.chinatimes.com/newspapers/20131207000317-260102（瀏覽日期：2017/06/08）。

何熊貝，2015。OPTOGO- 外帶國家館，帶走滿滿一杯故事，欣傳媒，2015.4.16，網址： https://solomo.xinmedia.com/archi/17066-Live（瀏覽日期：2017/06/15）。