從藝術介入、創意市集到社區記憶再現－大稻埕都市再生的後博物館想像

後博物館學的概念意涵著檢視博物館原本高度潛藏的政治價值與機構特徵，深刻反思這個教育生成與意識型態教化的假設，逐步解放知識建構的權力。因此，不僅「博物館」的機構概念轉化為關注視覺文化與物質文明軌跡的教育機構，此一透過展示方式的知識生產過程也得以被挪用，成為重新觀看與理解社區自身歷史與集體記憶的重要方法。另一方面，從藝術生產場域所釋放出來，積極與觀眾對話，共同生產藝術內容與意義的藝術介入社區模式，則隱然地與後博物館理念相互呼應，使得創造各種藝術表現形式，和社區在地記憶之間得以共構而相互生成。其中，年輕創意與設計工作者高度參與的創意市集，近年來成為經常被挪用、極容易被視為可以介入地方活化的文化經濟模式。本文以大稻埕近年來引發的都市再生經驗為研究場域，透過後博物館學及藝術介入社區的理論概念，檢視社區與設計工作者如何挪用創意市集、深度導覽與藝術節等文化藝術介入模式，既著力於在地社區記憶的建構與再現，召喚年輕族群進入歷史街區，復期許透過這個兼具展示與知識建構的文化經濟模式，得以重新想像在地歷史記憶，以及，這樣的模式，是否可視為後博物館學理論所欲拓展的在地與多元文化理解視角。

關鍵字

後博物館學；藝術介入；創意市集；社區記憶；大稻埕

並列摘要

The concept of post-museum proposed by Eilean Hooper-Greenhill involves examining the political implications and institutional characteristics of a museum and emancipating the power of knowledge construction, by profoundly reflecting on the ideology of the museum. The museum is transformed into an educational institution that pays attention to the trajectory of visual culture and material civilization and the knowledge production process of exhibition is appropriated for revisiting and understanding the history and collective memory of a community. The socially-engaged art model, which came out of the art production field, encourages active engagement with the community to jointly produce artistic content and meaning. This echoes the post-museum concept, making it possible to create various artistic expressions and communities. Moreover, memories of the community are co-constructed and mutually generated. The creative marketplace, which involves young creatives and designers, has become a cultural economic model that has been appropriated in recent years for local revitalization. In this paper, the experience of urban regeneration in Dadaocheng in recent years is the research subject. Based on post-museum concepts, how communities and designers use creative markets, guided tours and art festivals as diverse features of socially-engaged art is investigated. These intervention modes do not only focus on the construction and reproduction of memory in the local community, but also call on young people to enter historically important areas. It is hoped that through this cultural economic model of display and knowledge construction that historical memory can be re-imagined. Moreover, whether this can be regarded as a perspective of local and multicultural understanding in the expansion of post-museum theory is also discussed.