展覽敘事的時間性、空間性與詩意－「花園裡，植物記憶纏繞」展覽個案分析

「展覽敘事」成為近年來討論博物館與美術館展示的重要切入視角。展覽敘事具有雙重時間性的特徵，這使得觀眾在觀看展覽之際，同時在時間性與空間性向度，以「展覽敘事」為其詮讀的「展覽文本」。而展覽文本身處的文本空間，實際上構成另一個跟觀者溝通的場域。本文以南投毓繡美術館展出，由張婉真博士擔任策展人的「花園裡，植物記憶纏繞：珍奈特．勞倫絲個案」展覽為分析案例。以展覽敘事的雙重時間性、空間性及詩學等概念，思考藝術介入、策展論述生產等專業實踐，如何在環境永續議題上，經由在美術館裡複製自然生態，讓更多人與自然之間的觀看方式與相互對應，被重新問題化與美學化。

關鍵字

展覽敘事；時間性；展覽文本；文本空間；敘事轉向

並列摘要

Exhibition narration has become an important perspective from which to discuss museum and art gallery exhibitions in recent years. ＂Exhibition narration＂ possesses the characteristic of dual timeliness, which enables simultaneous viewing of exhibitions in the dimensions of time and space. Moreover, exhibition narration becomes the exhibition text interpreted by audiences. The text space of the exhibition text constitutes another field of communication with viewers. Entangled Garden for Plant Memory: A Solo-Exhibition of Janet Laurence, curated by Wan-Chen Chang and held in the Yu-Hsiu Museum of Art, serves as a case study. The concepts of dual timeliness, space and poetics of exhibition narratives are used to think about the applications of professional practices, such as artistic intervention, curatorial discussion and art production, to environmental sustainability issues. Moreover, by copying natural ecology in art museums, ways of viewing people and nature and the correspondence between them can be re-problematized and aestheticized.