藝術成形中:藝術作品在展場浮現的民族誌

本研究試圖將當代裝置藝術放在他們的產製空間中審視。借鑑製作地理學（Geographies of Making）與行動者網絡（Actor-Network Theory，簡稱ANT）的理論視野，作者以參與觀察與自我民族誌的方式，深入台北數位藝術中心（Digital Art Center, 簡稱DAC）的多場展覽及展場空間，揭露藝術作品網絡中的人與物在現地組裝的複雜過程。首先，我將描寫一座百廢待舉的藝術場館，透過展覽的方式，將展場打造為一座合格的展示空間，勾勒出展場與藝術作品網絡從無到有的浮現過程。接著，我再以助手的身份，參與第二檔藝術展覽的作品打造過程，聚焦於成形中藝術作品網絡及物的作用，發現到展場平面圖不再只是再現展場空間，而是具有協助藝術家克服展場空間不確定性的能動性。最後，我將以自身為非職業藝術家的參展過程，以自我民族誌的手法書寫藝術作品網絡的產製挫折經驗，強調創作者並不依循一訂的標準的過程組裝作品，而是必須與不同的物「搏感情」，將人類行動者的感受放回討論。最終，我將回到作品本身，描述自己如何在建立作品網絡的過程中，轉譯物的意義，使日常生活物件也成為藝術展品。綜合上述，我將當代裝置藝術的產製過程分為以下三種層次：從展場空間本身作為一座展覽/作品的網絡，到組裝中的藝術作品網絡中的物與人，再到現地完成的藝術作品網絡。若以ANT取徑觀之，則為網絡的生成、網絡中的人與非人行動者、以及網絡趨向穩定的不穩定過程，在此三條理路中層層遞進。最終對於「何謂藝術？」的大哉問，提出一個地理學的解釋——即他們是個總因展場空間而異動的現地組裝網絡。同時，我將以自身此次的研究與投入藝術展覽的實作過程，回到與製作地理學的對話。在談論藝術生產時，勢必將視線移動至展示空間，發現製作當中的微觀實作——即是透過具體的藝術創作者與助手、創作者與物質、專業者與業餘者之間的互動，逐漸打造出穩定的作品網絡。綜言之，我試著在層層遞進的故事與分析中，揭開隱蔽在藝術白盒子之下的藝術實作。

關鍵字

製作地理學；行動者網絡理論；當代藝術；展示空間

並列摘要

This thesis scrutinizes contemporary installation art in the places where they are being made. Utilizing “geographies of making” and actor-network theory (ANT), I conduct a participant observation and autoethnographical study in the Digital Art Center, Taipei (DAC) to unveil the complex processes of on-site assembling of “artwork network” by human and non-human actors. First, I document how a neglected art venue transformed itself into a qualified exhibition space, and illustrate how an artwork network was built from scratch. Subsequently, by participating in the creation of artworks for an exhibition, I highlight the functions of emerging artwork networks and materials/objects, while realizing that the exhibition floor plan not only offered a representation of the venue but possessed the agency to help artists overcome uncertainties in the exhibition space. Finally, I adopt an autoethnographical approach to elucidate my frustration as a non-artist participating in the exhibition, and propose that no standard method exists for the assembling of artworks. Rather, this process should be conceptualized as “bonding” (搏感情) between people and things, and therefore the experiences of human actors must be discussed. I conclude by describing how I translate the meanings of things in the construction of artwork networks, and turn objects of everyday life into artworks worthy of exhibitions. Consequently, this thesis argues that the making of contemporary artworks involves three key dimensions: (1) the art venue as an artwork network; (2) various human and non-human actors involved in the networks; and (3) the on-site assembling of artwork networks. Based on these findings, I answer the question “what is contemporary art?” in a geographical way—contemporary artworks are always site-specific networks intimately dependent on exhibition spaces. Moreover, my research both elaborates how geographers can study artworks via “geographies of making” and move the focus from artists’ studios to exhibition spaces. Only when researchers explore the interactions between artists and assistants, creators and materials, experts and amateurs are the microscopic practices within the “white cube” revealed.