從空間角度檢視桃園縣市戶外公共藝術之設置

On the Formulation of Spatial Meanings: Outdoor Public Art Projects in Taoyuan

黃拓仁(Tuo-Ren Huang)

指導教授 ： 王德育

元智大學/人文社會學院/藝術管理研究所/碩士(2006年)

摘要

桃園縣戶外公共藝術初期以國族集體記憶表徵之紀念物呈現，設置於廣場、交通軸線、公部門機構等空間，然近年來隨著公共藝術設置法令趨於完備，戶外公共藝術之設置進入另一個嶄新的階段。觀察桃園縣公共藝術的發展，一個正值公共藝術發展初期的地方，公共藝術作品往往因為最後設置的位置與周遭空間沒有明確可辨的關連，造成與周遭環境空間格格不入彼此扞格的現象而飽受批評；故本論文將從空間角度檢視桃園縣市戶外公共藝術設置現象，分析、歸納目前之設置缺失，提供桃園縣未來公共藝術設置參考。

論文第一章觀察美國公共藝術之發展，分析其發展脈絡，歸納發展過程中，空間意識醒覺與藝術潮流發展之間不斷發生之衝突而造成的反應與改變，提供台灣未來發展之參考。而第二章從西方空間規畫史與近代藝術思潮中，藝術與空間之間關係演變的影響，討論傳統中公共藝術以紀念物的形式介入城市空間，嘗試與整體空間和諧並存，達到在空間上尺度與比例的和諧關係的方式，一九六○年代中末葉低限主義運動對於空間觀念的改變，場域限定的應用，與作品自給自足、獨立自若之現代主義藝術表現進行比較。第一章與第二章互為表裏，第一章敘述美國公共藝術表現於外的作品呈現，而第二章則分析、比較造成其改變的內在因素。論文第三章則討論目前台灣公共藝術發展的法規脈絡與設置現狀，並在「加」（設置公共藝術）與「減」（減少公共藝術）的爭議中，討論未來「公共藝術基金」機制的建立對於未來作品設置造成的可能影響。第四章專章討論桃園縣市戶外公共藝術，運用前述章節討論、分析歸納的特徵，自藝術品與空間關係的改變的角度，應用於檢視目前桃園縣公共藝術設置之四種類型：「傳統紀念物」、「民間設置之紀念碑、塔」、「現代戶外環境、景觀雕塑作品」與「適用於公共藝術法規之公共藝術」出現的設置缺失，並提出未來可行之解決之道。

關鍵字

公共藝術 ； 場域特定 ； 公共藝術基金

並列摘要

Until recently, outdoor public art in Taoyuan had amounted to nothing but memorials erected at the key spots of plazas, traffic axes and bureaus as representations of a collective, national memory. However, with legal codes that are specific to public art becoming available, there has been a boom in outdoor public art projects. In Taoyuan this new development came with a backlash as well: criticisms are common as to how public art is implemented with no apparent link to its intended location whatsoever, or is simply a mismatch for its surroundings. My thesis proposes a remedy for these problems by examining and analyzing the current condition of outdoor public art projects in Taoyuan. This will be done from the viewpoint of space formulation, with conclusions which I hope will serve as valuable guidelines or a referential framework for similar projects in the future.

The first chapter provides a historical overview of public art in the United States, where an awakening sense of meaning through spaces and other styles of art had evolved as a result of constant conflicts and reconciliations with the dominant ideologies. The second chapter introduces important issues and theories in Western thoughts about urban planning and its harmonies with the modern vision. These include above all minimalism since the 1960’s, with its redefined sense of space and new site-specific rule of application, and modernism which champions such concepts as self-containment and solo possession. It is my intention to use chapters one and two as a foil for each other: a description of outward phenomena is followed by a deduction to inward reasons that may have enabled their occurrence. Chapter three shifts attention to the issues at hand in Taiwan, relating the factual and legal status quo of its public art to current controversies such as the balance between promotion (“pluses”) or demotion (“minuses”) of public art and the possible influences of an available Public Art Fund. The final chapter considers outdoor public projects in Taoyuan of four different categories: public monuments, civil memorials and monuments, outdoor environmental art and sculptures in modern styles, and public art in application of current codes of public art. The focus here is to apply the models and methodologies drawn from the previous chapters in a through analysis of their defects and problems, and to suggest practicable solutions when they are available.

並列關鍵字

Public Art ； site-specific art ； Plop art ； Public Art Fund

參考文獻

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