台灣畫廊的角色自第一家聚寶盆畫廊的開啟後便揭開了序幕,至今已有五十年的歷史,畫廊產業在藝術家與收藏家之間搭起了溝通橋樑,也讓藝術市場上的分工更為明確。而阿波羅大廈在一九七八年興建完成,同年第一家阿波羅畫廊的進駐,則使這棟大廈漸漸成為藝術的集散地,尤其在一九九○年前後更有高達五十多家畫廊曾在此入駐或移出,也替阿波羅大廈與畫廊市場帶來一片光景。對於整個台灣的畫廊歷史上,阿波羅大廈的畫廊群占有一席之地,許多曾聚集在此的畫廊目前皆有二、三十年左右,並共同締造了一個藝術文化聚集區。 在一九九○年代前後的興盛時期,曾有藝術家、收藏家、學校的老師及學生等進入阿波羅大廈參觀,使其不只為商業場合,更是學術的交流場所。本文將運用由Victoria D. Alexander所修改Wendy Griswold的文化菱形理論,定位畫廊中介者的角色、瞭解畫廊與社會各節點的連結,以及探討藝術市場的分工;再透過聚集經濟,分析阿波羅大廈畫廊群的發展與各家畫廊的現況。最後,藉由行銷策略與營運規劃的方式,來探究畫廊永續經營的方法。
Taiwan’s galleries have fifty years of history. The gallery industry has built up communication bridges between artists and collectors, and also made more explicit division of labor on the art market. The Apollo Building was founded in 1978, progressively; the mansion has become a distributing center of art. Especially about in 1990, up to fifty galleries moved in and out, that demonstrated the prosperity of the Apollo Building and art market. The cluster of Apollo’s galleries is important to the history of Taiwan’s galleries, which were gathered in the building for around twenty to thirty years, creating an arena of culture and art. During the days of prosperity about in 1990, there were plenty of artists, collectors, teachers and students visiting the galleries, not only for business, but also for academic purpose. This article applied the theory of cultural diamond proposed by Wendy Griswold and later modified by Victoria D. Alexander, to position gallery intermediary role, to understand the link of each node, and to discuss the division of labor in art market; as well as using the theory of agglomeration economy to analyze the operation and development of the galleries in Apollo Building. Finally, through the marketing strategy and operational planning to explore the sustainable management of the gallery.