摘要
如同在一般的語境中「以愛之名」、「以神之名」、「以藝術之名」或者其他「以……之名」的句法之所以能夠被合理化，都必有其結構與脈絡上的因果關係。「策展」與「策展人」在台灣被詮釋與實踐的方式極其多元，而越是多元的詮釋與實踐方法，就越使得策展之名搖擺於專業與噱頭、普及與濫用之間，但這也就是我（們）認識與實踐策展的路徑，也是筆者以策展的名義，進出各種典型或非典型當代藝術展覽實踐現場時，借助的情境，而此情境當然也反向助長了我等「以策展之名者」的增生與茁壯。因此，在本篇論文中「以策展之名」同時可以被視為一種筆者在台灣觀察到的文化現象，同時也是筆者自身行動的策略和實踐藝術的方法。 身為一個非藝術本科系畢業的策展人──更準確的說，應該是「以策展之名者」──我在缺乏傳統「藝術品」製作能力、藝術史與其他藝術專業知識的身分下，本應是一個藝術現場的無名者，但透過以策展之名，筆者卻得以從無名者成為藝術生產機制中的「策展人」，並在藝術生產的過程中佔據一個權力位置特殊的角色。而此新興的角色不只創造新的權力關係，還使之更為複雜與活躍，以策展之名者就在此之間行其另類的藝術實踐。然而，當台灣及歐美當代策展的發展脈絡都難以作為自身處境的參照時，以策展之名者即便建立了自身的方法學，但仍舊是一個無脈絡的「策展人」，是一個與所處的現實社會關係不明，並被動仰賴既有認知系統的「策展人」。因此除了建立自身的方法學，筆者於本篇論文中亦嘗試透過對自身實踐經驗的再論述與再書寫，逐步推展至對於「名與其機制」更宏觀的分析，以「知名」作為建立自身主體與社會脈絡的自我技術，並在此「再脈絡化」之後，從「實踐方法」與「知識系統」的再定義著手，重新校正其認知系統，也就是對「認知/識世界的方式」的重新校正。
並列摘要
As in the general context of " in the name of love ", " in the name of God ", " in the name of art " or other " in the name of…", the reason why the syntax can be rationalized are the causal relationship in the context. In Taiwan, "curating" and "curators" are interpreted and practiced in an extremely diverse way. The more diverse interpretations and practices, the more the name of the curating shifts between professionalism and gimmick, popularity and misuse. However, this is the path that I (we) recognize and practice curatorial, and also it is the condition that I practice in the name of curating, in and out of various typical or atypical contemporary art exhibition. These conditions, of course, also contributed to the proliferation and prosperity of people who practice in the name of curating. Therefore, in this paper, " in name of the curating " can be regarded as a kind of cultural phenomenon observed by the author in Taiwan. It is also the action strategy and method of art practicing of the author. As a curator who graduated from a non-art undergraduate course - more accurately, it should be someone who practices in the name of curating - lacking of specialized knowledge of art and art history and the skill of making traditional “ artwork ”, the author should have been an anonymous person or nobody but in the name of a curating, she become a “ curator ” playing a special role with given power in the art production institution. This emerging role not only creates new power relationship, but also makes it more complex and active. People who practice in the name of curating do its alternative art practice between these relationships. However, when the development of contemporary curatorial in Taiwan and Europe and the United States are all difficult to be refer to their own situation, people who practice in the name of curating are still a non-contextual curator. The relationship between them and their society is unknown. They deeply depend on the given cognitive system to recognize the world. So in addition to establishing its own methodology, the author also attempts to re-discourse and re-write his own practical experience, and then proceed to a more macroscopic analysis of “ the name ” and its “ mechanism " and use it as the self-technology of constructing subjectivity and social context. After this, starting from re-defining the " practice method " and " knowledge system ", the author tries to re-calibrate its cognitive system, that is, Re-calibrate the way of recognizing the world.