論特定場域藝術的公共性呈現-以節慶式地景裝置為例

本研究從賽拉傾斜的牆作品引發的撤除結果，探討特定場域的藝術表現中，針對建築空間設計規劃時「功能的場域」空間公共性下藝術設置引發群眾討論聚集的現象。從大眾參與藝術所引發的反思的本質，做為檢視公共藝術介入生活場域現階段發展的論證基礎。本研究聚焦於藝術創作以建築空間場域為介入的特定地點，探討大眾對於藝術作品的公共認同及其對話的媒介，研究認為藝術作品完成設置的時間，不等於作品已經完整的呈現，如同一般在美術館展廳展示的作品；而是大眾在這之間面對設置的場域、發酵出的公共議題、感知的空間、藝術定義的發問等的不同衝突，完善了介入的公共藝術作品在公共場域向公眾的瀏覽閱讀，包含大眾在特定場域間展開的歷時過程，共時的顯現共有集體意識因應空間特質所揉合產生的形象與新的概念，共享作品自身在特定場域中的永恆特質。本研究回顧現代主義的藝術審美價值，輾轉至現今社會的公共藝術呈現的方式，設想將美學視為一種意識形態，而其轉變及發展的樣態必然限制於某些特定時空架構。換言之，藝術的概念不能，也無法在單一價值價中展現其意義，其創作的意義也會因為在不同的文化、社會、場域中展現其特定取向，藝術品跟觀者之間的關聯已經不存在純粹的觀賞，而是更多的需要將作品的設定在相對場域中作為公眾的發聲管道及文化論辯的公共平台，並架構作品在場域中息息相關的資訊探索，如此的觀點下的藝術是一個建構性的產物，而作品設置的時間因素，也為編織生成交互文本意義的狀態產生流動性。

關鍵字

空間；時間；場域精神；特定場域；公共藝術

並列摘要

In this study, the results of the removal caused by Serra's Tilted Arc works explored the artistic performance of a Site-specific art, focusing on the phenomenon that the artistic setting of the "functional field" space publicity in the architectural space design and planning has triggered crowds to discuss and gather. The nature of the reflection triggered by the public participation in art serves as the basis of argument for examining the current development of public art's involvement in the field of life. This research focuses on the specific location where the architectural space field is involved in artistic creation, and explores the public's public identification with the art work and the medium of dialogue. The research believes that the time for the completion of the setting of the art work does not mean that the work has been completely presented, as in general The works displayed in the exhibition halls of art museums; instead, the public faces different conflicts between the setting field, the public issues that are fermented, the space of perception, the question of art definition, etc., which perfects the intervention of public art works in the public field. The browsing and reading of the domain to the public includes the diachronic process of the public in a specific field, and the synchronic manifestation of a common collective consciousness. The image and new concepts blended in response to the characteristics of the space, sharing the eternity of the work itself in the specific field Traits. This research reviews the aesthetic value of modernism and the way it is presented in public art in today's society. It envisages that aesthetics is regarded as an ideology, and its transformation and development must be limited to certain specific temporal and spatial structures. In other words, the concept of art cannot and cannot express its meaning in a single value price. The meaning of its creation will also be due to its specific orientation in different cultures, societies, and fields. The connection between the artwork and the viewer has been There is no pure appreciation, but it is more necessary to set the work in the relative field as a public voice channel and a public platform for cultural debate, and to structure the work in the field for information exploration that is closely related to this point of view. Art is a constructive product, and the time factor set in the work also creates fluidity for the state of weaving and generating the meaning of interactive text.