公共藝術創作之研究-以參與「Hello!秀山花」公共藝術創作為例

The Study of Public Art Creation-A Case Study of Participation in the Artistic Creation of the Public Art Work "Hello! XiuShan Flower”

謝錫安(HSI-AN HSIEH)

指導教授 ： 黃位政

中原大學/設計學院/室內設計學系/碩士(2006年)

https://doi.org/10.6840/CYCU.2006.00428

摘要

台灣因為公共藝術觀念的產生，不僅美化了街頭的景色，也豐富了民眾的生活。但公共藝術並不只是藝術舞台的向外延伸，它的立意更紮根於社會，除了具備改善生活環境的功能外，更應該以民眾與地方作為創作的出發點來滿足實質需要。而在公共藝術的甄選過程中，鮮少妥善安排民眾參與的活動，因此喪失與民眾宣導、溝通的過程，所以公共藝術該如何進行創作、利用何種模式，才能建立起彼此的認同感與歸屬感，成為值得探討的議題。鑑此，本研究以研究者所參與之「Hello！秀山花」公共藝術案例作為調查研究對象，紀錄公共藝術團隊創作生成的完整歷程，以及探討公共藝術在創作過程至設置完成後所遭遇過的問題，並提出設置執行改善與創作方向建議。
研究結果發現在公共藝術設置執行的問題：一、公共藝術介入時間過晚，位置選擇及表現型態受到建物侷限並造成二度施工浪費；二、缺乏民眾參與，導致作品與民眾有些許觀念之落差。因此對執行面的建議為：一、提早公共藝術規劃與介入之時機，增加表現型態的可能性並減少浪費；二、妥善安排民眾參與活動，幫助創作者與民眾進行互動與溝通。最後在創作方向的建議：公共藝術必需將「公共性」、「藝術性」、「場所性」、「實用性」四大面向納入考量。「公共性」是以日常生活的相關議題，增加彼此分享生命經驗的機會，幫助民眾互相溝通彼此連結；「藝術性」是美化環境的基礎，同是也是刺激民眾最重要的觸媒；「場所性」是建構地方場所精神最重要的指標，以一種源於地方的特性與本質，幫助民眾尋回對地方的共同記憶與歸屬感受。「實用性」豐富藝術的功能，並能自然的與民眾產生互動與接觸。所以當創作者能掌握這四大創作面向時，將可創造出更符合民眾需要的公共藝術。

關鍵字

場所性 ； 實用性 ； 藝術性 ； 公共藝術 ； 創作 ； 團隊合作 ； 公共性

並列摘要

In Taiwan, the emergence of the concept of public art has not only beautified street scenes but also enriched the live of citizens. However, public art is more than an extension of art stages. It is intended to be rooted in the society. In addition to the function of improving the living environment, it should satisfy the substantial needs with the creation based upon citizens and the local features. In the selection for public art works, activities are seldom planned for public participations, resulting in the loss of promotion to and communication with citizens. Thus, how a public art should be created and what method could be applied to create the sense of identity and belongingness would be an issue worth investigation. As a result, this study investigated the public art project of "Hello! XiuShan Flower" that the researcher participated in, recorded the entire process of how the team completed the project, discussed the problems encountered during and after creating the art work, and further proposed suggestions for improvement and directions of creation.

It was discovered the problems about the execution of setting up public art works included: 1. The introduction of public art is too late, so selection for location and forms of presentation are subject to existing buildings, resulting in a waste of second construction; 2. The lack of participation of citizens causes a gap of some concepts among citizens. Thus, suggestions for the execution perspective included: 1. Plan for the timing of introduction of public art works in advance to increase the feasibility of presentation forms and reduce wastes; 2. Arrange activities for public participation and help creators and citizens with interaction and communication. At last, the suggestion for the direction of creation was that "publicness", "artistry", "placeness", and "practicality" should be included in the consideration of public art. "Publicness" refers to using issues related to our daily life to increase the opportunity for sharing life experiences and help connect citizens in their communications. "Artistry" is the foundation for beautifying the environment and also the most important catalyzer to stimulate citizens. "Placeness" is the most important indicator for creating the spirit of a local place. With the feature and essence originated from the local place, public art works should help citizens refresh the shared memories and sense of belongingness about the local place. "Practicality" enriches the functions of art and also interacts with and approaches citizens in a natural way. Thus, if artistic creators can get hold of the above 4 perspectives, public art works that are more compliant to the needs of citizens can be created.

並列關鍵字

Team work ； Placeness ； Creation ； Artistry ； Public art ； Publicness ； Practicality

參考文獻

楊朝明 (2001)。《空間美感的表現手法在平面設計中運用之研究》。國立台灣師範大學設計研究所碩士論文。

蔡嘉真 (2004)。《公共藝術在捷運地下站場室內空間設置位置與形式多元性新探 - 從乘客感官焦點之習慣出發》。中原大學室內設計研究所碩士論文。

蘇永森 (2004)。《校園公共藝術作為空間美感教育媒介之研究 - 以台北市福星、文昌及士東國小為例》。中原大學室內設計研究所碩士論文。

一、參考書目

(一)論文學報