台灣當代藝術場域與觀眾溝通經驗研究 - 以台北雙年展為例

A Research on The Field of Contemporary Art in Taiwan and Audiences Experiences in Communication - A case Study of Taipei Biennial

張雅婷

指導教授 ： 楊永源

國立臺灣師範大學/藝術學院/美術學系在職進修碩士班/碩士(2010年)

摘要

本論文旨在針對當代藝術令一般大眾困惑的普遍現象，探討台灣當代藝術場域與觀眾溝通經驗。本研究對向來從孤立藝術作品的狀態來觀看藝術提出質疑，主張觀照藝術生產的文化環境和社會脈絡乃認識當代藝術的重要途徑。

本文以台北雙年展為個案研究對象，探討藝術作為溝通功能的幾個演化關鍵；藉由布爾迪厄的藝術社會學中的藝術場域理論，剖析藝術生產場域裡隱藏的訊息；並進一步引跨文化傳播模式，以辨識當代藝術傳播機制全球化的特性。本論文主要研究問題有三：一、台灣當代藝術場域現況；二、台灣當代藝術場域中的觀眾溝通經驗；三、當代藝術場域的觀眾溝通行為模式。研究發現如下：
一、台北雙年展場域屬「限制生產場域」，雖然會受到更大的社會衝突所影響，但也有其自身的邏輯。它同時符合場域的「自主性原則」與「他律性原則」。
二、觀眾參觀當代藝術展的經驗，至少要達到三至五次以上，才能進一步提升與當代藝術溝通的效能；參觀次數與溝通效能的關係，合乎跨文化適應階段理論。
三、觀眾以特定特徵的受教育結構所培育出的「生存心態」，進入關係作用後的當代藝術生產場域，進行跨文化溝通，依據其參觀次數歷經跨文化適應階段，每一階段的參觀經驗都會回歸為觀眾「生存心態」之歷史的一部份。

上述研究發現對觀眾溝通經驗與台北雙年展有下列建議：
一、當代藝術教育應由基礎教育紮根；
二、喜歡當代藝術的觀眾應該要自修，善用藝術經驗與個人生活問題結合；
三、提高台北雙年展策展層級與規格：發展出雙年展路線；以台北市為主題、設立台灣館；策展人不應設限；以特展方式收費。

關鍵字

當代藝術 ； 場域 ； 生存心態 ； 跨文化溝通 ； 文化震盪 ； 台北雙年展

並列摘要

This study looks into the phenomenon of the public confusion that is caused when attending contemporary art exhibitions. It focuses on how effectively contemporary art can communicate with the audience within the field. This study also questions the traditional approach to art appreciation that is to isolate the art works. A new art appreciation approach has therefore been introduced for contemporary art, in which the observation are advised to look into the social context and cultural environment within which these art works have been produced.

This case study has taken Taipei Biennial as it’s subject. That is to consider the crucial progressions of communication function in art appreciation. Pierre Bourdieu’s art field theory from the sociology has also been adapted in order to analyse the hidden messages in the art production field. Furthermore, an intercultural communication model approach has been adopted in order to identify the characteristics of globalization of contemporary art communication mechanism. Three research questions have been posed in this study: The first, the current situation of Taiwan contemporary art field; the second, the experiences of communication between the audiences and the Taiwan contemporary art filed; the third, the audience communication behaviour patterns for contemporary art field. The results of this study are:
I. Taipei Biennial is considered to be a “ restricted production field“. Regardless of the effect of social conflict it is logical within it’s own context. Meanwhile it matches the “autonomous principle”and the“heteronymous principle”.
II. It is suggested that the art exhibition audience should visit the exhibition at least three to five times in order to improve the effectiveness of contemporary art communication; the relationship between the number of visits and communication effectiveness matches cross cultural accommodation progression theory.
III. Each audience will have his/her own “habitus” which has been cultivated and constructed by their specific education system. When he/she enters a contemporary art field, this mentality starts to interact with it and this cross-cultural communication accommodates the progression of appreciation. It is suggested that each successive art visit experience will become part of the audience’s history of “habitus”.

The following suggestions have been provided in this study for the communication of experience to the public particularly at Taipei Biennial:
I. Contemporary art education should be given to pupils as early as possible.
II. Audience likes contemporary should have self-study, and combine their life questioning experiences with art exhibition experiences.
III. Elevate the planning level and scale of Taipei Biennial：develop the route of Taipei Biennial. Taipei-themed, set the Taiwan exhibition hall, there should be no limitations to the type of curator should be applied, charge by special exhibition.

並列關鍵字

Contemporary art ； champ ； habitus ； cross-cultural communication ； cultural shock ； Taipei Biennial

參考文獻

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