台灣文化政策與視覺藝術產業的互動—以《台北國際藝術博覽會（1992-2012)》為例

中文摘要近數十年來逐漸興起，新政府運動、文化認同、新博物館學、全球在地化、民眾參與、產業主義…等重要文化、社會、經濟等思潮，影響各國文化政策擬定內涵的方向。在二十世紀後藝術市場趨向多元繁榮發展，新興畫廊如雨後春筍般在世界各地迅速竄起，加速藝術品生產流通與交易，因此過去小型區域性的藝術品交易和展覽機制逐漸無法因應如此轉變，使得世界各國相繼舉辦各區域性的藝術博覽會，造就藝術品展覽新的交易模式。目前國內最具代表性的藝術博覽會為一九九二年由中華民國畫廊協會所舉辦的「Art Taipei台北國際藝術博覽會」，其發展奠基在九○年代台灣藝術產業的蓬勃榮景，不僅達到高額交易量，且吸引大量參觀人潮〪之後，雖受到藝術市場泡沫化影響而陷入低潮期，但「Art Taipei台北國際藝術博覽會」至此卻進入一個轉型新局面，朝向專業、國際性的新階段，基於審視藝術市場與文化政策面於「Art Taipei台北國際藝術博覽會」的發展脈絡命題。本研究將建構於國家文化政策的脈絡下，將內容共分為五章，第一章研究背景與動機目的介紹，及相關文獻資料蒐集與名詞定義。第二章論述台灣文化政策與視覺藝術產業發展，並以1992年至2012年聚焦在這二十年間措施的發展歷程脈絡，爬梳文建會所推動的文化政策，與歷史沿革發展，針對視覺藝術產業的環境整備與人才培育政策，闡述文化產業化與產業文化化所隱涵的意義，並說明首屆文化部的視覺藝術計劃目標與實施內容成果及其所設置藝術銀行的利弊探討。第三章以藝術市場與藝術博覽會的互動關係，分析台灣藝術博覽會源起發展，從「台北國際藝術博覽會」的外部環境，其所包含的文化政策面、藝術市場與藝術博覽會的發展脈絡與趨勢特質理解為出發，檢視其運作「MIT新人推薦特區」及「青年藝術家購藏計畫」，對於強化國內年輕藝術家的扶植與臺灣當代藝術市場影響，在面對困境與問題的探究同時，再進入於行銷國際活動運作與其定位進行分析，藉此做為未來發展參考。第四章闡述文化部與藝術博覽會的互動關係，並以台北國際藝術博覽會作為產業群聚，將亞洲概念作為拓展當代華人藝術平台，第五章結論與建議，綜整說明論文重點及看法，期望以此作為後續相關研究之參考。

關鍵字

文化政策；商業畫廊；台北國際藝術博覽會；中華民國畫廊協會

並列摘要

Abstract New cultural, social and economic currents, such as new government movement,cultural identification, new museology, glocalization, public participation, industrialism, etc., that have risen in recent decades have affected the direction of content decision in the cultural policy of countries in the world. As the art market began diversifying and flourishing after the 20th century, new art galleries sprung up like mushrooms across the world to accelerate artwork circulation and trade. As a result, small, regional art fairs were gradually unable to cope with such change, and countries in the world are now excited to organize regional art fairs to bring up a new art fair model. At present, Art Taipei organized by Taiwan Art Gallery Association since 1992 upon the flourishing art industry in Taiwan in the 1990s, is probably the most prominent of its kind in Taiwan. In addition to a high transaction volume, the event has attracted huge crowds. Although there was a setback due to the art market bubble burst, Art Taipei successfully transformed into a professional and international event. As a review of the art market and cultural policies, the development of Art Taipei thus is the subject of this study. This study investigating Taiwan’s cultural policy development is divided into five chapters. Chapter 1 introduces the background, motivation and objectives of research, reviews the related literature, and explains the terms and their definitions used in this thesis. Chapter 2 discusses the development of Taiwan’s cultural policy and visual art industry and collates the cultural policies promoted by the Council of Cultural Affairs (now the Ministry of Culture, MOC), including their history and development, with a focus on policy development during 1992-2012, so as to elaborate the implications of culture industrialization and industry acculturalization, specify the objectives and achievements of the first visual art project launched by MOC, and review the advantages and disadvantages of the installation art bank it established. Chapter 3 analyzes the origin and development of art fairs in Taiwan through the interaction between the art market and art fairs, with contents including the history, trends, and traits of development of cultural policies and the art market, so as to investigate the effect of the “MIT Art Taipei Young Artist Discovery” and “Young Artist Collection” programs to strengthen the cultivation of Taiwan young artists and modern Taiwan art market. When investigating the adversities and problems, the operation and positioning of international activity marketing are analyzed for the reference of future development. Chapter 4 explains the interaction between the MOC and art fairs, with Art Taipei as the industrial focus to turn Asia into the art platform for modern Chinese artists. Chapter 5 presents the conclusions and recommendations of this study where the foci and views of this research study are summarized and recommendations for future research are provided.