藝術介入空間之觀察與研究—
藝術介入空間之觀察與研究—以臺北當代藝術館〈地下實驗‧創意秀場〉計畫為例

本研究主要探討在城市發展過程中，「藝術介入空間」如何使群眾與社區成為藝術創作的主體，並形塑藝術進入生活空間的新氛圍。研究案例為臺北當代藝術館於二００八年開始陸續執行的「地下實驗‧創意秀場」計畫，該計畫針對臺北市捷運中山地下街區與所屬的大同區民眾進行各種藝文展演活動的規劃與執行。透過整體空間的靈活運用，以各種藝術展演介入該特定公共空間，無論是臨時性、永久性、或實驗性的展示或活動，均訴求將藝術創作與日常生活元素重新組合，創造美術機構、社區與社群之間的互動和連結關係，形成一個提供藝術體驗的創意新公共空間。研究解析的焦點放在臺北當代藝術館如何以「藝術介入空間」概念進入當地社區與地下街區，透過現場觀察與深度訪談，探索該藝術計畫介入社區的模式，以及主辦單位、藝術家、藝術團體、居民、行人等各類介入者參與計畫的過程和觀點。「藝術介入空間」能使藝術家與社區居民與環境緊密締結一種暫時性的夥伴關係，透過與各種藝術事件相遇或參與的合作行為，可能使一般民眾產生永久性的美感內化。本研究分別從「藝術在社群中的角色」、「藝術與生活相遇」及「不同的藝術介入空間類型」三個面向探討「地下實驗‧創意秀場」計畫如何落實藝術介入空間的各種作為。研究結論顯示該計畫對當地社區的實質影響有：（一）社區居民面對藝術態度的改變；（二）公民美學意識的提昇；（三）微型群聚的產生；（四）永續發展的有機體。換言之，該計畫成功打破藝術與生活的隔閡界線，以多元的藝術形式激發介入者的各種對話機會，具體提供就近的社區民眾與捷運往來行人接觸藝術的新經驗和面對藝術的新態度。不論是共同參與或不期相遇的互動模式，或多或少都能從中獲得自我轉化及社區認同的意識提升，進而養成持續觀察周遭與自我的關聯，感知隨處可見的創意表現和藝術能量，成為帶動個人與社區藝術文化發展的美學種子。

關鍵字

藝術介入空間；社區；臺北當代藝術館；永續發展

並列摘要

In this study, I observe how art intervention in public space makes people and community as the subjects of art creation as well as construction of artistic circumstance in the process of city development. The case study is the art project “Underground Experience, Creative Show” sponsored by MOCA Taipei (Museum of Contemporary Art, Taipei) beginning from 2008. This project targets at providing residents of Datong District and viewers or passers-by of Zhongshan Metro Shopping Mall with a variety of art exhibits, performances, and events. With flexibly making use of space, such as temporary, permanent, and/or experimental displays of artworks or activities, the project always seeks to re-combine elements of art creation and everyday life. It coins an interactive and connected relationship between art organizations, community, and people. As a result, a new public space is constructed proposing accessible art experiences for related subjects. The focus is on how MOCA Taipei applies the concept of art invention into the site mentioned above. Through the on-site observation and in-depth interviews, the thesis tries to classify the modes of art invention in public space, and analyze the processes and viewpoints by project participants including undertakers of MOCA, artists, art groups, residents, passers-by and so on. Art intervention in public space is able to connect artists, communities and environments to be a temporary partnership. Furthermore, it may enhance the sense of aesthetic feelings permanently via the encounter, participation, or collaboration of art events. The study explores the operations of the project from three aspects: roles of art in social network, the encounter of art and life, and different modes of art intervention in public space. The outcomes show four substantial effects on the site and subjects: (1) the resident’s changed attitude to art; (2) the promotion of civil aesthetic sense; (3) the construction of micro-cluster; and (4) the organism of sustainable development. In other words, the art project successfully breaks the line between art and life, and inspires all dialogue opportunities, new experience and attitude to art for community residents and passers-by. No matter how they interact with artworks or events presented by the project, more or less, they may attain self-transformation as well as identity to the community. Furthermore, they may pay more attention to the connection between the self and circumstances. With the perception of creative expression and artistic energy around them, they eventually can become aesthetic seeds to push forward the art and culture development of the individual and the community.

並列關鍵字

art intervention in public space ； community ； Museum of Contemporary Art, Taipei ； Sustainable development

參考文獻

余翎瑄。〈社區與藝術－藝術進入社區之發展型態〉。臺北藝術大學博物館研究所

林羽婕。〈豈只如此？！臺北當代藝術館「甘ㄚ耐」文創商店〉。《臺灣博物館季

林熺俊。〈「城市光廊」藝術介入空間型式與民眾參與模式之研究〉。《空間設計學報》（二○一一年六月）：29-46。

張晴文。〈藝術介入空間行動做為「新類型」的藝術--其於藝術社會的定位探討〉。《藝術論文集刊》（二○一一年十月）：55-70。

劉怡君。〈當代藝術和舊社區的遇合─臺北當代藝術館社區脈絡之研究〉。中原大

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藝術介入空間之觀察與研究— 藝術介入空間之觀察與研究—以臺北當代藝術館〈地下實驗‧創意秀場〉計畫為例

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