以台灣環境運動為探索的路徑,並基於新藝術典範的意義建構觀點,本研究所試圖挖掘的,乃是從這關連性的土壤中,檢視藝術介入得以成形、成長並有益於回饋這片土壤的各種條件;並就此結果回望藝術介入公共領域的論述與行動,以勾勒出一個更為明確的意義圖像。 在本研究所進行的三個藝術介入環境運動(反核運動、美濃反水庫運動、反湖山水庫運動)案例分析中,我們看到了不同於一般認知的藝術美學框架;在這些操作之中,藉由符號語言傳遞以及被賦予的意義表達,藝術不再框限於某些特定的經驗,而試圖成為一種對話的工具,甚至引動創造性關係的實現。而其中的關鍵是,它必須有一個與社群互動的過程,以及實踐意義關係的場域,在此條件下,藝術與觀眾的關係,將不是觀看的距離,而是參與性與創造性的完成。 此一截然不同的藝術前提意味著,藝術並不需要管理,它需要的是促動與經營,藝術管理的角色並不在於聯繫生產與消費、展演與觀看的秩序,而是在整合與連結各種不同角色的參與,進而共同學習夢想,學習以更好的方式做為世界的成員。
The study stands from the viewpoint of new art paradigm and attempts to explore, as well as examine, the factors of art intervention in the public sphere through the trace of Taiwanese environment movement. Based on the analysis of the study, the statements and actions of art intervention in the public sphere will be reviewed in order to describe more precise meaning image. According to three case studies of art intervention in the public sphere――art intervention in the anti-nuke movement、art intervention in the Meinung anti-dam movement、art intervention in the anti-HuShan dam movement ――in the thesis, a precise meaning image is defined as an aesthetic framework, which is different from it in common cognition. In the process of denotation delivery and meaning expression, art isn’t limited in some given experiences, but tries to be a communication tool. Moreover, it empowers the creative relationships. The key points of creative relationship include a process, which interacts with communities, and a domain, which practices meaning relative. Under the conditions, the relative between art and audiences will be requested their participation and creation, but the distance of seeing. The untraditional art hypothesis states that art doesn’t need to be controlled like a system, but needs to be contributed and managed. The role of art management is not a system to link production with consumption and performance with viewing. On the contrary, art managers have to integrate with various participators, and learn to be better members of the world with dreams.