從地方認同的角度探討公共藝術-以桃園地景藝術節與日本小豆島福田家屋計畫為例

The Study of place-identity on Public Art : Taoyuan Land Art Festival and Art setouchi-Fukuda Art House Project experience.

徐伯揚(Po-Yang Hsu)

指導教授 ： 喻肇青

中原大學/設計學院/建築研究所/碩士(2015年)

https://doi.org/10.6840/cycu201500840

摘要

本文欲探討的是「公共藝術」進入地方社區，以及「地方認同」如何透過「公共藝術」被建構出來的。所研究的公共藝術類型，是以「地景」、「地方」、「地域再生」的藝術節慶下的「地方社區藝術」。以研究者在2013年到2014，二屆的「桃園地景藝術節」所看到的現象，以及2014年參與執行的「小豆島福田家屋計畫」，討論社區與藝術的合作關係。在行動過程中發現，公共藝術計畫之於「地方認同」的發生，並不是單指公共藝術被做出來的瞬間，而是包含於執行前的「過程」，而這樣的「過程」是與地方上的參與密不可分。
本論文第一、二章，在於釐清問題的意識，以及回顧目前已發展健全的公共藝術觀，與爬梳重視「過程」的公共藝術在台灣的經驗。第三章則以回顧地方/全球化、地方認同與感覺結構的論述，作為理論的基礎，並藉此回答「如何了解地方上的人對地方的認同」。
第四、五章的部分，則藉由「桃園新屋」與「福田小豆島」的藝術進入地方社區的經驗剖析，了解兩者「地方認同」產生的歷程。從兩項經驗中發現，前者由公部門舉辦的藝術節，在以「政治績效」為前提的操作之下的輝煌成果，是缺乏「過程」與參與的地方認同建構方式；而後者為藝術節慶下的社區參與藝術個案，是以透過行動經驗下的與民眾「交流」、「互動」，來建構地方上對「公共藝術計畫」的認同，提供一個經驗上的比較。
而第六章，針對「台灣」與「日本」間地方社區藝術進行比較。研究得出兩者最大的差異在於「組職」、「延續性」、「參與公共藝術」上的做法不同。最後，則針對兩項經驗的「看不見」與「看得見」的「過程」，來說明理想的公共藝術所引發的「地方認同」應該如何被建構。

關鍵字

藝術節；公共藝術；地方認同；民眾參與；社區藝術

並列摘要

This thesis aims to explore “Public Art” in local communities and how “place-identity”is constructed through “Public Art”. The public arts under study are, in terms of type, “community arts” as part of art festivals, including “land art”, “local area” and “regional regeneration”.We discussed the relationship of cooperation between community and arts from what we saw at the 2nd“Taoyuan Land Art Festival” in 2013 and 2014 and the “Project of Shodoshima Fukuta house” which we participated in the execution in 2014. We discovered in the process of the actions that the happening of public art in “place-identity” is not just about the instant when public art is rendered, but is included in the pre-execution “process” which is closely associated with local participation.
The 1st and 2nd chapters of this thesis clarify the ideology of issues, review the currently well-developed perspectives of public art, and sort the experience of public art with high regard for “process” in Taiwan. Chapter 3 responds to “how to understand local people’s identity to the locality” based on the theories which are the author’s review of local/global identity and discussion about structures of feeling.
The 4th and 5th chapters analyze the experience of arts going into communities in the cases of “Xinwu, Taoyuan” and “Fukuta, Shodoshima” to understand how “place-identity” came to being in the two cases. We made comparison of experience with the findings in both cases that in the former case, which was an art festival held by the public sector and operated with a view of “political performance”, though the results were spectacular, the local identity was built without “process” or participation, while in the latter case, which featured an art project of community participation in the art festival, the place identity to “public art projects” was built by “exchange” and “interactivity” with people, with the experience of action.
Chapter 6 compares local community arts between “Taiwan” and “Japan”. The finding was that the greatest difference between the two was in the practice in terms of “organization”“continuity” and “participation in public arts”. Last, the author elaborates, with focus on the “visible” and “invisible”“processes” of the two experiences, on how ideal “place-identity” given rise to by public arts should be built.
Keywords: art festival, public arts, place-identity, public participation, community art

並列關鍵字

art festival ； public arts ； place-identity ； public participation ； community art

參考文獻

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