暫時性藝術空間與都市創意場域：台北都會區城中藝術街區研究

Temporary Art Space and Urban Creative Field: A Case Study of Urban-Core-Arts-Block in Taipei Metroplitan

孫文謙(Wen-Chien Sun)

指導教授 ： 張容瑛

國立臺北大學/公共事務學院/都市計劃研究所/碩士(2012年)

摘要

2010年，台北市興起暫時性的創意城市策略，出現暫時性的藝術空間－城中藝術街區，乃為期兩年的藝術進駐街區計畫。本研究目的即針對暫時性藝術空間的形成原因與影響提問。我們從經濟地理與政治經濟角度，以都市創意場域與流動空間理論為研究視角，透過質性訪談與文獻分析，探討暫時性藝術空間、藝術家與台北都會區的關係。
研究結果顯示，台北都會區浮現創意場域，包含交易性網絡、地方勞動力市場與雇傭關係、地方現象與國家調控等四大因素，即生產因素、市場因素、社會網絡因素與制度因素。都市創意場域使藝術家與藝術空間群聚於台北都會區。對藝術家而言，透過藝術空間接合流動空間，對他（她）們的職涯來說是有效的發展方式，而台北都會區核心提供了最多的機會。
暫時性藝術空間則是都市企業精神的實踐成果，企業掌握與藝術家合作的訣竅，積極處理課題，並接合流動空間帶動創意進程。故暫時性藝術空間的形成原因綜合了地理空間因素與行動者因素，包括台北市作為房地產投資市場與藝術市場的交易中心、國家都市更新制度、台北當代藝術市場興起、中小型企業的差異化策略、台北都會區創意場域的結構等五項。
最後，建構暫時性藝術空間作為創意城市策略，雖有助都市創意進程的發展，促進創意點子之間的交流碰撞，但內部卻是呈現碎裂化。兩年來，企業、藝術家與社區居民在街區內互相揣測，學習與交流效果微弱，甚至產生衝突。彼此的和諧關係只能進展至一定地步，無法深入產生新的社會關係，創意氛圍的成果亦不明顯。在論述與實踐之間產生矛盾，形成的不信任感可能威脅著台北都會區創意場域的前景。因此都市創意場域理論雖能解釋台北都會區吸引藝術家群聚的因素，但仍不足以解釋碎裂化的現象。

關鍵字

暫時性空間 ； 都市創意場域 ； 創意群聚 ； 流動空間 ； 台北都會區 ； 城中藝術街區 ； 當代視覺藝術

並列摘要

In 2010, the rise of temporary strategy of creative city in Taipei City resulted in the presence of temporary art space, Urban-Core-Arts-Block. The aim of this study is to explore the reason of presence and the impact of temporary art space.We started with the approach of economic geography and political economy. And the theory of the urban creative field and the space of flows had been part of the formation of our study. The method included qualitative interviews and literature analysis for exploring the relationship among the temporary art space, artists and the Taipei metropolitan.
The conclusions exhibited that Taipei metropolitan have emerged the creative field from four sectors: transactional network, local labour market and employment, the phenomenon of place and the regulation of state. It was also said as markert factor, production factor, social network factor and institute factor. And the creative field merged the artists and the art spaces as a cluster. For artists, the joint with the space of flows through art space was an effective way of career development. And many of such opportunities were found in Taipei metropolitan.
Temporary art space is also the practice of urban entrepreneurship, the enterprise acquired the know-how of cooperation between entreprise and artists. They solved the problems effectively and infused the space of flows to facilitate the process of creativity. It is to say, both space and actors are key elements to form the presence of temporary art space. It can also be clarified as five factors: Tapei as a transactional center of real estate and arts, the institute of urban renewal of state, the rise of investment of Taipei contemporary visual arts, the diversified strategy of small and medieum-sized enterprise and the structure of creative field of Taipei metropolitan.
Finally, though construting temporary art space can be a strategy for a creative city to facilitate the development of creativity of urban, allow the creative ideas to interact with each others, but the structure is usually internally fragmented. During these two years, the enterprise, artists and the neighborhoods did not make new and in-depth relationships, the harmonious relationships can only develop to the basic stage.The learning and interation were weak and the conflicts existed. It led to a discounted result of creative milieu. Apparently, the paradox has emerged between the discourse and the practice. The distrust and diffused doubt could threaten the prospects of the creative field of Taipei metropolitan. The argument is still there that urban creative field theory could explain the reason why artists clustering within Taipei metropolitan, but could not explain well the phenomenon of fragmentation.

並列關鍵字

Temporary Space ； Urban Creative Field ； Creative Clustering ； Space of Flows ； Tapei Metropoltan ； Urban-Core-Arts-Blocks ； Comtempory Art

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