博物館意義的轉變：當代藝術家的個人博物館

Transforming the Significance of the Museum-The Personal Museums of Contemporary Artists

林素惠(Su-Hui Lin)

《中國技術學院學報》 27期 (2005/07) Pp. 149-158

https://doi.org/10.6369/CKCSHYHP.200507.0149

摘要

「博物館」是珍藏人類精神文明的寶庫，從來被視爲神聖的殿堂，人們更因此而建構了十分完整的制度。然而，這套嚴謹的制度到了二十世紀，受到藝術家個人主義的挑戰，博物館的意義轉變了，尤其杜象「可攜帶式博物館(musée portatif)」的觀念，使很多藝術家跟進，而創造了他們自己的「個人博物館」。藝術家從保護自己的藝術品，到保護人類文化層面流散的事物；納入館藏（裝箱）、檔案彙編、典藏物件、整理資料、保管方法……都成爲這些「創造－典藏者」的創造媒介。不但藝術家由被動的角色轉而成爲主動，當代藝術創造的形式也多元化了，甚至博物館「藝術實況化」了（見151-152頁）。這是一個饒富興味的題目，值得我們探討。

關鍵字

杜象 ； 個人博物館 ； 可攜帶式博物館

並列摘要

The ”museum” is a treasure-house that holds the spiritual heritage of human civilization; as such, it has traditionally been viewed as a ”sacred” or ”holy” place. This attitude towards museums has led to the development of complex systems for their establishment and operation. By the 20(superscript th) century, however, these rigorous systems had started to come under attack by artists and their individualism, and the significance or meaning of the museum began to change. Duchamp led the way with his ”musée portatif” (portable museum): many other artists followed in his footsteps, creating their own ”personal museums”. Over time, artists have gone from merely preserving their own works to seeking to protect aspects of human culture that might otherwise be lost. For these ”creator-collectors”, the processes of installation, filing, collecting, compiling data and preservation have become a medium for creative activity. Not only does this trend represent a transformation of the artist's role from a passive into an active one, it has also added greater diversity to the forms taken by contemporary art. One could go so far as to say that, with the emergence of the personal museum, art has gone ”artifact” (pp.151-152). This is an area of immense interest and potential that warrants further exploration.

並列關鍵字

Duchamp ； personal museum ； musée portatif portable museum