從「美術館是平的」抗議事件論當前美術館政策的反思

2011年一場名為「美術館是平的」行為藝術，抗議臺北市立美術館舉辦特展過程中的弊端，不僅引起藝文人士、北美館及臺北市文化局激烈的抗辯，也揭開臺灣文化政策的缺失，以及文化發展的侷限。本研究依據此抗議事件中藝文人士的訴求與政府單位的回應，分析雙方之立場和思維，發現其中問題癥結為：美術館商業化的爭議、過於強調觀眾人數的重要性以及對於西方藝術之迷思。且針對上述問題所衍生出的理論觀點，進行探討與分析。期望透過對本次事件的分析，對藝文單位及社會大眾帶來反思與啟發。

關鍵字

臺北市立美術館；美術館產業化與商業化；博物館評量；文化帝國主義；行為藝術

並列摘要

In 2011, a protest in the form of performance art, named ”Taipei Flat Arts Museum”, was held against Taipei Fine Arts Museum. Taipei Fine Arts Museum was allegedly involved in a fraud, a fraud occurring in conducting a temporary exhibition. On the one hand, the protest evoked intensive debate among the artists, the Taipei Fine Arts Museum and the Taipei City Department of Cultural Affairs. On the other hand, it revealed the defects of the cultural policies in Taiwan and the restrictions improperly imposed upon creative activities.This article examines the demands of the artists and the responses of the government, investigating into the positions underlying each side of the debate. The ideological factors leading to the fraudulent event are identified as follows: debating on the art museum commercialization, because its overemphasis on the number of audience members and the myth of the superiority of western arts. The implications of the ideological factors are then further explored. I hope that the analysis deepens our understanding of the event and through reflection and evaluation arouses the audience and public sphere raise their consciousness of the true value of arts and their performances.