「創意市集」在近年蔚為風潮,在各式媒體書寫下所展現的圖像是作為當代年輕人創業、消費以及展現自我認同的重要場域之一,創意市集之所以能夠形成並且持續發展,實乃籌辦者、創作者與消費者三組施為者共同參與的成果,本研究選擇以創作者觀點作為探究創意市集現象的切入視角,研究範圍鎖定舉辦地點位在台北市的創意市集,研究者在不同市集中分別以攤主、攤友及消費者身分進行參與觀察,並針對11位創作者進行深入訪談。 「創意」作為市集的主要號召,其所指涉的內涵卻難以言喻,透過創作者所分享的創作與展售經驗,研究者將創意市集中的「創意」展現詮釋為三個層面:「意」即蘊藏於作品之中創作者所欲傳達的概念;「藝」乃將概念轉化為實體的技藝;「異」則是讓作品有別於既存事物及其他作品的能力。 而創意市集兼備「通路」與「舞台」兩種性質,讓身處其中的生產者也產生了「攤主」與「創作者」兩種身分認同,進而拉扯他們對於產品的態度:攤主前往市集尋求的是「商品」交易,需要消費者的「實質購買」行為,並堅守「不二價」原則;而創作者在市集中尋求的是「認同」,他們渴望「作品」獲得觀眾「口頭讚賞」,價格則隨著觀眾的認同程度而變得極具「彈性」。 此外,創意市集的營業型態與攤具形式雖與一般攤販近似,其作品型態及活動內容卻更具藝文展演性質,可謂揉合美術館與藝廊的美學元素、live house的現場音樂演出以及百貨商場的銷售模式,匯聚在街頭以攤販形式再現的場所。
Creative Markets, where contemporary youngsters can start businesses, conduct purchases, and demonstrate self-identity, have become a trend in recent years. It is because of the participation of three clusters of ‘agent’, the organizers, creators, and consumers together that Creative Markets are formed and developed. This research investigated such phenomenon from the perspective of the creators, and chose Creative Markets located in Taipei as the research scope. The researcher also played the role as a vendor, a friend of the vendor, and a consumer respectively in different Creative Markets for participant observation, and conducted in-depth interviews with 11 creators. Although such markets are featured with ‘creativeness’, what exactly it implies is not clear. Therefore, according to the experience of creation and selling shared by creators, the researcher interpreted the so-called ‘creativeness’ in three aspects. First, it involves Meaning, which refers to the underlying concept that the creator intends to deliver in her/his work. Second, there is Art, the technique that the creator applies to transform his concept into a piece of physical work. Third, Distinction refers to the capability of making a difference between the work and existing ones. However, Creative Markets are channels and stages in nature at the same time, thus the producers in which face a struggle between two identities--vendors and creators. The former seeks commodity transactions, that is, purchase behaviors from consumers, and insists on a uniform price. Contrarily, the latter seeks recognition in markets instead. They are eager for the oral praise from the audience, and the price is flexible based on the degree of recognition they receive from individual audience. In addition, although Creative Markets have similar operation and facilities to ordinary ones, there are more artistic works and activities on display. They are presenting a blend of aesthetics from fine art museums and art galleries, live music plays from live houses, and selling modes from department stores in the form of vendors.
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