本研究意圖探索作為台灣當代藝術發展重要指標之一的「威尼斯雙年展台灣館」,在歷經二十年的發展與執行,於台北市立美術館推動與主導下,其整體展覽的規劃、原則與政策。換言之,本研究以威尼斯雙年展台灣館為研究對象,時間範圍從1995年至2015年,討論台灣館的設置、展覽規劃及其背後展覽依循的政策原則。 研究中採用文獻分析法與訪談法蒐集涉及的相關資料,並從文化政治、文化政策、展示理論三個面向進行探討與分析。首先從北美館對台灣館設置的動機與目的為起始,探究這些目標在時空的轉換中是否有所變動;再者討論台灣館於不同階段展覽規劃之演變與影響展覽規劃改變的重要因素;並從中探索歷屆台灣館背後依循的政策原則。整體而言,威尼斯雙年展台灣館的設置是北美館以專業網絡來對社會需求所做出的具體回應,亦反映了1990年代台灣對於國際地位的企求。而這些年來,從其目的的演變以及展覽規劃的嘗試中,可發現北美館持續以透過藝術展覽呈現台灣能見度為其佈局台灣館於國際藝術場域的原則,卻突顯關於台灣館背後文化政策的研究與論述長期欠缺。 最後建議,威尼斯雙年展台灣館的未來發展,需要有一個具有國際視野並能兼具國家整體藝術生態的文化政策,來作為通盤思考台灣當代藝術發展與推廣的依歸。
This thesis intends to explore the Taiwan Pavilion at the Venice Biennale in terms of exhibition establishment, exhibition planning and the policies of it from 1995 to 2015, as Taiwan Pavilion at the Venice Biennale has been executed by Taipei Fine Arts Museum(TFAM) for two decades and plays as an indicator in contemporary art in Taiwan. By utilizing document analysis and interview for data collecting, this research focuses on three perspectives: culture politics, culture policy and display theory. First, this research begins with the discussion on the motivations and purposes of the establishment of the Taiwan Pavilion from TFAM’s position, and explores if the objective has been changed over the past twenty years. Furthermore, it discusses the evolution of the exhibition planning for Taiwan Pavilion at the Venice Biennale and what play the key factor contributing to the decision-making. By doing this, the policies and principles of exhibition planning can be clarified and understood. Overall, through the professional network of TFAM, the establishment of the Taiwan Pavilion has been functioned as a concrete response to the need of the society, reflecting Taiwan's pursuit of international status in the 1990s. Over the years, from the evolution of purpose and the attempt of exhibition planning, it is not difficult to find that TFAM endeavors to enhance ‘Taiwan's visibility’ as their main task by means of establishing Taiwan Pavilion in the international art scene continuously. However, such a condition suggests the alternative question: the lack of the study and the discourse of cultural policy behind the Taiwan Pavilion for a long time. A consequence of this view is that the future development of the Taiwan Pavilion at the Venice Biennale may need a cultural policy, considering international perspectives and overall national artistic ecology simultaneously to operate as a comprehensive guidance for the direction and promotion of Taiwan Contemporary Art.
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