從陳列展示到策展觀念 —國立臺灣工藝研究發展中心展覽規劃之研究

From Display to Curating：A Study of Exhibition Planning of National Taiwan Craft Research and Development Institute

葉韋柏(Wei-Po Yeh)

指導教授 ： 廖仁義

國立臺北藝術大學/文化資源學院學術論文/藝術行政與管理研究所/碩士(2011年)

https://doi.org/10.6835/TNUA.2011.00032

摘要

工藝的發端源自於關於各項民生所用工具的製造與使用，其基本功能是能適當有效率地使生活舒適合理，讓工作方式便利而符合邏輯。因此，一旦工藝成為被展示的對象時，等同宣告了它無論是工藝技術或使用意義上都與人類的關係開始產生異化。
臺灣工藝的展覽策劃基本上依循著博物館中知識分類的架構，以傳遞工藝範疇中理性和科學的知識作為主軸。從工藝品標明陳列物件資訊，逐漸地進展至塑造專題、整合展出物與視覺設計及空間的氛圍，輔以多媒體與互動裝置等設備，讓工藝的靜態展示轉向動態的體驗。固然多樣的展覽設計與媒體技術應用可提供觀眾更多感官上的刺激和經驗，但實質上它為工藝呈現出的文化內涵卻可能是單向溝通的輸出。
本文係以國立臺灣工藝研究發展中心2002年至2010年間的工藝展覽實際案例與政策發展為研究內容，透過一個國家具代表性的單位，從其研究與推廣工藝的任務轉移來分析臺灣工藝在民生經濟、政府政策和文化發展三大面向橫向串聯及意義上之沿革。釐清工藝從陳列展覽方式進入主題設計後，是如何轉向策展思維進行操作，進而分析目前工藝展覽執行的方式與現況。希冀由現行的展覽機制探討其觀念和制度上的潛越及缺漏，並提出因應時代所需調整的方式，以歸結當代工藝創作與展示詮釋裡值得反思的議題，提供策展單位及觀眾在面對觀看展覽時更多元的思考線索。

關鍵字

工藝展示 ； 工藝策展 ； 工藝產業 ； 工藝政策 ； 工藝中心

並列摘要

Craft originates from the production and usage of various tools for daily livelihood, where their basic function is to adequately and efficiently facilitate the comfort of living, so that work becomes convenient and logical. Therefore, once craft becomes the subject of exhibition, it is a declaration of transformation in terms of usage significance and relationship with people.

The planning of the Taiwanese craft exhibition is fundamentally based on the structure of the knowledge classification in the museum and is inspired by the theme of conveying rational/scientific knowledge within the realm of craft. It starts by labeling information on the craft exhibits to gradually creating the topic and integrating the exhibits with visual design and spatial ambiance, supplemented by multimedia and interactive devices; hence the stationery craft exhibition is transformed into a dynamic experience. Although a diverse exhibition design and multimedia application may provide the audience with more sensual stimuli and experience, however, the cultural connotation presented for craft may potentially be the output of unilateral communication.

The study focuses on the policy development of the NTCRI’s actual craft exhibitions during 2002~2010 as the research content. Through such a national iconic institution, its task migration in researching and promoting craft is used to analyze Taiwanese craft’s lateral connection in three major facets such as livelihood economics, government policy and cultural development, as well its historical connotations. The transition from craft display exhibition method to theme design and then to exhibition thinking is clarified, further analyzing the current implementation technique and condition of craft exhibitions.

It is hoped to examine the concept, and the pros and cons of the current exhibition system, so as to propose adjustments in response to the changes in time and compile issues worth reviewing in contemporary craft creation and exhibition interpretation, ultimately provide exhibition organizers and the audience with more diverse clues when contemplating the subject of viewing exhibitions.

並列關鍵字

Craft Exhibition ； Craft Exhibition Planning ； Craft Industry ； Craft Policy

參考文獻

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胡永芬 (2009)，《獨立策展的操作內容探討》，臺北：臺北藝術大學藝術行政與管理研究所碩士論文。

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張譽騰 (1996)，〈生態博物館的規劃理念與個案分析〉，《博物館學季刊》第10卷第1期， 7-18頁。