以藝術之名—從「粉樂町」看當代藝術展演現象

In the Name of Art-A Study on the "Very Fun Park" of Contemporary Art Project

王孝萱(Hsiao-Hsuan Wang)

指導教授 ： 黃貞燕

國立臺北藝術大學/文化資源學院學術論文/博物館研究所碩士班/碩士(2011年)

https://doi.org/10.6835/TNUA.2011.00094

摘要

當代藝術作品不再只出現於美術館內，更多的藝術展演在生活環境裡，規模愈加的龐大，因應主辦單位的不同發展出相異的目的，在當代社會中已是不可忽視的現象。藝術展演活動並非憑空而生，沿用相當多美術館中展示、教育等功能，因此本論文從美術館出發，探討其機制與藝術之間的發展關係、藝術展演離開美術館的歷程並援引個案分析展演中的藝術現象。藉由藝術史的回顧，指出藝術家與美術館機制的矛盾、使得藝術流派無論是遠離現實或回歸社會都圍繞著「藝術與生活」的主題，也是促成藝術展演蓬勃發展的成因之一。回溯目的在理解藝術與展演型態的改變，運用編年表格分析臺灣美術館外的藝術展演，歸納出兩個主要的議題：與環境的互動、觀眾的參與，並引用案例加以討論。
富邦藝術基金會《粉樂町》展演歷經多屆，已有相當程度的發展，也是少數以企業為主辦單位的展演活動，強調展示場域的多樣化，將藝術與商業氣質濃厚的東區做一連結。運用前述歸納的兩個主要議題分析《粉樂町》，帶出了與其他展演的差異、特色及影響。爾後探討富邦藝術基金會在展演中所涉及的角色與操作手法，扭轉了策展與藝術創作的根本關係，進而推導出基金會形成企業化藝術生態的結構。呼應布希亞（Jean Baudrillard）的說法，質疑商業機制帶入藝術展演的方式，並對此關係下形塑的品味做反省，並整合成折衷建議。結論統整上述各章節的研究發現，並提出相關建議與反思，並藉由展演現象反思美術館的改變與情況，以提升藝術機制內涵。

關鍵字

藝術展演 ； 粉樂町 ； 美術館機制 ； 藝術商業化

並列摘要

Today, the facture not only are showed in the museums, but the more are showed in our life. With admeasurement is getting much bigger and bigger, besides, they have had discovered variant purposes thanks to the different organizers, it couldn’t be ignored in period society.
The Literatures view came form the museum, discovering development relationship between the museum and art, art’s performances and the museums` trajectory as well as quote case study analyzed about exhibit industrial production situation. By reviewing the art history, we could point that antinomy of mechanism between the artist and the museum, which made the art highway around a theme , that is“ Art and Life”. No matter it’s far away from facility or back to society, all of these are one of the reason to encourage art performances getting popular.
If we had went back to find understanding the art and the change of exhibit style, we also could use annals to analyze the art performance except for Taiwan’s museums and generalized two main questions: communicate with environment, partake with audience and quoted people had referred to discuss.Fubon Art Foundation “Very Fun Park”performed for many times, whom developed so well till now, it`s also few industries as the entrepreneur to exhibit the show, which emphasizing variety in the ground, making some linking with art and business affection that in east area. Above-mentioned the two questions analyzed “Very Fun Park”, bring out the difference of exhibition, feature, and affection. Afterward, people discovered Fubon Art Foundation’s way about the ways of activated and involved roles in the exhibits, which totally switched relationship between brew exhibits and create of art, getting to derive the Donate in the exhibit that had engaged Commercialization Art Biology structure, agreeing Jean Baudrillard`s expression, inquiring the way of commercial mechanism brought to art exhibit, and offered related savor review, and offered related savor review, and conformity to compromises as adjustments
According to the collusion and conformity whom had found out, and offered related suggestions and introspection, and changing the museums` alteration and situation by showing the museum to improve art mechanism intension.

並列關鍵字

Art Project ； Very Fun Park ； Art Museum Mechanism ； Commercialization of Arts

參考文獻

林平，2005。藝術展覽的價值和空間的關係，博物館學季刊，19(1)︰29-37。

許功明，1998。博物館與展演專題，博物館學季刊，18(2)︰1-2。

富邦藝術基金會，2009。2009粉樂町。臺北：財團法人富邦藝術基金會。

Deotte, Jean-Louis. 2009. “The museum, a universal apparatus”(演講稿)

曾建霖，2010。當代藝術的美術館創作機制— 以法國龐畢度中心新媒體藝術部門做延伸思索，國立臺北藝術大學藝術管理與行政研究所碩士論文，未出版。