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  • 學位論文

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

Production Mechanism in Contemporary Art Museums — A Study based on the New Media Department of Centre Georges Pompidou

指導教授 : 廖仁義

摘要


當代藝術發展上,創作倚賴科技趨勢,以新媒體藝術為創作型態的崛起可視為其中的一項代表,而因應數位技術需求的特性,於美術館內建立對應機制的現象也相繼產生。鑒於台灣目前有關新媒體藝術的機制設置,相較國外而言尚屬起步階段,故本文轉借法國龐畢度中心新媒體藝術部門做延伸思索的軸線,希望藉其豐富的藝術資源和激盪的社會背景,提供更全面且有別於僅專職在新媒體藝術的美術館之研究條件。換句話說,現階段的探討方向,並不在直接對新媒體藝術機制的模式及運作現況作實證檢視,而是期待先能夠梳理出涉及此機制各層面的交雜關係,重新激化美術館機制與創作之間的辯證批判。 研究架構係針對龐畢度中心新媒體藝術部門的發展定位,輔以三項問題意識來鋪陳章節,依序為「創作機制的合理本質」、「創作機制的異化關係」及「創作機制的策略分析」,並再各自沿生相關的討論面向。內容簡要說明如下:在「合理本質」中,將逐步釐清美術館體現創作的演繹,且透過新媒體藝術作品與傳統典藏概念的矛盾爭議,一方面瞭解龐畢度中心新媒體藝術部門現行的多軌典藏方式,另一方面也強調創作與典藏思維並進的重要;在「異化關係」中,將爬梳藝術生態日趨體制化的脈絡,追溯沙龍展及現代主義的過渡影響,從而提出面對當前新媒體藝術發展的檢討反省;在「策略分析」中,將就龐畢度中心新媒體藝術部門的「委託創作模式」做假設性的策略剖析,提出其對龐畢度中心整體運作所帶來的預期效益。最終統整上述各章節的研究發現,進一步歸結成回饋台灣創作機制的參考借鏡。

並列摘要


Reliance on technology to create artworks is a growing trend on the development of contemporary art. The rise of new media art to create artworks is considered one of the reference indicators that signal that trend. Consequently, a response mechanism set up in art museums on addressing the demand in digital techniques hence emerges. Given that the built mechanism of new media art in Taiwan is relatively young compared with its foreign counterparts, this study will therefore use the New Media Department of Centre Georges Pompidou in France as the base of extended thinking. The New Media Department of Centre Georges Pompidou was founded on rich art resources as France was both socially and historically tumultuous. With the Centre as the thinking basis, this study may bring forth a more comprehensive research precondition than a view generated from a pure art museum in new media art. In other words, this study does not directly verify or inspect the model of new media art mechanism and on how it currently works, however, it aims to sort out the tangled aspects involved in new media art mechanism, and invite renewed debate and critical thinking over the mechanism of art museums and the production of artworks. This study is centered on the development positioning of the New Media Department of Centre Georges Pompidou and supported by the following three issues: (1) The logical nature of production mechanism; (2) The Alienation of production mechanism; (3) Strategic analysis of production mechanism. Each issue extends itself towards related aspects for further discussions. Contents are summarized as follows: On the issue of the “logical nature of production mechanism,” the study gradually clarifies that an art museum functions to display the interpretations of artworks. Through contradicting controversies often found in new media artworks and the concept of classic traditional collections, this study shall on the one hand shed light to how the New Media Department of Centre Georges Pompidou practices multi-track collections, and on the other, stress the equal importance rooted in both productions and classic collections. On the issue of the “alienation of production mechanism,” the context of how the art ecology or environment grows institutionalized incrementally is studied. It also traces back on the transitional sphere of influence created by salon-styled exhibitions and modernism. Going forward, it brings us to heart-searching and self-criticism which may be critical at a time when faced with the development of new media art. On “strategic analysis of production mechanism,” the model of commission-based productions employed by the New Media Department of Centre Georges Pompidou is analyzed strategically on hypothesis basis and how this model has brought forth the anticipated benefits for Centre Georges Pompidou in terms of its operations as a whole. In the end, research findings under each chapter are integrated and concluded into a reference package as a feedback to Taiwan’s production mechanism.

參考文獻


研討會論文集與座談會紀錄:
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被引用紀錄


王孝萱(2011)。以藝術之名—從「粉樂町」看當代藝術展演現象〔碩士論文,國立臺北藝術大學〕。華藝線上圖書館。https://doi.org/10.6835%2fTNUA.2011.00094

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