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  • 學位論文

藝術社群、展覽空間與國家-1980年代後,台北

Artist Community, Exhibition Space and the State:After 1980’s, in Taipei

指導教授 : 張容瑛
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摘要


2016年,臺北市積極以「世界設計之都」之名,作為城市發展的戰略主軸,期望透過創意及美學,促成城市的空間改造與都市競爭力的提升。過程當中,藉由各式空間安排的美學展演、以及與藝術人才或社群的互動結盟,被政府視為重要的發展策略。顯然,展覽空間及其背後綿密的藝術社群網絡,已經成為政府強化領域競爭力的重要資源。然而,這是否意味著,政府、展覽空間、與藝術社群之間,始終存在著和諧的接合關係? 事實上,1980年代臺北市立美術館設置的意義,在於國家企圖透過展覽空間,加強城市的文化建設;1990年代,受到當代藝術潮流的影響,由藝術社群自發組成的替代空間,成為當時臺北市新興的藝術地景,並且某程度與官方主導的展覽空間,形成區隔。有趣的是,這些基於不同時代背景所出現的展覽空間,正巧妙地並置於當前的都市中。然而,在這些並置的展覽空間背後,意味著國家與藝術社群之間,關係的如何改變? 本研究因此透過展覽空間的時空演進觀察,藉由Bourdieu的Habitus(慣習)、Cultural Capital(文化資本)、Culture Field(文化場域)的理論概念,探討藝術社群與國家之間關係的改變。 研究發現,主要可以歸納為以下三點:(1)受到Richard Florida、Charles Landry等國際專家的創意城市倡議影響,台北市出現各式各樣的展覽空間,除了由政府主導的美術館外,相繼出現替代空間、複合式空間、文創園區等不同類型的展覽空間,並且並置於當前的都市地景當中。(2)隨著當代藝術的國際潮流,展覽空間內容從傳統平面漸漸轉向多元複合的媒材,展覽的形式也從單純的展覽轉向策展人主題式的策展,因此也帶動藝術社群內部的流動;同時,隨著都市發展,展覽空間更從政治意識宣揚的空間轉變成產業推動與連結藝術社群的平台。(3)展覽空間轉型提供藝術社群更多元展覽機會,以往由國家賦予藝術社群文化資本,現在轉為國家企圖連結藝術家背後的藝術社群強化都市行銷與外交。隨著文化資本的轉變,藝術社群與國家之間的關係,漸漸從80年代的對抗對立外,產生一些連結互動的契機。

並列摘要


Taipei City has been selected as the 2016 World Design Capital and expected to use creativity and aesthetic as a main strategy of urban development to contribute urban space transformation and promotion of urban competitive. In this process, arranging a variety aesthetic performances and connecting with artists or communities are been seen as an important development strategy by government. Obviously, exhibition space and its social network have become important resources for the government to strengthen the competitiveness of the field. However, does this mean that the Government, the exhibition space, and arts community, there is always a harmonious relationship between the engagement? In fact, Taipei Fine Art Museum set as an exhibition space to strengthen the cultural construction of the city by the state in 1980s. In the 1990s, influenced by contemporary art trends, alternative space formed by artists communities and became the new Taipei artistic landscape. It became a certain extent with the government-led exhibition space. Interestingly, those different historical background of exhibition space, are cleverly placed in the city now. However, in these juxtaposed behind exhibition spaces, how to change the relationship between the state and the art community? In this study, through observing the evolution of exhibition space, with Bourdieu's theoretical concepts, including Habitus, Cultural Capital, and Culture Field, to explore the changing of the relationship between the artists communities and the state, The study’s main finding can be summarized as the following three points: (1) by creative city initiatives of Richard Florida, Charles Landry and other international experts, Taipei appeared a variety of exhibition space, in addition to government-led, alternative spaces, composite space, cultural and creative parks and other different types of exhibition space have gradually appeared, and placed among the urban landscape. (2) With the international trend of contemporary art, the exhibition space shift from traditional content to multiple mediums. The curatorial form of the exhibition change to thematic curatorial from a simple exhibition, therefore also led to internal flow of artists communities. At the same time, along with urban development, more exhibition space changed from the space of political consciousness to the space, which promote the cultural industry and connect artists communities. (3) Transformation of exhibition space provide artists communities more exhibition opportunities. In the past, the cultural capital given by the state, but the state take the initiative to connect artists communities to strengthen diplomatic and urban marketing now. With the transformation of cultural capital, the relationship between artistic community and the state gradually transformed from against the opposition in the 1980s to more interaction.

參考文獻


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