現代美術學報 | 37期

主編語
Editor-in-chief’s Note

主編語

Editor’s Note

蘇瑤華 SU Yao-Hua

國立臺灣師範大學美術系助理教授

Assistant Professor, Department of Fine Arts, National Taiwan Normal University

摘要

二十一世紀美術館面對典範移轉,營運轉向(turn)和組織服務使命的進化演變(evolution)都追求「新」的介面、模式與動能,「新」的博物館學方法論取代「舊」的博物館思維,37期現代美術學報以「觀眾轉向」(諸眾),「美術館變革」(文化實驗室)、和「美術館地方創生」(觸媒)為思緒發展動線,邀請關於美術館學科領域與管理學、社會創新服務學等擴增領域的學術研究,期盼凝視美術館的轉變歷程,並進一步提問美術館推進社會變革的企圖心和影響力。

Abstract

Confronting with the paradigm shift, the 21st-century art museums are perusing the “new” interface, mode, and momentum in terms of the operation turn and the evolution of organizational service missions. The “new” methodology of museology replaces the “old” thinking of museums. The Journal of Taipei Fine Arts Museum No. 37 takes “the audience turn” (multitude), “evolution of art museums” (cultural lab), and “art museum placemaking” (catalyst) as the line of thought, inviting academic researches such as museum-related discipline and extensions in management and social innovation services studies. We look forward to reading the evolution of art museums, and further questioning the intention and influence of art museums to bring about social changes.

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從線上到線下:一個虛實整合的觀展想像 [1]

Online to Offline──An Imagination of Visiting Exhibitions by ways of Virtual and Real Integration

曾靖越 TSENG Ching-Yueh

臺北市立大學視覺藝術學系助理教授

Assistant Professor, Department of Visual Arts, University of Taipei

摘要

社群媒體是現代人的訊息交換中心,透過網網相連的數位平臺,讓所有人打破了時間與空間的限制進行全面地交流。社群媒體所提供的這種全然「參與」的特性,亦深度改變藝術領域當中的諸多面向,諸如創作形式、策展手法以及觀展的經驗等等。然而,這種在美術場館中衍生出的相關變化,能否被策展團隊更積極地妥善運用,從而成為鼓勵觀眾入館的一股新勢力,是本研究所關心的重點。在本文第一個部份,筆者將先陳述社群媒體所帶來在策展、觀展的變化,並爬梳網際網路的發展以了解社群媒體的歷史脈絡,進而討論相關社群媒體藝術之內涵。其次,本文就兩種O2O(從線上到線下、從線下到線上)的型態,針對美術場館的「群眾策展」以及「展場自拍」兩種參與型態進行探討,期望以虛實整合的層面,討論現代觀眾如何在處處皆連線的狀態下參與展覽。最後,筆者歸納觀點並指出在非物質的概念下,透過社群媒體讓群眾進行參與,已然成為策展團隊必須關注的新命題,且透過線上及線下交互整合的開放形式,將建立新世代文化場域在展覽的視野與方向性。

Abstract

The Internet and digital platforms have overcome the limitations of time and space and enabled people to effectively communicate anytime and anywhere. Social media is a platform for information exchange that enables people to engage with those with similar interests and hobbies. The same characteristic of social media that enables people to participate in discussions concerning their topics of interest has also profoundly affected the art field with respect to the forms of artistic creation, curatorial techniques, and people’s experience of exhibitions. This study explored whether the curators of art venues could proactively use the Internet and social media to motivate potential visitors to visit exhibitions. The first part of this article introduces the effects of social media on art curating and exhibitions, examines the development of the Internet to understand the historical context of social media, and investigates the meaning of social media art. Then, this article presents findings from an investigation of two models of participation, mass curating and taking selfies at art venues, that are based on the two types of O2O (online to offline, offline to online). This study aimed to explore the effects that visiting an exhibition in which virtual and real features were integrated in the art venue and where the Internet was constantly accessible had on an audience. Finally, premised upon the concept of immateriality, the article concludes that engaging the public through social media has become a necessary element of the work of curating teams. The open participation of the audience that enables O2O integration and interaction will be an essential component of future art exhibitions.

關鍵字:參與式展覽、O2O、自拍、社群媒體

Keywords: Participatory Exhibitions, O2O, Selfie, Social Media

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Online ISSN 1560-4713
GPN 2008700071
更新日期:2019-05-31 11:31