主編語
Editor-in-chief’s Note

主編語

A Note from the Editor-in-chief

賴瑛瑛 LAI Ying-Ying

國立臺灣藝術大學藝術管理與文化政策研究所教授

Professor at the Graduate School of Art-Culture Policy and Management, National Taiwan University of Arts

摘要

美術館的興建，除可盤點文化資源，推展藝文活動，更可凝聚地方認同，帶動文化產業發展。本期專題「第二波美術館熱潮」的兩篇專文分別從美術館的觀眾行為及歷史建築作為博物館進行專題探討。蘇瑤華的專文以法國羅浮宮藝術博物館推動十年的「人人都是藝文贊助者」的群眾募資計畫為案例，探討美術館「替代性財務工具」的可能性。殷寶寧的專文以臺北市大稻埕街區晚近設置的AMA家及207博物館為例，從後博物館理念出發，討論博物館與地方活化和文化經濟的關係與連結。

Abstract

Besides cultural resource inventory and the promotion of arts and cultural activities, the establishing of museums can also maintain local identity and boost the development of cultural industry. In this issue, two essays under the topic "Second Wave of Art Musem Craze" thematically discuss from the perspective of visitor’s behavior and historical building as museum. In SU Yaohua’s essay, she takes the crowdfunding program “everyone could be the patron” that has been promoted for ten years by the Louvre Museum as a case study, discussing the possibility of museum’s being “alternative tools of economy.” YIN Pao-Ning yet takes the lately established AMA museum and 207 museum in Dadaocheng, Taipei as case studies . From the idea of post-museum, the author discusses the relation and links among museum, regeneration and cultural economy.

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從觀眾到群眾的動能與轉向： 美術館觀眾研究新探

Contemplating the Trend of Harnessing the Crowd in Art Museum

蘇瑤華 SU Yaohua

輔仁大學博物館學研究所助理教授

Assistant Professor, Graduate Institute of Museum Studies, Fu-Jen Catholic University

摘要

「觀眾研究」是一個複合性領域的總稱，包含對使用美術館線上、線下設施、服務，所有人們的博物館經驗、態度和意見的調查、研究、與評量。美術館公共開放的百年歷程中，參觀者異質而快速的擴增，從法國大革命時期的新自由人到一般認知的藝術愛好者，身分從觀眾、遊客、社區居民、消費者、顧客、志工、贊助者，到網路新世代的使用者和群眾，每一個使用美術館設施、接受美術館服務的個人，都以他們的期待，不斷撞擊著美術館的高牆，美術館與公眾間的關係是一場永遠進行中的革命。面對挑戰，美術館導入新商業、新資源，部署新機制與新的管理工具是不可逆的趨勢，然而成功實踐且能重新啟動美術館動能者，往往在計畫創新性和效益性的考量之外，還要能兼顧美術館非營利與教育核心使命的活化。法國羅浮宮藝術博物館成功推動十年的「人人都是藝文贊助者」(TOUS MÉCÈNES !)群眾募資計畫，就是這樣的案例，不僅作為美術館的「替代性財務工具」，成功集資，計畫由原募款部門執行組織得以逐步擴編發展，研究與教育詮釋能量作為藝術史隱晦知識的解密者，知識、影像、互動、遊戲的整合性文創內容生產，透過強勢新媒體與全球對話。歐盟的調查報告印證，美術館群眾募資不只幫助大型博物館在政府公共預算縮減的狀態下脫困，更多美術館在觀眾發展、社群參與、或市場調查、行銷、推廣的面相獲益更大。因為美術館群眾募資計畫的社會網絡參與和創業家精神，讓捐助者們用自己的方法「愛」藝術，並且讓自己成為美術館的重要「盟友」。

Abstract

“Audience research” is an integrated concept of research field. It includes the investigation, research, and evaluation of every people’s museum experience, attitudes and opinions on using the museum’s online, offline facilities, and services. The relationship between art museum and the public is a revolution in motion. Although the public art museum’s research attention on its visitors starts quite recent, the rapid growth in size and heterogeneous development of museum visitors have urged art museum to reshape its management by the introduction of new business, new resources, the deployment of new mechanisms and new management tools. Commercialization has followed to cast its shadow over museums. It would then be essential for art museums to balance between making profits and its mission. This research is using “Tous mécènes!”, the Louvre crowd funding project as a case study to contemplate harnessing the crowd in art museum brought by advent of web technology. It concludes that museum crowdfunding is not only an“alternative financial tool”to fill the funding gap. Instead, museum benefits more through the progress on projects of audience development, community involvement, or even market research. With attribute of engagement and entrepreneurship, the art museum crowdfunding has allowed donors to express“love”of art in their own way and covert themselves to become an important “ally”of the museum. 

關鍵字：美術館群眾研究、美術館觀眾研究、禮物經濟、美術館群眾募資、羅浮宮「人人都是贊助者」群募計畫

Keywords: art museum crowd research, art museum audience research, gift economy, art museums crowdfunding, Lou

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後博物館、街區活化與老屋再生：臺北市大稻埕街區個案研究

Post-museum, Revitalization of Neighborhood and the Adaptive Reuse of Old Buildings: A Case Study of

殷寶寧 YIN Pao-Ning

國立臺灣藝術大學藝術管理與文化政策研究所副教授

Associate Professor, Graduate School of Arts Management and Cultural Policy, National Taiwan University of Arts

摘要

有學者以「博物館熱潮」一詞指稱，越來越多群體憂心於自身文化及歷史記憶的消逝，而需仰賴博物館作為保存自身文化，訴求公共歷史的所在與策略。這個趨勢接合上「後博物館」的概念，使得地方型／社區博物館日益蓬勃發展，成為全球各地重要的文化現象。

臺灣自從發展社區營造政策後，以「文化」議題來引導地區再生，似乎已默然成為各地方尋求發展的內在假設。地區型「博物館」成為討論文化引導地區再發展的重要設施與投資之一。設置地標性的明星建築，作為超級博物館來行銷地方，已然成為全球慣用的策略。然而，博物館的設置有其自身存在的宗旨與價值，過於窄化其任務於推動地區再生課題，往往可能影響其自身的永續發展與經營目標，此現象實非博物館專業者所樂見。

臺北大稻埕街區近年來出現兩座新的博物館—阿嬤家與207博物館。在傳統批發業的街區中植入博物館文化事業，讓人不禁想問，如何想像博物館與地方活化和文化經濟的關係與連結？

本文由「後博物館」關注的多元文化主體概念出發，以大稻埕兩座以活化老屋為博物館的案例為討論核心。思考以在地文化為基底的私立社區博物館，而非以國族國家認同建構出發的博物館，是否提供任何對地方再生和街區活化的不同想像與可能性。

Abstract

Some scholar has used the term “museummania” to refer to the fact that more and more groups are worried about the disappearance of their own history and collective memories, and they need to rely on setting up museums as a strategy for preserving their own culture and pursuing public histories. This trend articulates the concept of “post-museum” and makes local/community museums flourish and become important cultural phenomena throughout the world.

Since the introduction of the community-building policy in Taiwan, it seems that the cultural-led regeneration strategy has become one of the internal assumptions for the development of all localities. Local museums have become one of the important facilities and investments to discuss cultural re-development of the region. For example, setting up a landmark star architecture as a super museum for marketing a place has become a global strategy. However, the setting of the museum has its own goals and value, too narrow its mission to promote regional regeneration might threaten its own sustainable development and objectives, rather than museum professionals are happy to see.

Two new museums have appeared in Taipei’s Dadaocheng District in recent years, the AMA Museum and the Museum 207. In a traditional wholesale business district, museum culture has been implanted in the neighborhood, and people cannot help but wonder how to imagine the relationship and connection between the museum and local regeneration and cultural economy.

Taking the two museums mentioned above as case studies, this article is based on the concept of “post-museum”. To think of private community museums that are based on local culture, rather than museums that are constructed with the approval of nation states, and whether they provide different visions of urban regeneration.

關鍵字：老屋再生、後博物館、街區活化、大稻埕、城市再生、博物館熱

Keywords: adaptive reuse of old buildings, post-museum, revitalization of neighborhood, Dadaocheng, urban rege

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虛擬實境藝術中的「本體論事件」與「共感聯覺美學」1

Ontological Event and (Syn)aesthetics in the Work of Art of Virtual Reality

邱誌勇 CHIU Chih-Yung

國立臺灣師範大學美術系教授

Professor, Department of Fine Arts, National Taiwan Normal University

摘要

虛擬實境科技的發明使得科幻小說情節幻化成真，透過科技中介，人們必須釐清面對此一裝置的感官知覺如何被定義，而虛擬實境的美學正是在討論身體影像(image-bodies)與我們肉身間的互動行為，這個身軀一方面被機械義肢（虛擬實境設備）的沈重感給拖累；與此同時，卻又因沈浸入虛擬空間中的感知給輕盈化，以及那些與我們影像替身(avatar)互動的虛擬景觀。因此，本文試圖從「本體論事件」與「共感聯覺美學」兩大面向探求影像、身體、感知(perception)、再現(representation)與擬像(simulation)的辯證關係，從中建立屬於虛擬實境藝術作品獨特的美學論述。

Abstract

The invention of virtual reality technology actualizes the scenery of Sci-Fi stories. Through technological intermediation, human beings must clarify how to re-define our sensory receptors and perceptions while encountering this new device. The aesthetics of virtual reality is to discuss the phenomenon of interactive behavior between image-bodies and the corporal body in which the body is weighed down by the heavy feeling of mechanical prostheses (virtual reality devices); at the same time, it is lightened by immersive perception in virtual space, and those virtual landscapes that our avatars (image-bodies) interact with. Therefore, this paper attempts to discuss a unique aesthetic discourse of virtual reality from the perspectives of “Ontological Event” and “(Syn)aesthetics” in order to explore the dialectic relationship between image, body, perception, representation, and simulation.

關鍵字：虛擬實境、本體論事件、共感聯覺美學、新媒體藝術

Keywords: Virtual Reality, Ontological Event, (Syn)aesthetics, New Media Art

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藝術作為運動之殘響？ 閱讀陳界仁作品《加工廠》、《路徑圖》與《殘響世界》1

Art as Reverberations of Social Movement? Study on the Works of Chen Chieh-jen── “Factory” , “Route”

呂佩怡 LU Pei-Yi

國立臺北教育大學當代藝術評論與策展全英文碩士學程主任

Program Leader, International Graduate Program, Critical and Curatorial Studies of Contemporary Art, National Taipei University of Education

摘要

2014年臺港兩地接力展開關鍵性的社會運動──春天有臺灣的「318太陽花學運」，秋冬出現香港的「雨傘革命」；在這兩次運動進行的當下，藉由藝術視覺化、具體化與情感化運動的訴求，體察到藝術於社會運動中扮演相當重要的角色。本文著眼於藝術與運動之間不同階段的關係，詢問當運動遠離之後，議題漸消退於日常生活之中，藝術之於社會運動有何可能？透過分析藝術家陳界仁的三件動態影像藝術作品：《加工廠》（2003）、《路徑圖》（2006）與《殘響世界》（2014），用以回應此議題。此三件作品皆與某一特定的社會運動直接相關，但又與之保持距離，且作品製作於運動落幕許久之後，採用一種間接行動的路徑。本文不以動態影像角度切入，轉而關注其工作方法，歸納出「社群共謀」、「（非）表演」、「（現）場／非現場」三個特殊的工作方法。本文認為正因這些獨特的工作方法使藝術得以在運動遠離之後再延續、再生產與再傳播。藝術之於社會運動的力量所在，即因其以「沒有位置的位置」提供異議與想像之空間。藝術不應受限於運動現場的時效性與有效性框架，運動落幕之後更是藝術發揮所長之時：重新喚醒被遺忘的過去，揭露運動過程被遮蔽的多種聲音，為既有的社會運動框架打開新的空間與可能。

Abstract

In 2014, there were two critical social movements emerged subsequently- Sunflower Student Movement in Taiwan and Umbrella Movement in Hong Kong. Within these two social movements, art played a significant role to visualize, embody and emotionalize the appeal of social movements. This essay focuses on the relationship between art and social movement at different stages and question that long time after the social movement, when the concerned issues disappearing gradually in the daily life, what art could do with this? Three works by artist Chen Chieh-jen: “Factory” (2003), “Route” (2006) and “Realm of Reverberations” (2014) are taken as case studies to respond this inquiry. These three works relate to specific social movements but meanwhile keep a distance. All of them were produced long after the social movements they related to. In other words, Chen took an indirect approach.

This essay, different from previous researches of Chen’s works, will not take a perspective of moving image, rather focus on the working methods that artist applies. “Community Collusion”, “(No) performance”, “Site/Non-site” are three methods summarized form this analysis. This essay points out the fact that these three methods make art extend, reproduce and recommunicate after those social movements. The power of art with social movement is art located in a place with no place so that it could provide a space to image and debate. Art should not be limited within the framework of on-going social movement. The period after social movement might be a better moment for art: art could recall the forgotten past, reveal the hidden multi-voices in the process of social movement, and open new space and possibility for the social movement which is getting rigid.

關鍵字：陳界仁、當代藝術、社會運動、殘響、社群共謀、（非）表演、（現）場

Keywords: Chen Chieh-jen, Contemporary Art, Social Movement, Reverberation, Community Collusion, (No) performa

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