Loading...
|
Please use this identifier to cite or link to this item:
http://140.128.103.80:8080/handle/310901/24167
|
| Title: | 公立博物館與原住民當代藝術策展觀點： 高雄市立美術館、臺灣史前文化博物館之例 |
| Other Titles: | Viewpoints of Curating Indigenous Contemporary Arts in Public Museums：Case Studies on Kaohsiung Museum of Fine Arts and National Museum of Prehistory |
| Authors: | 劉宜羚
Liu,Yi-ling |
| Contributors: | 王嵩山
Wang,Sung-Shan
美術學系 |
| Keywords: | 公立博物館;原住民當代藝術;展示策劃
Public Museum;Indigenous Contemporary Arts;curating |
| Date: | 2013 |
| Issue Date: | 2014-02-21T01:09:35Z (UTC)
|
| Abstract: | 臺灣公立博物館事業不同於歐美文化脈絡下的博物館發展，濫觴於日本殖民臺灣的時期。在當前的臺灣社會中，「原住民當代藝術」漸為主流社會所關注。「原住民當代藝術」一詞是有別於傳統社會中與族群文化制度緊密結合的「原住民藝術」。本研究關心的是「原住民當代藝術」從傳統社會中轉化而來現存於臺灣社會中的樣貌、價值與意義，及透過公立博物館的展示場域所建構出符合國家觀點的合法知識。目的是為了解當公立博物館做為一個代表國家觀點、地方集體記憶及文明化指標的場所，博物館方透過如何的展示策劃實踐觀點與臺灣原住民當代藝術現象進行對話。 原住民族群藝術的創造本應是依循著自身的社會脈絡發展而生，不同的歷史、社會組織造就了不同族群相異的藝術發展。1895年臺灣受日本殖民、1945年臺灣光復，這段期間是原住民族群傳統社會組織迅速瓦解的時期，隨著族群社會組織而存在的文化也逐漸地消失。1980年代也是原住民社會運動頻繁出現的時期，1987年臺灣解嚴，1990年代因著政體的改變，臺灣的「主體性」一詞被放大於社會中，原住民族群因具有代表臺灣主體性的意義，因而被彰顯，在「主觀認同」主導藝術表現的年代，藝術表現作為族群文化縮影的象徵意義逐漸地消失；個人意識被彰顯的結果，便出現了多樣化的藝術表現形式。史前館與高美館正是關注於此現象並積極發展原住民當代藝術的臺灣公立博物館，分別將此多樣化的藝術表現以不同的知識體系、不同的主題在特展中彰顯其「當代性」，並藉由展示論述「創造」了對於原住民族群的「新文化觀」。 公立博物館在展示上擁有詮釋現象話語權的優勢，不僅可主觀地陳述某些現象、某些意識，特展的舉辦也通常具有較直接的意圖與目的，物件在特定意識下被詮釋的結果，加強或削弱了某些發展的面向。也就是說，原住民當代藝術在博物館的展示中，面對的是握有權力的特定階級，對於原住民當代藝術場域審美觀點、藝術價值的複製與製造。
The public museums in Taiwan, that are marked the beginning of the Japanese colonial period, are different from the museums developed in the context of European and American culture. In the current Taiwan society, ”Indigenous Contemporary Art” is concerned by the mainstream society. The term “Indigenous contemporary Art” differs from the other one “Indigenous Art” which is integrated closely with the ethnic culture systems in the traditional society. This study is concerned the form, value and meaning of the Indigenous Contemporary Art, which are transformed from the traditional society to the Taiwan society now, as well as the legal knowledge conforming to the national perspectives, constructed by the exhibition field of the public museums. The purpose is to understand when the public museums become spaces as the representative of the national perspectives, local collective memory and civilized indicators, they how to perform their perspectives by way of exhibition and curating to communicate with the Indigenous Contemporary Art.Indigenous ethnic art being created should follow the development of their own social context. The different histories and social organizations produce different art. Taiwan was controlled by the Japanese colonialism from 1895 to 1945, and the Retrocession of Taiwan in 1945. During this period, the indigenous ethnic traditional social organization disintegrated rapidly, and the culture, exiting with ethnic social organizations also gradually disappeared. The eras of 1980s were also the periods in which the social movements happened frequently. The lifting of Martial Law was proclaimed in 1987.The term “subjectivity” of Taiwan was magnified in the society because the regime changed during the 1990s.Indigenous were on the behalf of Taiwan subjectivity meaning, so they were emphasized in the era of subjective identify dominant the artistic expression. Thus the symbolism of artistic expression as a ethnic culture microcosm disappeared gradually. Owing to the emphasizing personal consciousness, there are diversified forms of artistic expression. The National Museum of Prehistory and the Kaohsiung Museum of Fine Art are the two public museums in Taiwan, that pay attention to this phenomenon and develop indigenous contemporary art positively. Respectively emphasize it’s “contemporary” of the diversified artistic expression by way of different knowledge systems and different subjects in the particular exhibitions, and “create” the indigenous’ “new culture concept” by the exhibition discourse.In the exhibition, the public museum has the advantage of the power of discourse to interpret the phenomenon. It can not only express some phenomenon and consciousness subjectively, but also has direct intents and purpose when the Special Exhibitions are held. As the result, as soon as the object is interpreted under the particular consciousness, some developments of the artistic exhibitions are strengthened or weakened. In other word, while the indigenous contemporary art is exhibited in the public museum, it faces a particular class that is able to copy and produce the aesthetic conception and art value in the indigenous contemporary art field. |
| Appears in Collections: | [美術學系所] 碩士論文
|
Files in This Item:
| File |
Size | Format | |
|---|
| 101THU00233008-001.pdf | 10138Kb | Adobe PDF | 1103 | View/Open |
|
All items in THUIR are protected by copyright, with all rights reserved.
|
