法國藝術國際傳播協會推廣當代藝術策略之研究

Abstract

法國藝術的發展在世界上一直具有舉足輕重的地位，從中古、文藝復興、巴洛克、以至於十九、二十世紀，代代都有著名的藝術家，其作品均流傳至今。但隨著科技發展與歷史演進，法國藝術的領頭地位於二次大戰後已逐漸動搖，該國的藝術收藏家們憂心此種現象，因此創立「法國藝術國際傳播協會」（ADIAF），透過私人收藏家與公立美術館結合，意圖重振法國藝術的國際地位。他們除扶持年輕藝術家外，更與龐畢度中心（Centre Pompidou）合作，共同創辦「杜象獎」（Duchamp Prize），並以入圍此獎項的藝術家創作為基礎，在國際間舉辦大型展覽，近幾年更跨足亞洲，先後在中國、日本、韓國等地舉辦跨國性展演。這一連串的國際藝術活動，充分顯示ADIAF意欲傳播法國當代藝術的用心。 本研究透過文獻的整理與分析，搭配ADIAF成員與國內相關藝術學者的深度訪談進行比較與檢視，論述ADIAF在法國當代藝術傳播中所扮演的角色。首先經由ADIAF發展沿革的敘述，找出其核心目標與領導人物意欲發揚法國精神的理念；再藉由ADIAF與當代藝術關係的論述以及傳播理論，觀察這個協會如何推廣法國當代藝術。最後，試圖達到探討ADIAF發展的沿革與組織架構、剖析它與當代藝術的關係、瞭解其推廣法國當代藝術的方法與策略，以及評估臺灣學習其成功經驗的可能性等四項研究目的。結果發現，ADIAF透過這一連串的藝術傳播活動，不僅培養出許多足夠代表法國藝術精神的藝術家，並藉由這些富含法國意象的作品，與國外美術館合作展覽，將法國藝術傳播到海外，成功引起世人注意。依據臺灣目前的藝術界現況，將ADIAF的藝術傳播模式移植臺灣的可能性雖然不高，但仍可引介杜象獎相關展覽至臺灣展出，藉此使臺灣藝術與法國藝術進行對話、拓展臺灣藝術家人脈，並與世界接軌。期望本研究的結果與發現，能夠作為臺灣藝術推廣者在進行藝術傳播策略規劃時的參照。The development of French art has always been a pivotal position in the world. There were famous artists from Medieval, Renaissance, Baroque, to the nineteenth and twentieth centuries, and their works handed done until today. With the development of technology and the evolution of history, the leading place of French art has been shake after the World War Two. Some French collectors worried about the situation of French art, and therefore they founded the Association for the International Diffusion of French Art (ADIAF). They tried to revive the international status of French through the combination of private collectors and public museums. They not only support young artists but also cooperate with Centre Pompidou to found “Marcel Duchamp Prize”. ADIAF hold some large-scale international exhibitions based on the works of the finalists, and they branched out into Asia and held exhibitions in China, Japan and Korea these years. All these activities show the intention of ADIAF to broadcast French contemporary art. In this research, we discourse the role that ADIAF plays in French contemporary art by drawing a comparison between the literatures and the result of interviewing the members of ADIAF and Taiwanese art experts. First, we found the core objective and the idea that the leaders want to broadcast the spirit of France through the description of ADIAF’s history. Then we observed the ways this foundation broadcast French art by expounding the communication theories and exploring the relationship between ADIAF and contemporary art. Last but not least, we tried to figure out four research objectives: understand the development and the organization structure of ADIAF, analyze its connection with contemporary art, find the strategies that ADIAF uses to broadcast French art, and assess the possibility that Taiwan learn from its success. It proves that through a series of activities to broadcast art, ADIAF not only brings us artists who can well represent the spirits of French art, but also cooperates with the museums overseas, broadcasts French art there and getting people’s attentions successfully. Given the status of Taiwan art circles, there’s low possibility for the art-broadcasting model of ADIAF to transplant to Taiwan. However, we can still introduce the exhibition of Marcel Duchamp prize to Taiwan, triggering the interactions with French art, and getting close to international stage. It is expected that this research could be a reference for art promoters to set an art communicational strategic planning in Taiwan.