社群藝術創作的特質及其藝術教育意義-以吳瑪悧社群藝術創作為例之個案研究

Abstract

近年「社群藝術」之藝術創作成為國內外日趨蓬勃的創作模態，在具臺灣當代藝術指標性的臺北雙年展中，自2008年起明顯看出行動式或結合議題式的創作愈趨增加，由此可見「社群藝術」的意象趨於鮮明，而當中實踐對話性創作、黏合藝術與生活縫隙的創作者首推藝術家吳瑪俐。

本研究之目的在探究吳瑪悧2000年-2008年在臺灣之四個社群藝術計畫，分別為2000年『從你的皮膚甦醒』計劃、2006年『人在江湖—淡水河溯河行動』、2006-2007年嘉義縣『北回歸線環境藝術行動』、2008年臺北雙年展『臺北明天還是一個湖』，深究其中以社群為本藝術創作之特質與理念，其在臺灣社會與藝術界的角色與定位、及當中藝術教育之意涵。

本研究可發現以社群為本藝術創作中，藝術扮演的不是美化的角色，而是引發、思考的媒介，其引發的效益更增加參與者的學習成就與認同感，更反轉原本的藝術觀念；過去認為藝術創作是藝術家的專利，但近年來社群藝術的參與者認知轉變為「人人都可成為藝術家」，在藝術學習上意味著想像力的解放，藉由藝術轉化的學習讓參與者揚棄過去「囤積式的學習」的窠臼，改而成為「對話式的教學」，更助長了參與者的自覺及自主。In recent years, community-based artworks have been raised in Taiwan. In indicators of Contemporary Art in Taiwan -Taipei Biennial, mobile or a combination of issue-typed artworks have become more and more since 2008. It shows that community-based artworks’ images tend to be clear, and the representative artist who practices of creative dialogue and bonds the gap between art and life is Mali Wu.

The purpose of this study is to explore four community-based art plans, including 2000“Wake up from your skin ”、2006“The Sopranos- Upstream activities in Tamsui”、2006-2007“Chiayi County-Tropic of Cancer environmental art action ” and 2008“ Taipei Biennial-Taipei is still a lake tomorrow. ” This study investigates the characteristics and idea of community-based artworks、its role and position and its implication in art education.

This study is detectable to detect that art doesn’t play a role in landscaping, but the media of leading or thought-provoking. The leading of benefits increases the participants’ learning achievements and sense of identity and reverses the original artistic concepts more. In the past, art was considered as artists’ patent, but now participants think “ everyone can become an artist”. In art-learning area, it means the liberation of imagination, and participants abandon the rut of accumulation-based learning. The interactive teaching encourages participants to self-conscious and independent ability.