文化資本之流動—試論龐畢度中心行動博物館文化民主化之實踐

Abstract

行動博物館是博物館致力於文化民主化（la démocratisation）理念而出現的一種創新的展覽形式。法國龐畢度中心的「行動龐畢度中心」（Le Centre Pompidou Mobile）於2011年正式開展，秉持藝術教育為核心價值，首度將若干國家級博物館的典藏真跡置放在帳篷結構臨時建築，希望突破城鄉文化資源分配不均的現實，因此選擇在國內六個非大型市鎮進行每期三個月的巡迴，並向各地區文化機構借出藏品共同展出。 本研究旨在以下三點：首先，以Tony Bennett的「展覽複合體」檢視此行動博物館涉及權力運作和文化治理；第二，採用展覽政治檢視此行動博物館的兩期展覽，並以Pierre Bourdieu的文化資本和藝術感知理論，審視其文化資本傳散之策略、實踐與現象；第三，整合其行動展示與臨時建築之流動性特質，以Lai（2004）研究指出的「國際流動展」之特性探討其與移動策略、與巡迴城市的共構層面所加乘的傳散效果。因此，本研究使用多重研究方法，首先以深度訪談龐畢度中心相關負責人和策展人，由展覽選件與主題設計釐清其教育訴求取向，並對照受訪參觀者的回應；此外配合田野調查法實地審視展覽本身與相關教育展演活動，以及觀察接待城市勒阿弗爾（Le Havre）和歐巴涅（Aubagne）從展覽到城市空間文本的共構層面；最後搭配官方資料與媒體文獻，分析其所宣稱之文化民主化實踐過程。 「行動龐畢度中心」透過縮減城鄉的地理空間距離，企圖平衡社會空間中的文化資本分配，本文綜觀其策略與實際影響，共同思索此新型的文化民主化實踐所形成的文化資本傳散過程以及隨之浮現的象徵鬥爭，做為未來此類型行動博物館之前導研究。

The mobile museum of Pompidou Centre, Le Centre Pompidou Mobile, is an innovative genre of postmodern museum circuiting in France since 2011. With the intention of cultural democratization and art education, several masterpieces from the collection of Pompidou Centre were selected to be displayed in a temporary architecture made of canvas structure on tour to six provinces. Each exhibition lasted for three months in one city, co-exhibiting with oeuvres loaned from local cultural institutions and with resonate activities. This paper attempts to apply Tony Bennett’s exhibitionary complex as well as Pierre Bourdieu’s cultural capital and perception theories with a critical orientation to examine Le Centre Pompidou Mobile’s strategies and practice in distributing cultural capital by analyzing its two sequences of exhibitionss with politics of exhibiting. Also, drawing upon the characteristics of International travelling exhibition (Lai, 2004) and temporary architecture, the paper discusses this mobile museum’s influences and events when museum’s and its capitals’ mobility integrated with the touring cities and evoke festival effects.This qualitative study involves firstly in-depth interviews with head and curator of the project of Le Centre Pompidou Mobile and discourse analysis of official documents, to analyze the selection and theme design of exhibitions. Second, the fieldwork was conducted in the mobile museum applied in two provinces, Le Havre and Aubagne, emphasizing on the construction of artistic knowledge from visual and spatial cultural analysis. Last but not the least, by comparing the responses of interviewed visitors, the comments of media articles, and official announcements, this research evaluates the practicability of cultural democratization of the mobile museum of the Pompidou Centre. Le Centre Pompidou Mobile meditates an approach to upset the inequities of distribution of cultural sources among cities and towns as well as social classes. The paper critically examines mobile museums as the novel emerging genre of art and aesthetic education of museum through the case of Le Centre Pompidou Mobile’s practice in democratization of culture, meanwhile, reveal the symbolic paradox generated during the tour.