展覽反思與論述實踐─台北市立美術館歷任展覽方針與策略之研究(1983-2007)

Abstract

1983年台北市立美術館的開館被視為台灣美術發展的重要時代標竿。本研究探討1983年至2007年間，北美館五任館長的展覽方針及策略轉型。研究理論根基於Michel Foucault的權力與知識互為表裡的觀點，以及Pierre Bourdieu重視場域內行動者操作實踐成果的社會學主張，將北美館視為一權力運作知識生產的藝術場域。研究方法採用社會學研究、文獻分析以及量化分析。研究發現北美館以現代及當代美術為定位，社會變遷、經濟轉型、市府政黨輪替關鍵美術展覽實踐與論述生產。 一、蘇瑞屛代理館長（1983.12-1986.8）的展覽方針為國家文化建設的落實，以量取勝的展覽策略開放北美館為服務藝術家的展覽場域。 二、黃光男館長（1986.9-1995.8）以現代化、國際化與本土化為展覽方針，透過競賽及專題展覽策動美術現代化、推展台灣本土美術，建立與國際的合作網絡。 三、張振宇館長（1995.9-1996.9）以彰顯台灣藝術主體為展覽方針，策略上結合館外策展人開放展覽場域為公共論壇的處所。 四、林曼麗館長（1996.10-2000.7）一則回應台灣主體意識的高漲，再則積極展現台灣藝術的國際視野，開展台北國際雙年展及開放多元的展覽論述。 五、黃才郎館長（2000.8-2007.3）的展覽方針兼顧國際與本土，國際雙年展以文化外交落實城市行銷，全民關照的教育展覽回歸場域主權於全民大眾。 展覽反思，意圖以一超越主流論述的範疇及視野進行展覽回顧及省思。論述實踐，旨在探討在社會脈絡權力結構下，展覽反覆操作所導引的論述生產。多年來，展覽實踐及論述辯證激盪北美館角色功能的釐清，確認展覽的意義及其對於台灣美術知識建構的影響。The inauguration of the Taipei Fine Arts Museum (TFAM) in 1983 is considered a milestone of the development of art in Taiwan. This research examines the exhibition policy and strategy of five TFAM directors (1983-2007). Inspired both by theories of Michel Foucault and Pierre Bourdieu, the researcher regards the exhibition as a media where power and knowledge are exercised and the action of agent is practiced. The methodology applied is sociological study, archive analysis and quantitative analysis studying retrospectively on each director’s exhibition outcome. The research confirms that the TFAM has positioned itself on modern and contemporary art. Factors of socio-political circumstances, economic atmosphere and political party of the city government are crucial to the realization of exhibition and practice of discourse. 1. The exhibition policy of Acting Director Martha SU（1983.12-1986.8） was to fulfill the cultural construction policy of the nation. Exhibition strategy of exhibition quantity over quality then has resulted that the museum serves as a functional site for artists. 2. Director HUANG Kuang-Nan（1986.9-1995.8）regarded modernization, internationalization and localization as the policy, and took the exhibition mechanism of competition and curatorial study to implement the modernization of art, research works on the local art scene to build a cooperative network with the international art world in Taiwan. 3. Director CHANG Chen-Yu（1995.9-1996.9）advocated the identity of Taiwan for the policy, and strategically collaborated with outside curators to have the site opened as a public forum. 4. Director LIN Man-Li （1996.10-2000.7）realized the growing awareness of Taiwan identity and further pursued international visibility. The first international Taipei Biennial and multiple facet exhibition discourse were the strategy. 5. Director HUANG Tsai-Lang（2000.8-2007.3）encompassed both internationality and locality for his exhibition policy. The international Biennial came to function for city marketing, while educational exhibitions served for all people. Exhibition reflexivity aims to take a scenario and critical perspective beyond the restriction of the researcher and dominant discourse. Discourse practice attempts to explore the significance of exhibition production and its influence to the development of Taiwan art. After all these years, the practice of exhibition and discourse has better clarified the function of the museum, confirming the significance of exhibition and its influence to the construction of art related knowledge in Taiwan.