博物館時尚展覽的詩學與政治學

Abstract

全球博物館時尚展覽創下歷史最佳觀展人數及佔據媒體版面之風潮，博物館透過「時尚」翻轉過往形象，去博物館看展成為「流行」。本研究以社會學者Bourdieu的「場域論」作為研究架構依據及展覽文化政治分析，Foucault指出博物館具建構知識的權力及影響力，因此博物館成為本研究觀察時尚及展覽的特定場域，試圖建立研究博物館時尚展覽的模式並且梳理博物館與時尚不同階段的關係所做出的典範轉移。掌握時尚話語權的歐美國家，創下紀錄之展覽大多屬Melchior（2014）定義之時尚博物館學類型，本研究依照展覽呈現的關鍵因素「展覽主題」、「展覽場域」、「策展單位」和「展示類型」進行篩選，挑選出歐美國家中造成風潮的代表性展覽如2015年The Met《中國：鏡花水月》、2017年MoMA《Items: Is Fashion Modern？》及2019年V&A《Christian Dior：夢之設計師》。此外，全球時尚展覽板塊經本研究統計，東亞地區比例逐年增加，同時國際流動展的現象令人反思東亞地區的策展觀點如何凸顯，本研究挑選2019年中國絲綢博物館《Dior by Dior:1947-1957》、2019年京都國立近代美術館《Dress Code: Are You Playing Fashion?》及2022年臺北市立美術館《瑪莉官：時尚革命者》。上述六檔展覽以文獻分析、田野調查和訪談整理，依Lidchi（1997）提出展覽詩學概念分析，同時探討場域內的各種行動者角力和外在環境的展覽政治學考量。 「全球流動展」風潮下，凸現歐美博物館和東亞博物館的屬性和經營模式成為差異關鍵，本篇研究關切東亞博物館如何透過展覽詩學發展自身策展觀點。舉辦時尚展覽的高基本門檻，經費、展品來源與合作對象是重要策略，展覽政治學則是關鍵。本研究透過建立研究目前博物館策展盛行類型之研究模式，以此了解符合時尚博物館學的策展要素以及提出東亞博物館的發展可能性。Fashion exhibitions in museums around the world have achieved the best number of visitors in history and occupy the media space. Museums have reversed their past images through"fashion", and going to museums to see exhibitions has become "popular". This study uses sociologist Bourdieu's "field theory" as the research framework and analysis of exhibition culture and politics. Foucault proposed that museums have the power and influence to construct knowledge. Therefore, museums have become a specific field for this study to observe fashion and exhibitions, trying to establish Examining patterns in museum fashion exhibitions and teasing out paradigm shifts in the relationship between museums and fashion at different stages.In Europe and the United States, where fashion has the right to speak, most of the record-breaking exhibitions belong to the fashion museology type defined by Melchior (2014).According to the key factors of exhibition presentation,"Exhibition Theme", "Exhibition Field ", "Curatorial Unit" and "Exhibition Type", this research screened out representative exhibitions that caused a stir in European and American countries, such as the 2015 " China: through the looking glass”, 2017 "Items: Is Fashion Modern?" " and 2019 V&A "Christian Dior: Designer of Dreams". In addition, according to the statistics of this study, the proportion of the global fashion exhibition sector is increasing year by year in East Asia. At the same time,the phenomenon of international mobile exhibitions makes people reflect on how prominent the curatorial views in East Asia are.",2019” Dior by Dior:1947-1957” , 2019"Dress Code: Are You Playing Fashion?" and 2022 "Mary Quant: Fashion Revolutionary" . The above-mentioned six exhibitions are organized through document analysis, field investigation and interviews. According to Lidchi (1997), the conceptual analysis of exhibition poetics is proposed, it discusses various actors in the field and the consideration of exhibition politics in the external environment. Under the trend of International Traveling Exhibitions, highlighting the attributes and business models of European and American museums and East Asian museums has become the key to the difference. This research focuses on how East Asian museums develop their own curatorial viewpoints through exhibition poetics. The basic threshold for holding a fashion exhibition is high. Funding, sources of exhibits and partners are important strategies, and exhibition politics is the key. This study establishes a research model to study the prevailing types of museum curation, in order to understand the curatorial elements in line with fashion museology and propose the development possibility of museums in East Asia.