2014台北雙年展關係美學藝術呈現之研究

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2015

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「2014台北雙年展」邀請法籍策展人Nicolas Bourriaud以關係美學的理念擔綱展覽總策劃。《關係美學》為1990年代的當代藝術劃出一道分水嶺,使得藝術的呈現與展示方式,出現微妙的變化。《關係美學》認為,藝術家透過各種媒材的運用,使作品具有「聯繫與會面」、「共活與面對」以及「合作與約定」三項關係特質,「觀眾參與」成為當今藝術呈現的新導向。觀眾依據藝術家所提供或再現的場域,進入作品並且從中體驗作品與自身的關係。「2014台北雙年展」在「關係美學」主導下推出,其藝術呈現是否正如該理論所揭櫫的特色,值得關注。 本研究透過文獻的整理與分析,針對「2014台北雙年展─劇烈加速度」參展藝術家、觀眾以及國內藝術學者的深度訪談進行分析與檢視,論述該展覽關係美學理念之藝術呈現。首先,探討這個展覽呈現關係美學理念的特色;再檢視參展藝術家呈現關係美學理念的概況;最後觀察觀眾參與展場中關係藝術的狀況。結果發現,「2014台北雙年展」被打造成為關係美學的特殊場域,展覽中的關係藝術著重「人類世」的詮釋。參展的藝術家,具體呈現關係美學理念,他們利用「現成物」作為與觀眾聯繫、會面的媒介,為觀眾鋪陳共活與面對的情境,甚至藉由「合作與約定」,邀請觀眾進入作品締結新的關係。觀眾在展覽中也樂於參與藝術家的創作,他們與「現成物」聯繫、會面,從中體會藝術家所鋪陳的情境;進而與藝術家合作完成作品,從中獲得新的啟示。整體而言,觀眾已普遍接受關係藝術的表現形式,也認同2014台北雙年展的策展理念,惟觀念性創作以及文化差異可能影響觀眾參與的品質。 期望研究結果可作為臺灣當代藝術發展研究及相關工作者的參考;同時提醒觀眾,他們可以和當今藝術家共同完成作品,並獲致新視野。
Taipei Biennial 2014 invite French curator Nicolas Bourriaud to curate the exhibition. His book “Relational Aesthetics” drew a watershed in contemporary art in 1990s, and makes art form and the exhibition to a new way. Relational Aesthetics point out that the artist through a variety of medium and let the art works have “connection and meeting”,“conviviality and encounter” and “collaborations and contracts” three of relational aesthetics art characteristics. The audience can experience the art work and try to connect themselves relations by clues or reproduced form from the art. For this reason, Taipei Biennial 2014 is under the concept of Relational Aesthetics, and how’s the art presentation with the Relational Aesthetics concept is concerned. This study analysis the literature and interviewed with the artists, also the audience and Taiwan art experts in this research. In order to compare their opinion and discusses the Art Presentation of Relational Aesthetics in Taipei Biennial 2014. First, through the exhibition theme “The Great Acceleration” to summarize the exhibition’s relational aesthetics features. Then, according to the relational aesthetics art characteristics analyze the artist art presentation. Last but not least, use the artist’s point of view and relational aesthetics characteristics to observe the audience art participation in the art. The result found that Taipei biennial 2014 which is under the relational aesthetics concept that built into relational aesthetics special art field. The relational arts focus on the concept of “Anthropocene”. The participation of the artist used the “material” as the contact with the audience, and make the conviviality and encounter situation in the exhibition. They even collaborate with people try to invite the audience into their art. The audience is also willing to participate in the artist’s creation, they contact the “material”, and try to realize the art concept then turn into themselves understanding. Therefore they can be flexible to face the problem of their life. Expecting the results can be a reference to Taiwan’s development of contemporary art and related research workers, while reminding the audience that they can work together to complete today's artists, including access to the new revelation.

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2014台北雙年展, 關係美學, 藝術呈現, Taipei Biennial 2014, Relational Aesthetics, Art presentation

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