國家文化藝術基金會民國八十六至九十年度補助之裝置藝術個展研究; The Study of Installation Art Solo Exhibitions granted by National Culture and Arts Foundation from 1997-2001

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题名:	國家文化藝術基金會民國八十六至九十年度補助之裝置藝術個展研究;The Study of Installation Art Solo Exhibitions granted by National Culture and Arts Foundation from 1997-2001
作者:	藍恭旭;Kung-Hsu Lan
贡献者:	藝術學研究所
关键词:	裝置藝術;藝術機構理論;國家文化藝術基金會;展覽;installation art;The institutional theory of art;exhibition;National culture and arts foundation
日期:	2004-06-30
上传时间:	2009-09-22 09:33:28 (UTC+8)
出版者:	國立中央大學圖書館
摘要:	摘要財團法人國家文化藝術基金會（簡稱為「國藝會」）是我國唯一一個專業的藝文獎補助機構，自民國八十六年開始正式運作以來，至今已將近八年。它對於我國當代藝術活動與創作的發展，具有一定程度的影響。裝置藝術作為當代新興的藝術形式，它的多元樣貌與形式特徵，也值得加以探究。而展覽是藝術創作之中相當常見的呈現方式，對於裝置藝術來說，兩者之間的關係也頗為特殊。因此，本論文即是以國家文化藝術基金會民國八十六至九十年度所補助的六十檔裝置藝術個展為研究對象而展開的。本論文所採取的主要是量的分析與質的分類兩種進路。首先先在緒論中說明研究的對象與方法，以及裝置藝術的基本定義，以及它與展覽之間的一種共生關係，藉以作為整個研究的基礎。第二章則屬於量的分析，以國家文化藝術基金會歷年的補助數據為對象，包括補助件數、金額，以及展覽空間的性質與區域特性，申請者的各類條件，如年齡、學歷等等的項目入手，來分析裝置藝術個展在國家文化藝術基金會補助數據中所呈現出來的樣貌。第三章則屬於質的分類，以此六十檔裝置藝術個展為對象，主要處理展覽現場的物件、作品的形式特徵，以及展覽的主題等面向，以描述、分析、詮釋等方式切入，來進行分類的工作。在物件的描述分類上，運用了「力工裝製」四個判準，來逐檔檢視各個作品的物件生成方式，並藉此將這些展覽分為九大類。作品的形式特徵則以分析方式進行，亦將之分為九大類。在展覽的主題方面，採取詮釋的方式，將所有展覽主題歸納為六大類。結論之中則將通篇論文所處理的問題一一加以整理，並嘗試提出一些研究中未能解決與有待解決的問題。 Abstract National Culture and Arts Foundation（NCAF）is Taiwan’s only professional organization which gives grant for the arts. It is moving into its eighth year since it was founded in 1996. It plays an influential role in the development of contemporary arts activities and creation. As a new form of arts, installation arts takes on diverse appearance and characteristic that worth our exploration and study. Meanwhile, Exhibition is a very common way of presenting artistic creations. It also carries an unique relation with installation arts. This essay thus focus on the study of the 60 solo installation art exhibitions which were supported by NCAF from 1997 to 2001. This essay uses the approach of analyzing the quantity while categorizing quality. It first starts by explaining the target and method of study, as well as the basic definition of installation art and its interrelation with exhibitions. The second chapter focus on the analysis of quantity. It is to use the grants data given by NCAF as analyzing figures, including the number of granted projects, the amount of grants, the nature of the exhibition spaces, and the qualification of the applicants (i.e. their age and educational background), in order to study the different roles of installation art as presented in the grants by NCAF. The third chapter focus on the categorization of quality. It is to have the 60 solo installation art exhibitions as example, to study the objects, the characteristic form of each artwork in the exhibition, as well as the subject matters of the exhibitions. And it categorizes by describing, analyzing, and interpreting. By using the four principles -“energy”, “craft”, ”assemble”, “produce”- to examine individual object in these exhibitions, the author categorizes these exhibitions into 9 categories. After analyzing the characteristic form, this study categorizes these artworks into 9 genre. And this research provides 6 frameworks to interpret these subject matters. In the conclusion, all problems dealt in this essay are reorganized, and the unsolved problems are pointed out again at the end.
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