受過法國教育的台灣藝術家對台灣藝術場域及藝術家角色定位之觀感; Le regard port? par les artistes ta?wanais form?s en France sur le monde de l'art et le r?le de l'artiste ? Ta?wan

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Title:	受過法國教育的台灣藝術家對台灣藝術場域及藝術家角色定位之觀感;Le regard port? par les artistes ta?wanais form?s en France sur le monde de l'art et le r?le de l'artiste ? Ta?wan
Authors:	尤采方;Yu,Tsai-Fang
Contributors:	法國語文學系
Keywords:	藝術;文化;文化政策;社會學
Date:	2013-07-05
Issue Date:	2013-08-22 11:46:37 (UTC+8)
Publisher:	國立中央大學
Abstract:	論文名稱：受過法國藝術教育的台灣藝術家對台灣藝術場域所抱持的觀感校所組別：國立中央大學法國語文學系研究所指導教授：劉柏桑 (Tanguy Lepesant) 老師研究生：尤采方論文提要內容：近幾年來，文化議題在台灣逐漸受到關注，也引發了不少爭議與討論。而台灣文化首要機構，文化建設委員會於2012年五月正式升格為文化部，展現了台灣政府對文化藝術發展的企圖心。然而，許多爭論持續不斷，不少藝術家更是向政府提出了訴求。此現象引發出一個問題：台灣的文化政策是否提供藝術創作者一個友善的創作環境？鑒於此，本研究透過訪談以了解目前台灣藝術場域的狀況，並分析其原因以釐清台灣文化政策與實際場域間是否存在著藝術理念的落差。在第一章節中，首先探討受訪的藝術家對於「藝術」及其作用抱持麼樣的概念，進而理解，藝術對社會有何重要性。經過訪談，分類出三種觀念：第一，藝術之於社會的必要性是基於藝術被視為人文的遺產，與「人」密不可分，而過去與傳統能透過藝術作品，在世代交替後被如實傳遞；第二，藝術與文化皆有與時漸進的特性，所有過去的藝術都是進步與變革的基礎，而不是未來發展的阻礙；第三，藝術作品能是一股「無聲」的批判力量，能引發精神與思唯的革命。其次，在第一章後半段中，討論受訪藝術家選擇法國為藝術學習地的理由，從其中歸納出受訪者認為法國藝術場域相對於台灣的優勢後，再以法國歷史發展沿革深入討論其場域的組成與建構。第二章節討論當前文化議題，並透過受訪藝術家分享其經驗與觀察，分析出現今台灣藝術場域及文化政策所存在的問題以及藝術家在此環境下發展所面臨的困境。其中包括了：經費與預算分配的失衡、行政方面的缺失、人事任用的問題。此外，受訪藝術家以現下政府所大力推動的「文化創意產業」發展為討論主題，對此提供一些反思，並指出此政策的過度發展可能帶給社會一些危害。基於前兩個章節的分析內容，第三章節中，歸納出受訪藝術家對於台灣藝術場域的重整所提供的看法與建議。首要工作是，場域中行動者的培育和思想的革新。再者則是，建設一個利於行動者與藝術相遇的場域，縮短人與藝術作品間的距離以達到文化薰陶提升藝術感受性，更甚者，引起人對藝術的主動好奇心。最後，脫離政治與經濟的威脅和干預，還給藝術場域其自治性，並給與藝術家在台灣社會中一個行政與觀感上的身份認同。 In recent years, more and more people in Taiwan have paid attention to cultural issues, which also provoke a lot of debates and discussions. The Council for Cultural Affairs (CCA), the prime cultural organization of Taiwan, has been upgraded in May 2012 to the Ministry of Culture. It shows that the government of Taiwan has a great intention of developing art and culture. However, it doesn’t stop the controversy. A lot of artists ask for some requests from the government. This phenomenon gives us a question: Do cultural policies of Taiwan offer a favorable environment of creation to art creators? My research tries therefore to figure out the current circumstances of the field of art in Taiwan by interviewing some Taiwanese artists and analyzing its causes, to clarify if there is a gap between the cultural policies of Taiwan and the actual champ of art. We will discuss in the first chapter what concepts the interviewed artists have regarding “art” and its functions, in an attempt to understand what the importance of art is in society. After the interviews, I will divide the chapter into three concepts: First of all, art is considered as a human heritage and inseparable from “people”. Past history and tradition can be transferred from generation to generation through artistic works. These are exactly what the necessity of art in society is based on. Secondly, both art and culture have the characteristic of changing with time. All the art of the past is not an obstacle of future development but a base of progress and innovation. In the end, work of art can be a silent critical power to rouse revolutions in spirit and thoughts. Besides, in the last half of the first chapter, we will talk over the reasons of the interviewees to choose France as their place for studying art. After generalizing the superiority of the II field of art in France compared with that in Taiwan, we will discuss the composition and the structure of the champ of art in France via the history of its development. The second chapter will focus on the current cultural issues. I will analyze, with the experience and observation shared by the interviewed artists, the problems existing in current champ of art in Taiwan and its cultural policies, as well as the difficult situation which the artists face in this kind of environment, including disequilibrium of distribution of funds and budgets, mistakes in administration and problems of personnel appointment. In addition, the interviewees offer some introspections for the policy “Cultural and Creative Industry” which the government is currently and which could cause promoting at present as the topic. They will point out some potential dangers on its excessive development in society. Based on the two former chapters, I will sum up in the third chapter the thoughts and suggestions of the interviewed artists about the reorganization of the champ of art in Taiwan. The first thing to do is to cultivate the agents and renew their thoughts. The second thing to do is to establish a favorable environment for the agents to meet art, which will shorten the distance between people and art works, make people able to immerse themselves in culture and be more sensitive to art, and even attract people’s curiosity about art. At last, the champ of art should be autonomous, without any political and economic interference or domination. Artists need a titular status among the society of Taiwan by obtaining acceptance and respect from people and the government administration, which, they should have the right to be part of.
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