論「當代表演」進入美術館：以2010-2020 年臺北市立美術館與北師美術館之展覽為例;Contemporary Performance in Art Museums: Case Studies of the Taipei Fine Arts Museum and Museum of National Taipei University of Education (2010-2020)

NCU Institutional Repository > 文學院 > 藝術學研究所 > 博碩士論文 > Item 987654321/98673

jsp.display-item.identifier=請使用永久網址來引用或連結此文件: https://ir.lib.ncu.edu.tw/handle/987654321/98673

题名:	論「當代表演」進入美術館：以2010-2020 年臺北市立美術館與北師美術館之展覽為例;Contemporary Performance in Art Museums: Case Studies of the Taipei Fine Arts Museum and Museum of National Taipei University of Education (2010-2020)
作者:	蕭珮瑩;Hsiao, Pei-Yin
贡献者:	藝術學研究所
关键词:	當代表演;展演機制;觀演關係;現場性;檔案操演;灰地帶;Contemporary Performance;Exhibition Mechanisms;Spectatorship;Liveness;Performing archive;Grey Zone
日期:	2025-08-01
上传时间:	2025-10-17 13:04:31 (UTC+8)
出版者:	國立中央大學
摘要:	二十一世紀當代藝術紛紛興起了以「當代表演」為策略的展覽型態，在國際上已形成諸多討論的議題，譬如探討當代表演構成何種群眾連結，抑或如何影響藝術家在創作實踐上的思考模式。這些討論一方面與過往盛行的關係美學僅強調形式化的觀眾互動，有相當大程度的差異，另一方面也開啟人們對現場藝術、行為藝術等攸關身體展演歷史的回溯與反思。尤其在2010至2020年間，國內美術館於展覽策劃層面逐漸運用有關「Live」（現場性、活性）的元素及跨媒介合作的方法，思索當代表演得以爲機構激發出何種可能性。而針對當代表演進入美術館的命題，當前國內學界的評析與論述多集中在表演藝術領域，且傾向用跨領域一詞將其概括，又或者快速地以「表演轉向」稱之。不過，這種說法容易讓我們忽略更進階的問題：究竟當代表演為美術館帶來什麼改變？美術館如何定位當代表演在其機構的位置？此種動態觀演關係的呈現，對於當今藝術史書寫又引發何種變化？有鑑於此，本論文選擇從視覺藝術的角度切入，並以臺北市立美術館與北師美術館作為主要研究的對象，細緻地剖析這兩大場館於2010至2020年間發生的展演案例，企圖透過兩道研究路徑進行論述，第一、考察美術館在這十年間展演機制的改變；第二、分析觀眾在特定展演機制下的轉變。探索在這兩者的相互作用下，觀眾之於藝術家甚至是美術館的權力關係為何？觀者在此發展過程中有何種面向的變化？如何改變？期望藉此探尋出何謂觀眾能動性的思考，以及當代表演進入美術館促成的灰地帶之潛能。第一章以國內外表演與視覺藝術之當代交會為題。先以當代表演進入美術館的議題為起點，細探國內外脈絡的思考與轉變究竟為何，釐清構成表演與視覺藝術交會背後的條件與機制。而第二章與第三章皆為個案研究的方式探討。第二章聚焦談論臺北市立美術館，分別於藝術家個體、機構策展及雙年展機制的不同層次架構下，其展演機制與觀演關係的設計，進而探問何謂當代表演與社群連結的批判性。第三章則著墨北師美術館在這十年間如何藉由跨媒介展演的策動、表演文件的再創造，發展出其自身對於跨域實驗的精神及串連群眾一同形構交互展演的意義。最後在結論將提出對於當代表演史書寫的可能性和再探當代表演未來的途徑。 ;In the 21st century, contemporary art has seen the emergence of exhibition formats employing “contemporary performance” as a strategy. This has sparked much international discussion, with topics ranging from how contemporary performance establishes a connection with the audience to how it influences artists′ thinking patterns in their creative practice. These discussions differ significantly from the previously dominant “Relational aesthetics”, which emphasized formalized audience interaction. They also prompt retrospective examination and reflection on the history of body-based performance, Live art, and Performance art. Between 2010 and 2020 in particular, domestic art museums gradually incorporated elements related to “Live” (liveness and activation) and intermedia collaboration into exhibition curating, exploring the possibilities that contemporary performance could unlock for institutions. Regarding the issue of contemporary performance in museums, current academic analyses and discussions in Taiwan have largely focused on the field of performing arts, often using the term “interdisciplinary” to generalize it, or quickly labeling it as a “performativity turn.” However, this framing risks overlooking more advanced questions: What changes does contemporary performance bring to art museums? How do art museums position contemporary performance within their institutional frameworks? And how does this dynamic spectatorship between performance and viewing influence the writing of contemporary art history? In this regard, this thesis chooses to approach the issue from the perspective of visual arts, with the Taipei Fine Arts Museum and Museum of National Taipei University of Education as the main subjects of research, carefully analyzing the exhibition cases that occurred in these two major venues from 2010 to 2020. Two research paths are taken to approach the subject: first, the changes in art museums′ exhibition mechanisms over the past decade are examined; second, the changes in audiences under specific exhibition mechanisms are analysed. The study seeks to explore the power dynamics between audiences, artists, and museums in this interplay, as well as the various dimensions of change in audiences during this developmental process and how such changes occur. Ultimately, the research aims to explore the concept of audience agency, and the potential of the gray zone created when contemporary performance enters the art museum. Chapter one focuses on the contemporary intersection of performance and the visual arts in Taiwan and abroad. Beginning with the issue of contemporary performance in art museums, it explores thinking and changes in domestic and international contexts, and clarifying the conditions and mechanisms behind this intersection. Chapters two and three are case studies. Chapter two focuses on the Taipei Fine Arts Museum, examining its exhibition mechanisms and spectatorship dispostif across different levels of structure—individual artists, institutional curation, and biennial exhibition mechanisms—to explore the critical nature of contemporary performance and its connection to the community. Chapter three examines how the Museum of National Taipei University of Education has developed its own spirit of interdisciplinary experimentation and the meaning of collaborative, interactive performances over the past decade through inter-media performances and the re-creation of performance documentation. Finally, the conclusion will propose possibilities for writing the history of contemporary performance and explore its future directions.
显示于类别:	[藝術學研究所 ] 博碩士論文

文件中的档案:

档案	描述	大小	格式	浏览次数
index.html		0Kb	HTML	32	检视/开启

在NCUIR中所有的数据项都受到原著作权保护.

社群 sharing

数据加载中.....