流變的展覽: 北縣美展與前衛實驗1992-1997 | 誠品線上

流變的展覽: 北縣美展與前衛實驗1992-1997

內容簡介

內容簡介 北縣美展在1990年代率先展開公辦美展的變革，它不僅打破媒材分類的競賽模式，也開啟了政府邀請策展戶外裝置的先聲。本書由學者蔣伯欣主編，彙集兩百件相關檔案，並邀請呂佩怡、游崴、陳寬育、楊佳璇等藝評家，從環境、垃圾、噪音、影像、身體等不同角度專文，評析北縣美展在淡水河流域，如何以各種體制內外的前衛實驗，成為當代藝術流變的場域，期能提供一兼具在地脈絡與全球視野的展覽史。

作者介紹

作者介紹 新北市美術館籌備處、蔣伯欣、呂佩怡、游崴、陳寬育、楊佳璇蔣伯欣Chiang Po-shin國立成功大學臺灣藝術史料研究中心智庫召集人、臺灣藝術田野工作站發起人，曾任教於國立臺南藝術大學、創辦臺灣藝術檔案中心、擔任《藝術觀點ACT》主編暨召集人、台新藝術獎國際決審團主席、文化部國寶與重要古物審議委員，籌劃國家視覺藝術檔案館，目前也受邀擔任多個美術館的典藏委員。蔣伯欣的學術領域包括展覽史研究、前衛與左翼運動、全球藝術史脈絡下的現代主義及當代性，並長期倡議藝術檔案的建置與策展。近年出版的專書包括：《光──臺灣文化的啟蒙與自覺》（高美館，2022）、《地域性的子午線：菲律賓與臺灣的藝術史書寫與當代文化策展》（與Patrick Flores合編著，2021）、《新派繪畫的拼合／裝置：臺灣在巴西聖保羅雙年展的參展脈絡1957-1973》（2020）、《現代藝術史新路徑：莊世和1943年日記檔案》（2020）等。他近年也接受美術館委託策劃學術研討會與研究展，包括「檔案轉向：東亞當代藝術與臺灣（1960-1989）國際研討會」（2017），以及陳澄波、郭柏川、莊世和、阮義忠的回顧展，並參與國美館「所在：境與物的前衛藝術1980-2021」、北師美術館／高美館「光──臺灣文化的啟蒙與自覺」（2022）等策展。呂佩怡Lu Pei-yi倫敦大學柏貝克學院人文學暨文化研究博士。目前擔任國立臺北教育大學當代藝術評論與策展全英文碩士學程副教授。曾經擔任臺北當代藝術中心理事、台新藝術獎決審團。她的研究方向分為兩部分：一為美術館之外藝術實踐與策展，包括藝術與城市、社區／社群／社會參與、文化行動等。另一軸線關注展覽史、策展研究。她的策展實踐例如「第八屆深圳雕塑雙年展──我們從未參與」（2014，OCAT深圳）」副策展人、「微型小革命」（2015，英國曼徹斯特華人當代藝術中心）」策展人、「第五屆臺灣國際錄像藝術展──負地平線」（2016，鳳甲美術館）」共同策展人。演講系列策劃：「對談雙年展」（2016，北美館）、「亞洲策展史I＆II」（2017-2018，臺北當代館，春之當代夜）。發表散見於國內外研討會、學術期刊等，專文收錄於書籍《Routledge Companion to Art in the Public Realm》（2020）、《Art and the City: Worlding the Discussion through a Critical Artspace》（2017）、專書出版《臺灣當代策展二十年（1992－2012）》獲得第十屆AAC藝術中國「年度出版提名獎」。目前正在進行《藝術／運動作為公共平臺之可能》專書寫作計畫，探討藝術與行動主義之間的多重關係。游崴Yu Wei策展人、藝評工作者。倫敦大學柏貝克學院人文學暨文化研究博士。現任C-LAB臺灣當代文化實驗場策展人及「CREATORS創作／研發支持計畫」統籌、國立臺北藝術大學美術系兼任副教授。曾任《今藝術》雜誌主編與特約撰述，關注臺灣戰後藝術與視覺文化，文章散見各期刊、專書與展覽圖錄。曾任2014年臺北市立美術館「觀．點──李元佳回顧展」英國田野調查工作統籌、「造音翻土：戰後臺灣聲響文化的探索」策展協力。2015至2016年間於倫敦策劃展演「射殺鋼琴師：臺北噪音場景1990-1995」。2017年與在地實驗共同策劃「破身影」於臺北市立美術館，入圍第16屆台新藝術獎。自2018年起於C-LAB的策展或協同策展計畫包括「時間另類指南」、「城市震盪：汙痕」、「姚瑞中：犬儒共和國」、「第七屆臺灣國際錄像藝術展：ANIMA」、「實驗通信 CREATORS 2020–21」及「極微輸入：演算音像集」等。陳寬育Chen Kuan-yu曾任藝文雜誌記者與編輯，策劃或參與過幾檔展覽，現為獨立藝評人。畢業於臺北藝術大學美術系美術史組、成功大學藝術研究所。近年關注攝影、繪畫與視覺文化，自主的獨立研究聚焦於相關當代藝術類型的評論狀態，梳理評論問題意識之生成、變化與發展；亦持續探究理論與創作論述之歷史公案，並針對關鍵藝術與文化議題規劃中程與長程的著述、研究與出版計畫，著有《異獸藏身處的精靈：藝評召喚術》（2022）。此外，面對當代藝術產製生態中經常被視為衍生物或附屬角色的藝評處境，試圖探索一位無隸屬者如何投注於藝評書寫，並將藝評作為某種創作體裁的可能性。2022年創立「蔚島工作室」，想像擁有一個能將思想與書寫自我組裝的後勤維修工作基地。未來將持續透過與藝術產業中各類型的工作者合作，實踐理想中「以藝評寫作支持藝評研究，反之亦然」的長期工作模式。楊佳璇Yang Chia-hsuan1982年生於臺南，2011年畢業於國立臺南藝術大學藝術史與藝術評論研究所，曾擔任《藝術觀點ACT》執行編輯，於2012至2018年初於臺南主持藝術空間「齁空間」，結束藝術空間運作後，一直於臺南以獨立接案形式維生，間斷地替藝術雜誌、美術館典藏資料撰稿，或於機構策劃展覽，在介於內部與外部狀態之間，觀察藝術發展的在地脈絡。2012年參與出版《在微光下——從南方出發，臺南藝文空間回訪 1980-2012》（與侯昱寬、陳聿寧、鄭雯仙合著），2020年參與《起動 藝術轉動社區——2020南部七縣市調查研究》文章發表與專書出版。近期策展計畫為2022年嘉義市立美術館「位移的凝視」。

產品目錄

產品目錄 【序言 Forewords】 局長序／龔雅雯（新北市政府文化局局長） Foreword by the Commissioner Kung Yea-wen(Commissioner of Cultural Affairs Department, New Taipei City Government) 推薦序：一種可能敘述的修辭學／派屈克．佛洛雷斯（馬尼拉瓦爾加斯博物館策展人） The Rhetoric of a Possible Telling Patrick Flores(Curator, Vargas Museum, Manila) 推薦序：跨越縣／線：定位展覽史／譚鴻鈞（亞洲藝術文獻庫研究總監） Across County Lines: Locating Exhibition Histories John Tain(Head of Research at Asia Art Archive) 【專文 Papers】 導論：邁向跨地方主義──全球展覽史與當代藝術檔案的交會地帶／蔣伯欣 Toward the Future of Translocalism: Where Global Exhibition Histories and Contemporary Art Archive Meet Chiang Po-shin 以淡水河作為方法：「環境藝術」（1994）、「淡水河上的風起雲湧」（1995）、「河流──新亞洲藝術．臺北對話」（1997）／呂佩怡 The Tamsui River as a Method: Environmental Art(1994), Resurgence on the Tamsui River(1995), River: New Asian Art—A Dialogue in Taipei(1997) Lu Pei-yi 臺北盆邊1993—1995：垃圾、噪音與地方美展實驗／游崴 On the Rim of the Taipei Basin, 1993-1995: Trash, Noise, and the Experiment of Local Government-sponsored Art Exhibitions Yu Wei 「看見淡水河」攝影展──記錄環境主義治理下的人文地理景觀變遷／陳寬育 View on the Tamsui River in 50 Years──Documenting Changes in the Human-Geographical Landscape under the Governance of Environmentalism Chen Kuan-yu 解嚴前後臺北盆邊的身體解放／楊佳璇 Body Liberation at the Sides of the Taipei Basin Before and After the Lifting of Martial Law Yang Chia-hsuan 【檔案 Archives】 圖檔彙編 Graphic Records Compilation 九〇年代北縣關鍵藝術實踐年表與大事紀 Chronology of Key Art Events in Taipei County in the 1990s 【附錄 Appendices】 參考書目 Reference Source 索引 Index 作者簡介 Authors 感謝誌 Acknowledgments

商品規格

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自序 : 局長序

擁有豐富自然、歷史人文與產業資源的新北市，其人文地理所交融的生活經驗，孕育了在地獨具特色的藝術環境與資產。從清領時期、日治到戰後的前輩藝術家，以及後來落腳在新北市的中、新生代藝術家，這些蓬勃的藝術發展與創作能量，讓新北市始終是臺灣藝術史的重要核心之一。

奠基於豐饒的在地藝術沃土，成立一座兼具傳承藝術資產及創新精神的美術館，是新北市民引頸期盼的事。新北市美術館籌備期間，我們持續進行多項研究計畫，積極整理新北市藝術發展史。本書為新北市（時為臺北縣）1990年代（1992至1997年間）展覽史研究計畫的成果，內容探討當時發生於臺北縣境內，從而影響臺灣當代藝術深遠的藝術事件，從臺北縣立文化中心（今新北市文化局）大刀闊斧改革地方美展，改變美展遴選制度、邀請藝評家擔任策展人及引入戶外展覽形式，鋪陳展開官辦藝術活動所蓄積的當代藝術能量。本書特別邀請藝術史學者及藝術評論家，以藝術檔案學的研究方法，深入爬梳此時期的歷史及文獻資料，從不同視角的觀察及論述，分析如何透過舉辦一系列前衛實驗及突破體制的展覽活動，開創臺灣官辦美展的改革先例，影響日後臺灣的當代藝術發展。

期待藉由藝術文獻的整理與出版，再現未曾發掘的過往，除了完整建構新北市藝術發展的歷程與特色，也作為未來策展、學術研究的重要參考資料，並喚起大眾對於新北藝術能量的記憶，重新認識此一臺灣當代藝術發展的重要轉捩點。

新北市政府文化局局長 龔雅雯

Foreword by the Commissioner

With its abundant natural, cultural, historical, and industrial resources, New Taipei City nurtured unique local characteristic art scenes and cultural assets through life experiences under such humanistic geography. Thanks to senior Taiwanese artists of the Qing rule period, Japanese rule period, and postwar period, along with middle and new generation artists who settled in New Taipei City, the active transformation of art and prolific energy have perpetually made New Taipei City one of the central cores of Taiwanese art history.

The establishment of a museum that entails both traditional artistic assets and innovative spirits in this artistic region has always been the anticipation of New Taipei City residents. We have been conducting several research projects during the preparatory period of the New Taipei City Art Museum to proactively inspect the history and development of art in New Taipei City. This book is a consequence of the research project on the exhibition history of New Taipei City (formerly Taipei County) in the 1990s (especially from 1992 to 1997). The reviews are dedicated to art events in Taipei County that had a great impact on Taiwan's contemporary art. The revolutionary measures of Taipei County Cultural Center (now New Taipei City Cultural Affairs Department) to reform local government-sponsored art exhibitions included changing the competition exhibition system, inviting artists as curators, and introducing the approach of outdoor installation. These actions unfold the contemporary art vitality that government-sponsored art exhibitions have accumulated. We specifically invited art historians and critics to compile the history of the period and relevant materials with art archival techniques. Observations and discourses were made from various aspects to analyze how the series of avant-garde experiments and exhibition events managed to break through the institutional system and further become a precursor of reforming government-sponsored art exhibitions that influenced Taiwan's contemporary art development.

Through compiling and publishing the art archives, we hope to represent the hidden past. This effort not only aims to construct a complete record of artistic characters and progression in New Taipei City, but also to serve as an important reference for future curatorial and academic research. By enabling people to reacquaint themselves with this critical turning point of Taiwanese contemporary art development, we anticipate evoking memories of New Taipei City's strength in artistic energy.

Kung, Yea-Wen
Commissioner of Cultural Affairs Department, New Taipei City Government

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導讀 : 本書構成
收入本書的相關專文，便是在以上的脈絡下展開邀請專稿。除筆者的導論之外，另兩位學者是接近同時代、但又保有一定距離的中生代藝術評論學者，兩位是次世代並有豐富著述的藝評人，作者們都是長年鑽研相關議題並已有成績的學者。

國立臺北教育大學副教授呂佩怡長年研究當代的「場外藝術」（off-site art），她以〈以淡水河作為方法：「環境藝術」（1994）、「淡水河上的風起雲湧」（1995）、「河流——新亞洲藝術．臺北對話」（1997）〉一文，深入探討以淡水河的自然地理風貌、人文歷史成為作品發展的靈感與主題，展覽也從臺北縣立文化中心室內展覽空間移至淡水河畔的真實場域。透過分析這三個重要展覽，詢問以「現實地點」作為問題意識所發動之主題性策展，為何出現在1990 年代中期的北縣美展？有何當時的特殊環境脈絡所支持？此種以「淡水河」作為方法的特定場域展演，對臺灣當代藝術發展的作用力何在？作者透過對「環境藝術」與相關當代概念的比較，從策展論述中洞察「亞洲」論述在臺灣藝壇的想像，也指出此種身分認同的「場域」實踐，實更多來自於展覽與「區域」鄰國他者之間的地緣辯證。

臺灣當代文化實驗場研究總監、策展人游崴博士，多年來投入此時期的前衛藝術與展覽實驗研究，此次他以〈臺北盆邊1993–1995：垃圾、噪音與地方美展實驗〉一文，先爬梳從臺灣的官辦美展到主題展的變遷，來看北縣實驗藝術發生的相關背景，「責任藝評」制催生了日後以策展人為主的主題展規劃，也從相關策劃中，發展出捕捉「新素人」的機制，從而引入吳中煒及《臺北空中破裂節》計畫。游崴指出，這個計畫「並不是傳統概念下的環境藝術，而是一個糅合環境雕塑、偶發、噪音、垃圾藝術的大雜燴，也是一個歷時月餘的烏托邦聚落」。而北縣「臺北盆地邊緣地帶特殊的工業社會地景」，也成為孕育此種草根、邊緣、反抗的另類主流最好的沃土，開啟了一條帶著顛覆展覽企圖的展覽史脈絡。

長年專研攝影評論的藝評人陳寬育，則以〈「看見淡水河」攝影展：記錄環境主義治理下的人文地理景觀變遷〉一文，深度解析「看見淡水河」展的內容與帶來的觀看內涵，也以不同的視覺詩學與政治，重新考察了此展在北縣美展脈絡周邊的關鍵性意義。尤其他以「視覺無意識」的角度，注意到「那些居住在堤防內外的生存故事和生命狀態」，並試著指出「在城市的一般市民大眾與中產階級場景中，這些居住在邊緣地帶的生命樣態，是如何像是攝影的視覺無意識向度般地被忽視」，更為「看見淡水河」攝影展，開啟另一種觀看藝術史與展覽史的向度。

近年關注當代新世代藝術家的藝評人楊佳璇〈解嚴前後臺北盆邊的身體解放〉一文，則更聚焦置身於上述批判場域的身體圖景。她注意到：解嚴前後，藝術圈也與小劇場運動有著平行且交疊的合作關係，而解嚴後，破爛視聽下的次文化與邊緣身體，成為反文化與反體制下的另類主流，既交疊著解嚴前後社會運動中抗爭的身體，也形塑自逐步醞釀於民間，關於庶民的、邊緣的身體狀態，並在解嚴後逐漸發展，繼而形成一種嘉年華般集體狂歡的身體解放狀態。楊佳璇指出臺北縣的沿河市鎮，聚集著大量中南部移民、客家人、弱勢原住民，加上工業化發展，廟會、工地秀、電子花車、檳榔攤等生猛文化也因而在此匯集，形構出臺北縣位處臺北盆邊的邊緣特質。而從「甜蜜蜜」、「臺北破爛生活節」到「臺北空中破裂節」的邊緣、反體制的次文化能量，訴諸官能、混亂、過剩、張狂的身體，也在此得以容身，更使得北縣文化中心，成為一連串前衛藝術活動的發生場域。楊文提供了一個綿密、複雜的身體網絡，讓讀者得見跨領域的身體實踐與生成流變。

藉由這四篇專文，與約200件的檔案彙編，我們希望以此為起點，讓里程碑式的重要策展，成為藝術史與當代策展參照的案例。伴隨此書的出版所蒐集與建置的相關檔案，將提供新北市美術館未來脈絡式地回應當前國內外對當代藝術與策展專業意識（contemporary curatorship）及其方法的關注，也標誌著今日當代藝術發展與跨領域知識生產的檔案轉向。從新北藝術展覽史此一基礎上，建置線上資料庫作為國際交流平臺，拓展國內外藝術界與學界對臺灣藝術史之認識，激發國內外更多不同的研究視角，強化臺灣與世界藝術史、展覽史的對話連結。考掘新北藝術的展覽史，也是從當前的課題出發，批判地思考當代展覽如何成為生產各種意識與課題的知識平臺，盼能對於美術館未來的地方性與跨地方主義，提供更豐富的參考。

The Structure of this Book
The articles in this book were commissioned in the above context. Two of the writers and myself are mid-career art critics who were contemporaries but not directly involved in the events described. The other two writers are younger art critics with a large body of writings. They are all scholars who have researched the relevant issues for years and published works on them.

Lu Pei-yi, an Associate Professor at the National Taipei University of Education, has conducted research on “off-site art” for many years. In her article “The Tamsui River as a Method: Environmental Art (1994), Resurgence on the Tamsui River (1995), River: New Asian Art: A Dialogue in Taipei (1997),”she analyzes these three exhibitions, exploring how the natural geographical environment, culture, and history of Tamsui River became the inspiration and themes of the works, and how the exhibitions were moved from the gallery of the Taipei County Cultural Center to sites along Tamsui River. Through analyzing these three key exhibitions, she questions why these thematic exhibitions using a “real location” as the problematic were held as Taipei County Art Exhibitions in the mid-90s. What were the special contexts that produced them? What impact did these site-specific exhibitions with “Tamsui River” as a methodology make on the development of Taiwanese contemporary art? By making comparisons between “environmental art” and the relevant contemporary concepts, she examines Taiwanese artists’ imagination of “Asia” in the curatorial discourse, and points out that these experiments with “sites” about identity were inspired by the examples of art exhibitions in our neighboring countries.

Dr. Yu Wei, curator and head of the research team of Taiwan Contemporary Culture Lab (C-Lab), has devoted himself to the research on the avant-garde art and exhibition experimentation of this period for many years. With the article “On the Rim of the Taipei Basin, 1993-1995: Trash, Noise, and the Experiment of Local Government-sponsored Art Exhibitions,” he traces the evolution from Taiwan’s official art exhibitions to thematic exhibitions, and looks at the background to the emergence of experimental art in Taipei County. The “responsible art critic”system gave rise to the curated thematic exhibitions, from which sprang the “new amateur” mechanism. This accounted for the inclusion of Wu Chong-wei’s Taipei Breaking Sky Festival project. As Yu Wei points out, this project “was not land art in the traditional sense, but a hybrid consisting of environmental sculptures, happenings, noise, and junk art, as well as a utopian community lasting more than a month.” The “unique industrial landscape at the fringe of the Taipei Basin” also became the best soil for nurturing this kind of grassroots, marginal and resistance alternative, creating an exhibition history that demonstrates the intention of subverting exhibitions.

In the article “View on the Tamsui River in 50 Years──Documenting Changes in the Human-Geographical Landscape under the Governance of Environmentalism,” the critic Chen Kuan-yu, an expert on photography criticism, analyzes the content of the “View on the Tamsui River in 50 Years” exhibition and its viewing experience. Based on the curatorial concept of the exhibition, the author tries to explore how the “Tamsui River consciousness” overlaps and coincides with the environmental consciousness at the time. The article also uses different visual poetics and politics to reexamine the key significance of this exhibition. In particular, the author brings up the concept of the “optical unconscious,” noting “the life stories and conditions of those living inside and outside the embankments, and suggests that among the ordinary people and middle class in the city, these lives at the fringe are overlooked, just like the optical unconscious of photography.” In doing so, he opens up another dimension of looking at art history and exhibition history.

Art critic Yang Chia-hsuan has studied the new generation of artists in recent years. In her article “Body Liberation at the Sides of the Taipei Basin Before and After the Lifting of Martial Law,” she focuses on the body landscape at the above site. Before and after the lifting of martial law, the art scene and the experimental theater movement had a parallel development and also overlapped and worked with each other. After the lifting of martial law, the subculture and marginal body of the “broken audio-visual” phenomenon became an anti-culture and anti-establishment alternative. While overlapping with the body of resistance in the social movements before and after the lifting of martial law, this phenomenon also shaped the marginal body that gradually emerged among the masses. After the lifting of martial law, it gradually developed into a carnival-like, orgiastic liberation of the body. Yang notes that the towns along the river in Taipei County teemed with migrants from Central and Southern Taiwan, hakka people, and disadvantaged indigenous people. Due to industrial development, temple fairs, concerts at construction sites, Electric Flower Cars and betel stalls were concentrated here, constituting the marginal character of Taipei County at the edge of the Taipei Basin. As the marginal, anti-establishment subcultural energy of the Sickly Sweet, the Taipei Broken-Life Festival and the Taipei Breaking Sky Festival gave rise to the sensual, chaotic, excess and wild body that found a place here, the Taipei County Cultural Center became the site for a series of avant-garde arts events. Yang’s article guides us through an intricate and complex network of
the body, so that readers can follow the interdisciplinary body practices and their evolution.

With these four articles and the compilation of two hundred documents, we hope this will be a starting point for referencing landmark curatorial cases in art history and contemporary curating. The documents collected and compiled for the publication of this book will be provided to the New Taipei City Art Museum, so that it can systematically respond to the present interest in contemporary art and contemporary curatorship as well as its methods in the future. They also symbolize the archival turn of contemporary art development and transdisciplinary knowledge production today. On the basis of the history of the Taipei County Art Exhibition, the New Taipei City Art Museum will build an online database as an international exchange platform to enhance local and overseas artists’ and scholars’ understanding of Taiwanese art history, stimulate more research angles, and strengthen the dialogue and connection between Taiwanese and world art history and exhibition history. By investigating the exhibition history in New Taipei City, we also wish to critically explore how contemporary exhibitions can become a knowledge platform for producing different kinds of consciousness and issues, in order to provide points of reference for localism and glocalism of museums in the future.

最佳賣點

最佳賣點 : 本書由學者蔣伯欣主編，彙集兩百件相關檔案，並邀請呂佩怡、游崴、陳寬育、楊佳璇等藝評家，從環境、垃圾、噪音、影像、身體等不同角度專文，評析北縣美展在淡水河流域，如何以各種體制內外的前衛實驗，成為當代藝術流變的場域，期能提供一兼具在地脈絡與全球視野的展覽史。

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