TeamLab—Dance! Art Exhibition, Learn and Play! Future Park@華山1914觀後感-4

Why in Huashan 1914 Creative Park?

@http://www.huashan1914.com

@http://www.huashan1914.com

“At the same time, those experiences now seem to many to have museum vulnerable to a kind of social criticism. They are not what they thirsting millions thirst of.”
“The art of which they thirst. However, which is something the museum has so far been able to provide them with.”
Chapter 10 “Museums and the Thirsting Millions.”, After the end of art- Danto.

現代主義的純粹性消失,藝術活動不再定繪畫於一尊,連帶美術館的定位都需要從新調整。當代藝術世界所展現出來的是前所未有的多元化,不止於題材和媒體,更和社會脈動或大眾結合,反映人類存在的真實面貌。

“What we see today is an art which seeks a more immediate contact with people than the museum make possible…and the museum un ture is striving to accommodate the immense pressures that are imposed upon it from within art and from outside art. So we are witnessing, as i see it, a triple transformation–in the making of art, in the institutions of art, in the audience for art.”
Chapter 10 “Museums and the Thirsting Millions.”, After the end of art- Danto.

Danto 在1992年的 ‘ArtForum’ 中談論藝術場域和藝術機構和觀眾之間的關係,當中更提到藝術品和觀眾之間的關係從單純的單向式觀賞,跳脫到雙方產生互動的層面之上。

從這一點我可以看得出來的是,這一次新媒體互動展覽設立在台北華山這個舊工廠區的原因。雖然可以放置在美術館或場域設置相類似的地方,但兩種地方給予觀眾的感覺卻完全不同:

放置美術館的話,感覺起來總存在著一種規限性,終使是飛花亂舞卻又美麗的投影,都只是被表框著,然後排放在美術館的白色立方體內。

@Denver Art Museum, Colorado

@Denver Art Museum, Colorado

放置在如休閒文創區同類型的公眾場地的話,反倒令到「情景脈絡」的營造更為突出,利用大型裝置和觀眾互動機制來規劃參觀路線和展區分佈,由此令到觀眾有更多時間去思考作品和自身的關係,讓觀眾與作品對話,提升觀眾參與的經驗和興趣。

這樣的展覽設置加上策展者有意識地「去作者化」,能夠比以往美術館辦的新媒體互動展覽更加有說服力和融入社會,從而拉近了科技和藝術的差異和不確定性,比起到美術館單純欣賞技巧性和歷史性的「美」,更容易令大眾接受和得到回饋。

 

借歷史貼近大眾

在這次展覽前,華山1914這個地方都曾舉行過相類似的展覽-Taipei Free Art Fair,雖然沒有「去作者化」的存在,但同樣都是以用藝術來互動,內容具社會性,藝術更融合於民眾的生活中,觀眾甚至可以參與藝術即興展出,減去理性,提倡「什麼都可以是藝術」的可能性,可以說是兩者雖然媒介不同,但同樣都可算是後現代藝術思潮下的展覽形式。

故此令到這個地方充滿獨特性和世俗的歡樂,帶領民眾們主動離開過去由精英主導的藝術界,走到一個沒有階層限制的開放性場域。

 

Reni Haymond @ Taipei Free Art Fair 2016

Reni Haymond @ Taipei Free Art Fair 2016

 

 

Reni Haymond @ Taipei Free Art Fair 2015

Reni Haymond @ Taipei Free Art Fair 2015

 

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