公共藝術策展作為都市設計的取徑:台灣公共藝術策展案例之研究(2002~2012)

Abstract

The dissertation attempts to embark on a framework description and production in a theoretical and spatial form by employing “public art curation” as a means and a method of urban design. Through the content and the form of site-specific art in the discussion of contemporary art, the dissertation seeks to reconstruct the “difference” constructive singular task/content in the work of urban design. This will give an epistemological construction and propose an analytical framework in a public artwork. As the physical form of space is concerned, the object of the sculpture can hardly get rid of the engram function as landmark that strengthens the narration and derivation of a place. The spatial engagement of the site-specific art explains the possibilities of spatial production, such as “urban weaving” and “living path re-mapping.” Meanwhile, through the functional meaning from the temporary work in the public art, it explains a process from value in exchange to value in use. In the social form of space, under the existing creative ecology, the social forms that the work produces come from the “ability of mobilization.” The active purpose of the public art resides on the potential collectivity that the work summons. Also, under author’s singular investigation, it constructs subjectivity and aesthetic experience of a certain place through the process of summoning the collectivity. It is made to sustain the construction of “local studies” and “local knowledges.” The administrative bureaucracy employs the public interest as the subject of spatial project writing. The administrative resources serve as a “manipulatable” aesthetic experience that reflects in the work content of the administrative bureaucracy in forms such as “the obtaining of administrative resources,” “the writing of setting plan,” “the establishment of execution group” and “the selection of entrusting agency” used to function as a subjective spatial plan of public interest. Through the content of experiential research, it accounts for an effective process forced by the government’s “administrative intervention” between the curator and the artist groups. As the know-how with the curator and spatial experts is concerned, the means of site-specific art curation as spatial production has to get rid of the curative form of “art museum/art gallery,” that is, the business value that causes the gap between the curative content and the living experience. The goal of forging the curative intelligence explains the features of site-specific curation: it is reflected on the curative works such as “the reinforcement of curator’s spatial cognition,” “the spatial professional tool and the manipulation of operative methods,” “the ability of decomposing the spatial information,” and “the politics of artist’s creation and the re-assembling with places.”