摘要
自1960年代以来,文化商品化与时尚化、越来越向"服务业"靠拢的艺术家、近似大型综艺演出的复合式作品,以及艺术、设计、时尚与建筑合体混搭等当代艺术愈演愈烈的特质,使当代艺术经由消费实践对我们的日常生活产生越来越大的影响。然而,当欧美当代艺术馆一方面因应上述趋势而挪用"体验经济"的概念,同时却坚持艺术作品的独一性与真实性之时,台湾当代艺术馆在艺术逻辑与商业逻辑之间的融合和冲突上却显得动向不明。本文论述了"超文化工业",并以法国两个当代艺术馆为案例,彰显当代艺术馆扮演着使我们未来生活彻底产生质变的重要角色。
Since the 1960s, tendencies are more and more obvious in contemporary art, such as the commercialization of culture, closer affinity with fashion, artists moving towards the service sector, the emergence of artworks that are like large variety show as well as the union of art, design, fashion and architecture. Such tendencies make contemporary art ＂industrial objects of time＂ to infiltrate and influence everyday life through consumption. However, some contemporary art museums in Europe and America adopt the concept of ＂experience economy＂ while at the time insist on the originality and authenticity of artworks. By contrast, contemporary art museums in Taiwan are still hesitating between commercial logic and artistic logic. Based on case study of two French museums and the theory of ＂hyper-cultural industry＂, the author discusses the responsibility of contemporary art museums in the future.
出处
《中国国家博物馆馆刊》
CSSCI
北大核心
2013年第5期142-156,共15页
Journal of National Museum of China
关键词
当代艺术馆
超文化工业
生活美学
体验经济
Contemporary art museum
hyper-cultural industry
lifestyle
experience economy
