"Transcendence of Illusion" by Erica Yu-Wen Huang

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Contents

094

城市座談

Urban Symposium

096

探討亞洲城市與藝術之間的關係

Art and Public in Asian Cities

路易斯．比格斯

Lewis Biggs

移動美術館的趨勢

Mobile Museum Trends

湯瑪斯．克倫斯

Thomas Krens

148

活動

Events

150

開幕

Opening

152

藝術家座談會

Artist Talks

153

藝術 × 建築 × 景觀 × 農學

Cross Discipline Talks:

的跨界合作

Art × Architecture × Landscape × Agriculture

154

轉吧 ! 內心的小宇宙 – 旋轉小桌燈工作坊

Projection Desk Lamp Workshop

155

導覽紀實

Tour Guides

120

014

序

Pr e fac e

017

專文

E s s ay

156

城市座談

Urban Symposium

030

作品圖錄

Artworks

157

展覽幕後直擊

Behind The Scene

021

中谷芙二子都市幻霧

Fujiko Nakaya Post-Urban Fogscape

158

布展

Artworks Installing

039

林俊廷愉躍

Lin Jiun-Ting Delight Spring

166

志工培訓營

Volunteer Docent Educational Camp

047

徐瑞憲醉八仙

Shyu Ruey-Shiann Eight Drunken Immortals

055

豪華朗機工書寫

Luxury Logico Scripting

167

附錄

Appendix

063

曾偉豪隱聲山林

Tseng Wei-Hao Invisible Sound Landscape

071

吳淑敏行氣

Wu Shu-Min Flow of Qi

167

藝術家年表

Artist ’ s Biography

079

陶亞倫留白

Tao Ya-Lun State of Mind

185

感謝誌

Acknowledgements

087

吳季璁八方

Wu Chi-Tsung Survey

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TR ANSCENDENCE OF I LLUSION

虛山幻水

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種子計畫源起於立偕建設自發性回饋公眾的社會責任，以企業的資源和力量進行公共利益之事。同時也是個人在求學過程當中，參與傳統聚落的研究以及社區營造，萃取其精華之部份，重新凝聚社區的向心力，試圖將美好生活方式重現於都市再生的社區以及周邊的區域當中。自 2009 年開始，種子計畫的第一階段：「藝術在生活左右系列」地景裝置藝術展，開始在台北市的各個角落發聲，分別是 2009 年於內湖成美河濱公園旁的第一個展覽「藝術在河左右」； 20 10 年比鄰信義計畫區的象山腳下松仁路的「藝術在山左右」；以及 2 01 1 年於天母忠誠路二段舊街廓的「藝術在風左右」。展覽邀請國內外裝置、雕塑、影像藝術家進入社區與居民互動，針對在地的地理特色和人文景觀進行藝術創作，串起居民的生活記憶與土地情感，期望讓社區居民對於自己所熟悉的居住場域，產生另一種想像，同時，也重新感受藝術回歸生活、藝術與生活結合的單純美好。 2012 年種子計畫邁入第四屆，承租台北市信義區松高路與忠孝東路五段 236 巷口停車場的部分空間，作為種子計畫第二階段「移動美術館」的展覽基地。「移動美術館」的概念來自於台灣獨特的“ 接待中心 ” 文化，一個因著台灣建築產業而創生出來的獨特行銷空間，它的存在是為了銷售房子，但在本計劃中卻全然放棄其原始特質的行銷目的而設計成為一個臨時性的公益空間，作為展演使用，免費開放給所有一般大眾參觀，希望以企業資源進行公眾利益之事務，打造一座城市中的臨時美術館，提供市民生活的美學新經驗。因此由立偕建設主辦，台北市政府文化局、台北市政府都市更新處共同合辦，集合建築設計、景觀工程、當代藝術、農學生活團隊等單位的參與，在這座臨時性的美術館內，自 2012 年 12 月 25 日到 2013 年底，為期一年展出「藝術建築生活展」，融合了藝術、建築、生活等美學元素，在熙來攘往的信義區當中，成為台北市民對都市生活空間創意的一種新體驗，為台北市未來生活的想像中提供一種可能性。立偕建設自 2 006 年創立至今，不斷用心投入，深耕台北的文化地景，透過藝術活動形塑、保存居民的共同記憶，喚起那被忙碌喧囂的城市生活所遮蔽的純淨心靈，希望為台北勾勒出一幅從在地情感出發、深具人文況味的未來願景

並深深期待在經歷這些走入巷弄、深入社區的投入之後，在台北這片土地上，

看見建築、藝術、人文的美麗花朵遍地綻放。

立偕建設股份有限公司總經理張巍懷

The Seed Project is originated from Lead Jade Construction ’ s self-initiated social responsibility to contribute back to the society, and is conducted with the corporation ’ s resources and impacts, with the objective to garner outcomes that are beneficial to the public. At the same time, the project is also based on the essence extracted from my own experiences during my years as a student, with participations in the studies of traditional neighborhoods and community developments. The core intention of this project is to bring together communities through mutual visions and attempt to introduce wonderful lifestyle approaches to communities of urban regeneration and also its surrounding areas. Since 2009, the first stage of Seed Project –“The Seed Project – Life Series ”has started sowed in different venues in Taipei. Following the first seed that was planted in 2009 by the Rainbow Bridge in Neihu for “Art with River ”and the second seed of“Art with Mountain ”sowed in 2010 by Mt. Elephant in the Xinyi District,“The Seed Project – Life Series ”has entered into its third year of implementation in last year, 2011. The third seed“Art with Wind ”arrived at the old streets in Taipei ’ s Tienmu District to continue with the promotion of instilling soft capabilities of art into constructing spiritual connections with local communities. These artworks are based on the area ’ s distinct geography and culture, and are intended to link together memories and sentiments that people hold for their lives and their land. We hope to spur for more imaginative thoughts in the local people for the environment they are so familiar with, and at the same time, we wish for art to return to life and to integrate with life in a natural, simple, and beautiful manner. With the accumulation of experiences from the progression of“The Seed Project –Life Series ” and as Taipei moves into a new exciting phase, we believe that this project is a touching chapter with moving stories dedicated to this city. In 2012, the Seed Project officially entered its 4th year of operation, and we leased a part of the parking lot space located at the intersection of Xinyi District ’ s Songgao Road and Zhongxiao East Road Lane 236 in Taipei as the venue for the second phase of the Seed Project, the Mobile Museum. The concept of the Mobile Museum is derived from the unique reception center culture found in Taiwan ’ s architectural industry. The reception center ’ s key purpose is to sell houses, but with this project, we decided to forgo its preexisting commercial agenda and transformed the space into a temporary charitable space used for exhibitions that are offered for free to the general public. The hope is through the use of corporate resources targeted for public social affairs; this temporary museum could offer to the people of the city new lifestyle experiences. Presented by Lead Jade Construction and co-presented by Taipei City Government ’ s Department of Cultural Affairs and Urban Redevelopment Office, the project brought together architectural design, landscape engineering, contemporary art, and agricultural teams to work together in presenting an“Art, Architecture, Life Exhibition ”inside this temporary museum from 2012 to August of 2013. In the bustling Xinyi District, the exhibition incorporated diverse aesthetical elements of art, architecture and life, and created new experiences and prompted new imaginations and possibilities for our urban living space. Since the establishment of Lead Jade Construction in 2006, the company has been relentlessly devoted in cultivating cultural settings for Taipei. Through artistic endeavors, we strive to preserve communal memories and awake the sense of simple purity in people ’ s hearts amidst the city ’ s hustle and bustle. We hope the future prospect of Taipei is based on care for the land and profound local humanity and culture. With urban renewal efforts, we sincerely hope to see beautiful blossoms of architecture, art, humanity, and culture to bloom in abundance throughout the city of Taipei.

Wei-Huai Chang, General Manager of Lead Jade Construction Co., Ltd.

序 Pr e f a c e

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立偕建設股份有限公司懷抱著構築未來城市的願景，

年創立至今，關注的重點並非商業機制的優先順 2 006

年台北好好看﹂計畫，不同以往城市發 2 010

序，而是關懷環境空間的發展。投入官方與民間共同

努力的﹁

展以建設為優先的思維模式，而是回歸保存群體生活

的記憶方式，用藝術創作、藝術活動、藝術講座等諸

多美學養成的方式進入社區，讓民眾體驗家園、環境、

Ja de

空間與自身的相關連結點。立偕本著企業回饋社會的

L ea d

責任以積極行動去開創各種民眾所需的能量，期待未

來能激盪出陣陣漣漪，創造更好的居家品質。

Ab o ut

C ons t ruct io n

虛山幻水裡的心象世界文 / 胡朝聖

關於

專文

立偕

Essay

前言中國山水畫發展至今已有千年歷史，於繪畫藝術枝葉繁盛的南朝時期成為一獨立之畫種，當時孕育出許多優秀的藝術家以及相關之美學論述，其中最為人稱道的包含劉宋宗炳撰寫

To build the city of the future is a prospect that Lead Jade Construction holds dearly, and since our founding in 2006, our main concern has not been about the prioritization of commercial mechanisms, but more importantly, we are mainly concentrated in the development of our surrounding spaces.“2010 Taipei Beautiful ”is a project of joint-efforts of the government and private sectors. The project is different from previous urban development projects, where the construction was placed in top priority; this project intends to return to the life style as remembered by the communal memory. Furthermore, through creative art, events, forums, and a multitude of ways of integrating art into the community, the public is able to experience the interconnections between their homes, the environment, the space, and themselves. Lead Jade tries to give-back to the society by assertively developing various energies that the public may need. Our hope is that our efforts will cause a ripple-effect that will carry on to the future, and better living quality will be created and enjoyed by more people.

中國歷史上第一篇相關評論《山水畫序》，王微的《敘畫》或南齊謝赫的《畫品》等，自此山水畫進入了理論與實際相互應用的年代，也深深影響了中國繪畫接下來於各個朝代，甚至亞洲鄰國的藝術發展樣貌。東方特有的視覺藝術、宇宙自然觀點與人生哲學，直至二十一世紀的今日，傳統山水畫即便不再如過往作為主流藝術的形式，但在許多藝術家嚮往文人畫風、個人品味以及遵古不泥古的觀念下，仍以當代精神與科學技術融入其中。相對於西方美學主導的當代藝術潮流，山水畫這幾年在其時代與地域性美學的脈絡與傳承之下，的確有其回流與還魂之趨勢，只是以不同的形式、材質與精神內涵體現屬於此時代的東方美學，也豐富了亞洲當下的藝術發展。

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山水之變形與魔幻後的虛擬延伸

若『魔幻山水』展覽裡的作品專注於山水視覺變形、材質變異、精神變化作為貫穿整體展

2 009 年筆者策畫之『魔幻山水』展覽即在傳統山水畫如何回應當代之概念下完成，當時以明朝末年發

覽的中心思想的話，『虛山幻水』展覽則是變形山水與魔幻山水的再一次延伸、擴張與異

展出之奇特怪誕畫風「變形主義」 1 作為論述之研究發想，從當代藝術家林銓居、姚瑞中以及潘信華三

化。『虛山幻水』展覽共邀請包含徐瑞憲、陶亞倫、林俊廷、曾偉豪、豪華朗機工、吳季

人近期創作提出一跨時代之對話，與之呼應，並用以反映當下山水畫派之美學發展現況，當時策展論述

璁、吳淑敏以及中谷芙二子等八位於新媒體藝術領域傑出的藝術家參展；在二十一世紀同

提出—

樣的時代背景下，以山水畫作為展覽美學基礎，將許多先進的科技技術作為應用，作品以霧雕、影像裝置、動力機械、聲音互動、超寬頻以及空間裝置呈現出來，企圖使整體展覽

從「變形主義」產生的時代來看，明末山水畫的概念、形式與技法確實具有其前衛顛覆的意義與當代性。相較於二十一世紀的台灣，從全球化與現代化延伸而來的政治、經濟與文化議題，到兩岸政治紛擾下難分難解的歷史與身分糾葛，再到個人與他者關係以及內我修養等的思考面向，尤其面對著鎮日光怪陸離的媒體與電腦網路世界，我們活像是進入一個魔幻般的虛構情境，真假界線模糊難分，藝術家面對與數百年前中國文人畫家完全不同的環境，要藉由藝術再現其所見所感而面臨的挑戰可能更為複雜難解，更何況在後現代的藝術潮流下，傳統山水畫更面臨著殘酷的歷史挑戰，即便藝術家不斷力求創新與改造，

呈現的視覺經驗跳脫出只有直觀式的山水情境或是造型上的變化，從擬仿自然、再現真實、平面立體化、抽象具體化、到引領觀眾身歷其境，強調的是一種屬於抽象、感知、精神性、身體與互動的經驗感，進而延伸山水畫的另類新式風貌與多元可能，試圖對這個時代的東方美學進行再探索與開發；此外，也希冀藉由觀眾的直接進入作品裡，營造「不識廬山真面目，只緣身在此山中」的觀展場域特質，而更重要的是觀眾的參與以及互動不但完整了展覽與作品本身的內容、形式與存在，更是展覽之外延伸出的動人山水風景。

但似乎總不敵時代洪流的無情，載浮載沉。

Essay

進入座落於信義計劃區的展場，首先映入眼簾的是日本藝術家中谷芙二子的作品〈都市幻儘管如此，在當代的藝術環境中，依然有藝術家深深著迷於東方美學的呈現，持續依循著山水畫的藝術內涵與形式，以傳統為本，採用新的媒材與技巧，對應當前的整體環境，融入現代思維與觀念，進而也衍生出極為詭譎或是超現實的藝術造型，以其作為抵抗背後更為巨大無形的西方美學和時代潮流，這與明末時局的氛圍比較，確實有種跨時空的不謀而合，這也就成為『魔幻山水』的遠近因。

霧〉，結合展覽建築與景觀設計所創造的霧雕作品，為信義區帶來極為魔幻的視覺效果與真實體驗，成為高樓大廈林立間特殊的雲霧山水。吳季璁的戶外投影裝置〈八方〉，以「鐵絲網」作為影像呈現的媒介，於展覽建築戶外的水池空間中，打造形式流動的山水意境，觀者可以置身於其外以及其中，從變幻莫測的影像流轉，到作品被圍繞的高樓建築群之

1965 年「錄像藝術之父」白南準創作一件名為〈月亮是最古老的電視〉裝置作品，可說是全球最早將

間，呈現一個相對於環境的個人世界觀。進入展間內，林俊廷的〈愉躍〉，位於挑高 1 2 米

科技運用到具有東方美學情境的詩性創作之一，藝術家運用當時還不完全普及的電視機作為創作，為當

的立方空間中，創造民眾與虛擬動態的鯉魚互動，極具表演特質，讓觀眾置身在一個虛擬

代藝術開創了一番新的天地，也為東方藝術的發展在科技時代中另劈蹊徑，是一種全新的視野與景觀。

實境中的山水情境裡，感受虛與實之間的感知氛圍。徐瑞憲的作品〈醉八仙〉，運用其擅長

在闃黑的空間中，十二台電視裝置在白南準巧妙地以磁鐵干擾電視磁波的效果之下，在螢幕上呈現出月

的動力機械媒材，表達山水畫中物我關係的互動狀態，而有趣的是機械裝置因擬仿人的姿

亮的陰晴圓缺，靜謐而詩意，彷彿透過科技閱讀著一首對於時代氛圍感嘆與懷想的文句，凝視這共時的

態，在觀眾的參與過程中以自動性技法創作出全新的噴墨作品，成為作品中的作品。

十二顆月亮，是否就如同千百年前的某位騷人墨客仰望變態多端與千形萬狀的開闊山水時，所看到的那一輪孤獨明月？古代文人在來回的自我投射與思辯過程中，將眼前當下的自然風景轉換成胸中丘壑，以筆墨成就了無數動人的畫作與詩篇。觀看白南準作品的當下，就如同將觀者帶離展場，進入藝術家的內心山水，一座由科技創造的虛擬山水裡，而這樣的觀展經驗也就成為本次展覽『虛山幻水』最為核心的論述與概念。

專文

曾偉豪的作品〈隱聲山林〉，創造一平台讓觀眾探尋描繪個人心中的山林風景，並在摸索過程中以身體（手）為介質與作品互動產生聲音訊息，呈現一種視覺、觸覺與聽覺結合的觀展經驗。豪華朗機工以動力、燈光以及聲音為媒材創作出具有表演特質的作品〈書寫〉，以無生命的長方形日光燈群，參考水波的律動方式並藉由電腦程式運算如千濤拍岸的舞動姿態，

0 0 0 0 0 0

書寫著生命的起承轉合。吳淑敏應用超寬頻科技技術於作品〈行氣〉中，讓參與者體驗藉由呼吸控制飛墨，

再現。從展覽空間內與外之對照和規劃、作品裝置、以及觀眾參與之方式，其實都是試圖

描摹宋代四大名帖，也彷彿穿越虛擬的時空與東方宋代大師產生對話交流，體驗藝術創作時的身體感受。

立體化當代山水的構圖與想像，如同在三度空間中創作立體山水畫作，使所有細節活靈活

位於展覽空間最後一件的作品〈留白〉為陶亞倫創作，此空間裝置為呼應山水畫中之留白概念，提出留白

現地從平面呈現在城市居民眼前，它像是城市中的綠洲，又像是海市蜃樓，呈現出一種魔

之重點不在於占據畫面之多寡，而是留白為觀者視覺與精神上創造的無限想像空間，進入裝置中，觀者彷

幻與超現實的異質空間感受，脫離現實而與世隔絕，因為它是如此的臨時與不真實，相對

彿掉入無邊無際的白中白，像是迷失，又如漂浮，於視覺與觸覺上都重新挑戰觀者對於空間的感知度與想

於物質性的「第一空間」，『虛山幻水』成為了索雅稱之為的「第二空間」，「是烏托邦思想

像力。

和視野的主要空間，是符號學家或是解碼者的空間，以及某些藝術家和詩人純粹創造想像

『虛山幻水』是藝術家們身處於當代社會下的宇宙觀，是現實生活裡既自然又浪漫的個人感性體會，是內

的空間。」 4

心烏托邦的投射與再現，一個屬於當代的特殊山水意象，在真實與虛幻之間擺盪著，看似遙遠卻又貼近

儘管有上述信義計劃區與『虛山幻水』的「第一空間」和「第二空間」所創生出來的時空

真實，身歷其境卻又咫尺天涯，藝術家經由一種生活化的互動方式貼近大眾，引導觀眾重新審視自己的

觀點，我們仍不禁要問是否還能開闢其他再深入探索時間和空間議題的可能路徑？一般說

生命經驗，創造出的一種新的時代美學，劉宋藝評王微強調山水畫使觀者「望秋雲，神飛揚；臨春風，

來人們對於時空議題的看法傾向於如法國哲學家傅柯曾經有過的詰問，總認為時間是「豐

思浩蕩」，那種強調欣賞山水畫作並得以即時反應的美學經驗，相信在面對這八位藝術家所形構出的虛山

富、多產、生命、辯證」，而對於空間則是認為「死寂、僵固、非辯證、停滯」，因此藉由

幻水中相信是依然成立。

本展延伸創造出來的時空觀點也就回應了這種歷史想像持續過度優勢的觀察；也就是說，

專文 Essay

在本計劃中所創造出的「第一空間」和「第二空間」裡的時間與空間的關係並非絕然的二

虛山幻水與物質山水的時空對應

元對立，也並非彼此之間無法相濡以沫；相反地，在其歷史性、社會性以及空間性之間可

除了展覽的美學論述與藝術的視覺呈現之外，『虛山幻水』所延伸的空間議題亦是本展格外必須被提及

以產生更為豐富的三元辯證，並進一步取得實證。所以，當觀眾從信義計劃區進入『移動

的部分，筆者引用美國地理學專家索雅 (E d wa r d W. Soj i ) 的著作《第三空間》概念作為基礎而進一步

美術館』的『虛山幻水』時，就是從一個真實的時空進入到虛擬的時空，彷彿人真的進入

論述之。這個以新媒體藝術所策動的展覽，位於『種子計畫 I V --- 移動美術館』 2 內外，展間的前身就是

山水畫中，站在展場內部凝望著遠處的台北 1 0 1 與周圍的企業總部大樓，觀者、『虛山幻

所謂的「接待中心」 3，一個因著台灣建築產業而創生出來的獨特行銷空間，但在本計劃中卻全然放棄其

水』、『移動美術館』以及信義計劃區之間拉出了一個極其複雜的心理與物理的時空交錯，

原始特質的行銷目的而成為一臨時性的公共空間，作為展演使用。『移動美術館』對應著台北市最都心、

且產生了巨大的對比以及差異，這融入了「真實」的「第一空間」，也含括了「想像」的「第

國際化、資本集中化、觀光化與商業化的信義計劃區 — 具有真實生活當中的現代空間實踐、物質性與真

二空間」，創造的是一種超越真實與想像的「第三空間」，是具有中介特質的「第三空間」，

實性 —它是法國哲學家列斐伏爾 (H en r i L e f eb v r e) 認為的一個具物質化、商業化、社會生產與科學規劃

它既難以描繪，也無法確實指認出來，彷彿具有但也都沒有，是一個全新的時空狀態，就

出來的經驗空間，在程度上可以精準測量及描繪，是空間學科的傳統關注焦點，在索雅的觀點內則定義

如佛語所說的在一期生命終結後，至於轉生之前的中間存在狀態，也就是所謂的「中有」，

為「第一空間」。

它是一個邊緣或是界線，或也如西方宗教所指涉的 L i m bo ，是一個靈魂即將前往的新地域。這個「第三空間」就是一個由觀者在體驗『虛山幻水』展覽與對照真實空間時產生的

反觀在『虛山幻水』裡，藝術家們則虛擬著一個異樣的視覺場域與虛擬實境，面對浩瀚宇宙與無盡時空下再現出一種時空感與身體感，企圖重建古時文人對於自然田園生活的懷想，以及對於山水意境面貌的時代詮釋，從全新的視覺實驗裡內化成個人的生命經驗與美感風格，是一種新的美學表達與空間再造、

異質時空感，也唯有在這樣的計劃當中，內 / 外、虛 / 實、熱 / 冷、心理 / 物理、平面 / 立體、精神性 / 物質性以及短暫 / 永恆的對比才可以被創造與體驗出來，而當觀眾完成體驗離開展場時，就從臨時與虛擬的世界回到真實人間，相信此時的心理狀態早已融入了複雜的身心靈體驗而有所感悟。

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T h e C u r at o r i a l

結語『種子計畫 IV-- - 移動美術館』是一個對城市空間提出想像、嘗試與實踐的實驗基地，不但拓展了我們對

S tat e m e n t

於建築產業裡慣有的行銷思維，也開創了臨時性展演空間的另一種可能、尺度、內涵與未來性，它所帶

for the

來的撼動更有可能改變未來建築產業裡的生態結構，進一步為城市居民與創作者提供公眾利益以及機會

“Illusion of

平台，並且可以一種社會企業的方式進行著。而當『虛山幻水』、『移動美術館』與和其所座落的信義計劃區相遇在此時此刻的當下，相信可以激發多重關於空間、物質、精神、美學的想像、連結和意義，豐

Transcendence ”

富整個『種子計畫』的企圖與意義，也提供觀者在這個由展覽所營造的異化世界中，以及彼此對照過程

B y S e a n C .S . H u

裡，能對自我身體、內心與生命再進行探索，並進一步也對物質世界再確認與辯證，以此來對應真實的世界。

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Pr e fac e 1

明朝末年，在中國藝術的風格上產生了一種極為怪誕的畫風，今人稱之為「變形主義」，

Chinese landscape painting has an extensive history of over a thousand years, with the prolific

當時畫家包括丁雲鵬、陳洪綬、崔子忠、吳彬 .. 等人對於山水畫的概念與技法有了突破

paintings produced during the Southern Dynasties forming a unique style. Many exceptional

性的發展和呈現，以求不似作為畫作的形式為依歸，除了是對於當時藝術潮流的求新與顛覆之外，更是藝術家藉由創作反映當時的政治動盪與社會混亂，以傳達知識分子內心憂國憂民的焦慮，和無力對於社會環境進行介入與改革的退縮狀態，進而把理念以一種非常態的扭曲造型融入於將現實幻化後的想像場景，一種全新的文人胸壑中之山水情境，卻也是

s The Record of the subject, and also Wang Wei ’ s On Paintings and Xie He of Southern Qi period ’

一個永遠無法企及的理想之國，於是逐漸發展出某種介於「現實」與「想像」的變形風潮，他們悠遊於其中，進行內心的舒緩與宣洩，為中國藝術的發展帶向了另一個層次與高峰。 2

artists and aesthetical concepts emerged at that time, such as Liu Song Zong-Bing, whose

Preface to Landscape Paintings is revered as the first critical writing in Chinese history on the

『移動美術館』之概念源自於台灣建築產業裡的接待中心文化；接待中心這個與房地產業深刻連結的展銷空間，從來就只是一個結合幾乎無法依照其外觀實踐卻又用力呈現無限創

Classification of Old Painters had all helped to catapult Chinese landscape paintings into an era where theory and practice corresponded with each other. The developments during this period had profoundly influenced Chinese paintings of the consequent dynasties and also extended to

意的奇觀化的臨時性場域，成為台灣建築產業裡一項既具有創造性、商業性且獨一性的複

influence the artistic developments of nearby Asian countries. The genre is a distinctive visual

合式行銷空間，它有著地方性的房地產銷售歷史背景與文化，大多超越台灣目前現有法令

art of the East and embodies views of the natural universe and philosophies of life. Although it

規章可以允許的想像外在空間，以及礙於現實土地取得與造價成本的限制，因此注定只能成為臨時建築，搭配因著行銷概念而發展的精緻內在裝潢陳設，每每成為購屋人士築夢未來的樣版依據，更常常成為國外人士來台嘖嘖稱奇卻不甚理解的特殊空間。 3 大致說來，接待中心具有某種限制性與階級性，只針對少數人購屋人士或是潛在客戶開放，大眾則是被拒絕在外的。『移動美術館』的成立則是期待突破台灣接待中心的傳統模

is no longer regarded as an important mainstream art genre as it did in the past, however in the 21 st century, many artists are still praising the art form for its cultural essence and unique style, and while they respect the old art form, the new artists are also infusing contemporary spirits and advanced techniques into their landscape paintings.

Although today ’ s art world is dominated

式，除了建築物本身就是一個城市裡的地景藝術外，空間內的展覽規劃則為公益性質的文

by Western contemporary arts, Chinese landscape paintings seem to be making a comeback

化活動，免費開放給所有大眾，希望以企業資源進行公眾利益之事務，打造一座城市中移

with the passing of its cultural heritage for its time and regional relevance and aesthetics. Under

動的美術館，提供市民生活的美學新經驗 4 索雅 (Edward W. Soji) 著，《第三空間》，譯者 : 王志弘、張華蓀、王玥民，( 台北 : 桂冠 )， 2004，頁

different forms, media, and spirits, an aesthetic of the East has been and is continuously being formed, and they are certainly enriching the artistic developments of today ’ s Asia.

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The and

Metamor ph osi s i ts

Virt ual

L an d scapes

E xte ns ion

The exhibition, The Scenery of Grotesque , I curated in 2009 was based on the concept of the contemporary response to traditional landscape painting. Based on the unique and bizarre“Transformationalism ”of the late Ming Dynasty1, the exhibition invited three artists, Lin Chuan-Chu, Yao Jui-Chung, and Pan Hsin-Hua, to conduct a time-crossing dialogue with their recent works and reflected on the current aesthetical developments of Chinese landscape paintings. The curatorial statement proposes that:

Viewing from the time period that the“Transformationalism ”emerged, its form and technique did hold an avantgarde significance and a sense of contemporality. Compare to the 21st century Taiwan, with its issues of political, economical, and cultural that have extended from globalization and modernization to its complex history and identity due to political turmoil across the strait, and also extending to the relationships between the self and others and also through internal self trainings, as we dwell in the midst of the media and cyber world that are full of absurdity, we seem to be in an elusive fictional state, with the line between reality and fiction distorted and blurred. As artists face a surrounding that is completely different from that the Chinese literati painters faced hundreds of years ago, for these artists to depict what they see and feel may be more challenging than in times past. Furthermore, in today ’ s post-modern art trend, traditional landscape painting is also facing a cruel challenge of s works float history. Artists may be devoted to create something innovative and different; however; as their life ’ aimlessly, their efforts may not withstand the cruel passing of time.

and constantly changing moon that the ancient literati looked up upon thousands and hundreds of years ago? Through the countless repetitive process of self-reflection and contemplation, our ancestors transformed the natural landscapes before them into the rampant emotions held within, as they used their ink and brushes to create countless paintings and poetries. In seeing Paik ’ s work, his art guided the viewers beyond the confinements of the venue, as they entered into the inner landscape of the artist.

Within the virtual landscape built with technology, the

curatorial statement and concepts of Illusion of Transcendence is also created based on a viewing experience of similar nature. If the artworks included in the The Scenery of Grotesque are focused on the mutation and transformation of the visuals, materials, and spirits of landscape; then, the Illusion of

Transcendence is a further extension, expansion, and metamorphosis from those mutated and elusive landscapes. Eight outstanding new media artists are invited in the Illusion of

Transcendence , and they are: Shyu Ruey-Shiann, Tao Ya-Lun, Lin Jiun-Ting, Tseng Wei-Hao, Luxury Logico, Wu Chi-Tsung, Wu Shu-Min, and Fujiko Nakaya. Coming from the same time backdrop of the 21st century, the exhibition is based on the aesthetics of landscape paintings that incorporate the applications of many advanced technologies, as seen with artworks of fog sculpture, video installation, kinetic work, sound interaction, ultra-wideband, and spatial installation. The objective is for the overall visual experience of the exhibition to break free from direct landscape settings or simple alteration of shapes. From gestures of natural simulation,

However, in the contemporary art world, there are still artists that are deeply fascinated by the aesthetics of

reality reemergence, dimensional transformation of the flat surface, and actualization of the

the East, and they still follow the context and form of traditional landscape paintings, with their works based on

abstract, viewers are guided into a physical experience that places emphasis on the feelings of

tradition yet executed with new media and techniques. In facing today ’ s environment, the fusion of modern

abstraction, perception, spirituality, physicality and interactivity. From which, alternative new

thoughts and concepts have also evolved into an art form that is bizarre or surreal. These artworks have formed

features and diverse possibilities are extended from landscape paintings, with attempts to

a force to counter the colossal aesthetical wave from the West and also the currents of time, and compare to

explore and develop an Eastern aesthetic fit for our time. Furthermore, by bringing the audience

the situation during the end of Ming Dynasty, there seems to be a time transcending match between the two,

directly into the artworks, the intention is to create a viewing experience of“nearness precludes

and these are the ancient and contemporary origins for the exhibition of The Scenery of Grotesque .

one from seeing things as a whole ” , and more importantly, public participation and interaction are what make the contents, forms, and existences of this exhibition and the artworks complete and

Nam June Paik,“Father of video art ” , created the artwork, Moon is the Oldest T.V., in 1965, which is considered

are the touching landscapes that have extended beyond the exhibition ’ s parameter.

to be an iconic artwork to first integrate technology with poetic Asian aesthetics. Paik utilized the television as his creative medium in a time when the television was not yet prevalent, and he opened up a new frontier

Upon entering into the exhibition site in the Xinyi District, the audience is greeted by Fujiko

for contemporary art with his creativity and also a new path for the development of Eastern art in the era of

Nakaya ’ s Post-Urban Fogscape . The fog sculptural piece combines the architecture onsite and

technology. It was the beginning of a new perspective and setting. Within a dark space, twelve television

its landscape to bring to the district an elusive visual effect that could be experienced physically,

sets were meticulously placed and manipulated by Paik with magnets that interfered with the machines ’

s concrete jungle. Wu Chi-Tsung ’ s outdoor as a fogscape is formed in the midst of the area ’

magnetic waves. The screens showed the moon at various states, with a feeling of tranquility and poeticness

projection installation, Survey , uses the metal mesh as its visual presentation medium. At

expressed. The piece felt like it was using technology to read and pay homage to the time and its setting. As

the outdoor pond of the exhibition site, a flowing landscape is created for the audience to be

viewers gazed at these twelve moons that appeared simultaneously, were they looking at the same solitary

physically present outside and also within. The unpredictable changing images flow around the

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high-rise buildings and forms an individual view of the world juxtaposed against the surrounding. Inside the exhibition venue, Lin Jiun-Ting ’ s Delight Spring is placed within the 12 meters high cubic space. The artwork is a virtual simulation that allows the audience to interact with carps and is highly performative and places the

T h e

Space t i m e

I l lus i o n Mat e r ial

o f

Co r r esp o nd e nce

T r ans ce nd en ce

and

o f

t h e

L and s cape

audience inside a virtual reality of natural landscape to experience the perceptual ambiance that fuses reality with

In addition to the visual presentation of the exhibition ’ s aesthetic statement and artworks, the

fiction. Shyu Ruey-Shiann ’ s Eight Drunken Immortals is another of his specialized kinetic piece. The artwork

extension of spatial issues incorporated in the Illusion of Transcendence also requires special

depicts an interactive state extracted from the relationship of the object and the self observed in landscape

attention, and it is based on and extended from the concepts in American geographer Edward W.

paintings. More interestingly is the mechanical installation ’ s simulated human postures, and as the audience

Soji ’ s book, Thirdspace . This exhibition of new media art takes place at both inside and outside

takes part in the process by creating new spray paint pieces with the automated technology implemented, new

of the Seed Projects IV - Mobile Museum 2, with the exhibition venue being a former“reception

artworks are thus created within the presented artwork.

.3 The“reception center ”is a unique marketing space that has emerged in Taiwan ’ s real center ”

Tseng Wei-Hao ’ s Invisible Sound Landscape offers a platform for each audience to illustrate the landscape residing in them. Through the exploration process, bodies (hands) are used to interact with the artwork and form sound signals. The piece is a viewing experience that integrates the sense of sight, touch, and sound. Luxury Logico ’ s Scripting is a piece with performance qualities comprised with kinetics, lighting, and sound. A group of inorganic long fluorescent light tubes moves in rhythms referencing to aquatic wave movements, as the computerized program prompts for dance-like movements resembling crashing waves at shore. The artwork is a poetic depiction of life ’ s changes. Wu Shu-Min ’ s Flow of Qi utilizes the ultra-wideband (UWB) technology to allow the participant ’ s to control the movements of the ink through his/her breaths, as s/he replicates four

estate industry; however, this project has decided to forgo its original marketing function and has transformed it into a temporary space for the public for exhibition presentation. The Mobile

Museum is situated in the center of Taipei City, in its most internationalized, capital intensive, and commercialized area of the Xinyi District. It stands to be the actualization, materialization, and realization of a modern space in everyday life, and it is what the French philosopher, Henri Lefebvre, might refer to as an experimental space derived from the planning of material, commercial, and social productions and science. It is a“directly experienced world of empirically . measurable and mappable phenomena ”and which makes up what Soja calls“Firstspace ”

great calligraphic works from the Sung Dynasty and forms dialogues with the ancient masters by transcending

With the Illusion of Transcendence , the artists are simulating strange visual fields and virtual

time and space and to physically experience the act of creating art. At the end of the exhibition venue is Tao Ya-

realms. When faced with the great universe and under the endless space and time, a sense

Lun ’ s State of Mind. The spatial installation is a response to the concept of empty void in landscape paintings,

of spacetime and physicality is expressed and which reconstructs the sentiments that ancient

with the focus not placed on the quantity of the empty void but the boundless imaginative space it allows for

literati held for life in nature. The time-relevant depictions of landscapes are expressed through

the viewers both visually and spiritually. Upon entering into the installation, the audience is placed in a setting of

new visual experimentations and internalized through personal experiences in life and aesthetical

s senses of sight and endless white within white. The feeling is like being lost yet also feels like floating, as one ’

styles. These are new expressions of the aesthetics, as the artists reinvent and recreate the

touch are challenged and pushed beyond their customary perceptions and imaginations for space.

space they are in. The juxtaposition and planning of the inside and outside of the exhibition space

s universal views derived from the contemporary society. They The Illusion of Transcendence is the artist ’ are personal experiences that integrate realistic life yet are also natural and romantic, and are reflections and representations of the artists ’inner utopias. The exhibition is a unique take on contemporary landscapes and swings in between reality and fiction, as it feels distant yet is also close to reality. The audience may feel personally immersed in the situation yet at the same time, everything seems so far away. The artists have created interactive ways that are accessible to draw the viewers closer and guide them to re-evaluate their own experiences in life and to create a new aesthetic that is fit for our time. The Liu-Song Dynasty art critic, Wang Wei, proposed that landscape paintings incite the audience to feel the sensation of“overlooking the autumn clouds, as spirit flies, facing the spring winds, as the mind roams ” , which means that the appreciation of landscape painting is an aesthetical experience that is able to spur for instantaneous reactions. It is believed that the landscapes created by the eight artists of this exhibition also have the capability to incite for such reactions.

and extending to the installations of the artworks and public participatory modes are all based on the intention to create dimensionality to these contemporary landscapes ’compositions and imaginations. It resembles creating three-dimensional landscape paintings in a three-dimensional space, whereby the details are vividly presented to come alive from a two-dimensional plane before the eyes of the public. It is also like an urban oasis or perhaps a mirage. It is an alternative space that is elusive and surreal, because it detaches from reality and strays from the mundane. Because of its temporality and surreal qualities, compare to the material“Firstspace ” , the Illusion

of Transcendence makes up what Soja calls“Secondspace ”–“the primary space of utopian thought and vision, it ’ s the semiotician or decoder, and the purely creative imagination some of artists and poets. ”(Soja, 1996, p. 67)4 Although we are presented with the concepts of spacetime from the“Firstspace ”and

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“Secondspace ”in the Illusion of Transcendence in the Xinyi District; however, we are still prompted to ask if

the people of the city and also the artists, as it could be progressed under the framework of a

there are further possibilities for deeper explorations for the issues of time and space? Generally speaking,

social business. As the Illusion of Transcendence in the Mobile Museum and also the location

people ’ s views on the issues of time and space often match with what the French philosopher Michel Foucault

of the Xinyi District encounter each other, it is anticipated that more imaginations, connections,

once proposed,“Space was treated as the dead, the fixed, the undialectical, the immobile. Time, on the

and significances could be sparked for issues of space, material, spiritual, and aesthetics. The

contrary was richness, fecundity, life, dialectic. ” Therefore, the spacetime view extended form this exhibition

outcome would further enrich the entire Seed Projects and solidify its mission and vision.

also acts as a response to such excessive advantageous observation for imaginations with history; in other

Furthermore, through the offer of an alternative realm to the public, the exhibition prompts for

words, the“Firstspace ”and“Secondspace ”created in this exhibition are certainly not a dichotomy in regards

the process of reflection and contrast and for the further exploration of one ’ s own body, mind,

to the connection between time and space, nor is it impossible for the two to complement each other. On the

and overall life. A further step is also taken to recognize and reanalyze the material world and

contrary, their historical, social, and spatial qualities are able to form rich trialectics and to further obtain proofs

to respond to the realistic one.

for such connection. Therefore, when the viewers enter into the exhibition of the Illusion of Transcendence in the Mobile Museum located in the Xinyi District, they are transported from a real space into a virtual one, as they feel like they have entered into a landscape painting. Standing within the exhibition venue and gazing at the distance the TAIPEI 101 and other corporate high-rises around it, a highly complex psychological and

physical spacetime crossing is formed between the viewers, the Illusion of Transcendence, and the Mobile

Museum , which produces an enormous contrast and differentiation. The phenomenon fuses together the , which then creates the“Thirdspace ” realistic“Firstspace ”and also includes the fictional“Secondspace ” that transcends reality and imagination. This“Thirdspace ”holds a certain intermediary quality and is difficult to describe and hard to identify. It seems to exist but also feels nonexistent, and is a new state of spacetime existence. It resembles the Antarābhava , the intermediate state in the Buddhist tradition, which is the state in between the end of this life and prior to the reincarnation. It is the margin or the border, and could also be thought of as the realm of Limbo described in Western religions, a new realm for the soul to embark to. This “Thirdspace ”is a sense of alternative spacetime contrasted with that of the real one, which is formed by the

The concept of the Mobile Museum is derived from the culture of reception center in Taiwan ’ s architectural industry. The reception center is a marketing space that is profoundly connected to the real-estate industry, and the connection has also been that it is a temporary space of great creativity; however, the reality is that the fantastic reception centers are rarely executed for the final outcomes of the architectural projects. It is a multi-marketing space of creative, commercial, and unique feature observed in the Taiwanese architecture industry, and is connected to the regional real-estate sales history and culture and surpasses the current laws and regulations in Taiwan for permissible external space. Furthermore, due to the limitations of available land and cost, reception centers are destined to just be temporary buildings. However, accompanied by marketing strategies and exquisite interior decorations, these temporary spaces are often the reference prototypes for people looking to buy their future homes, and are also amusing and bewildering sites for foreign visitors in Taiwan.

Generally speaking, reception centers hold particular restrictions and class-limitations, as they are usually only open for selected home buyers or potential clients. The general public is often prohibited to enter. The establishment of the Mobile Museum is based on the hope to break the conventional model of reception centers in Taiwan. Besides creating a building that acts as an urban landscape art, the exhibitions organized inside are public cultural events open free of admission for everyone. The objective is to utilize corporate resources to conduct events to benefit the public and to create a mobile art museum in the city to offer new aesthetical experiences to the people.

Soja, E.W. (1996). Thirdspace: Journeys to Los Angeles and Other Real-and-Imagined Places. Blackwell Publishing: Oxford.

audience upon experiencing the Illusion of Transcendence . Only though the specific planning employed in this project could the contrasts between inside/outside, fiction/reality, hot/cold, psychological/physical, flat plane/ three dimension, spiritual/material and temporary/eternal could be created and experienced. When the viewers complete the experience and depart from the exhibition, they are returned to the realistic mundane world from the temporary and virtual one, and hopefully they could reach some form of realization or enlightenment as their psychological states intertwine with the complex experience of the mind, body, and spirit.

Con clu si on The Seed Projects IV - Mobile Museum is an experimental base intended for proposing imaginative trials and realizations for the urban space. Not only does it open up and expand out from the conventional marketing ploys used in the architectural industry, it also creates a temporary exhibition space that allows for new possibilities, dimensions, contents, and sense of future. The impacts garnered could bring changes to the future ecological structure in the architectural industry and to bring future public benefits and opportunities to

Toward the end of the Ming Dynasty, a bizarre painting style emerged in Chinese art, which is referred to today as“Transformationalism ” . Some artists at that time, including Ding Yun-Peng, Chen Hong-Shou, Cui Zi-Zhong, and Wu Bin, developed and presented breakthrough concepts and techniques for the genre of landscape painting. They aimed for their paintings to not take on any resemblance, and in addition, they strived for innovation and subversion of the convention, with their works reflecting on the political turmoil and social disarray at that time. Their vision was to transmit the concerns the intellectuals felt for their nation and people, and also the helplessness they had for social revolution. Thus, their ideologies were twisted and distorted abnormally and transformed into imaginative settings derived from reality. The paintings depicted a new kind of literati landscape; however, they were also the ideal utopia that could never be reached. The trend took on a transformed phenomenon that dwelled at the border of“reality ”and“fiction ” . The artists roamed freely in this zone and relieved and expressed their inner most emotions. Their actions pushed the artistic developments in China to another level and height.

專文 Essay

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中谷的

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芙二子

日本國寶級藝術家，以霧雕環境裝置聞名國際。

Celebrated Japanese artist, Fujiko Nakaya is renowned globally for her environmental fog sculptures. She has created temporary and permanent installations around the world, including Japan, U.S.A., Spain, France, Singapore, and Taiwan. To be in the presence of one of her fog sculptures created with intricate mist system is a fantastic experience that transports one between the realms of the virtual and the real.

曾於日本、美國、西班牙、法國、新加坡、台灣等地

Na kaya

設置臨時性及永久性裝置。

F uj iko

置身人造精密水霧系統打造的霧雕之內，創造出彷彿

作品圖錄

穿梭虛擬與真實間的奇幻體驗。

ART WORKS

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都市幻霧 P ost -Urban Fo gs cape

環境互動裝置 Int eracti ve en vir on me ntal in st a ll a t io n 尺寸依空間變化 Dim ens ion V ar ia b le 20 12

常年於世界各地創作「霧雕」的中谷芙二子，曾於日本、美國、法國、新加坡、西班牙、台灣等地設置過臨時性和永久性裝置，其作品廣受世界各地矚目。所謂的「霧雕」是以精密人造水霧系統打造的互動式環境裝置藝術，作品形式的濃度厚薄、幅射遠近將依裝置地域的環境氣候 ( 溼度、溫度、風向 )、地形地貌等因素而變幻萬千。坐落於台北市信義區繁華地帶的種子計劃基地上，展覽建築的混合城市綠帶，與週遭都市水泥叢林形成第一道對比；走進藝術家環繞建物所營造的”霧”裡，彷彿漂浮進入另外第二層幻境，經由視覺與觸覺的體驗，喚醒存在身體感知與記憶的共鳴。深入廣場進入步道之間，作品的厚度和週遭綠意忽隱忽現，引領觀眾進入第三個層次，在有形與無形之間，虛幻與真實之間，人造與自然之間，有如輕盈的夢境，只緣身在此山中，雲深不知處。技術總監 Technical Director：森岡侑士 Yuji Morioka

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Fujiko Nakaya is noted for her fog sculptures around the world, and has created temporary and permanent installations in Japan, U.S.A., Spain, France, Singapore, and Taiwan. Fog sculptures are interactive environmental installations made with intricate artificial mist system, and the thickness and expansiveness of the artworks depend on the climatic conditions (humidity, temperature, wind direction) and also the geographical features of the site; therefore, the works appear quite diverse and different. Situated on the base of the Seed Project, a busy location in Taipei ’ s Xinyi District, the first encounter is with the exhibition ’ s architecture, a hybrid of urban green zone, which presents a great contrast with the surrounding concrete jungle. Upon walking into the fog created by the artist around the building, this brings one into the second encounter of a magical elusive realm. With experiences of visual and physical contacts, physical perceptions and memories within are awakened and resonated. Stepping further into the plaza leading to the path, the artwork ’ s thick veil makes the surrounding greenery mysterious and illusive, which guides the audience into the third encounter, a realm of the tangible and intangible and of the illusive and real. Amidst the artificiality and nature, it feels like a light dreamscape; it ’ s like being deep in the mountains with clouds so deep that one looses the sense of time and space. Technical Director：Yuji Morioka

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林

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廷

生於臺灣．臺北，目前旅居上海，是引領當代華人新媒體藝術

風潮的代表性人物之一。其以光、影交織出的詩意風格與濃厚

and space are integrated continuously.

人文氣息的作品，創造出如夢般的奇幻異境，深入當下感知

Born in Taipei Taiwan, Lin Jiun-Ting currently lives in Shanghai, and is one of the leading iconic figures in the Chinese new media art trend. His art uses light and shadow to weave together a distinctive poetic style and rich humanity, as a dream-like realm is created to form dialectical interactions between the depth of the current perception and experience. Lin is noted for his elegant poetry of light and shadow, and his art unveils the crossing zone between the world we are in and an elusive realm, as intangible marks of time

與體驗之間的交互辯證。其一貫優美的光影詩學，彷佛偶然

Jiu n-Ting

揭露當下世界與虛擬幻境的交界，融入時空的無記號連續中。

Lin,

俊

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愉躍 D eli g ht S pri ng

互動藝術裝置 In terac tive art in stal la tion 12mx 12mx 12m 2007

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中國古代傳說鯉魚一旦躍上龍門，便能得道成仙，臻至理想的境界。因此「鯉躍龍門」被古人藉喻為實現自我理想，而努力奮鬥的精神展現。藝術家以「愉悅」為名，實借音「魚躍」，將動態影像結合互動技術，在挑高 12 米的立方空間於天花板懸掛七條半透明絹布，其上投影動態水瀑及自水花中躍起的鯉魚水墨影像。當觀者進入作品內輕移腳步，水面便泛起陣陣漣漪；走近自天頂一躍而下的水瀑，其上跳躍的鯉魚水墨影像便隨著觀者的動作變化和身體位移產生不同的感應互動，在實體空間創造一種體驗虛擬動態水墨營造的美感，以及愉悅熱鬧的迎賓氛圍。虛擬與現實之間，見山不是山，見山又是山。

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There is an ancient Chinese legend about a carp leaping over the dragon gate, whereby the fish would achieve a state of divinity and reach nirvana. Therefore, the term“fish leaping over the dragon gate ”has been used since the ancient times as an allegory for achieving one ’ s ideals and to strive with great efforts for exceptional spirituality. The artist of this installation has named the piece, Delight Spring, as in Chinese delight sounds phonetically similar to fish leaping; they are both pronounced as yuyue. With motion images combined with interactive technology, in a cubical space of 12 meters in height, seven pieces of semi-transparent silk textiles are hung from the ceiling and projected with ink brush images of a flowing waterfall and carps leaping and splattering water. As the audience slowly moves through the artwork, ripples would appear on the water surface, and ink brush images of the waterfall with carps leaping also changes in conjunction with the audience ’ s physical movements and gestures. Within the tangible space, an aesthetic sense is created from the virtual motion ink brush images. The ambiance formed greets the visitors with cheerfulness and vividness. In between the virtual and the real, the experience is expressed by a well-known Chinese saying that describes the stages of knowledge discovery:“See a mountain as a mountain; see a mountain not as a mountain; see a mountain as a mountain again. ”

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徐瑞憲

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台灣動力藝術裝置的先驅者，擅轉換機械零件與元素，探討

生命的內涵與本質。對他來說，機械不只是人類筋肉的延伸、

memories and concerns for life into his works.

滿足日常的需求而已；

Shyu Ruey-Shiann is one of the important pioneers in Taiwan ’ s contemporary kinetic art and is noted for his art that transforms mechanical parts and elements, which is used to explore life ’ s context and essence. Shyu believes that machines neither are just mere extensions of the human muscles nor are they simply just apparatuses used to achieve daily necessities. Through art making with precise combinations of parts and repetitive rhythmic movements, Shyu also injects

透過藝術的創造，在精準的零件組合與反覆運動的韻律中，

Ruey- Sh iann

挹注對生活的記憶和生命的關懷。

Sh yu ,

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醉八仙 Ei g ht D runke n I mm o rtals

動力機械互動裝置 K inet ic i ntera ct ive in stal la t io n 3. 5mx4 .8mx 4.5 m 2012

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醉八仙為醉拳中的一種拳術，形似醉漢酒後跌跌撞撞、搖擺行走之姿，實為形醉意不醉的拳法。而當代藝術語彙也與中國武術精髓「內重於外、意重於形」的精神相似。以此意涵結合當代藝術的形式與材質，並融入中國傳統水墨的實踐，以單純的運動原理，賦予全然不同的意義。藝術家將推車底下的輪子拆解並重新轉換，在機械的結構中傳達創作思維。「醉八仙」象徵著媒材的屬性與抽象意涵的相互融合，藉著由內而外的思考，透過些許詼諧與幽默的動作語法，細看其動靜之間與人類行為的相似之處，而物件也會因為環境改變而變化。忽近忽遠的滑動亦像是人際之間的互動狀態。

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The Eight Drunken Immortals is a type of martial arts under the category of the drunken fist. Person practicing this appears to be tipsy like a drunken person, yet the staggering postures are representative of a state of appearing drunk while being sober. In contemporary art ’ s vernacular there is something similar to the spirit of Chinese martial arts, which is“the internal outweighs the external, and the meaning surpasses the form. ” This concept is integrated with contemporary art ’ s style and media, with the actualization of Chinese traditional ink brush art incorporated, whereby a simple movement theory is bestowed with a completely new meaning. The artist takes apart the wheels under a push cart and transforms them into creative elements of the kinetic structure he has created. Eight Drunken Immortals symbolizes the integration of the medium ’ s characteristics and abstracted context. Through a thought process that extends from the internal to the external and with some humor added to the work, upon closer inspection, a resemblance to human behaviors could be observed from the stillness and movements expressed. The object also changes due to the setting, with its gliding motions that pull away and approach closer representing interactions between people.

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豪華的

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朗機工

當代藝術圈最受矚目的活躍藝術家團體之一。成員裡陳志建

擅長影像，林昆穎擅長聲音及觀念，而張耿豪華則是主攻視

覺、造型以及一向為人所熟知的雕塑及機械裝置。彼此相乘

Luxury Logico is one of the most active contemporary artist collectives. Its members Chen Chih-chien specializes in imaging, Lin Kun-ying specializes in sound and concept, and Chang Keng-hau and Chang Keng-hua brothers focus on the visual and form, with their noted sculptural and kinetic installations. Each of them brings a powerful spark for creativity, as the collective explores with different possibilities for artistic interdisciplinary collaborations.

激發出更廣更強的創作能量，並以藝術嘗試各種不同的跨界

Log ic o

合作可能性。

Luxur y

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書寫 S cri p ti ng

燈光裝置 Lig ht i nstall ation 2.2 mx3. 84m x3 m 2012

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世界萬物皆有其合適的節奏。〈書寫〉是以長方形排列的日光燈管，描述著緩緩動作著的波浪，一如生命中的起承轉合，潮起潮落。作品的律動參考了水中運動，並以音樂的特性思考，時而凌亂，時而齊一，互為拍點。以舞動的姿態，彷彿生命的書寫。藝術家試圖以極簡的形式來呈現作品，當觀眾安靜觀賞聆聽，會發現燈管的律動隨著空間中的光線循環並主持著節奏，藉由電腦程式的完美運算，無生命的日光燈群們模擬著如生命體般的律動。光的直線，在暗室裡翻旋出不同的姿態，像是顯微鏡下或深海底部的原始生命，一種有著抽象外貌的具象畫面，進行生命紀錄的書寫。凝視光的位移，舞動的節奏，在想像與現實之間，精神逃逸於視覺之外；在觀看與凝視之間，尋找自己最適合的節奏。

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Everything in life has its own suitable tempo. Scripting is a rectangular arrangement of fluorescent light tubes, and is a narration of slow moving waves that represent life â&#x20AC;&#x2122; s ups and downs. The rhythmic movements of the piece is in reference to aquatic movements, and combined with musical attributes, the movements are sometimes erratic and sometimes in unison. The moving postures are like scripts for life. The artist collective attempts to present the work in a minimalistic style, and as the audience listens quietly, a rhythm of the light tubes that cycles with the lighting in the space with a specific tempo could be observed. Through precise computer calculations, the inorganic light tubes seem to have been given a life-like vitality. As the straight light tubes twist and turn in the dark room with various postures, they appear like primitive life forms observed under the microscope or from the deep ocean bed. Presented is a tangible image of abstracted quality, as the act of scripting continues to document life. As one gazes at the shifting lights and the moving tempos, between imagination and reality, psychologically, an escape is made to transcend beyond the visual. Amidst seeing and gazing, look for the most suitable tempo for yourself.

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曾偉豪

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台灣新媒體藝術家，擅以聲音互動裝置表現。

創作著重探討﹁聲音空間身體﹂的交互作用。

經由身體作為介質所產生的互動雜訊，透過指尖與導電油墨

Tseng Wei-Hao is a Taiwanese new media artist that specializes in interactive sound installations. His art explores the interactive effects between sound, space, and the body. Using the body as a medium to produce interactive noises and through the contacts between the fingertips and the electronic ink, imaginative integrations are created combining the visual, touch, and hearing senses.

的接觸，創造一種視覺、觸覺與聽覺結合的想像。

Tseng , We i-Hao

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隱聲山林 I nvi s i ble S o un d L and s cape

聲音裝置 So und install atio n 作品尺寸依現場空間而定 Dim ensi on V ari a bl e 20 12

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曾偉豪的創作以聲音為主，著重探討「聲音

空間

身體」的交互作用。經由身體

作為介質所產生的互動雜訊，透過指尖與導電油墨的接觸，創造一種視覺、觸覺與聽覺結合的想像，彷彿身處聲音風景。〈隱聲山林〉將數位音波圖化作山巒，隱約描繪在牆上，當觀眾進入作品空間時以手觸摸牆壁，尋找聲音隱藏的路線，進一步描摹心中的山林，雖看不見，但卻身處其中。而立體的頻率樹則由錄音程式裡的聲音視覺圖像轉化而成，當參與者移動這些可旋轉的長短木片時，就好像在創造屬於自己的視覺聲音，互動過程中製造交雜的各種聲響，就像某種未知的對話。當新媒體成為一項新的介面與素材，藝術創作更連結了現實與想像的世界，曾偉豪以直覺的方式讓原本不存在或看不到的事物呈現出來，數位化電腦程式裡的聲音圖像在他看來就像自然環境中的樹海、山林，連結了不可見事物的某種想像。與作品互動的過程如同跟一個虛擬隱藏的山林對話，但這個景色的原始元素來自於周遭環境中的各種噪音，創造一種身處在現代生活噪音中的遁逃想想。

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Tseng Wei-Hao â&#x20AC;&#x2122; s art focuses on sound, and deals with the interactive effects between sound, space, and the body. Using the body as a medium to produce interactive noises and through the contacts between the fingertips and the electronic ink, imaginative integrations are created combining the visual, touch, and hearing senses, as the audience is transported into a sound landscape. Invisible Sound Landscape turns digital sound waves into a landscape, which is subtly depicted on the wall. When the audience walks into the exhibition space and touches the wall, a hidden route is to be discovered via hearing and then it further leads to the depiction of sceneries from one â&#x20AC;&#x2122; s internal state. Although it is invisible but it embraces with its presence. The three-dimensional frequency trees are transformed from the audio-visual images from the recording program. The audience could move the rotatable wooden sheets of various lengths and create their personalized visual sounds. The interactive process creates various crossing sounds and forms a dialogue with the unknown. When new media become new forms of interfaces and materials, artistic creations thus become more apt in connecting reality with the imaginary world. Tseng employs an instinctive approach to present things that didn â&#x20AC;&#x2122; t exist or were invisible before. Digitalized sound images on a computer program appear like natural trees and mountains to him, as connections are formed with invisible elements and certain imaginations. The interactive process for the artwork is like having a dialogue with a virtual hidden forest, with the original elements for this landscape derived from different noises captured in the surrounding. The artwork creates an escaping fantasy in the midst of the noises found in our everyday life.

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吳淑敏

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中國文學與書法美學結合科技，打造用呼吸書寫臨摹宋代四

from a literary background, and her technological art shows rich humanity and cultural qualities that are distinctive to the East. The process of seeing her art brings the audiences closer to a state of balance between the internal and the external pursued by the literati.

大名帖的藝術作品︿行氣﹀進軍奧地利電子藝術節的推手。藝

calligraphies with works inspired by four calligraphic masterpieces from the Sung Dynasty. The artwork was showcased at the Ars Electronica Festival. Wu comes

術家本身的文學背景，讓冰冷的科技藝術作品呈現濃厚的人

With integrations of Chinese literature, calligraphy, and technology, Wu S h uMi n is the artist behind the artwork, Flow of Qi, with breathings used for writing

文氣質和東方味，也讓觀賞作品的過程，更近似文人追求物

S hu- Min

我和內外平衡的狀態。

Wu,

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行氣 F low of Qi

多媒體互動裝置 Mult imed ia in terac tiv e ins t a lla t io n 7mx 6.5 mx4. 5m 20 07

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「氣」對於華人來說有著不同層次與內涵，從人體呼吸至宇宙萬物。「氣」存在於我們的思維，變化應用至書法、水墨等藝術表現形式，以至中醫及武術。「行氣」源自兩千六百多年前中國的氣功名，另指在書法藝術中創作者所留存在書筆間的精氣神，「天地萬物本一氣」更表達了華人的世界觀。本作品將現代科技應用在藝術表現上，結合「超寬頻 (Ultra Wide Band) 非接觸感測器」與臺灣故宮博物院典藏的文墨瑰寶，以心律為經，呼吸吐納為緯，讓參與者以呼吸寫書法。本作品以「陰 / 陽」觀念分析呼吸並發展互動設計，須由兩位觀眾一起參與，當觀者就坐於特殊座椅，透過紅外線感測技術以每 0.1 秒偵測人體內在呼吸的變化，控制揮毫時書寫速度 ( 呼吸速度 ) 與墨色的濃淡 ( 呼吸深淺 )。當兩位觀眾達到彼此和諧，書法名帖將會以「接近原帖」重現。參與者透過自己「氣」的豐富運行，控制飛墨描摹宋代四大名帖「詩帖」、「花氣薰人」、「丹陽帖」及「寒食帖」於沙地投影上躍然起舞，將心中的丘壑，自我的內心風景，映照於外顯的視覺表現之上，並與來自東方宋代大師作品產生獨特的對話，彷彿穿越了現實，進入另一個虛擬時空與古人交會。合作單位：工業研究院創意中心

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Flow of Qi aims to display the Chinese concept of qi, which plays 0 0 0

such an important role in Chinese culture, on different levels and contexts. Qi means one ’ s breathing and extends to embody the view of the universe and is a foremost concept practiced in calligraphy, ink brush art, Chinese medicine and martial arts. Flow of Qi is a term derived from 2600 years ago for a form of Chinese qigong (a practice of aligning breath, movement, and awareness), and also embodies the spiritual sense created in calligraphic art. It is also a macroscopic view that Chinese hold for universality. The work employs the Ultra Wide Band technology combined with calligraphic treasures collected by the National Palace Museum. Two participants have to work together, and each audience ’ s breathing rate is measured in real-time, every 0.1 second. One person controls the fluidity of the strokes through the pace of his or her breathing, while the other affects the density of the characters depending on the depth of breathing. The participants may achieve a state of harmony, and attempt to replicate the four calligraphic masterpieces of Poem, Scent of Flowers Wafting, Tan-yang, and The Cold Food Observance. Projected on a sandy floor, the strokes dance amidst the projection and form landscapes derived from one ’ s internal state. Through the external visual reflections, unique dialogues are formed with the Sung Dynasty masters. As reality is transcended, an encounter with antiquity is created in a virtual realm. Collaborator: Industrial Technology Research Institute Creativity Lab

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陶亞倫

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臺灣傑出中生代藝術家，現任臺北藝術大學新媒體藝術學系

助理教授。創作結合空間、裝置、聲音、光線、煙霧、數位

影像、機械動力等元素，探討科技、空間與身體經驗之關係。

關注於人的存在與處境，不蒙昧於淺表的意象、技術與效果，

Tao Ya-Lun is an exceptional mid-generation Taiwanese artist, and is currently an assistant professor at the Department of New Media Art, Taipei National University of the Arts. Tao ’ s creative works embody a wide range of elements, including spatial, installation, sound, light, smoke, digital image, and mechanical power, which explore the relationships between technology, space, and physical experience. With focus placed on human existence and situations, Tao ’ s art is not confined by expressions of superficial imageries, techniques, and effects; his works are full of rich philosophical contexts and are intended to awake the perceptions the body holds for existence.

作品充滿濃厚的哲學意涵，並試圖喚起身體與存在的覺知。

Tao, Ya-Lu n

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留白 Stat e of M i nd

空間裝置 Sp atial instal lation 8mx 8mx4 .5 m 2012

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留白是一種藝術，一種哲學，一種境界。此一表現形式在中國古典山水畫裡發揮得最為淋漓盡致，創作者在畫面中留下相對應的空白，作為一種和畫面其他「滿盈」的交互對照，意圖為觀者留下想像空間，沉澱雙眼所觀，冥想心中所感之世界。當進入全白無垢的空間，純白的視覺與眩目的光線使地平線消失於視覺之外，無邊際的體驗創造出另一種感知經驗，彷彿跳脫由大腦主控影像及資訊的擬像世界，進入了另外一個透過純粹的光創造出的幻境，讓觀者以五感重新體驗我們所熟知「視覺主導」的感知世界。在五感漂浮間，重新形構一個內在、深度的主體經驗。當觀者置身其中，因人而異的情感、記憶和生活經驗，透過身體知覺投射出對作品的不同詮釋。〈留白〉不僅記錄當下，更非終結，而是另外一個開端，透過觀者各異的解讀，啟發另一種閱聽的感官體驗。

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To leave a blank void is a form of art, philosophy, and a state of being. This expressive gesture is well utilized in classical Chinese landscape paintings, as the artists leave blank voids in the paintings to correspond and contrast with elements that appear fully filled. The purpose is to leave the audience with some space for imagination, and to profoundly contemplate about what the act of seeing with one â&#x20AC;&#x2122; s eyes and meditate about the world felt. Upon entering into a space of pure white, the whiteness creates a visually dizzying effect, whereby the horizon seems to disappear. The borderless experience creates an alternative perceptual experience and breaks free from the simulated world dictated by the brain â&#x20AC;&#x2122; s imaging and information controls. As the audience enters into a realm created with pure light, the five senses are reawakened to experiment a sensual world differently from our familiar visually dominating manner. As the five senses begin to wander and float, an inner and profound core experience is thus reconstructed. When the viewers place themselves within the space, each individual â&#x20AC;&#x2122; s different emotions, memories, life experiences will open up their physical perceptions to reflect the artwork differently. State of Mind is not just a record of the current, nor is it a finale. It is another beginning, and with different interpretation, an alternative sensual experience is embarked upon.

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吳季璁

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臺灣藝術家入圍英國世界藝術獎 (A rte s Mu nd i Priz第 ) 一人。

其創作關注影像的生產過程以及人們認知影像的觀看方式，

作品形式包含錄像、攝影、及裝置。擅以熟悉生活事物創造

First Taiwanese artist to be nominated for Artes Mundi Priz, Wu Chi-Tsung ’ s art focuses on the production process for images and also people ’ s preconceived notions for seeing. His works include video, photography, and installation, and he specializes in creating different viewing experiences for things and events in life. Simplistic images and poetic qualities are prevalent visual aesthetics observed in his works.

另一種不同的觀看經驗，簡潔的畫面和充滿詩意的影像美學

C h i-Tsung

常見於其作品之中。

Wu,

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八方 S urvey

投影裝置 Pro ject ion insta ll ati o n 14mx1 4mx 4m 20 12

吳季璁擅以機械的微物觀創造出影像的宇宙觀，光線透過微小的鐵絲網投射屏幕之上，轉化為形似流動的山水意境於八個方位之間。八方指東、南、西、北、東南、東北、西南、西北八個方位，就像從一個座標的中心環顧世界，我們以此定位自身在空間中所處的位置，也是我們認知外在世界的基礎架構，一個相對於環境以自我為中心的世界觀。本作品中試著反轉「內 / 外」、「物 / 我」的關係，也是視覺所見和內心風景的交互辨證。〈八方〉延伸自藝術家前作〈鐵絲網〉系列的架構，環繞在空間八方的投影，其實來自於鐵絲網轉輪上同一個位置，只是不同面向的投影以及觀看角度所衍生的變化。身處其外，仿若賞玩掌中轉心瓶觀看景色的流轉；置身於內，彷彿乘著輕舟置身於江河之上，內觀隨著景物移轉自我心境之變幻。

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Wu Chi-Tsung specializes in using microscopic perspectives with machines to create macroscopic universal views with images. As lights pass through a tightly knit metal mesh and project onto the screen, they are transformed into a moving landscape from eight directions of the east, south, west, north, southeast, northeast, southwest, and northwest. Like surveying the world from a central landmark, we position ourselves in the midst of this space, which is a fundamental structure we have come to be familiar with for the external world. It is a self-centered view of the world that is relative to the environment. The artwork attempts to subvert the relationships of the internal and external and also between the object and the self. It is also a dialectical investigation of the visually observed internal landscape. “Survey ”is a structural extension of the artist ’ s previous work,“Wire ” . Projections positioned from the eight sides in the space are actually coming from the same position on the rotating wheel of the metal wire. They are projections facing different sides that create changes for the visual perspectives. To be physically on the outside, the experience is like holding a turning vase in one ’ s hands to see the changing views captured in the bottle. To be inside, the experience is like riding on a boat floating on river, as the landscape shifts and alters due to one ’ s internal state of mind.

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Ur ban

Sym p os ium

城

市

座

談

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城市座談 0 0 0

探討亞洲城市與藝術之間的關係路易斯．比格斯

謝謝策展人胡朝聖的歡迎，我要感謝立

眾。過去，我拜訪過亞洲各地，目的

通常，我們對於陌生不清楚的事物往往

偕建設張巍懷總經理再次邀請我到台

及原因都不盡相同，而我今天想跟大

是看不見的。我過去在美術館工作多

北。剛剛主持人有提到，我在十八個月

家分享的是我在亞洲的一些觀察經驗，

年，而在公共藝術這個範疇裡面，我發

之前其實已經來過台灣，而且當時我對

分享亞洲各地藝術跟群眾之間的關係，

現社會大眾通常只看得到自身所期待看

於立偕建設所做的事情印象非常的深

所以我在這裡跟大家分享的案例，並

到的東西，也就是按照我們過去的經

刻。事實上，目前立偕建設在公共藝術

沒有特別的順序，只是我一些個人的

驗，來觀察、感受這個世界，如果出現

的推廣，在整個亞洲地區是很少見的，

歷程。不過，我希望在今天的演講結

一件我們不瞭解的東西，就往往會被忽

因此，我非常肯定他們的努力。

束後，大家能夠理解我所提出的議題：

略。因此，我們的期待會受到過去的經

如何使博物館之外的大眾接近藝術。

驗及外在環境影響。但是，倘若要改變

剛剛朝聖提到我的工作，我現在主要

我們的觀點或心態，則必須由外界輸入

是在香港、上海及名古屋工作。但是，

大家所看到的這一張投影片 ( 圖一 )，是

個人對亞洲的喜愛事實上已經超過

一個在公共空間裡的藝術品，這是 2008

二十五年之久。1986 年時，我以策展

年雪梨雙年展的作品。照片中我們看到

人的身分第一次來到亞洲，與南條史

這件作品，是一輛車子被一塊大石頭壓

覺，才可以改變你的大腦裡面的東西，

生（Fumio Nanjo）先生在日本一起合

垮了，而前方則有一個告示提醒前方有

因此，五感是非常重要的。當你身處於

作。我一直覺得身為一個策展人，我

藝術品。以我的觀點來看這件公共藝術

博物館外的空間活動時，你的經驗會告

們應該要作藝術跟公共最好的一個橋

是一個失敗的例子，如果我們必須透過

訴你該如何生存、生活。譬如說：不要

樑。或許現在有些人認為自己是藝術

前方的標語提示大家：「前方是藝術品」，

被車子撞到、不要被路上的什麼東西絆

領域的專家，但是身為專家並不代表

就表示這個藝術品是有問題的，作品的

倒；而當我們身處在美術館內，我們的

有辦法能夠讓對藝術不感興趣的群眾

放置地點是不恰當的。另外，我們會期

感官告訴我們：這是一個特別的空間，

開始欣賞藝術，因此，必須要瞭解大

待藝術品能帶給人們驚喜的感覺，但如

和藝術的歷史息息相關。我們在美術館

眾的想法才能夠做到這個目標。當我

果這個驚喜是非常刻意的，例如透過這

裡面所學習、瞭解的一定和藝術史相

在泰德現代美術館利物浦分館任職的

麼大的黃色標語，那麼就表示這一種驚

關，我們不可能將藝術品放在博物館裡

時候，就期待能夠訓練更多的策展人

喜可能是我們比較不被預期或需要的。

面，然後期待藝術品將告訴我們關於人

成為大眾的專家。我認為，策展人除

我給大家看這一張投影片主要是想提出

生的意義，我們總是覺得在美術館場域

了喜愛藝術之外，更重要的是瞭解大

「期待」這件事情：「Expectation」。

訊息至我們的感官，進而影響、改變我們的心態及認知；必須要透過感官的察

一定得和藝術有關。

圖一

圖二

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Urban Symposium

城市座談 0 0 0

( 圖二 ) 寫的是「文明的遊覽行為，景

一個空間的意義，這時候，同樣故事敘

畫，可是，以當地人的角度來看，這些

呼喊，可是它的文字空洞。但是針對大

區亮麗的風景。」我們知道在公共環境

述的方式就跟在地居民所聽到的是不太

光州的民眾，他們會自然地聚集在這個

部份要給在地居民觀賞的公共藝術，也

跟場域裡，往往遊客也是一個很重要

一樣的。這兩個不同的故事，事實上也

地方，一起交談一起玩遊戲，周圍就掛

就是博物館外的藝術，它往往很有內

的元素。我們在旅遊的時候感官往往

是兩個主要的方法，可以幫助我們去思

著這一些壁畫。同樣一個空間在另外一

涵，卻沒有形式，也就是說它跟居民有

會比在自己家裡面更敏銳，但仍然僅

考、瞭解藝術，什麼樣的藝術應該放在

個角落，我們看到展示櫃裡一些石頭的

連結，但沒有美感可言；它有話可說，

限於我們所瞭解的事物。因此，我很

公共空間。我們知道企業和政府他們有

陳列，當然，這是一種比較適合當地傳

可是說的方法有待商榷。以我的經驗來

喜歡這句話，它提醒了我們身為大眾，

興趣來從事公共藝術，往往是因為觀光

統美學的藝術展覽型態。設計展覽的

說，最成功的公共藝術往往是國際跟在

其實也是環境、風景與美感的一部份。

可以帶動經濟成長，所以，如果可以做

人，可能覺得旁邊有販賣機也不錯，很

地交接的這一個點，通常在這一點，你

而公共藝術一定要有觀眾才有它的意

一些觀光客喜歡的事情，這對經濟發展

多人口渴的時候會來販賣機買飲料，同

會找到藝術有強而有力的外在，但同時

義，因此，我們要如何在亞洲的城市

將會有正面效益。另外，政府必須要能

時就可以看到旁邊的展覽，能夠同時滿

又有非常有意思的內涵。

中，為社會大眾和藝術之間建立起橋

夠向納稅人負責，倘若政府可以幫助一

足他們精神上對於藝術的飢渴。

樑？就是今天的議題，藝術跟社會大

些社區來敘述他們自身的故事，那這一

眾之間重要的連結性。

些社區也會支持他們所納稅的政府。所

首先，我們會遇到兩種大眾，一種是在博物館的，一種是在外面公共空間的；同樣的，一個城市裡面有在地的居民也有遊客，面對不一樣的群眾，故事的敘述方法是不同的。對於在地的居民，生活周遭的環境與事物都視為理所當然，他們透過口頭的方式或是書寫的方式，

以從觀光客的角度或是從在地人的角度，我們可以看到，對他們來說，公共藝術都有它一定的意義。當然，這是兩個極端，我們知道還有很多其他的大眾，不過，通常為了演講之便，我都會把這兩個比較極端的部份來作一個探討。

( 圖三 ) 這張照片是日本的岡崎城，這我必須老實說，大部份公共空間所看到

是一座古蹟城，也是觀光客常常造訪

的藝術作品其實都不是很好，而且這麼

的觀光景點。某一天，有人決定把這

多年來，很多博物館的典藏也不一定都

一個電話亭做特別的設計，讓它的外

很優秀。當博物館不想要展示某一些展

觀看起來就像岡崎城一樣。這是一個

品的時候，可以把它們放在倉庫裡面。

有創意的想法，把一個電話亭 ( 圖四 )

但是，當藝術走入公共空間的時候，並

大的批評是，如果作品的目標群眾是觀

敘述著是跟在地生活相關的故事，而且

觀光客到一個陌生的國度，他必須要小

光客的話，那可能形式上好像是很新奇

因為喜愛他們的家鄉，而會繼續以這種

心謹慎，就像我們剛剛上一張投影片所

刺激 (Exciting)，看起來很讓人振奮的；

方式表達；另外一個情形則是為觀光客

看到的標語。但是我們看這張在南韓

但是以內行來講，它是蠻空泛的。也就

所設計的，而這些故事，往往會由完全

光州的地下鐵車站所拍的照片。我不太

是說，它可能外觀看起來很美，可是真

陌生的一群人來詮釋某一個地點或是某

了解為什麼這個地下鐵車站的牆上有壁

正跟民眾連結的部份很弱；它可能大聲

圖五

－一個 1960 年全球化的象徵，變成一

(OASIS)。我們在這裡也經常看到一些

個在地的文化資產。但是，這並不能

雕塑作品。在 90 年代，當日本經濟泡

稱之為藝術。

沫化，房價大幅跌落時，民間企業對藝

而當我們在觀察國際主義跟在地主義對立的時候，似乎可以理解當初為什麼會有的想法。日本在國際主義與在地主義的對立情況特別明顯，特別是過去 20 到 25 年之間。1980 年的時候，日本房地產市場非常熱門，因此許多的土地

沒有任何地方可以將之隱藏。我針對大部份在外部，也就是公共空間的藝術最

圖四

圖三

開發商為了吸引更多的顧客，將藝術放在公共空間裡，甚至將公共空間設計為

術贊助沒有那麼大的興趣，此時便由政府接手，我們也看到有很多在地的藝術品出現，而且很多作品是沒有被博物館收藏過的。而這樣的藝術品，往往除了對在地人有某種意義之外，它對於外來的觀光客並沒有太大的影響。因此，在泡沫化以及在日本經濟起飛的時期，都沒有創造出讓人印象深刻的好藝術品。

一個雕塑公園，放置很多藝術品，而雕

但是，我希望能夠跟大家分享，在日本

塑公園本身就是一個戶外的博物館。在

有一個非常成功的活動把地方的公共

這個期間，很多大型的藝術品，特別是

藝術做的很好展出與推廣，就是日本的

日本藝術家所做的藝術品都出現在日本

「大地藝術祭」。這是在本世紀初的一個

的街頭。這裡 ( 圖五 ) 各位看到的是名

藝術祭，他們邀請非常重要的藝術家，

古屋（Nagoya）的一個廣場叫做綠洲

針對地方環境來創作藝術品，而許多作

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品在藝術祭結束之後還會繼續留在此

收藏品，你卻可以在隔壁餐廳看到展覽

接下來的例子是蘇州博物館 ( 圖八 )。

點或形式特質，這兩者的差異很大。蘇

地。除了國外的藝術家，他們也請了很

品。到底出了什麼問題呢？我並沒有機

蘇州博物館舉世聞名，也許在座各位有

州博物館的建築物，仔細的跟周遭地貌

多當地的藝術家一同創作，也有作品是

會進入或接觸該館的權力核心，所以無

去參觀過，它是由建築師貝聿銘 (I.M.

融合為一，而且也在設計的元素上就地

當地藝術家跟外地的藝術家一同合作，

法得知到底發生了什麼錯誤，但是我們

Pei) 所設計建造的。貝聿銘的家鄉就是

取材。周圍環境有很多園林環繞著湖，

在過程中擦撞出許多火花，也讓我們看

可以從建築物的品質來看，它得到的愛

蘇州，因此，他對於蘇州有很深的文化

以及許多傳統的園林景觀設計。這裡的

到一些很好的作品。所以，大地藝術祭

不夠，資源不夠，建築物的品質是粗製

淵源及情感。蘇州跟浦東不同，浦東在

收藏品主要是有歷史的藝術品，但是也

很快就變成公共藝術方面的佼佼者，在

濫造的，施工品質也不好。我必須說，

幾年前都還是稻田，是後來才開發的地

有一部份屬於現代藝術的展覽，同時也

歐洲也有 Münster（敏斯特）舉辦類

這讓我感覺這間美術館的目的，好像只

區。蘇州則是有好幾百年，好幾世紀的

做現代藝術品的收藏。這個博物館本身

似的展覽活動。大地藝術祭是亞洲的案

是讓地產公司在開發上能夠得到許可而

文化歷史。它是一個文化非常根深蒂固

具備傳承，同時也展望未來，它是承先

已。事實上，他們並沒有許下承諾，來

的地區，也一直都是觀光勝地，吸引華

啓後的、是一種知識的累積。從過去的

好好經營這一家美術館。

人以及國際觀光客。所以，以民眾的觀

文化來看，對大部份的參觀來賓來說，

例，也成為一個非常重要的觀光節日，

圖六

吸引非常多人來參觀，也有許多年輕人加入大地藝術祭的志工服務。 ( 圖六 ) 則是日本名古屋的一條大街，過去曾經是一個雕塑公園的所在地。接下來要跟大家分享的，是一些亞洲博物館的案例，以及在博物館之外的一些公共藝術。我覺得目前亞洲遇到的課題，跟世界其他的地方情況是一樣的，就是如何創作出屬於我們的城市，或是屬於

時開幕，但是直到 2012 年才真正開幕。証大集團邀請日本建築師磯崎新 (Arata Isozaki) 設計，這棟大樓設立於地鐵站上方，將地鐵、購物中心、五星級飯店及高級住宅還有美術館整合在一棟大樓

我昨天跟克倫斯先生討論這個案例，

他們對於傳統的文化已經有相當的認知，而展品中比較新的部份，也許對於

他說像這樣子的博物館就好像一個雕

國際觀光客來說是比較具有吸引力的。

塑品，它是空的架構，只是一個空的

但是這個博物館它可以扮演一個橋樑的

雕塑。

角色，承先啓後，並能夠把熟悉的跟不熟悉的連結起來，就像一座橋樑一樣。

中。喜瑪拉雅美術館曾經於 2012 年部分對外開放，展出由英國文化協會所策劃的藝術家東尼．克雷格 (Tony Cragg)

圖八

圖九

另外還有一個正面的案例是豐田市立圖七

美術館 ( 圖九 )，由建築師谷口吉生

的巡迴個展，但是展覽結束之後隨即暫

(Yoshio Taniguchi) 所設計。谷口吉生

時關閉，目前尚不確定未來是否會再次

亦是紐約現代美術館新館的設計者。由

這張照片 ( 圖七 ) 是上海浦東由証大集

開放。從去年開始，它以一種「藝術超

於他在紐約現代美術館的作品，使董事

團所贊助的喜瑪拉雅美術館，証大集團

級市場」的方式營運，販售一些立體作

會想要聘請他來設計豐田市立美術館。

收藏現代美術及水墨畫，喜瑪拉雅美術

品的複製品。更精確的說，喜瑪拉雅美

他以傳統的日式美感為出發點，在這裡

館原本座落於浦東西邊的百貨商場裡，

術館只是一個美術館的空殼子，雖然有

有日本式的花園、茶室 ( 圖十、圖十一 )，

新的美術館原訂在 2010 年上海博覽會

收藏品，但是在這間美術館裡面看不到

以及很多日本傳統文化的元素。

我們國家的公共藝術品。

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在此我要再舉一個很不一樣的案例：廣東的時代美術館 ( 圖十二 )。起初時代美術館是廣東美術館的分館，但是在 2005 年廣州三年展的時候，把廣東美術館中教育性的展覽，移到廣州近郊的另外一個區域來展示及館藏，由時圖十

代地產公司負責並委託庫哈斯 (Rem Koolhaas) 設計一個新的建築物。庫哈斯 (Rem Koolhaas) 建議新的建築物不要從零開始，而是在現有的結構上做一些增減跟修正。換言之，他希望能夠在一個現有的住宅上進行有機式的擴充，也就是把美術館放到住宅區裡面，成為一個有機地延伸出來的建案。在這棟建築物中，入口處不僅是美術館的入口

圖十三

處，也是住宅區的入口處。在一樓大廳有美術館，但是當你到了住宅的頂樓，圖十二

有一個在頂樓擴充出來的美術館本體。

覽，美術館也在其他市郊地區的場地舉

所以，你在進入美術館的過程當中，要

辦展覽。( 圖十三 ) 從頂樓窗口往外看，

經過住宅的樓層。它的象徵意義就是讓

美術館跟其他的住宅大樓的頂樓是同一

這個美術館，寄生在住宅大樓上，或者

個高度。

明確的來說，藉由這些住戶的支持，這一間美術館才得以存在。

圖十一

下一個例子是上海外灘博物館。在 1930 年代，是上海的第一家博物館，

時代美術館內有很好的教育計畫、駐館

一開始便以博物館的目的所建，現在它

藝術家，而且也有常常更換的教育性

轉型為一個現代美術館。外灘美術館是

展覽，在美術館外部的公共空間也有展

上海．外灘源 (Rockbund) 公司所成立

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計了一個非常簡單的工人臨時居住所，上海有上百萬的流動工人進出上海，他們是流動的，居無定所，但是晚上都得有一個可以睡覺的地方。這個盒子 ( 圖十五 ) 可提供四個人在裡面睡覺，在這一個設計中，它有實用的價值，這樣設計可以提供流動的工人在晚上有一個棲

圖十六

身的地方，而且藉由這個展覽很有效地把美術館內部的展覽內容跟外在的脈絡結合起來。接下來，我的演講當中將不再介紹美術館、博物館了。圖十四

圖十五

的美術館，現在由建築師大衛 . 奇普菲

館。它的地理位置絕佳，所以吸引到很

是說，博物館外的藝術，我的第一個例

爾德 (David Chipperfield) 負責轉型更

多的觀光客，也包含很多在地的人，他

子是北京的一所學校：蒲公英學校 ( 圖

新的計畫。上海．外灘源本來是一個地

們把外灘當作是一個夜間活動的地區，

十六、圖十七 )。蒲公英學校，是北京

產開發公司，現在跟上海市政府合作，

因此在夜間也吸引了很多在地人參觀。

第一間提供農民工子女所就讀的公益性

接下來我要討論公共空間的藝術，或者

希望維護上海外灘的文化，成為文化傳承的角色。因此現在就由上海．外灘源

( 圖十四 ) 是台灣藝術家：林明弘

平民學校。在建造之初，學校的營運狀況並不是很好，但是該校校長碰到了一

開發公司，獨立經營這間美術館，雖然

(Michael Lin) 和一位日本建築師合作舉

美術館沒有收藏的機制，但是透過非常

辦的展覽。他們向大眾蒐集關於在地人

Yeh)，是一位住在美國費城的華裔藝

嚴謹的策展規劃，以及一個非常有活力

的攝影作品，請學生拍攝他們在上海最

術家。在 2006 年到 2009 年之間，這

的教育計畫，外灘美術館現在越來越

喜歡的建築物，然後將這些蒐集起來的

位藝術家與學校合作，跟師生一同開啓

有名，也成為上海首屈一指的現代美術

攝影作品當作展覽的重心，並將新的建

了一個校園的計畫，叫做「透過環境做

館，可能也是中國首屈一指的現代美術

築物和舊的建築物集合在一起。他們設

靈性的轉型」。葉蕾蕾主導計畫的整體

個環保藝術家，名字叫做葉蕾蕾 (Lily

圖十七

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設計並將設計實踐成形，加入學童的參

致。通往學院的大門總共有七條路，沿

頭。這個藝術家他有第二個版本的希臘

與，讓學童們本身也藉由參與計畫而學

途將一些傳統農作工具融入設計元素，

柱子 ( 圖十八 )，並將它置放在一個傳

習設計，帶領學生創作自己的美術作

校園裡也有農地。在這個例子，在工程

統日本庭園裡面，當你在參觀這個日式

品。透過這個計畫，學童們有機會接受

細節中有些比較粗糙的地方，因為缺乏

房舍時，也可以欣賞到。

到更多元化的藝術教育，藝術家提出的

細膩的工法而導致整個效果打折。你常

主題之一與生命樹有關，此主題取材自

常會發現你的注意力會被施工不良的地

大馬士革的一件馬賽克作品，是敘利亞

方所吸引。如果能夠讓技巧比較好的工

傳統的寶藍色與藏青色組合，也受到伊

人來施工，而不是讓農民執行，整體效

斯蘭回教的影響。藝術家影響了課程的

果會更好。換言之，如果因為太在乎在

設計，也美化了環境。這是一個經典的

地的參與，而忽略了引進國際的技術或

例子。我個人的看法是，就這個脈絡來

者是觀點，則是比較可惜的地方。另

講，這藝術作品是很好的，整個情境跟

外一個例子是日本別府祭，由藝術家邱

脈絡對於在這裡求學跟居住的人有特別

志傑（Qiu Zhijie）所參與的一個計畫。

的意義。但是，我很難想像有人會特地

別府是一個日本的溫泉觀光名勝，因為

為了參觀這些作品而大老遠跑來。

有地熱溫泉所以這邊煙霧迷漫，當地為了要好好利用此地的地熱跟溫泉，所以

我不能夠告訴你這一個雕塑它的意義為何，但是我覺得它是令人吃驚的。它讓在地人很吃驚，讓觀光客也很吃驚。我認為，它似乎是為了要提出問題來：它提出關於文化的問題，它提出關於全球化的問題。希臘式的柱子源於歐洲，讓人將它與帝國聯想在一起。它有一個流程的故事要說；它也提出問題；它今天被放在這樣的一個環境裡面到底有什麼意義，這些都是會延伸出來的問題。作為一個藝術作品它很有意思。而且很明顯的，不管是在地居民或者是外來觀光

另外一個例子是四川學院。這是一個相

用竹子搭成帷幕放在溫泉上，當溫泉泡

當新的計畫，大概於七年前開始，占地

到竹子，就會凝結成水。因為蒸氣太

總共 165 公頃，位於重慶大學城內的虎

熱，凝結為水後溫度降低，而成了可

另外一個藝術作品是剛剛介紹過的岡崎

溪校區。建築空間的設計希望能夠跟過

以泡澡的溫泉水。藝術家所採取的做

城裡的例子。這個鐘它的門有彈簧的

去的傳統連結在一起，維持原本的環境

法，也是仿效這種利用溫泉的傳統，但

設計，到整點時它就會彈開，裡面有人

地貌，在這個空間中有農舍、運河，以

是他找到一種替代的作法。他也是用竹

偶。我把這個例子放進來，是因為我覺

及過去在這裡耕種的農民，他們現在大

子，但是把它放在蒸汽的煙囪上面，形

得它是完全可以預測的，當觀光客來參

部分都在大學擔任園丁，或者是景觀設

狀變成像希臘柱子一樣。當熱氣浸透了

觀岡崎城，他會有期待，希望可以看到

計師的工作。整個環境保有文化傳承的

竹子就會被染上硫磺的顏色，經年累月

這樣的作品。所以對我來說，這樣子的

意涵，也與四川學院藝術的教學理念一

之後，它就會鈣化，然後變得堅硬如石

作品它完全沒有提出任何的問題。

客都會想到這些問題。圖十八

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現在看到南韓的安陽市。安陽市離首爾

導向來看藝術作品。也就是說，與其把

的關係，我在那裏待了一陣子。這一

在此稍作休息，吃點東西，所以這裡面

而不單單只是由觀光客所通過的一個地

們就沒有讓藝術發揮它可以對人生的影

相當近，可以說是首爾的近郊。但作為

藝術作品設置在不同的地區，他們現在

次雙年展的負責人是長谷川祐子 (Yuko

些可以坐的地方，也些喝水的地方，可

方而了。

響力。它絕對是有力量來帶動、來甦

一個城市，大家對安陽市有一個負面的

要求藝術家跟在地的市民共同合作，一

Hasegawa)，她的雙年展主題，靈感來

也坐下來聊聊天，因為這裡剛好可以蔽

印象，認為它太過工業化。2002 年的

起創造藝術作品，但其成果不見得一定

自於伊斯蘭文化當中，「中庭」的使用。

蔭。對我來說，很明顯地，如果沒有藝

時候，他們提出一個計畫，希望能夠讓

是有形的。2010 年第三個計畫：「遊牧

所以，所有展覽的規劃都跟都市主義有

術的話，這個綠洲是不可能成型的。這

這個城市在環境上能夠改革換新，使它

社會跟暫時的城市」，把重點放在流動

關，包含如何重新思考都市主義，並囊

絕對是一個有效用的方法讓我們來改善

成為一個友善、便於居住的地方，他們

的市民身上。安陽公共藝術計畫的主任

括周邊的文化資產與博物館在內。

城面的景觀，讓市民可以住得更舒服。

決定要利用藝術來達到此目的。

表示，生活中所有東西都可以是藝術，從市民的抱怨到每天的日常生活，我們

安陽公共藝術計畫始於 2005 年，為期好幾年，包含重新定位安陽市作為一個

會創造出屬於市民，同時也是市民創造出來的公共藝術，並將它展現出來。

文化藝術城市。有點類似德國 Münster

我在拍這張照片的時候雙年展還沒有開始，不過你可以看到，在準備期間，他們已經在一個大廣場種了一些椰子樹，這個廣場叫做「綠洲」。事實上，在展

但是，如果不是因為藝術活動的關係，不會有這樣個介入發失。我們看到沙迦政府它沒有興趣去做這一類事情，所以，一定要有藝術作個動能，才可以帶動這些改變。

在最後，我想要提出得好的藝術不管在博物館內或是戶外公共空間，應該是

最後，我想要引用策展人 Rosa

值得我們可以一而再，再而三的去觀看

Martinas，針對 2009 年畢爾包美術館

它。而當每一次看到，都可以學到一些

收藏剛剛提到足球場這個作品的創作藝

新的東西，它個讓我們覺得驚喜的成

術家，所引用法國哲學家和社會學家家

份，讓我們覺得期待再看一次。它讓你

列斐伏爾 (Henri Lefebvre) 的一句話：

常常覺得，它有一些存在你期待之外的

社會空他 ( 是指政府，還是不能被任何

感受，如果它一切都是和你所期待的一

人所控制呢？ ) 不能有由權力來控制而

樣，它就不會讓你有驚喜，也不會讓你

它們是由市民使用之後才能夠釋出力

覺得可以再次思考。

量。而且應該由市民，用象徵的方式或

的雕塑計畫，但是它更上一層樓。因

我現在給大家看的這個例子，是由

覽裡面總共有三個這樣的綠洲，每一個

為安陽把藝術跟文化作為這個城市的開

Raumlabor Berlin 所設計。這裡面包含

綠洲都有些許不同，因為它周圍的環境

接下來我給大家看的，是另外一個

不太一樣，可是它的目標都是一致的：

2009 年在沙迦雙年展出現的作品，由

備很多種形態也可以放在室內，但是真

提供休息和補充營養的地方。沙迦的城

一位西班牙藝術家 Maider López 所創

正好的藝術，真實的藝術，其實是來自

市景觀往往看起來就跟沙漠一樣的慘

作的，是一個足球場。藝術家在一個中

於藝術家跟觀眾之間的對話。所以，當

澹。在沙迦，我們看到他們蓋了建築，

庭設計了一個足球場，可是一般在街上

你在描述藝術的時候，你不能夠只是定

但是卻從來沒有思考建築物跟建築物之

會出現的公共設施，譬說街燈等，都沒

義成一個東西，它必須是一個過程，而

間應該有什麼樣的連結，所以我們感覺

有移走。所以蠻特別的地就是，它可能

且這個過程是可以創造、傳些信念的。

就像是有一棟棟建築物，可是中間就好

會阻礙你在這裡的功能性目的：踢球。

我們沒辦法設計出一個藍圖或是一個範

就是沙漠一樣，沙漠有時候是用來當停

可是，同時我們以發現，它是一個混合

本，說「好的藝術」就是這樣，主要是

車場。而這一些「綠洲」是由布魯賽

使用的空間，你可以在這裡踢足球、打

因為藝術要超出我們的期待。我也覺

發政策的重點，希望能夠將文化當作一個催化劑帶來改革，而且也希望能夠把觸角伸到其他的產業來共同合作。在 2005 年的時候，這裡設置了藝術公園，在綿延的山脈當中豎立了六十個藝術作品。我相信他們已經達到他們當初預設的部分目標，其中某一些目標已經達成了，但是，一個藝術園區它其實也是一個博物館，只是名目不一樣，它是需要

商店、酒吧、圖書館、餐飲業跟表演場所。在這些不同的結構之間，建築師跟使用者之間能夠不斷地交換意見，形成一種良性的互動。我認為這個計畫最有意思的層面，是讓市民能夠直接參與，與來自韓國以外的國際藝術家合作。因為來自一個不同文化的藝術家會帶來一些新的因素，有的時候來自同樣文化的藝術家比較沒有辦法帶來新的刺激。

醒，並充實我們的公民生活。

我要講的另外一個東西是，雖然藝術具

營運，需要有人來管理，就跟一個博物

在這裡，最後的這兩張投影片是來自於

爾（Brussels）一個叫做 office 工作室

板球，或者是在這上面散散步。這樣的

得，藝術在人生當中是有它的功能，如

館 / 美術館一樣。在接下來幾年，這個

沙烏地阿拉伯的沙迦 (Sharjah)。在我

的設計師所設計出來的。我剛剛也提到

一個藝術影響了整個都市的情境，它讓

果今天我們覺得藝術只是在一個建築物

組織改變了他們的作法，現在是以流程

這次造訪台灣之前，因為沙迦雙年展

這些綠洲主要是讓當地的居民他們可以

這個空間可以重的被當地的市民佔領，

面，像是博物館裡面才能夠存在，那我

是實體的方式來再些空間。因此透過藝術品，我們其實可在讓大家重的思考，公民主義是什麼，也可以帶來對美的質疑。謝謝。

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Art and Public in Asian Cities L ew i s Bi g gs

Last time I came for Seed Projects 3

message about art. It is a great ambition

probably visit the museum only once.

entertainment. But as this notice makes

fact that most of the art they have is not

and shared my experience in Liverpool

and a huge challenge to make art that

They are visiting the museum because

clear, tourists are an inescapable part of

good. Unfortunately it is not possible

Biennial, Liverpool as European Capital

lives in the hearts and minds of a large

it is a tourist attraction in the city where

the bigger picture, a part of the public for

to hide the bad art in public space.

of Culture in 2008 and some examples

public. And that is why it is so exciting

they are a tourist (not becausethey

art. And tourists need to be civilized.

My criticism of most art outside the

of public art in Liverpool. This time I

when a business or a patron or even

are interested in art or art history).

would like to talk about Art and Public

a government decides to commission

This is one reason why the purpose

in Asian Cities with my experience and

art outside the context of the museum

of museums in the developed world

observation in Asia.

or gallery. The opportunity for artists to

continues to move (as it has over the last

Just now I am working in Nagoya, Hong

Figure 1: ARTWORK AHEAD, Sydney Biennale 2008

Kong and Shanghai. But my love of Asia is more than 25 years old: my first

create a dialogue with the public that is about experience of contemporary life

in 1986. As Director of Tate Liverpool

what art is. In a museum or gallery

Art and Public in Asian Cities? My talk

I worked with Fumio Nanjo on an

we expect to see art: in the street we

today is about the whole larger relation between art and its publics.

expect to see reality. I have become

art from South Korea to be shown in

space because in public space art can

the UK. As a curator, my interest has

question reality. In the museum, art is

always been about how to be the bridge

constrained to question the idea of art

between the artist and the public. I ’ ve

or the history of art. In the museum,

also trained many curators – to be expert

art cannot escape being art, whereas

in art but also expert in‘public ’ .

in the street it can exist in its own right – it doesn ’ t even have to be called art.

b e

b ri d g e.

Museums are a recent invention – none

people playing games surrounded by murals, and collection of stones for

a museum often, so it is much more

So, how to build a bridge between

increasingly focused on art in public

intervention in the subway. There are

aesthetic appetite, drinks dispenser for

determined by our existing ideas about

exhibition of Japanese art in 1989. In

people who are not tourists: a cultural

(not contemporary art).

visit to Asia as a curator was to Japan

1991, I selected the first exhibition of

30 years) away from education towards

There is also a public that is local:

Tourists are a part of the public. In many museums of modern and contemporaryart, tourists form the largest part of the visitors. They will

physical appetite. Local public may visit Figure 3. 4: LOCAL SUBWAY STATION GWANG JU, SOUTH KOREA

open to education by the museum. This public may‘civilize itself ’through the museum. But locals not valued by business, maybe, because locals don ’ t spend as much money as tourists. The international cultural tourist and the local

form than content. Strong on aesthetic image, weak on engagement. It shouts but has nothing to say. My criticism of art that is targeted at local people is that it has more content than form. Strong on engagement, weak as form. It has something to say, but it is poorly expressed. The most successful art in public space happens at the intersection of the international and the local. It has a strong form, as well as a strongly engaging content. ’

of the public that art may address. in between, but these are maybe the two most important. Most art in public space – I should say‘art outside the

of the great art of the past was made

museum context ’- is targeted at one

to go in a museum. It was made for a

or the other of these two categories of

to see. It is very hard to see what we

purpose whether domestic, religious or

public. Most art in public space around

don ’ t already know. Our expectations

ceremonial that was integrated with life.

the world is not very good. Most art in

are formed by the context in our heads

Many artists – once they feel they have

museum collections is not very good.

and the context of our bodies – our

conquered the market and the museum

The difference between the two is that

mental and physical surroundings. What

- want to reach a larger public with

museums normally keep most of their

we are able to see in a museum is

some message about life rather than a

collections in store. They can hide the

Most of what we see is what we expect

international audience is that it has more

citizen are the two ends of a spectrum There are many categories of public

Figure 2: CIVILISED BEHAVIOUR OF TOURISTS IS ANOTHER BRIGHT SCENERY

museum context that is targeted at an

Figure 5: OKAZAKI CITY CASTLE – HISTORIC GUARD TOWER - AND PHONE BOX

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OK AZAKI CIT Y CASTLE Here is a creative idea – how to get a telephone box (symbol of 1960s globalization) to look like a piece of local heritage. I hope this was not someone ’ s response to the slogan:“Think global act local. ” Internationalism and localism in public art has been illustrated very

However, in one place, an international

Now I am going to talk about some

work. Effectively the Himalay as Art

outlook joined with a local initiative. The

cases of Asian museums and also

Museum is an empty shell. There is a

contemporary art. A good integration of

small rural area of Echigo Tsumari began

some cases of art in Asia outside the

collection of ink painting, and some of it

local and international.

a Triennale and commissioned artists of

museum context, from the point of

can be seen in the restaurant beside the

good international reputation to make

view of how successfully they address

museum. Is it a monument to a planning

site specific art, some of which remained

the public, international or local; and

deal, whereby the city government

on site after the end of each Festival.

how successfully the artworks add an

agreed to a open a Metro station at this

Quickly it built a reputation as the Asian

imaginative dimension to the reality in

development in return for the‘cultural

equivalent of Europe ’ s Skulptur Project

which they are placed.

gain ’ of a museum on top of the

simply by the story of Japan in the last

Munster. The effect of the Triennale

25 years. In the 1980s, the boom in real

has been to slow down the migration

estate and development meant that

of young local people to the cities, and

shopping mall? At this moment there H i m a l aya s PuD on g,

Mu seum,

Shang ha i

many property developers placed art in

also to put Echigo Tsumari on the world

public space, or even designed public

map of visual arts, bringing new cultural

space so that artworks could be shown

This building is on top of a Metro station

tourists. So this is my proposition –

and shopping mall, and it was intended

there like a sculpture park (outdoor

that good art comes from the right mix

museum). During this time, many large

to be open for the Shanghai Expo in

of local engagement with international

scale artworks – mainly by Japanese

2010. It is a part of a mixed development

outlook. But the mix will be unique in

but also by some non-Japanese artists

of housing, shopping malls and hotels

every instance. And usually the process

- appeared in the street as if the street

by ZenDai company. The Himalayas Art

is difficult, because difficulties challenge

was a museum. When the property

Museum was partially open during 2012

everyone to do their best.

for an exhibition of Tony Cragg ’ s work

boom ended, and the economy went flat, business no longer supported art in public space, but the government began to give grants for art to communities

toured by the British Council, but now Figure 6: Himalayas Museum, PuDong, Shanghai / Organizer: ZenDai Company / Designer: Arata Isozaki

asset to introduce visitors to unfamiliar

Toyota Mu seum

o f

Art

Again, a use of traditional arts and crafts Figure 9: Toyota Municipal Museum of Art / Designer: YOSHIO TANIGUCHI

is no public and a badly constructed

is to create a context for the acceptance of contemporary art. Not many visitors when I have been there, and mostly

monumental building. SuZhou Museum, China Figure 7. 8: SuZhou Museum / Architect: IM Pei

Muni cipal

IM Pei ’ s family roots are in SuZhou, and

local. But Toyota is not a big city, and certainly not a tourist city. It is an integration of local and international.

so he was happy to be asked to design this museum to fit into the urban context of the old town. As a town with a rich cultural history, with good collections of antiquities, SuZhou attracts many tourists, Chinese and international. A museum collection was opened

it is closed, and it ’ s not clear whether

to the public in 1960, but the new

it will reopen. ZenDai company has

building was inaugurated in 2006. A

collections of ink painting and also of

new museum showing antiquities was

at a local level. During this time, a lot

contemporary art. From 2005 until it

always going to have an audience, and

of art was made at a local level, most

moved to the Himalayas development

on the three occasions I have visited,

of it by artists with no reputation in the

the Zendai Museum of Contemporary

the antiquities rooms are always

museum, and very little of which had

Art formed a part of a shopping mall in

much more populated than the rooms

any impact, even on the community for

the western part of PuDong. For the last

devoted to contemporary art. But the

which it was commissioned. Neither

year of its operation there it operated

sensitivity of the building, that makes

of these situations produced very

as an art supermarket selling multiple

use of traditional aesthetics to provide a

much interesting art for public space.

editions of mainly three dimensional

bridge between old and new, is a great

Guan gd on g Museum,

T i mes

GuangZhou

A branch museum of the Guangdong Museum of Art was founded by the

Figure 10: Guangdong Times Museum, GuangZhou

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Times Property Company in 2003 –

Tokyo, which is housed in a towering

often struggle to create a public for what

Art professor Lily Yeh (Ye Lei Lei) at a

small valleys are planted with crops,

effectively it was an education

building, sandwiched between the Mori

they do, or to meet the expectations

conference. From 2006 to 2009, the

with rice in the wetlands. There are

programme of the main museum,

Department Store and the Observation

of their publics when they have them,

artist collaborated with Dandelion ’ s

several old farmhouses, canals and

operating in a residential suburb. The

platform at the very top of the building.

whether‘the public ’is thought of

faculty and students on a campus project

other structures. Farmers carry on their

idea for a permanent museum building

Visitors who buy a ticket to the

as local people, tourists or even the

called“Spiritual Transformation through

activities, herding sheep, weeding,

came from a discussion in the second

Observation platform are able to visit the

government. The question of a public

Environment. ” Yeh guided the design and

planting, harvesting, threshing, and

GuangZhou Triennale, 2005. It was

Museum without further payment. The

for individual artworks is the same as

realization, and tried to create a balance

built to the plans of Rem Koolhaas

assuring the campus continuity with

museum and its public are somehow

between free expression by participating

and opened in October 2010 as the

for museums. Now I will discuss some

the past. In retaining the architectural

defined by the department store and the

children and some unity of design. It

Guangdong Times Museum. The

examples of art outside the museum

features of the agricultural landscape

observation platform.)

was influenced by the papercuts of

the designer paid tribute to an influential

Shaanxi folk artist Ku Shulan, and the

school of painting from the 1980s from

symbolism of the museum is clear – it is a parasite on a housing development.

Rockbund Art Museum, the Bund,

A vision by an international architect is

Shanghai. Conversion by David

about how to reach a local audience. It

Chipperfield architects.

is literally supported by the housing on which it sits and its public live between the entrance foyer on the ground floor and the exhibitions rooms on the top floor. The website says“we hope to prove that a residential building block could absorb the commercial, cultural

Rockbund is a real estate and development company that has been entrusted by Shanghai City Government with the preservation and revitalisation of the heritage area immediately behind the Bund in Shanghai. This private,

and social content of urban life, as well

independent museum is housed in

as inject innovative and diverse vitality

a building from the 1930s, which

within. ”It includes artist residency

was the first museum in Shanghai.

programmes.“ Aims at reaching beyond

At this moment it has no collection,

canonical programming to nurture

but it is building a reputation as the

creative processes and cutting-edge

best museum of contemporary art in

context. Dandelion Middle School, founded in

students ’own artworks. Murals were

May 2005, is Beijing ’ s first officially

inspired by stories familiar to students

registered non-profit school created

and teachers portrayed in these paper

specially for the children of migrant

cuts, in particular that of the“tree of

workers. After it was built, the school

life. ”The“tree of life ”is a reference to

and its environment were in poor

a mosque mosaic in Damascus, and the

condition. The school ’ s principal, Zheng

blue and green colors that dominate the

Hong, met the environmental artist

murals have an Islamic quality. Overall

and Philadelphia University College of

the process of art creation brought to the school a more diverse educational

the Sichuan Academy of Fine Arts, which emphasized that leaving things as they are is not only a tradition, but a way of acquiring knowledge of prior generations. My critique of this example of place-making through art is that the quality of construction is poor, and that the details overwhelm the image (gestalt). It is focused too much on Figure12.13: Sichuan Academy, ChongQing, China

experience. I would say that the artwork Figure 11: Dandelion School Bejing

engagement with or learning from an

is good for its context – profound effect on the school – but its context prevents it reaching a big audience.

preservation of the local, not enough on international outlook.

hillsides as a basic context for the site design. The school buildings were

Beppu is a famous tourist town attracting

The Sichuan Academy of Fine Arts,

constructed over the 11 hills in the area,

Japanese and foreign tourists mainly

practices in the area of art, design and

Shanghai (and possibly in China) through

Huxi Campus, covers 165 acres within

without any excavations or landfills.

on account of the hot springs baths and

architecture. It endeavours to discover

a rigorously curated exhibitions program

Chongqing University Town, on land

No tall buildings are visible on campus,

nightlife. Beppu Festival is a biennial arts

the potential“contact zone ”between

and an energetic education program. Its

originally known as“Huxi Wujiagou

and no two buildings are the same.

festival. The artist Qiu Zhijie made use of

contemporary art and the public ”

central location means that it can benefit

Village Community 7. ”The campus

The landscaping of the campus aimed

the hot springs to create a new artwork

(There is a comparison here with the

both from tourism and from late night

plan leaves the natural topography

for continuity with the past. There are

from split bamboo. It is a local materials

Mori Art Museum in Rippongi district of

culture for local people. SO – museums

undisturbed, using the slope of the

ivycovered walls, and the hillsides and

but an international outlook

Urban Symposium 1 1 1

Figure 14: Beppu Festival 2012 - artist Qiu Zhijie

Another public art example from OKAZAKI CITY CASTLE: Okazaki Castle Clock. For tourists, it to demonstrate the

industrialization. In 2002 the Anyang

artistic program for the third Art Project,

Art City 21 initiative intended to

2010, took a process-based approach. It

transform the city into a pleasant and

was titled Cities Temporary—Societies

environmentally friendly place to live,

Nomadic, and considered new patterns

full of culture and arts. Anyang Public

of nomadism among city dwellers in

Art Project was established in 2005. It

Korea. According to Park Kyong, director

is a multi-year plan to focus the entire

of APAP 2010,“Everything, from civil

city through art. The model is a little

complaints to everyday life can be art.

like Skulptur Project Münster, but it

We will showcase ...public art that is

goes further since Anyang has placed

of the citizens, by the citizens, and

art at the centre of its civic policy,

for the citizens. ”Although all APAP

trusting it to be the catalyst to drive

2010 projects and structures were

transformation and reach out to other

temporary, the aim was to allow the

sectors for collaboration. The first

possibility of their ideas, designs, and

APAP, in November 2005, began with

plans becoming permanent. Many of

construction of the Anyang Art Park,

the community workshops and activities

featuring over 60 works spread over

used citizens ’knowledge to initiate and

two of the Gwanaksan foothills. A park

develop projects. For instance, Laurence

is a museum under another name.

D“Butch ”Morris (an American jazz

But the approach has developed - the

difference between an artist ’ s approach from an open, independent commission, and a government commission to a local

musician, composer, and conductor) created an improvisational orchestra

Figure 17: Anyang Public Art Project, Anyang, South Korea

drawn from Anyang ’ s population, while the

craftsman. The craftsman produces

Berlin-based group Raumlabor created

what you expect. Qiu Zhijie ’ s artwork is

Open House, a structure containing

what you don ’ t expect, and it stays in

shops, a bar, library, restaurants,

the mind as a question mark.

and performance space. The most

Anyang is a rigidly planned satellite

direct involvement of citizens with

interesting aspect of the project is the

Figure 15.16: Okazaki Castle Clock

city 25 km south of the South Korean

international artists, and this is what is

capital Seoul. It suffered from negative

likely to produce more good quality art

perceptions following intensive

as the project continues.

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Urban Symposium 1 1 1

Shar jah Oas es

– th e

cit y

Designed by OFFICE (Kersten Geers David van Severen) Brussels based. Three different oases, inserted into the grid of the old city, in response to demand by people working in the Suq, and attending the Mosque, wanting somewhere to rest and talk sheltered from the sun. The Mosque oasis has

the gridlines of a football pitch. Invited

because every situation is different. The

back for the Biennial in 2009, Lopez

curator Rosa Martinez, writing about

recreated Football Field, this time

Maider Lopez for the collection of the

including Fountain, a temporary public

Guggenheim Bilbao, 2009, paraphrases

drinking fountain. She painted the lines

the position of the French philosopher

of a soccer field in red, adding goals on either end. Because pre-existing features such as benches and street lamps were not altered, the square became a hybrid multi-purpose public space that accommodated different ways of

drinking fountain. The Square oasis has

experiencing the square and offered new

a juice bar, mostly used by families and

uses and structures of urban spaces.

children. A third Oasis is enclosed by

Again, such a thing would not have

walls and contains a circular space with

happened without the intervention of an

seating and forms a secluded garden

artist. The art is a critique of the status

for talking. Local and international input.

quo, asking for more consideration for

Art has achieved something that would

the needs of citizens. An international

not have happened otherwise – no

form taking energy from local needs.

concept of civic space in Sharjah, where everything belongs to the Royal family.

Fo otb al l Maider

F ie l d

Lo pez

S har jah

–

for

B iennial

2 0 0 9 Spanish artist Maider Lopez initially

Figure 18.19: Football Field – Maider Lopez for Sharjah Biennial 2009

Con clu sio n It is a characteristic of good art is that we can return to it again and again and learn something new each time. This capacity to surprise and refresh results from the fact that this quality of art does not match our expectations.

brought her interventions to Sharjah

Good art is not an object or a series of

as part of the experimental residency

objects. It is a process through which

Lab Project in 2007. It was during this

a set of beliefs is created. Good art is

residency that she first transformed

produced by a complex of processes.

Sharjah Museum Square by introducing

It cannot be produced from a template,

and sociologist Henri Lefebvre: Social spaces cannot be conceived of and imposed by power; rather, they emerge when used by citizens and, above all, when physically and symbolically reinvented by them. Hence works of art can contribute to the aesthetic questioning of the urban landscape and the reinvention of the concept of citizenship.

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Urban Symposium

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移動美術館的趨勢湯瑪斯．克倫斯

各位女士先生，大家午安。謝謝策展人

斯．比格斯先生的演講當中，我們看到

十八、十九世紀，我們看到美術館出

我們一直認為，當代藝術就是西方藝

說，我們看到的是一個「根本不存在的

傳達的理念並不是很樂觀。藍色的曲線

胡朝聖剛剛的介紹，另外也感謝立偕建

公共藝術在哪裡出現，為什麼會出現，

現，它會把很多藝術品結合在一起，成

術，然後認為這才是全球的一個主軸。

希臘」。這是現今的博物館仍然在做的

代表觀眾，還有收入，跟觀眾所帶來的

設股份有限公司的張巍懷總經理邀請我

以及它們的效果。這些都是一個很好的

為一種社會消費。後來，在十九世紀中

可是當我們看到，在台灣過去五十年，

一件事情，我希望未來博物館的創辦人

收益。在六〇年代、八〇年代，曲線是

來台灣。昨天晚上我們一起渡過了一個

例子，其實文化現在已經變成我們生活

期到現在，我們看到大部分西方的文化

以及在中國最近二十五年到三十年之

試著去捕捉真實，這是藝術最重要可是

往上爬的，也就是利潤超過成本。但是

很棒的夜晚，認識了台灣的博物館館長

不可或缺的一部份，這是事實。而在過

機構，也就是我們現在認為很有名的博

間的改變，我們可以知道，事實上，

卻最難做到的一點。我們的博物館、美

這個斜度的成長大概是通貨膨脹率的兩

們和藝文界的人士，非常開心能夠來到

去 25 年間我一直參與的工作，就是去

物館，像是羅浮宮或是美國的大都會博

二十一世紀當代藝術它是一個全球性的

術館，要如何在一個空間內來達到這樣

倍到三倍，它是沒有辦法持續的。也就

這裡。

定義美術館它應該是什麼樣子，以及它

物館，它們一直按照相同的方式來運作

事情，而且它未來應該會有更廣泛的參

的目標是很重要的。

是說，觀眾跟利潤的曲線遲早會趨緩。

可以變成什麼樣子屬於裡。今天請演講

及制定博物館本身的內容與形式。

與面。另外還有一句話就是，藝術它會

當與策展人溝通講題時，我們討論到此次的展覽主題 - 移動美術館，我認為這是一個非常有意思的展覽概念，並且以某種方式呼應著我的主題。雖然我沒有

內容中一部份已翻譯成中文，現在演講大綱可能會有一些錯誤，我在這裡先向大家致歉。不過從投影片中，大家可以瞭解我今天想表達的故事。

真正參與移動美術館的經驗，但是在職

我在古根漢的時間有 20 年之久， 1937 年古根漢成立的時候是在紐約五十四街的一個店面裡。後來， 1959 年，畢爾包古根漢誕生了，因此，在我們看來，

吸引或是追逐著錢跟權力。我們看到很多美術館，它的成立可能也是與這點息息相關，你需要花很多的錢才能夠蓋好的美術館，才能夠蓋萬里長城還有紫禁城，才能夠蓋在台灣的故宮。所以政治

另外，在 21 世紀初，我覺得美術館除了必須完成傳統上的蒐藏、保存、維護研究與展示功能之外，還要肩負作為社會文化交流媒介的責任。也就是說，美術館等文化機構應該好好地組織我們的

那麼，博物館進行收藏和保存、展示，吸引觀眾進來參觀，還有培養所需要的專業能力所耗費的成本曲線遲早會超越利潤曲線。根據我們對它們的了解，綠色的部份基本上是告訴我們這些機構在不久的將來會遭遇到危機。因此，我們

業生涯當中，我曾經看過一些相關的展

首先，要跟大家談一談所謂普世的真

古根漢它是有時間的演變，什麼事情皆

覽。所以，我認為移動美術館代表著一

理。這些普世真理，是這些年來我所獲

需隨著時間而演變。

跟財富，它是會影響到藝術跟文化。

化上的藝術品，是需要「超越時空」的：

必須要了解這個危機和機制，開始思考

我一直都很喜歡 1950 年代法國作家，

必須超越它原本的情境、時代。因此，

美術館應該要怎麼樣去調整應變以因應

另外，文化的紀錄是無限且無止境的。

也是法國文化部長安德烈．馬爾羅

我覺得美術館必須要了解這樣的理念，

未來的危機。

剛剛路易斯的演講當中有提醒了我這點，我們看到公共空間，它事實上就是一種

（André Malraux）所說的一句話：「今

第一個是「文化」，它就像是生物學，

無止境的論述或記述。另外，我也相信

天的美術館建構出來的是一個並不真實

是我們的 DNA，也就是說人類在有歷

觀眾是最重要的。藝術屬於大眾，觀眾

的希臘。」他的意思是當我們參觀古典

史開始，就一直在尋找能夠將百科全書

必須了解藝術是為大眾而生的。當然並

美術館的時候，也許雕塑看起來都是白

裡的物件全都放進去的建築物。在十九

不是說藝術不能為小眾而創作，但是我

色的，材質像大理石，可是事實上，很

世紀，它好像又變成一種聖殿，基本上

們必須了解藝術的存在，事實上，主要

多希臘雕像原本是彩色的，但是因為這

我接下來要跟大家分享我對於美術館的

自六〇年代以後成長率相當的驚人，一

首先，談到博物館的時候，我們可以去

就決定了它未來的一個命運。我的意思

目的是屬於大眾。在八零年代後期、九

些物品經過了兩千年，色彩都已經掉

一些分析與評論。我大概是在一九八〇

直到雷根執政時期的一九八〇年代。但

想一想過去、現在跟未來。今天我的演

是說，十八世紀之前，我們未見過公

零年代初期的時候，我曾經寫過：認定

了，我們現在把它們放在博物館的玻璃

年代早期開始思考美術館，也就是我將

是從雷根時期以後就開始下滑，這個情

講不會是一個非常廣泛，然後全面地討

共美術館，甚至在 1789 年之前，羅浮

二十一世紀當代藝術只屬於北大西洋區

櫃裡，我們所看到的形象及對那個時代

進入紐約古根漢的時候。當時我畫了一

況不僅在美國發生，歐洲也是如此。也

論博物館文化的一個演講。剛剛從路易

宮它都是一個私人的財產。可是，到了

域的假設，是一個不能持久的觀念。

的想像，事實上是不真實的。也就是

張圖表，這個圖表非常簡單，但是它要

就是公家機關開始把贊助文化的責任從

種說法，即美術館正在一個進化的過程中的，我花了一些時間發展全球化美術館的概念。尤其對於一種模式相當有興趣模式，先叫它「百貨公司式」的博物館好了。希望大家會覺得今天的演講能為大家帶來一些收穫。

得的一些洞見，把這些洞見連結在一起，它們使我更深入的參與美術館這個領域。

文物。但是同時，我們也要知道這些文

並將之放在美術館的核心概念。最後，我要強調的是，當我們進入一個美術館的場域時，其實是一種詩意、身體上的感受，也就是說，藝術品跟觀眾應該是有某一種互動跟連結。

而今政府對藝術的補助也正在下滑，這是在全球各地都出現的情況。美國國家藝術基金會（National Endowment for the Arts, 簡稱 NEA）是美國補助文藝活動的主要機構，它成立於 1965 年，

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Urban Symposium

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紐約古根漢美術館 Guggenheim Museum New York

公部門轉移到私部門。我要提出來的批評是，就像大部分的社會政策之下的文化機構一樣，美術館

旦買進就不會再賣出」的收藏政策，現

規模很大的畢爾包古根漢、比較小的柏

爾包這個城市有六十萬人口，在第一年

同合作的一些新作品。柏林的古根漢只

完全改頭換面，具有全新意義的的一座

在必須要做調整，美術館才有可能生存

林古根漢，還有非常拉斯維加斯風格的

的參觀人潮就有 140 萬人，在其後的

有一間展間， 42 公尺長， 15 公尺寬，

跨時代的美術館。

下去。

拉斯維加斯古根漢，還有阿布達比的古

15 年，平均來講每一年都有 110 萬人

但在 15 年的拓展下，我們的委員會大

根漢，是一個將在 2017 開幕的非常大

以上來參觀。所以，畢爾包的古根漢美

約執行了 25 個來自世界各地的當代藝

規模的博物館。

術館奠定了「古根漢」作為一個國際性

術家所提的藝術創作計畫，讓我們在當

組織的基礎。它的設計讓它能夠發揮一

代藝術的領域中發揮真正的影響力。

它也是會隨著時代的需求去演變的。這

我剛剛提到開發中國家的政府部門越來

種百科全書式的美術館時代已經是過去

越重視文化發展，因此我們要面對一套

式，也許在十九世紀時是可以的。譬如

嶄新的現實狀況。現在，我要跟大家分

在 1959 年底，我的第一個任務就是擴

說，像大英帝國他們會派探險團到埃及

享我在古根漢的親身經驗。

建在第五大道和第五十九街的紐約古根

去，然後從埃及蒐集古物回來，建立像大英博物館這樣的機構。然而，現在這樣的情況已經不復存在了。那這意味著什麼呢？也就是說，現代的博物館或是美術館會扮演越來越重要的角色──創

我在古根漢基金會擔任了整整 20 年的主席，我被賦予的責任就是要找到古根漢博物館未來的發展策略，如何從二十世紀跨入二十一世紀。在這裡，我們可以看到這個策略的精髓，我們把一

漢，基本上就是擴建紐約古根漢在第五大道後方的建築物。大部分的人都知道，這是美國非常有名的建築物之一，但是體積卻相對的較小。我們在維也納有小規模的基地：佩姬．古根漢美術館。所以在此時我們希望古根漢可以

些其他博物館所不能發揮的功能。藝術

古根漢在這四分之一世紀以來非常成功地塑造了它的品牌，建立起廣大的網絡，並構築自身的收藏，包含說服手中擁有重要印象派作品的蒐藏家把作

2001 年，古根漢在美國拉斯維加斯

品捐出來給古根漢，像是這幅 1906 年

開了兩間美術館，第一個是古根漢姆

Picasso 的作品；還有藝術家安迪．沃

愛爾米塔什美術館 (the Guggenheim

荷（Andy Warhol）、羅伊．李奇登斯

Hermitage Museum in Las Vegas)，擁

坦（Roy Lichtenstein）也都有把作品

有大概 800 平方公尺的展示空間，展

捐給古根漢。或者是像從拍賣會上或畫

牆是由特殊的鋼料材質構成，此設計讓

商手中購得威廉．德庫寧（Willem de

供足夠的空間來展示作品？如果不是的

我們可用一種強大的磁鐵來懸掛作品，

Kooning）的作品；還有以七百萬美元

話，那麼藝術家是不是應該要調整他的

是建築師庫哈斯（Rem Koolhaas）的最

作品，使它能夠被展覽空間容納？但是

佳設計之一。展場空間有七十乘以 60

從另外一個角度來說，畢爾包古根漢不

公尺，挑高 25 公尺。在如此大規模的

是一個普通的展場空間，它非常長，也

展場裡，幾乎什麼樣子的作品都可以展

有足夠高度（約 25 公尺），並且蓋得非

示，不管作品的尺寸或規模有多大。而

常良好，足夠承擔龐大的重量。所以畢

在 1995 年，我們開始了阿布達比古根

爾包古根漢所做的事情，就是提高了

漢建置計畫，目前還在進行當中。畢爾

「美術館的可能性」，並到達另一個新境

包有兩萬 8000 平方公尺，在阿布達比

我們藏購了許多美國極簡主義藝術家的

家理查．賽拉（Richard Serra）的作品：《時間問題 The Matter of Time 》，是一件由鋼板所構成的雕塑，全長共 17 公尺，加起來總共有 42 個鋼板，重量超過 1200 公噸。這件作品提出了一個假設性問題：美術館是否有義務跟責任提

造未來的博物館，並和現在的博物館

個由法蘭克．洛伊．萊特（Frank Lloyd

中做出區隔。還有蒐藏的政策，特別是

Wright）設計的一個建築物、博物館，

當代的藝術作品，它們已經不能夠以過

加乘的變成七個博物館。我開始以一種

去的模式來進行了。為什麼呢？因為當

嶄新的模式來思考博物館跟美術館，也

代藝術作品的規模和尺寸越來越大，而

就是如同剛剛胡朝聖策展人所提到的，

且運用的科技有時候相當複雜，或是它

那就是「移動博物館」的新觀念。在

使用的材質是可分解的。所以，這些作

一九九〇年代早期，我們會提出古根漢

品的維護費會越來越昂貴。如果收藏是

系列的宣言：「古根漢不只是一個地方，

一個單向道的話，譬如像在之前的古根

它是一種觀點，古根漢是你能夠想像的

漢，只要買進來的收藏就永遠不會出

一切，它是大眾文化的一個領航者。」

當然，不得不提到西班牙畢爾包的古根

界。另一個例子是柏林的古根漢，在畢

則有 51000 平方公尺的空間，規模非

作品，同時我們也委託來自世界各地不

售，那麼有朝一日美術館藏品可能會沒

它建議了博物館架構應具備彈性，以及

漢美術館，它是 1997 年由建築師法蘭

爾包古根漢開幕後的兩個禮拜也開始對

常龐大的空間也包含這些錐體下的空

同的藝術家幫我們完成作品，讓其成為

有辦法繼續維護下去了，因為美術館無

它如何親近大眾並思考自身角色。最

克．蓋里（Frank O. Gehry）所設計的。

外營運。它坐落於柏林市中心鬧區的舊

間，是由建築師法蘭克．蓋里（Frank

古根漢的永久蒐藏之一。所以蒐藏品的

法負擔收藏成本。所以，政策就一定要

後，產生了一系列的古根漢：紐約的古

它的確是世界上最傑出的建築物之一，

銀行，是一間德意志銀行跟古根漢的合

O. Gehry）所設計的。如果依照原訂的

建立對美術館來說是非常重要的，同時

改變。我們過去認為神聖的準則：「一

根漢、在威尼斯的佩姬．古根漢美術館、

而且從任何角度來說都非常的成功。畢

作計畫，展出畢爾包古根漢與藝術家共

計畫跟規格蓋起來的話，將會成為一個

也是發展博物館網絡的重要關鍵。古根

擴張到三倍之大，我們必須釋放出更多的空間，或是取得現有建築物四周的地產。擴建空間之後，參觀人數也因此從 1989 年大約六萬五千人次成長到去年（2012 年）的四十五萬人次，所以，我們確實是由威尼斯中央水道飲食街市中的概念，並利用其優勢來擴張我們的文化品牌。

購得的羅森柏（Robert Rauschenberg）在 1998 年的作品。還有為了紐約古根漢跟畢爾包古根漢，所購買的作品，這件作品是在 1962 年完成的，長達 30 英尺，我個人覺得是一件非常棒的作品，我認為對於美術館來說，這樣的作品應該可以考慮列入收藏。

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Urban Symposium

城市座談 1 1 1

畢爾包古根漢美術館，法蘭克．蓋里設計 Guggenheim Museum Bilbao, FRANK GEHRY designed

漢身為一個典型的二十世紀文化機構，

年。而這位神父甚至也飛到紐約來參加

這種全球性的文化呈現方式是一種好作

圖表給我們的啟示是應該要把「China

的 5%。也就是說，中國的文化活動有

是因為文化的需求而驅動，而且全球化

展覽的範圍也很重要，我們舉辦了很多

我們的展覽開幕典禮。除此之外，義大

法。現在我們已經來到了一個新的世

中國」的標題，改成「大中華區」的

超過四千億的產值，它可能是博物館，

的網絡也會隨之建立起來。因為這是因

當代藝術家的回顧展、研究展，包含

利藝術家凡妮莎．比克羅夫特（Vanessa

界，新的世界就等同於一個新的計畫。

整體文化發展。我們現在看到所謂的

可能是卡通產業，或者是當代藝術產

應大勢之所趨，將各個所提到的重點把

羅森柏（Robert Rauschenberg）回顧

Beecroft）也曾在紐約古根漢作展演；

為什麼說是新的呢？它是有全球性的，

大中華文化區，還有在這裡所發生的

業，這是我們不容忽視的力量。

它連接起來，並去解讀它的意義。我認

展；研究俄羅斯前衛藝術的展覽 Great

還有法蘭克．蓋里（Frank O. Gehry）

互相連結的。大家可以想像二十年內世

文化改變跟現象是前所未有的。也就

Utopia；紐約藝術家丹．弗萊文（Dan

也做了建築，當然我們也作了時尚展，

界起了多麼大的變化，我記得第一隻手

是說，大家現在所處的地理位置是絕

Flavin）為了紐約古根漢展出的「光·

比如阿曼尼（Giorgio Armani）。

機在 1992 年出現，它是一個二十磅重

佳的，因為重大的改變都在這裡發生。

的盒子，拿著扛來扛去非常重。但是，

雖然我剛剛被提醒說，關於政治文化

現在大家人手一機，還有各種行動裝

的討論對於台灣的觀眾來說會比較敏

置，也是在很短的時間內有非常大的進

感，但是，在 2011 年十月，中國的

步。現在我們都能夠享有同樣的資源，

中央十七屆六中全會審議通過了關於

我們需要更有效的資源配置，需要更好

「深化文化」的目標，也就是文化產業

的品牌導向，而且大家對市場也更有興

的振興。我認為美國政府絕對不會從

趣，有高度的市場需求，這些是我們在

這個角度來思考文化。但是無論如何，

這個新世界裡所面臨的新機會。

在這個大會上產生的最高政府決策中，

創作展」；或是「中華五千年」這個我投入許多精力的展覽，該展覽由一位藝術家作了一件裝置，另外從 75 間博物館借了大約 340 件展品，展出非常的成功。當然還有摩托車的藝術展，這是有史以來在博物館裡最棒的摩托車展覽，當然也因此飽受批評，但因為我本身也是摩托車迷，所以我不特別在意。另外還有伊斯蘭的珍貴文件展，還有一個「巴西：身體與靈魂（Brazil：Body and Soul）」的展覽，其中展覽品包含了一座教堂裡的神壇。這個神壇位於奧蘭達（Olanda）小鎮的一間教堂裡，高度有 28 公尺。大家可以想像把它包裝起來，從教堂裡面運出來、裝箱，然後運送到美國的過程。也想像一下如何跟神父協

但在這裡最重要的是，這一些展覽都有很大的規模和非常專業的研究。就像摩托車的展覽就有六個策展人，他們將自 1868 年有摩托車以來，從第一次申請到摩托車專利以降的每一個摩托車的製造商列出，選了 140 家廠商，然後訂定了非常嚴苛的標準，從技術、設計、社會影響等各層面來選擇展品。做時尚展是因為我們將時尚視為文化中重要的

我們看到人口有很大的變化，我覺得

一環，同時認為時尚設計師也是最有

這是非常有趣的。在沒有多久以前，

創意的設計人才。例如設計師 Giorgio

2008 年全球的藝術市場交易，其中只

Armani 具有長遠且非常成功的職業生

有百分之九是在中國所進行的；四年

涯，所設計出來的作品也是包羅萬象，

後，有百分之三十是在中國進行的。這

所以我覺得這樣的主題完全可以作為一

告訴我們什麼呢？這告訴我們，資源重

種博物館型態的回顧展來對大眾展出。

新分配了。而且，這也象徵著大家都知

商，跟他們借這座神壇展覽一年。我們

古根漢的網絡讓我們可以進行像我們剛

是怎麼做到的呢？我們有力說服他們，

剛提到的計畫。一個展覽從紐約到畢

並答應協助他們整修因白蟻問題而損壞

爾包，再到柏林，還有其他更多的地方

的修道院，所以順利借到了神壇展出一

巡迴，透過這個網絡的經驗，讓我了解

道的原因：中國很龐大，是不容忽視的一股勢力，中國的勢力是大家必須要面對，而且要合作的。我們開始進軍大中華區的時候，這個

決定「文化」會成為中國往前走的一大

所以總結來說，發展中國家的政府在政策當中有一項宣言，就是學習借鑑世界優秀文化、積極吸收外部人才和資本、落實國家關於非公有的資本，和外資進入文化產業的有關規定等等。主要是向最佳作法學習，不管這個作法是在哪裡，能夠把最佳作法內化，把它帶到更高的一個層次。像這樣子的一個宣言，必須受到重視，因為它基本上意味著部

為在本地區如此看重文化的發展，對於藝術品的交易或是創造，都是很大的好處。那麼，未來的博物館可以重新定義它的運作政策和模式，當我們去思考博物館時，現在所能夠想像出來的博物館形象一定跟五十年後的跟一百年後的博物館很不一樣。在「後古根漢」時代，我們要看的是什麼樣的策略？因為我剛剛說，古根漢它是九〇年代的產物，它

屬資源、發展資源、動用資源，那我認

不屬於二十一世紀。「後古根漢」的策

為，這是對大家都有好處的。

略，基本上它是要仰賴全球網路，它是市場導向。我有另外一個概念，是我叫

支柱。所謂的「文化」是一切跟創意

所以，在這裡要下幾個結論，發展中國

有關的媒體、出版、娛樂、視覺藝術、

家的政府，會越來越歡迎市場導向的創

文化事業、博物館等等，這些都是可以

意解決方案，這是基於社會的需求、文

放在「文化」這個大標題之下。而在

化的需求。所謂的文化需求，讓我退

首先，我們可以看到全球文化資産管

內部來說，內部的動機就是要去承認

一步來說，也就是社會和民眾會希望能

理（GCAM：Global Cultural Asset

經濟的效益。對內當然是說要加強中

夠有參與文化的機會。文化活動可能是

Management）美術館計畫在經濟上跟

國的軟實力，也希望能繼續跟世界各

一百年或兩百年的時間所發展出來的，

美學上的成功。事實上全球文化資產管

地進行文化交流。那麼基本上，在這

但是在中國或是其他開發中國家，會把

理公司（GCAM）是我在離開古根漢之

裡提到 2010 年文化產業的產出值約為

這一百年、兩百年的發展史濃縮為幾十

後由我所成立的公司。GCAM 美術館

GDP（國內生產總值）的 2.78%，而

年，讓文化能夠更快速的成長，而且一

的計畫它的成功與否完完全全要取決於

到三年以後的 2016 年，則會到達 GDP

直會有新的模式出現。而這個新的模式

觀眾，如果大家會來的話，它就會成

做百貨公司模式的博物館概念，我待會跟大家介紹它的意義。

1 1 1

Urban Symposium

城市座談 1 1 1

柏林德意志古根漢美術館，理查德．格魯克曼設計 Deutsche Guggenheim Berlin, RICHARD GLUCKMAN designed

功，大家不來的話，我們這個計畫就會

供資訊。另外，美術館要跟社群以及周

國就像是迪士尼一樣，吸引了大量的旅

車站連結位置的正中間放入一個文化立

來我們的美術館，是因為你想要看一看

天井，然後天井的光線可以照到劇場、

失敗。在這樣的網絡當中，我們所說的

圍鄰近的地方能夠有連接，因為任何一

客。十八、十九世紀時，大型歐洲城市

方，因此在去年邀請我們到維也納看場

蘋果的商品。當然也許等到你來的時候

咖啡店還有美術館商店，以及其他任何

博物館或是美術館的重要性，是取決於

間美術館不能夠僅吸引只造訪一兩次的

會有很多獨立的火車站，比如說巴黎的

地並提出建議，而且很快地採納了我們

已經換成三星，或是其它大家喜愛的品

訪客所需要的設備。當你身處其中，抬

什麼樣的元素呢？首先，它是不是很有

觀光客，我們希望除了觀光客之外，它

北站營運通往北邊的路線，另外還有東

的建議。

牌。飲食空間我們選擇了 Eataly，一間

頭往上看就可以看到天空。我們的中庭

規模，很能夠吸引住大家的目光；再來

可以是在地居民常常會回來的地方。

站和西站，車站們彼此之間並沒有互相

在紐約有很名的義大利連鎖餐廳。另外

還可以像在紐約古根漢一樣，放置蔡國

我們也希望能夠像古根漢美術館一樣，

強的大型作品。在頂樓有一個非常大的

有個很大的中庭，還有像法國龐畢度藝

展覽空間，沒有任何的隔間，非常高挑

術中心（Centre Pompidou）有一層又

而且四周圍都是玻璃，使得你可以在看

一層的電扶梯，所以我們也希望能夠把

展覽的時候，肉眼同時可以看到很美麗

電扶梯的概念放在建築物的前端，讓你

的維也納風景。這裡也很適合晚宴活

可以直接看到廣場。而我們的入口必須

動，大家應該記得我們一樓有蘋果專賣

是在稍微地面下的地方，使用的模型就

店面和 Eataly 餐廳可以配合，事實上，

是羅浮宮的玻璃金字塔。去過的人都知

現在紐約中央車站也開了蘋果專賣店。

道它下面是一個大的購物中心，這個也

我們做了一點市場調查，Eataly 受歡迎

是我們剛剛提到的概念，像是「百貨公司」的模式；此外，它的建築必須是具備高衝擊力、低成本，且必須是大家都可以識別的；它的內容必須是世界級的展覽，它也要提供劇場還有表演的節目；另外它也要有零售、購物還有餐飲的部份。事實上很多人的休息時間都是花在「文

我針對未來的博物館概念寫了一段話，但就不在這把它全部念出來，我將部分翻譯成中文。不過，剛剛我所講的這種全球性的、都會性的美術館，它是一個百貨公司的概念，今天大家可以想像每一層樓都有不同的展覽，以前的美術館可能同時只有一個，但現在我們有十個、十一個，垂直安排於各個樓層裡。

聯結，乘客也不會總是經過這個地方。比如說：要去倫敦的話就會去北站，去羅馬的話就要在南站上車，乘客再次造訪該車站可能是一兩個月之後因為在次造訪同樣的目的地的時候。維也納在過去也是如此，車站與車站間並沒有互相串連。可是，十年前它們決定把三個大車站做一個整合，在 2014 年新的車站

我們提議把這個立方的尺寸再增加一倍，所以它比周圍所有的建築物都要大出許多。它是一個每邊 59 公尺的一個立方體，下面還有一個廣場。我們大概花了一個月的時間來設計建築的藍圖，最後我們希望內部的空間可以非常龐大，所以它的地面很廣，大概是 4500 平方公尺。它大概有六層樓，另外，我們也希望能夠有地下空間。要怎麼樣把

也許你今天去這個博物館或是美術館是

會開始運作，也就是說在未來，乘客不

這個立方體弄得非常的特別，而且有屬

因為你想看六樓當代中國美術的展覽，

需要換站就可以從第一站一直坐到目的

於自己的建築特色呢？所以我們就想

或者是墨西哥的藝術作品，也可能是當

地。未來在此地也會有地產開發計畫，

代藝術家的展覽，或是任何一個你想看

由某家銀行所支持，還有政府的部門，

的展覽。這就是我所謂的「全球都會性

以及奧地利國家鐵路公司（OBB）這個

美術館」的未來面貌，你甚至可以把展

公共部門的加入，所以這是一個公私部

覽用自己的方式在外部的樓面上宣傳。

門合作、合資的計畫。

現場，然後透過網路得到最深入、最周

另外，全球文化資産管理建立了一個美

在開發計劃的基地附近是奧地利美景

全的資訊，假使你是一個對所有事物都

術館網絡，我想特別選其中的兩個部份

宮博物館（Österreichische Galerie

很好奇的人，都可以透過網路從你的手

來跟大家介紹，一個在維也納，一個大

Belvedere），它是一座皇宮美術館。這

機當中馬上得到你想要的知識。而且這

陸的長沙。首先我們看到維也納文化立

座皇宮可以說是奧地利最受歡迎的博物

些資訊能以不同語言呈現，滿足每一種

方美術館（QBC）。我們知道維也納是

館之一，它跟我們提到未來三站整合的

語言使用者。它將完全按照你的需求提

一個文化重鎮，對於十九世紀的奧匈帝

位置非常近。這個地產開發計畫希望在

化」之上，今天如果你要去美術館的話，最好也能夠在那裡購物，如果那裡有兩三個好的餐廳或是可以喝東西的地方會更好，甚至於未來的美術館搞不好是統一超商，二十四小時都營業的。另外，它也有一種所謂的虛擬美術館概念，也就是說，你可以將你的手機帶到

到「品牌打造」這樣的概念，我們是不是可以把相關的展覽的名稱都 Show 出來？有一天，我坐在自己的客廳，看到我面前的一疊書，我想到我們要的就是這一種效果：「一疊書」的效果。所以我們稍微做了一些調整，在做了分析之後我們發現這個設計其實不需要高額成本，但是卻可以讓我們的形象更加鮮明

是我們剛剛要強調的購物跟文化的連結性。而在入口的部份，我們也可以設計一個有建築師法蘭克（Frank O. Gehry）風格的魚。於是，有這麼多當期展覽的字樣，然後又有「魚」的加入，我們的形象就會非常鮮明，大家就會知道從魚的入口處下去就可以購物。事實上這個魚的入口高度非常非常的高，有 30 公尺，大約是九層樓的建築物高度，所以

的原因是除了吃東西，你也可以在那裡買最新鮮的蔬菜、水果以及紅酒，它是一種娛樂，而且隨時隨地都是門庭若市的地方。所以在維也納，我們將所創造出來的是一個新的聚落，新的文化熱點。我們把未來的車站總站改造成一整個美術館，它將會變成一個非常蓬勃的區域。

它絕對不會看不到。也許可以把這部分

接下來的第二個例子是長沙的美術館。

設計成日本餐廳，這絕對是一個好的想

大家應該知道長沙在湖南，它大概有

在零售的部份，我們的地面層可以有蘋

法。另外，因為魚要在水裡面，所以我

八百萬人口，長沙最喜歡的人物是毛澤

果電腦專賣店，讓科技方面的粉絲願意

們四周圍要有湖水，它也可以變成一種

東，因為毛澤東是長沙之子，在這裡我

清楚，就是將字面打在外牆立面上。

1 1 1

Urban Symposium

城市座談 1 1 1

阿布達比古根漢美術館，法蘭克．蓋里設計 Guggenheim Abu Dhabi Museum, FRANK GEHRY designed

Mobile Museum Trends T h om a s K r en s

們可以看到他的雕像。在長沙，他們正

另外有個像巨大盒子的空間，是和維也

球視野的。我覺得我們跟當前的很多想

When we were communicating back and

I’ m going to focus on is something that

the extended or expanded palace that

forth with the curator, Sean Hu, the title

I spent about 25 years learning about

more or less fulfills its structural destiny

of his exhibition, which I saw yesterday,

and doing, which was trying to define

sometimes towards the end of the 20th

the place, the mobile museum, was

what an art museum is, and what an art

century. What this means in regular

在進行一個很大的地產計畫和人工湖的

納 QBC 的頂樓類似的展覽空間。另外

法相比稍微有一點超前，可是我覺得

建造計畫。這個地產計畫裡面將提供住

也有幾個是可以針對湖南在地藝術品的

我們已經相當成熟。希望大家喜歡我剛

宅給大約 35 萬名住戶。另外，在最重

展覽空間，因為任何的美術館都應該能

剛分享的理念，這些是正在進行中的概

an interesting concept and somehow

museum could and should be. It ’ s a very

language is that prior to the 18th century,

the mobile museum worked in with

specific small part of the cultural field.

public art museum didn ’ t exist. In fact,

要的中間部份的建築物，以國際競賽的

夠結合在地跟國際。還有一整層我們稱

念。我們聚焦於未來的美術館或是文化

方式競圖，最後由國際著名建築師札

之為「全球平台」的地方，在這裡我們

機構，關注他們該怎麼組織，以及他們

哈．哈蒂（Zaha Hadid）的設計勝出。

將世界分成三個部分：亞洲（也就是遠

的功能是什麼等議題。

梅溪湖就是我們剛剛所提到的人工湖，長約 3 公里。在過去它其實根本不存在，完全是由人工所打造出來的。這裡有表演場地和我們的美術館。大家看到美術館最新的模型是由我們團隊和建築師一起做的空間與內部設計規劃。美術館的空間約有三萬六千平方公里，比畢爾包的古根漢美術館還要大上百分之三十。我剛剛所說的表演廳空間則有四萬七千平方公尺。另外，這裡也會有蔡國強的裝置作品，大家知道我很喜歡蔡國強的作品，因為他的作品尺度可以讓大家體會到整個挑高空間的高度，另外還有路易斯．布爾喬亞（Louise

東地區），還有非洲和美洲，這些區域

my topic. Although I have no real experience with mobile museum, but I have come across several instances in my career. I thought the mobile

謝謝大家的聆聽。

museum is a version of the concept of

I want to begin with what I call the universal truth. This is over the years, perhaps a series of sayings and insights that have occurred to me that I have linked together in a series that begin to

都有永久的典藏品，而且會非常的平

a museum that is evolving, and I spend

均，讓大家能夠知道在世界各地的文化

some time developing the concept of

define the kind of the feel of activities

global museum. And in particular I ’ m

that I am involved in. The first has to do

interested in something that I called,“the

with the notion that culture is biological,

department store museum ” .

or it is part of the human DNA. Human

寶藏。不同的顏色標示不同展覽館的分布，這個內部空間我們把它設計成非常大規模的，最高的有 15、16 公尺高。它真的是一間很有震撼力的美術館，25 年以來我的設計經驗完全濃縮在這一件作品裡。我們也跟設計團隊和長沙政府有非常密切的合作關係。現在所簽的協定是由我的團隊幫他們做開幕，以及做典藏品的設計。我希望互相合作五年，但是他們希望我能至少做十年，我真的很難想像十年內都要一直去長沙。

beings for all of the recorded history I am going to tell you a little bit about

have found ways of abstracting their

an incomplete story, a work in process,

relationship to the environment by

and it involves things I am working on

making objects, and that sometimes

with few colleagues that really address

have a completely non-utilitarian

the notion of: What is an art museum?

function. But culture is around us, and

What social purpose and function does

the experience and the richness of the

it have? Who is the audience? Who

human experience and the depth of our

does it serve? What could it look like? I

existential understanding of life does

also want to stress in particular that this is not necessarily meant to be a broad kind of didactic essay on everything

depend on the intensity of our encounter with art. So I think that is a given.

prior to 1789, the Louvre was a private house. By the 18th to 19th century, this notion of civic or public institution that ensembles the collection for collected objects of material culture for social consumption was a notion that began to gain some attraction, and probably from the mid 19th century certainly through the present, most western institutions that we recognize as great art museums, like the Louvre, the British Museum in London, or the Metropolitan Museum in the United State, they founded, expanded and they flourished. It pretty much set the style and wrote the rules by which museums were organized. And another thing that I have observed over time is that things change, obviously. I was at the Guggenheim museum for twenty years. In 1937,

that takes place in the field of culture.

Another view has to do with the western

the Guggenheim was founded for the

I think what Lewis has showed earlier

notion of the art museum, and I‘ve said

first time in a storefront on East 54th

Bourgeois）的作品。用剖面圖大家可

不過，我在這裡要讓大家瞭解的是這種

this afternoon about the manifestation

from the beginning of my tenure, even

Street in New York. And 60 years later,

以看到這些空間的連結，它雖然不是像

模型的樣子和這樣的網絡的建立，是我

of public art, where they occur, and why

before I was at the Guggenheim, that

the Guggenheim museum in Bilbao

剛剛先前提到的百貨公司的垂直展覽模

們公司在過去五年一直不斷地去發展、

they occur. It is a very articulate example

the public art museum is essentially a

happened. So, there is a continuous

式，但是也有類似的想法。我們有一些

鞏固的成果。它是一種共享資源、共享

o f th e de gr e e to w hi c h cu lt ur e i s

18th century idea, which is the French

evolution that takes place with all of our

increasingly becoming a part of our daily

notion of the encyclopedia. In the 19

institutions, and museums are hardly

展間特別為設計展和時尚展出所設計。

典藏、共享活動的作法，而且它是有全

existence and that part is a fact. What

century,“Box ” , which is pretty much

immune to that.

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Another truth is that cultural narratives

proofs that is a fact that art is a human

fundamentally artificial. What Malraux

displayed or experienced and vice versa.

them, are going to be facing a crisis

no longer possible. What this suggests is

are infinite and endless. Through

activity, a global activity, and it will

was saying, conjuring up an image of

Those are the universal truths, kind of a

sometime in the future. It would be best

that contemporary art is going to play a

watching the images that Lewis

be distributed probably throughout

Greece that never existed, is one of the

point of departure.

to understand that crisis, understand

greater role in the creation of the future

was showing us earlier, how cultural

the world. And the future is going

things that our museums do, which I

manifestations in public spaces are

forward. There are also more mundane

interpret is to give license to the creators

continuing to appear, but I think

concerns of another statement that art

of future museums that being able to

this notion of infinite narratives is a

tracks money and power. Most cultural

capture authenticity is both the objective

fundamental part of cultural potential and

institutions that have been built over

of art and most illusive possible element

cultural possibility. I am also a populist

time have been a function of the civic

of art making. How a museum operate

in this notion. I believe that art is for

social personal regional economic power

in that space is a fundamental question.

the masses. Audience is critical and

in certain area or entity. It has always

Another idea to begin the 21 century

that art museum is in particular have to

been true; it took money to build great

is to incumbent on art museums to act

serve an audience, and it doesn ’ t mean

museums; it took money to build the

that they shouldn ’ t exist if they don ’ t.

I am next going to talk for a few minutes about the analysis of art museums. Where that might be going and this was a perception that began to develop in my consciousness probably in the early 1980s, when I first began to think

the mechanism and begin to think

museums and in the current reality

about how these institutions would

of present museums. The third point

be changing. From some evidence

in the critique is that the museum ’ s

from time to time, governments, in

collecting policies, particularly with

the developing world at least, really

respect to contemporary art, are

wanted to get out of the the art support

physically unsustainable. The reason for

business. Now you see, this is the early

this is that works of contemporary art

graph as I was about to move to the

graph that I did at the NEA(National

are bigger than ever before. I mean that

Endowment for the Arts in the United

artists work in scale, and they work with

responsibly, as an agents of agitation ,

Guggenheim in New York. It is a very

States), and you can see it ’ s founded

technologies that are fairly complicated

Great Wall of China, or it took money

social information and cultural change,

simple economic graph that basically

in the early 1960s. It had a fairly radical

and they work with materials that

Those institutions that will grow, thrive

to build the Forbidden City, or it took

and even as they fulfill their tradition of

doesn ’ t tell a very optimistic story.

growth until the Reagan ’ s administration

inherently degrade. Therefore, for those

and survive, they have to address the

money to build the Palace Museum here

collection, preservation and protection

Essentially, it says the audience, which

in the 1980s. Since then there ’ s a fairly

works to enter a museum collection is

demands and concerns of the audience.

in Taiwan. Therefore, political power

of scholarship with regards to objects

is the blue line, and all the revenues

precipitous decline, and it has become

increasingly becoming more expensive

less and less significant. It is not only in

to take care of them. It is certainly an

about art museums. I actually drew this

Some of these truths, which I did not

and wealth have a relationship to the

of material culture. This is putting

that these institutions generate in the

write these in the last years or so; they

development of art and culture. I have

an obligation on cultural institutions

1970s, 1980s and most of the 1990s

the United States, also in Europe. It is

one-way street in the Guggenheim.

have more or less evolved, and I think

always been attracted by the statement

to organize how we experience the

was a fairly substantial upward curve.

very prevalent in public institutions that

Works came into the collection and

this is something that I ’ ve written

that André Malraux made in 1950s

product of creative activity. At the same

They tend to stay ahead of the cost, but

are political institutions are looking for

never leave the collection. Sooner

for the first time in the late 1980s to

that“our museums conjure up for us a

time, while they are organizing it to

since it was growing and that curve, or

more ways to transfer responsibility for

or later, the collection is going to be

early 1990s, and that to assume that

Greece that never existed“, and what

try to understand how these objects

the slope of that curve, was probably

the support of culture from the public

unsupportable, simply going to get

sophisticated contemporary culture

he was referring to is that we go to a

were created; they were created to

at a 2 or 3 times rate of growth or even

sectors to private individuals. I am not

bigger if the museum is successful. All

in the 21st century is the province of

major institution and we see classical

be transcended objects; or created to

the rate of inflation. It was unsustainable

going to spend a lot of time on this;

of this suggests that there has to be

the North Atlantic is an unsustainable

Greek sculpture and it looks fairly white

be a version of reality with something

that sooner or later audience was going

basically the critique is like all social,

a change in policy. What was thought

concede, meaning that links back to

and ivory and pristine on a pedestal

different than how it was known.

to level off and the sheer practical

political, economic institutions and

of as a violation, a sacred fact, was

culture being biological. Although there

in a box. But almost all of the ancient

believe that museums have to internalize

activity that takes place in a museum of

structures, art museums evolve over

that you could not sell or deaccession

are many western institutions with the

Greece sculptures and architectures

that lessons or message. And finally,

preserving the collection, presenting the

time in respond to shifting realities, and

works of art is something that museums

western notions of contemporary art and

were polychromatically; they were

having to do with the architectures of

collection for public consumption and

the age of the assembling historical

have to more and more get used to,

is somehow the center of this activity,

painted. Therefore, by taking an object

art museums is a notion and I ’ ve spent

a degree of professionalism that was

encyclopedic museum collection is over.

particularly with contemporary art. Of

is simply unsustainable. Certainly what

that is 2000 years old with all the paint

some time with architects designing our

acquired was going to mean that the

It was possible in the 19th century, for

course I talked about despite relatively

we have seen taking place in Taiwan

that has fallen off and to put it on a

museums, as spatial experience in an

cost curve that was going to over take

the British to send expeditions to Egypt

strong and growing demand that

over the last 50 years, or in China over

pedestal inside the museum in a glass

art museum is a form of physiological

the revenue or demand curve. The little

to bring back examples of classical

governments in developed countries

the last 25 or 30 years. The important

box; it creates an impression or creates

poetry. In other words, the art must

level is of the green basically suggests

antiquity, and that then became the

want to get out of the culture business,

consciousness of art making sort of

an image of the time and place that is

speak to the space in which it is

that these institutions, as we know

foundation of the British museum; this is

and that there ’ s a whole set of new

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realities that we are going have to look

and a Guggenheim in Las Vegas and

about 1.1 million in the 15 years since

used the Guggenheim Museum Bilbao

square meters of programmable space

art, and commissioned Richard Serra

at. Now I want to talk about my specific

a Guggenheim in Abu Dhabi, which is

then. The Guggenheim Museum has

mainly to commission new works. It

that includes the spaces under this great

and artists from all over the world, which

experience at the Guggenheim for a

huge and will open in 2017. In the 1950s

in many ways defined the future of

was really only one room, which is 42

cones that Frank Gehry designed, where

includes Nam June Paik ’ s installation

few minutes. I was the director of the

and the early 1960s, the Guggenheim

the Guggenheim as an international

meters long and 10 meters wide, and

works of art will be installed, but it ’ s

from 2004 and became part of the

Solomon R. Guggenheim Foundation for

actually opened at the end of 1959 on

institution, and it has also allowed us

over the span of 15 years, we have

truly if it is built to original specifications,

Guggenheim ’ s permanent collection.

20 years exactly. The time I was at the

the 5th Avenue and the 89th Street,

to do things and it was designed to do

commissioned around 25 major works

a museum like no other kind, and

Building the collection is actually

Guggenheim, I was in charge to come

in New York City. The first thing that I

things no other museum could do. This

by contemporary artists from all over the

changes the whole physical concept of

an important part of developing the

up with the strategy for the Guggenheim

had to do was to build a new addition

is a commission we bought this work

world. It was hugely successful for its

what an art museum is and can be.

museum network. And then of course

in the future at the end of the 20th

which was basically the box behind

by Richard Serra, called“The Matter of

ability to augment the Guggenheim ’ s

century to the beginning of 21st century.

the Guggenheim on 5th Avenue, and

Time ” , and those are steel plates. The

collection and to make us a real player in

This graph, it pretty much captures

of course, most people know it as one

steel plates are each 17 meters long,

the contemporary art world.

strategy was to build the network in

the essence of that strategy. We took

of the greatest buildings in the United

and all together there are 42 steel plates,

States, but it ’ s a relatively small building.

and together, they weigh 1200 tons.

And there is the Guggenheim Las

been successful at rebranding the

one building, one museum, the Frank Lloyd Wright building, and somehow it multiplied into seven museums at

We have a small outpost in Vienna, the

one point. I also began to think about

Peggy Guggenheim Collection. So the

the museum in a new way, and this

time I was at the Guggenheim, it tripled

intersects back to some of the issues

in size, and it was either we leased or

that Sean has raised with the concept of

acquired the properties adjacent to the

the mobile museum. We came up with

building on either side and behind it. So,

in the early 1990s with this kind of series

the Peggy Guggenheim Collection ’ s

of statements: ” the Guggenheim is not

attendants went from 65,000 in 1989

a place, the Guggenheim is a point of

to about 450,000 last year (2012). We

view ” ,“the Guggenheim is anything you

certainly have taken the advantage of our

could imagine ” , and“the Guggenheim is

foothold on the Grand Canal in Venice to

the agent of popular culture ” , and what

expend our cultural offerings. Of course,

this is suggesting is a flexibility in the

the Guggenheim Bilbao is probably the

museum structure and how the museum

reason that I am here. Guggenheim

approaches its audiences, and how the

Bilbao became very famous. It opened

museum understands itself. Ultimately,

This raised a hypothetic question for art museum, which is that if an artist makes a work like that , is there an obligation that the museum has to provide a space for that work to be shown, and if not, should the artist be adjusting their vision in terms to the space that accommodate it? I want to point out it ’ s not a usual gallery that gallery is 134 meters long and can take 1200 tons of steel and it ’ s 25 meters at its highest point. Therefore, one of the things that the Guggenheim Museum Bilbao does is it raises the whole possibility of what art museums

So, one part of the Guggenheim ’ s almost over 25-30 year period. It has

Vegas; we did two museums in Las

Guggenheim. At the same time, building

Vegas in 2001. The first is called the

the collection was also important and

Guggenheim Hermitage, and it has

that range from persuading wealthy

about 800 square meters of exhibition

collectors who had impressionist works,

space and the interior walls are made of

like this early Picasso from 1906, to

Cor-Ten steel, and works of art are hung

give their works to the museum. Also

on the walls with powerful magnets. I

persuading artists like Andy Warhol or

for the exhibition range, from what you might expect for a classical 20th century institution like the Guggenheim, we did major retrospectives of a huge number of contemporary artists from all over the world, like Robert Rauschenberg, we did historical surveys like the great utopia, the Russian Soviet avant-garde, we did amazing installations, this a Dan Flavin installation just for the Guggenheim in New York using only light.“China: 5000 Years ”was how I got involved

think it is one of Rem Koolhaas ’best

Roy Lichtenstein to donate works to

buildings, and at the very same time,

the museum and buying occasional

in another part of the Venetian Hotel

paintings, like this Willem de Kooning

complex; this is a museum, by the way,

from the dealer or an auction, or buying

inside a hotel, and of course which is a

this historic Robert Rauschenberg

was a huge success, and of course with

statement of itself. It is a hotel originally

painting for 7 million dollars in 1998.

, which is “The Art of the Motorcycle ”

with 3500 rooms, and now has 9000

For both the Guggenheim Museums

the best exhibition ever of motorcycles in an art museum. We did Islamic art

in programming this part of the world. We haves to borrow from 75 museums throughout the world, for 340 objects. It

could do to another level.

rooms. It is a big hotel. It is one space

in New York and Bilbao, this is a work

of essentially 70x60x25 meters, where

that was done in 1962, and it is about

from various private collections, and this

in 1997, and the architect is Frank Gehry

The opposite of the Guggenheim

we could do anything in any scale in

30 feet wide, and in my opinion, it is

is actually one of the most ambitious

this led to a series of Guggenheim

it is indeed one of the most extraordinary

Museum Bilbao is the Guggenheim

contemporary art. And finally, beginning

Rauschenberg ’ s greatest work ever,

exhibitions we ever did; it was called the

museums. There is a Guggenheim

cultural buildings in the world and by any

Berlin. It opened 2 weeks after Bilbao,

in 1995, we started working on the

which is one of the things that art

, and this picture “Brazil: Body and Soul ”

Museum in New York, there ’ s a Peggy

measures, it has been a huge success.

in the ground floor of a converted bank

Guggenheim Abu Dhabi , which is now

museum should always be thinking

is an altarpiece from the Benedictine

Guggenheim Collection in Venice, a

Bilbao is a city of 600,000 people, and

building, on a very busy thorough-fair

under construction. The Guggenheim

about in terms of their collections. We

Monastery of Sao Bento de Olinda of

Guggenheim in Bilbao which is big, and

the first year, the attendance was at

in Berlin. It was a joint venture with

Bilbao is about 28,000 square meters,

bought 300 works of the Panza di Biumo

Pernambuco, Brazil, and that altarpiece

a Guggenheim in Berlin, which is small,

1.4million, and it has the average of

the Deutsch Guggenheim Berlin. We

and this building actually has 51,000

collection of the American Minimalist

is 28 meters height.

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Imagine packing that up and taking it

that you could imagine. Giorgio Armani

long time ago, total transaction activity in

commercial and economic implications.

be more open with innovative market

years from now or certainly 100 years

out of the church to put in boxes and

seems to me that through the length

the global art market, 9% of that global

The external was to strengthen China ’ s

driven solutions, and they will lead the

from now. So what is the Guggenheim

then shipping to the U.S. and imagine

of his career and the sheer velocity of

activity was represented by China. Four

soft power, as it continues to develop

way with political and social necessities,

strategy supposed to look like because

negotiating with the priest, by the way,

change that is represented by his career

years later, it is now at 30%. What this

relations with the rest of the world. It

the population, the society demands

Guggenheim strategy is already

to borrow the altarpiece for a year.

was a worthy subject for a full scale

suggests is resources, participation,

is very specific and predicted in 2010

cultural opportunities. The fact that it

obsolete. I mean it ’ s a product of the

We had to do that, and were able to

museum retrospective. The Guggenheim

global market, and the rise of the

the cultural output will take up the

took 100 years to develop this culture

1990s and not necessary for the 21st

do that by convincing them that we

network allowed us to do projects

development of institutions that China is

Chinese economy ’ s 2.78% of GDP and

activity or 200 years in the West, and

century. The post-Guggenheim strategy

will restore the monastery which had

like that because we are able to take

a force, it ’ s big, and it ’ s there. It ’ s not a

by 2016, which is only 3 years from

that ’ s all going to be condensing in

will be based on networks and the

termites. So yes, we restored the

exhibitions from New York to Bilbao to

force you could ignore. It is a force that

now, it will be 5%. It means cultural

this part of the world and to learn from

whole idea of exchanging resources and

monastery in Olinda and we borrowed

Berlin and beyond. The whole network

everybody has to work with.

activities in mainland China are now

these experiences and to concentrate

information. It will be market sensitive.

the altarpiece for a year and the priest

experience convinced me that this global

at over 400 billion dollars a year. From

on the focus to grow culture faster.

I have a specific notion that I called the

from the monastery came to celebrate

approach to organizing and presenting

anyway that you are looking at this, it is

Therefore, new institutional models are

department store model, which I will

the opening with this altarpiece installed

culture is clearly a valid approach.

a formidable force. Whether it ’ s part of

emerging. It will be driven by potential

explain.

a cartoon or a part in contemporary art.

cultural demand and global networking

It ’ s still a formidable force, and a force

will become the norm, as these ideas

that has to be worked with. There ’ s

are exchanged. As I ’ ve said in the

department store model is the financial

also a statement in this policy that was

beginning, this whole talk is kind of a

and aesthetic success. the GCAM is a

adopted to learn excellent achievements

work in progress and acts kind of like

project. i basically left themGuggenheim

of foreign cultures and to introduce

connect the dots for you at the end of

to set up an entity called GCAM,

external talents with technologies and

the day, because these ideas come back

which is the Global Cultural Asset

capitals and then to actively absorb

and forth of one to the other. I believe

Management.wWhat we do is design,

and learn the achievements of foreign

that this focus of cultural activity in this

development and operate museums.

cultures. In other words, basically what

part of the world would drive innovative

and build collections for museums

this policy is saying is to learn from

solutions and products and opportunities.

to use.tThe GCAM museum project

in New York. We also did performances,

When we sta rted working in the areas of Greater China, Tthis part of the world, this represents a kind of

such as with Vanessa Beecroft at the

Now, we ’ ve come to a new world, and

developed cultural activity. It is virtually

Guggenheim New York. We presented

this a new world with new opportunity;

unprecedented in a short period of

architecture, such as Frank Gehry. Of

it ’ s new for a variety of reasons, and it ’ s

time. It suggests that you are at the

course we also did fashion, with Giorgio

global and interconnecting. Experience

epicenter of a new cultural institution

Armani. But the important thing here

the changes that have taken place in the

and the transition that is taking place. In

is that all of these exhibitions were

last 20 years. I can remember the first

late October 2011, the communist party

done on a fairly significant scale with

mobile telephone in 1992 that came in

congress adopted a cultural industry

a uniformly high degree of scholastic

a big box and weighed about 20 pounds

reform plan, and I ’ ve never heard of such

research. Even for the motorcycle

to be carried around. Now everybody

a thing called the cultural industry reform

exhibition, we had six curators and we

has telephones or mobile devices. It has

plan. You know that I can ’ t imagine the

identified every motorcycle manufacture

taken place in a short time, and it means

U.S. government thinking about culture

since the beginning of the motorcycle

we are all connected in the same pool of

this way, but in any case, they developed

time, which was 1868, when the first

information, and there ’ s greater interest

and adopted a notion at the highest

patent for motorcycle was granted and

in resource efficiency, and bigger

level of the government that culture will

we selected 140. We tried to incorporate

interests of course in brands and market.

be one of the pillar industries. China is

as much as possible, with one each year,

The opportunities of the new world

going forward, and has defined culture

and we had a very rigorous standard for

are driven by the global interconnected

as anything creative, basically including

selection having to do with technological

resource efficient brand-driven market.

media publishing, advertiser, performing

innovation, design excellence, or social

These are some of the features that we

art, entertainment, visual art, culture fair,

impact. I also see fashion as an integral

will have to define in the museum in the

digital media, cartoons, art museums;

part of our culture and fashion designers

future. There ’ s a demographic shift on

are some the most creative people

the way In 2008, which is not such a

the best practices at where the best practices are, and try to internalize and then take them to another level. No matter what we are talking about, be it cement or steel. Making a statement like this have to be acknowledged, because it basically means resources are going to

First thing to notice about tha

Not only for the creation of the object,

will depend substantially or entire on

but the trading of objects, and for the

audience. if people come, they will

market for objects, which also means

be successful, and if people don ’ t, it

how museum is organized and what

won ’ t. It iss quite simple. Where the

museums do. My last point here is that

components of a museum in this kind

it is not necessary to be encumbered

of network is scale and spectacle, and

by the western notions of museums in

it has to be of certain scale. Some of

tradition. Museums of the future can

these ideas interconnect, and I will

will be for the benefit of everybody.

redefine the structures and the policies

get to that in a minute. tThe concept

which they operate, and is quite possible

that we are developing is for universal

everything ’ s called culture. The internal

In Conclusion, the governments in

what we think of a museum being now

global metropolis museums, and is

motivation was to recognize the

the developing world would probably

would not be what a museum will be 50

called the department store model. the

be deployed, developed, and I believe it

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Urban Symposium

城市座談 1 1 1

architecture is high impact at relatively

have toeo be connected to a physical

g o o g l e ma p , i s th at l i ke m os t b i g

developmentsand right in the middle

set each floor, which would increase or

fish,hthe Frank Gehry fish. This will be

low cost, and it has iconic architectural

location or what goes on around it. it ’ s

European cities in the 18th or 19th

they want to put a cultural manifestation,

emphasize the identity i decided that

a building in front of the new museum

identity. its content is world class

going to be based on multiple choice,

centuriey, train stations an, terminals

a cultural cubp, and whict was the point

we have to have destination retail on

with all these labels on it. your identity

exhibition programming, and must have

because my museum goer doesn ’ t go

were located the in the southern part of

last year for they to invitd us to take a

the ground floor of the museum. How

problem is solvedp People will go into

theatre and performance basis. it also

as a tourist only or goes once or twice a

the city for southern train routes. there ’ s

lood at it and make a recommendation,

about an apple store. the apple store is a

the fise to shop at the apple store on the

has to have what i called“destination

year. the museum goer that i am after:a

another station like a Gare du Nord in

which very quickly was readily accepted.

place holder, but the entire ground floor

ground floor. and is wila glow at night.

retail ” , because cultural consumption

a regular consumer and they come

Paris for thennorthern routes. there ’ s

we talked about taking the cube and

of the museum is an apple store.aAll of

this is not a small fish, by the way; ih is

ie part of the entertainment industry,

there because it ’ s part of their lif, and a

a station on the east and a station on

making it twice as big, so it would be

you techno geeks, you can come to this

30 meters hig , which is equivalent to a

and it is a part where people spent their

part of their social fabric.tI talked about

the west.tThey weren ’ t connected

bigger than everything around it. we

place, just because you can play with

9 story building.ePerhaps we could turne

leisure time. Ifyyou want to go to an art

the scale being important, and imagine

because people didn ’ t usually pass

eventually negotiated the parameters

the latest apple technology. or maybe

this into a Japanese restaurant, which is

museum, it ’ a good idea i you can also

a different cultural activity, a different

through if you are going from London

of this building to be 59x59x59 meters,

by the time we do it, it will be samsung

a possibility. Furthermore, the fish needs

do some shopping while you ’ re there,

special exhibition on every floor, wito

to Rome. You came to Paris at the Gare

more or lesP, plus the entire plaza

or maybe somebody else. At the next

water, so there will beea lake, and the

and it also has fantastic restaurants orr

not just one, but now there are 10 or

du Nord for one or couple of the days

underneathW We spend a month or so

door, there ’ s another retailing concept

lake is going toaturn in to a skylight, and

eating and drinking opportunities. maybe

11, and it ’ s vertically organized. you

or a week or a month. and then you got

organizing the building program figuring

called Eataly. for those of you who have

the skylight is basically going toa sit on

even the future of museums will be to

go to e museus, and you want to see

on the train station on South and you

out that we wane some very big interior

ever visited Eataly in Rome, there ’ s one

top of the lobby that will fee into tha

open 24 hours a day.iIt wile certainly

something on the 6th floor because you

went on to Rome. It is similar inaVienna,

spaces.tThe floor plan is about 3500

in Toky I thin, there is a couple in the

theater and a very big up-scale cafe, a

be defined in part by virtual museums,

want to see the contemporaryeChinese

but ten years ago they took a decision

square meters and the building is quite

U.S.rRetail has to be important.iI also

big museum shop, which will be another

and what i called the“virtual museum

art private collection, or you want to

of combining thre3 of there stations

tall. eventually, we wantathe room on

wanted to have amGuggenheim atrium,

shopping opportunity. f course, it will have all of the facilities you need to

super technology ” , and is th interaction

see the art in Mexico, or you want

and you seetwith tht traine merging

the top to be 13 or 14 meters high, and

not themexact Guggenheim atrium but

between the viewers and the objects

to see an exhibition of contemporary

together. the new train station will open

maybe 5,6,7 in some cases. W also

somethingslik? themGuggenheim atriud;

take care of the visitor. then when you

in terms of information. only one step

artists, and that ’ s what the museum is

in 2014, which will make a continuous

want to go down below, an. how do you

And like at the Centre Pompidou, I like

come down, you will be able to look up

away, where you can take your cell

going to look like. you can even capture

line, and you can go from Munich to

take a box, and make it architecturally

these escalators on the outside, where

through the rippling glass to see the

Belgrade, for example, without having

distinctive. We didn ’ t have an architect

you go and ges higher and higher and

building rising. the atrium can be used

phone tn learn everything you wanted

that diversity typographically.wWhat

to know. Even if you are the deepest

we working on now, we are actually

to change trains. you can go through

for this just yet, but we haveearchitect

higher. Some people go to the Centre

to instald wite works of art, like what

scholar about any object or anything you

working on seven projects, and i am

the station. but around the station was

in the house.wWe thoughk about

Pompidou just to take the elevators.

Cai Guo-Qiane did at themGuggenheim

going to show you two iIn what i called

a huge new private development that

branding, and could we put the title of

So you put escalators in the front, and

in New York, and at the very top of the

the GCAM museum network,ethere is

was being financed by banks. tThe

the exhibition that is taking place on the

you can look out at the plazt, anddthat

museum will be the biggest room of

one at the QBC Vienna and we are also

Österreichische Galerie Belvederp ’ is the

floor as part of the physical identity and

suggested maybe as the entrance of

all, which i called the Big box. It will be 13 meters high and potentially it will

see. it ’ s going ta be instantly accessible not even ct your finger tip, yol just need to whisper to your earphone that you want to know something and it ’ s going toabe interpreted and you will be able to learn and contextualizdrthe things you ’ re

going to look at the MeiXi Lake Museum

Belvedere palace, which is actually the

the presencs of the museum. one day i

the museum, not to be confused with

that we are working on in Changsha, a

best attended museum in Austria.yIt is

was sitting in my living room, and i was

the entrance of the apple store, should

havs no walls, but it will look out over

city in Hunan province or about 8 million

very closd to the development site. Like

looking an a pile of books. iIt occurred to

be below grade.eIn fact, the model is

everything else that ’ s around. you will

seeing.

people.,The one in Vienna is kind of like

most commercial developments, which

me that, that ’ s the design. the books,

theeLouvre, with the triangle in front

have this sensational vies of vienna

e 19th century Disne land for the Austria-

is a combination of government, in this

a stack of books, so we shifted a little

of theeLouvre, and a giant shopping

for as far you want to see. and you

this new museum concept is what

Hungary Empire, which attracts a lot of

case the national railroad management

bit, and we did an analysis and found

mall dow staire.iIt reinforces this notion

can do big contemporary art programs

i called“context synerg? ” for the

tourists. and the new thing happenind in

agency, called the OBn.tThis is a

out that actually it wasn ’ t going to be

of shopping and culture.wSo we still

in this space. it will bs a great place

immediately neighborhood it ’ s going to

vienna, we shall try to explainsthrough

kind of private public partnership

more expensivs to build this, to off-

needed an entrance

for special events in the night and for

how about a

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城市座談 1 1 1

Q&A 胡朝聖 × 湯瑪斯．克倫斯 × 路易斯．比格斯

cooperativo host activities.rRemember, we have an apple store and an Eataly on the ground floor.eAt the Eataly, we can do everything from shopping for vegetable,rwine, fresh fish to dinning at thre3 or fou4 restaurants. It is absolutely crammed all the time. I mean Eataly is entertainment.wWhat we are creating is clusters of activitiey inaVienna, and we are now creating a second cultural destination inaVienna by building in choices. This will be tha Belvedere 21st centuryeHaus new museum, ana I want to turn the railway station into an art museum. we ’ ll see about that. The second project will be my last example. Our second project that I am going to talk about is in Changsha, in Hunan Province, a city of about 8 million people. Changsha ’ s favorite son is Mao Zedong. They have a small statue of Mao on an island in the middle of the Xiangjiang River. In Changsha, they are doing a massive real estate project, and they have created an artificial lake. They are making a new eco-city master plan for a new sustainable city in Meixi Lake in Changsha that will provide housing for 350,000 permanent residents. Furthermore, they held an architecture competition to build a culture center, and the winner of the architectural design was Zaha Hadid, with a flower shaped museum and a performing art center, with some high-

rise commercial residential and office spaces. This is another state of the design development. We started to work for the MeiXi Lake, an artificial lake, and I am guessing the lake is about 3km long, pretty impressive. There was not a lake there before, and they built this lake. Our group work with the architect on the design and the planning of the interior spaces. Right now, the museum is about 36,000 square meters, which is 30% bigger than the Guggenheim Bilbao, and the Guggenheim Bilbao is pretty big. The performing art center is 47,000 square meters, and we installed a Cai Guo-Qiang work here; you can see I like to use Cai Guo-Qiang as a measure of vertical installation to give you some ideas of scale. While this is not vertical like the department store concept, but embodies some of the same ideas. We have creative galleries for design and fashion, and we created a big box, like the big box on top of the Vienna project, and we also created a gallery for regional and Hunan artists, because this institution must be global and local. We created a series of gallery spaces for special exhibitions, and a whole floor of what I called a global platform, where we basically divide the world into three parts. There ’ s Asia and the Far East, Middle East and Africa, and there ’ s Europe and the Americas, and each of these spaces for permanent collections will be approximately balanced to give an

impression of the cultural activities that take place simultaneously throughout the world. We designed these interior spaces to be of substantial scale. They will be at highest 50-60 meters high in the big box, but it ’ s really a powerful museum in many ways. It ’ s kind of condensing 25 years of museum design experience into one place, and we work very closely with the MeiXi Lake development team in the local government to do this and we have signed our first operating agreement, and my team will do the opening exhibition and to help them do the collection and we will probably be operating the museum for, I want to do it for 5 years, but they are arguing for 10 years. In any case, I think the important thing here that am trying to say is this model of a network is a model that we ’ ve been actively involved in developing for the last 5 years, and it ’ s one of shared resources and shared collections and shared programming, and it ’ s basically global in its function. TT Ierthatwith of ,Ifurther chats afterward. I hope you ’ ve enjoyed some of these insights that I ’ ve said to be work in process. It ’ s incomplete but also very much involved with a specific focus on what and how these institutions in the future might be organized and functioned. Thank you so much for your kind attention this afternoon.

胡朝聖第一個觀眾的提問是給比格

管他們處於哪個文化當中，要怎麼去

期跟創意的可能性，也就是邀請藝術

斯先生。『從您的策展經驗或是旅行

協助解決困難。這就是為什麼我今天

家，以設置藝術作品跟展覽的方式來

觀察中，在亞洲看到的藝術家與環境

來到這裡，因為我在十八個月前接觸

解決問題。而這些藝術家設計師，他

間的互動是怎麼樣的回應？與歐美藝

到種子計畫，種子計畫提供機會給藝

們結合起來激發出來的創意是非常驚

術家在處理相關議題上的手法，是否

術家，同時以協商的方式來克服種種

人的。那麼很多關於空間的干預，如

有些差異？』

的挑戰，並且以非常在地化的方式來

果不是因為法蘭克．洛伊．萊特（Frank

處理在地的問題。

Lloyd Wright）的建築設計，是不太

比格斯謝謝您的提問。這是一個範圍很大的問題。我認為世界各地的藝

希望有回答您的問題。

新的想法，且不設限的話，也不要太

術家常常關心同樣的議題，他們有他

執著在「藝術必須在一個中立的盒子

們自己的方式和想像力。但是在世界各地，不同的是什麼呢？「官僚」。今天不管你在哪一個城市，鬧區看起

胡朝聖下一個問題給克倫斯先生。『古根漢美術館近來相當重視美術館建

來都是一樣的，但是每一個國家的官

築，前幾年札哈．哈蒂（Zaha Hadid）

僚制度卻是完全不同。所謂的官僚制

在台中古根漢美術館的設計，也獲選

度譬如說：法規環境和行政過程。你必須要通過行政程序，才能夠完成工作。每一個文化都有官僚體制，所

可能發生的。一旦，你能夠接受這個

裡面展現」的概念，譬如說，白色牆壁、中性的空間等，進而接受藝術可以跟環境互動的新觀念。那大家可以回想，我之前給大家看的投影片中有

為普立茲克建築獎的提案。所以想請

提到，其實博物館有時建構了一種虛

教您，對於當前建築作為美術館發展

擬的現實觀點，如果你對此觀念有興

的潛力，有沒有什麼建議和看法。』

趣，為什麼不試著去跟頂尖的設計師合作，因為其實他們的專業就是在克

以，我認為我們需要去面對的問題並

克倫斯我跟建築的相遇，是一個美

不在於藝術家是不是來自不同的文

麗的意外。作為古根漢基金會的執行

化，有不同的行事方式，而是他們在

長，在 1988 年的時候，我接近了一

那麼這是我個人的經驗，我剛剛也在

他們自己的文化當中如何運作，或者

個法蘭克．洛伊．萊特（Frank Lloyd

演說中提到，一些所謂放諸四海皆準

是，置身於其他文化中要怎麼樣去運

Wright）的建築。很多藝術評論者認

的原則，也就是一個閱聽人，他在欣

作，特別是當他們在旅行的時候。策

為，它做為藝術展演場所是很不好的，

賞藝術作品時可以有無限的可能性。

展人的工作很重要，譬如像胡氏藝

因為這個牆壁是有角度的，而且是下

在身體的關係上面，譬如說，Richard

術。他們角色是很重要的，協助藝術

坡，所以無法使用作為藝術的展場。

Serra 在畢爾包（Bilbao）的展覽。我

家去協商這些複雜而困難的程序，不

但是我的挑戰，就是要結合大眾的預

到畢爾包可能已經不下一百次了，可

服空間的所帶來的挑戰。

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城市座談 1 1 1

是我每次到畢爾邦的古根漢美術館，我走入這個建築物時感受都不一樣，不管是什麼時候，都有不同的經驗。所以我想，就美術館而言，一加一等

你們的主要觀眾會是誰？我們先請比格斯先生回答，再請克倫斯先生回答，謝謝。

你可以把一個物件，從巴西運到紐約

觀，他們也是比較少走入博物館的族

經驗。所以，透過他的這種不尋常的

根漢的連鎖策略，會不會也會造成幾

去，可是若你能夠在巴西本地看到這

群，但是因為那個展覽而進到博物館

一種組合，創造出震撼的視覺效果，

位國際知名度較高的藝術家獨佔藝術

個屬於巴西的物件，這又是比較真實

裡面。所以觀眾他們會有一些經驗，

去引誘紐約的觀眾。那麼，所謂的觀

市場，使多元化萎縮。

的，這個真實來自脈絡，來自環繞

如果這些博物館、美術館的經驗，對

眾，當我講到美術館的觀眾，會決定

於三，建築物的力量，藝術作品的力

比格斯謝謝。我覺得簡而言之，這

著這個藝術品的故事，文化脈絡等

他們來講是正面的，他們就比較有可

美術館成功與否。如果你給我兩百萬

量，它能夠創造出一種情緒，甚至是

取決於我在哪裡，我的觀眾就是誰。

等。所以我想，我還是要回到我原來

能再回到博物館或美術館裡面來。

個參觀人次會成功，但是只來兩萬五，

一種生理的反應。但不見得表示所

譬如說，如果是在 Folkestone、名古

在演講一開始所說的，你必須有特定

有的建築都必須像札哈．哈蒂（Zaha

屋或者是任何的其他地方，像是我之

性「Specificity」，不管你在哪裡展出，

Hadid）或法蘭克．蓋里（Frank O.

前提到的日本大地藝術祭。所以，策

你要瞭解當地觀眾，他們有什麼樣的

Gehry）這種彎彎曲曲的設計，有時

展人也必須要瞭解你展覽的地方，還

需求，你必須思考，現在你的這個展

候，在一般的空間也可以達到。它其

有觀眾又是誰？所以要依你的觀眾而

覽，對於這些觀眾而言是否是他們需

實是一種對立關係或是一種環境的氛

定，這些展覽是否適合這些觀眾？這

要的。

圍，譬如說像維也納，我剛剛向大家

是因地而宜的、因人而異的。當然，

介紹的例子，這個正方形的空間，雖

也許你可以發展出一套模式，就像湯

然是很正常的、很普通的，但是在這

瑪斯 (Thomas Krens)，他正在發展一

當中也可以有一些變化，藉由燈光、

套模式。也就是你能夠去創造一個情

不同的角度。我是建築跟藝術的粉絲，

境，而這個情境是全球化的，因為我

我相信兩者結合起來有無限的可能。

們都知道，現在世界越來越緊密的連結在一起，有些文化形式，它是放諸四海皆準的，它是全球化的，那麼它

胡朝聖下一個問題要請兩位同時回應。誰是你們兩位的觀眾？就如同你們兩位之前所說的，觀眾是展覽中最重要的元素，藝術是給大眾的。當然，你們兩位所策劃、所執行的案子或項目，其實是非常不同的。能不能討論一下，在你們過去或現在的經驗當中，

也可以適合全球的觀眾。但是有某些文化的形式，它是具有區域性的，或者是在地性的，而且不容易從一個地方搬動到另一個地方，它們之所以存在的樂趣，就是取決於你必須要旅行到遠方才能夠看到。也許

總結的來說，有一個字眼，我要向大家介紹的就是：「引誘，Seduction」這個字。我們為什麼要創作藝術呢？就是希望能夠引誘觀眾，並激發他們的好奇心。有一些在地的論述對於引誘觀眾的作法，是有很大的貢獻。一

克倫斯講到觀眾的這個問題，可能

個文化論述，你可以去開採，可以去

有一百個不同的答案，路易斯 (Lewis

把它發揚光大。回到你的第一個問題，

Biggs) 他提供實際的、非常正確，且

全世界各地的藝術家，他們在面對環

非常命中要害的答案，但是你還可以

境的議題，可能都有不同的切入點，

再繼續講下去。我可以說，我的觀眾

他們可能因為在不同的地方而受到在

就是今天這個會議場地裡的每一個人。

地的影響。我在邀請蔡國強來參展的

那麼我也注意到，常常所謂觀眾，他

時候，那個時候他很年輕，他有一個

其實是依「內容」來訂定的。

作品叫做：《成吉思汗的憤怒》，是把

我 1998 年曾做古根漢的摩托車展覽，忽然有許多 Hells Angels，這些穿皮衣、有刺青的騎摩托車的族群近來博物館參觀，他們通常不會走進博物館的。我發現，我們在做非洲大陸的展覽時，我們也看到很多有色人種來參

山羊膀胱連成一條線，然後把這些由膀胱串成的線組合成一座吊橋，把它放在溪上面，讓觀眾能從一邊跨越到另外一邊。我把它放到紐約古根漢博物館裡面展示，他帶給紐約市民一種空前的視覺震撼，豐富了他們的文化

克倫斯我覺得，我可以提出一個完全相反的論述。

當然是不成功的一個展覽。所以，你

我們可以以畢爾包古根漢作為例子。

一定要吸引觀眾，觀眾的人數是很重

我們有相當的可觀的經費來建立美術

要的。有很多種不同的模式，很多不

館裡的典藏，我們可以做出相關的典

同的經驗，觀眾亦有不同的面向，譬

藏決定，但還是有要依循的程序，它

如說，有觀光客還有在地的市民等等。

必須要得到許可。我們 33% 的典藏都

有一些藝術作品，我希望藝術家能夠

是巴斯克或西班牙的藝術家。我認為，

在沙漠裡面展覽，你可能為了看一個

這間美術館的義務跟責任，就是要提

藝術家的展覽，你要騎駱駝且在沙漠

供給當地一個平台。其次，這也許是

當中長途跋涉才能夠看到。

大家比較不容易記得的，就是我曾經在紐約古根漢規劃三檔關於三位巴斯克藝術家的回顧展，並不是說我必須

胡朝聖接下來，我們的時間還有兩

要這麼做，而是因為他們是相當有地

個問題，我想分別給他們兩個。第一

位的藝術家，值得為他們做回顧展。

個問題是要給 Thomas，這幾個問題，

而且，我們在巴斯克也是有一定的勢

幾乎都是問到同樣的重點，這個問題，

力，所以我覺得，事實跟您所提的其

Thomas 應該經常在全世界各地被問

實相反，一個全球化的平台，其實提

到。就是，您如何思考全球化美術館

供給在地的藝術家，得到更廣泛的一

的在地需求，而不是複製另外一個古

個曝光。昨天晚餐，我們也提到這個

根漢美術館？好像您在長沙美術館的

議題，當時桌上有很多人，其中一個

部分，其實都很有古根漢自身的特色，

談論的主題是：要如何推銷台灣的藝

但是不是少了在地的文化特色？而古

術家？我認為，就像我剛剛為大家介

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紹的模型一樣，任何一個機構的策展

民參與藝術，是否在地點的選擇上，

方，在歐洲或是美國，我發現很多藝

平台一定要有一部分是服務在地的藝

也被權力所影響。舉個例子來講，在

術家都會願意去分享其他藝術家的聯

調整，所以這個過程是動態的，然後

術家，提供給他們平台，讓他們有展

台北辦展覽，似乎就忽視了其他台灣

絡方式。

你會為它設立一些標準，最後會有結

演的機會，而且，藉由在博物館或美

南部群眾表達的可能性。像您在亞洲

術館的展演，也能夠得到全球的曝光。那關於長沙的案例，長沙的那些建築

城市的案例當中，文化的因素影響成分居多，還是政府都市造成的？

師，並不是我選的，他們已經透過公

比格斯是的，這種情況其實我覺得

開的比賽，勝出者剛好是 Zaha Hadid。

到處都會發生。在這裡，我可以講個

而且很有趣的是，長沙市政府邀請的

小故事。我剛到利物浦時的情形。利

五家建築師事務所都是西方的，跟我

物浦它現在是一座小城市，但它過去

一點關係都沒有。但是我從一開始就

曾經有一百萬左右的人口，在英國算

堅持，一定要有非常大的在地影響，

是蠻多的。可是現在人口已經減了一

要有在地的策展人、在地的員工，讓

半，主要的原因，是因為經濟變得越

他們來參與這個計畫。那麼就像畢爾

來越蕭條。我剛到達利物浦，在博物

包古根漢一樣，它必須是一個訓練的

館工作的時候，我去很多藝術家的工

平台，一個展演的平台，也是一個櫥

作室拜訪。每一次，我幾乎花了一個

窗，能夠讓湖南的蒐藏家、湖南的藝

小時跟藝術家們聊天之後，我會問他

術家，都能夠展出。因為它夠大且能

們：「接下來我該去哪裡？」我以為他

透過一個既在地又全球化的平台，這

們一定會告訴我，他們好朋友或是他

樣不是更好嗎？與其，只是全球性的，

現在，利物浦已經好很多，藝術家比

個文化是不太健全的，這是我的想法。

胡朝聖我們最後的問題，沒有多少

果。就像我說，最後你的觀眾可能是

時間了，最後的問題給兩位。

不太一樣的。我剛剛也有提到，摩托

較會相互支援，可是卻花了二十五年的努力才做到。我所學到的教訓是，

就是，兩位都曾經擔任過館長，也都

一個健全的文化，很重要的指標是他

是策展人。你們剛剛所提到，你們是

對其他人是不是具有包容性，是不是

想要做一個展覽，自己研究然後再去

夠慷慨。也就是說，為什麼柏林今天它可以成為歐洲藝術之都，甚至有人會說，它是世界藝術之都。因為，它

儕去做腦力激盪，你自己不斷思考、

找觀眾；還是針對觀眾來策劃展覽？若是一昧的針對觀眾的需求，我們會不會把展覽的研究變的太媚俗化？

車展覽裡有來自那些刺青的、騎重型機車的人，但是也有一些阿公阿嬤，他們帶著孫子來看摩托車，因為摩托車對小朋友來很驚奇，你也不會想到阿公阿嬤會是你的目標觀眾。所以我覺得，其實比較重要的在社會上的意義，就是你希望你可以做那些還沒有

隨時隨地都準備給其他地區的藝術家

克倫斯其實它不是一個選擇題。通

被人做足，或是被做壞的想法跟主體，

很好的待遇，不管是住宅或者是稅賦

常都是有一個情境，任何一個情境，

然後把它做好。這種是一個創意的過

上的協助，各式各樣資源的提供。我

他都有藝術跟大眾兩邊，你不可能只

程，最好的策展人他是很有原創性的，

們看到各機構，只要你是一位住在德

選擇其中一邊。我的想法是一致的，

他有想法，他也可以找到觀眾。他知

國的藝術家，他們都會支援，不管你

我覺得這是一個過程，通常它是一個

道一定可以找到觀眾。

身在哪裡，不管你的國籍是什麼。然

創意的過程，它並不是一個自我定義

後，你去想一想過去的一些盛世，當

很清楚的一個想法。

們心裡覺得最好的藝術家的電話。可

皇帝皇后他們可以去贊助很多的藝術

像是最近金像獎，李安因為《Life of

或只是在地的話，都不如在一個既全

是他們從來就不告訴我任何名字。當

家，他們用很大的心胸來展示他們是

Pi 》拿到最佳影片。有誰會認為，一

球又在地的平台上展演。

然，這是因為一種絕望跟競爭的心情，

泱泱大國，所以他們會吸引國際上的

個小朋友跟一頭老虎在一個木筏上飄

這種心情讓這些藝術家覺得，如果很

藝術家。所以，很重要的一個文化指

洋過海，這種故事可以拿到最佳影

慷慨的去分享這些資訊，在某種程度

標就是包容度，他們是透過這種包容

片？也就是說，有一個創意的想法，

上，他們會被忽略。我當時真的很震

度，才真正能夠展現文化是什麼。當

然後它開始發酵，有時候它花很多很

驚，因為身為策展人，我到每一個地

一個勢力太保護自己的文化，往往這

多年它才會逐漸成形，有時候你跟同

胡朝聖謝謝，那接下來有幾個要同樣給 Lewis，幾乎是一樣的問題內容。就是想要請問 Lewis，您提到，讓公

胡朝聖我們最後以最熱烈的掌聲謝謝兩位，他們在亞洲的行程以及全球的行程都非常的緊湊，我們也是花了很久的時間，排定行程把他們邀請到台灣。也謝謝各位今天來到現場。

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Q&A Sea n C. S. Hu × Th o ma s Kr e n s × L ew is Bi ggs

Sean Hu Here is our first question from audiences,「From your experiences in curating exhibitions, or your observation in traveling, what are the interactions between artists and environments in Asia? Is it different from the European or American artists in dealing with the similar topics?」 Lewis Biggs Thanks for asking. This is a very broad question. I think all the artists around the world care about the same issues in their own ways and imaginations. The difference is . No matter where you “bureaucracy ” go, the city downtowns look all the same, but the bureaucratic systems are totally different. The“bureaucratic systems ”are related to environment regulations and administration procedures. You have to go through the administration procedures to finish the jobs. Every culture has its own bureaucratic system. So I think the problem is not that whether the artists from different cultures have their own ways, but how they work in their own culture or in other cultures, especially when they travel. Curating exhibitions is an important job, just like what Hu ’ s Art does. The role is to assist artists dealing with the complicated procedures and difficulties, no matter in which culture. This is why I am here today –“the Seed Project ”which I got in touched 18 moths ago. This project provides artists opportunities

to take challenges with negotiations and to use local resources to deal with local problems. Hoping I answered your question.

Sean Hu Next question is for Mr. Krens.“ The Guggenheim Museums pay quite a lot attention on the s museum architecture. Zaha Hadid ’ design for the Guggenheim Museum Taichun was chosen as a Pritzker Architecture Prize candidate proposal. How do you see the potential for architecture in museum development? Do you have any suggestions or opinions? Thomas Krens My encounter with architecture is a beautiful accident. As the CEO of the Guggenheim Foundation, in 1988, I came cross to a building designed by Frank Lloyd W r i g h t . L ot s o f c r i t i c s t h o u g h t i t was not a good idea to use it as an exhibition venue because its walls had angles and slopes; it was not supposed to be used for any exhibitions at all. My challenge was to combine the public expectations and any possible creativity, for example, inviting artists trying to use the settings and methods for exhibition as solutions. These artist-designers got together and developed amazing creativity. It would not have had happened with so

many intervenes in space if there had not been Frank Lloyd wright ’ s design. Once you accept the new idea and not putting any boundary on it, you will not stick to the rule that“ the art must be shown in a neutral box ”with white walls or indistinctive spaces. You will be able to see art interacting with the surroundings. Please look back to the slides I showed you. Sometimes the museums construct a virtual practical view. If you feel interested in this, why not cooperate with the top designers. Their specialty is to overcome the challenges about spaces. This is my personal experience. In my lecture, I mentioned some common rules about the audiences, listeners, or readers to have unlimited possibilities when enjoying artworks. As to the physical connections, let me use the Richard Serra ’ s exhibition in Bilbao as an example. I have been in Bilbao for more than a hundred times. Every time I walk in the Bilbao Guggenheim, the building gives me different feelings and experiences. So I think that, as to a museum, 1 plus 1 equals to 3; the power of architectures plus the power of arts will produce an emotion and sometimes even the body reactions. This does not mean that all the buildings have to be like the works of Zaha Hadid ’ s or Frank O. Gehry ’ s crooked design. Sometimes ordinary spaces can also achieve the

same effects. It is actually an opposing

in. Like Thomas Krens is constructing

relation or a circumstance atmosphere.

a model now. You can also create a

As another example I mentioned

global scenario. The world is getting

before, Vienna is a very ordinary

closer and some cultural formats are

square space. But by using lights and

universal, fitting people all over the

angles, there can be some variations.

world.

The possibility is always beyond limits.

Some cultures are more regional or

I am a big fan of architecture and art. I

localized, not appropriate to move to

believe bringing together architecture

another location. You can only get

and art will generate unlimited

the fun when traveling far and see

possibility.

from a distance. You may transport an article from Brazil to New York, but you get more real feeling when have

Sean Hu Next question is for you both, who are your audiences? As you mentioned a little while ago, audiences are the most important factor in exhibitions and art is for the public. You two plan and curate very different projects and programs. Can you tell us who your target audiences are in your present or the past experiences? Can Mr. Biggs go first and Mr. Krens second? Lewis Biggs Thanks. To me, who my audiences are depends on where I am. For example, in Folkestone, Nagoya, or any other places, like the Echigo-Tsumari Art Triennale in Japan, you must know the place an d the audiences. Whether the exhibitions are right for them depends on the

it in Brazil. The true feeling connecting to an art object has it own story from its own culture. So I would like to get back to the beginning of my lecture. You must have“ specificity ” , no matter where the exhibition is. You need to know local audiences and their needs. You must consider whether they do need this exhibition. Tomas Krens As to the audiences, there might be hundreds different answers. Lewis Biggs has already told us the practical, correct, and critcal answer, but you can still have more. I would like to say that my audiences are those who are present at the scene today. And I also notice that the so called“audiences ”are defined according to the“content ” .

places and people there. Of course,

In 1988, I curated a Guggenheim

maybe you can develop a model to fit

Motorcycle exhibition. To our surprise,

a bunch of tatooed hells Angels in leathers appeared in our museum. Those people hardly go into any museum. When we held exhibitions in Afirica, we had lots of colored people coming over. Generally, they do not go to museums either, but they did then. So the audiences follow their own experiences. If these museums or fine art museums give them positive feelings, there is bigger chance for them to step in again. In summary, I like to intruduce a phrase: ” seduction ” . Why do we need literary and artistic creation? Because we want to seduce audiences and stimulate their curiosity. There are some local articles about the means to seduce audiences. They are very helpful. As a culture discourse, you may explore it and make it flourish. Back to your first question, when the artists around the world face the envoronment issues, they might be influenced by the local concerns and cut in with different points of views. Wh e n I invited Cai Guo-Q iang f or an exhibition, he was very young. He had one piece called“the Anger of Genghis Khan ” , stringing goa tbladders together and making the stringed bladders into a drawbridge on a creek. The spectors could walk on it to cross the creek. I arranged this piece in Guggenheim New york. It brought a great visual shock to the

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New York people but also greatly enriched their culture experiences. So, the uncommon combination created astounding visual effects and seduced the New York audiences. The audiences are those who come to museums. They will determine the success or failure of a museum. You may say a exhibition with 200 million spectors is successful and with only 2.5 thousand is not. So you must seduce audiences. The number is critical. There are many models, many different experiences, and different kinds of audieces, both tourists and local citizens. There are some artworks that I like to be shown in desert areas. People may need to spend a long time to travel a long distance on camel backs to see a certain artist ’ s exhibition.

Thomas Krens I think that I will

public campaign. The winner was Zaza

give a totally opposite discourse.

Hadid coincidently. What is even more

Using the example of Guggenheim

interesting is that the 5 architects

Bilbao, we have quite a lot budget for

Changsha city government selected

our collection, we can decide what

were all westerns. I had nothing to

to get but still need to follow the

do with that. I have insisted from the

certain procedures to get permission.

very beginning that we must have

33% of our collections are from

great l ocal influences, and we must

Basque or Spanish artists. I think

have local curators and workers; we

the duties and responsibilities for

like to have local people participating

that museum is offering a platform

our plans. Like the Guggenheim

to local people. Secondary, maybe

Bilbao, it must be a training platform,

it has been forgotten that I curated

an exhibiting platform, and a window

3 Retrospective exhibitions for 3 Basque artists. All because they were respectable local artists and deserved t h e r et r o s p e ct i v e e x h i b i t i o n s , n o t because we had to. Besides, we are quite influential in Basque area. So I think the truth is opposite to what you

that the collectors and artists in Hunan can use for exhibitions. It is a big local and global platform. Compared with a local-only or global-only platform, isn ’ t it better? Neither can be as good as the one with both characters.

said. Our global platform can provide local artists a better stage to explode Sean Hu We still have time for 2 more questions for you two separately. The first is for Thomas. This one must have been asked many times in many places. That is, how do you see the local needs for global museums, instead of just another copy of Guggenheim museums? It seem like the Changsha Art Museum is quite Guggenheim-like. Isn ’ t it short of the local culture characters? Will the chain strategy of Guggenheim cause some prestigious artists dominating the art market and diminish the variety?

themselves. Last night, at dinner,

Sean Hu Thank you. The following

we mentioned this topic too. There

are some similar questions for Lewis,

were many people at the table and

with almost the same content: Mr.

one brought up: “How to promote

Lewis, you mentioned“citizens

Taiwanese artists? ”I think, as the

participating in Art ” . Will this be

model I just introduced, every institute

affected by the government power

must save a part of its curating

or authority in choosing the venues?

platform to serve local artists, offering

For example, curating an exhibition in

the opportunities for them to to shine.

Taipei seems to neglect the chances

And also, use the museum or fine

of people who live in southern Taiwan

art museum exhibitions to let whole

to participate. In your cases in so many

world see their works. Back to the

Asian cities, are there more culture

example in Changsha, I did not pick

concerns or more city government

up those architects. They came from a

concern?

Lewis Biggs Yes, this happens everywhere, I think. I can tell you a story. When I first got to Liverpool, it was a big city with about 1 million population, quite a lot in England. It is a small town now and with only half of the population. The reason is the economic recession. When I just took the museum job there, I went to visit many artists ’workshops, spending almost an hour to chat with them on each visit. When we were about done, I would asked them: ”where should I go next? ”I thought they might give me the telephone numbers of their best friends or the best artists in their minds, but neither one ever did. This was from a desperate and competing feeling. With this attitude, artists are not to share information and resources generously. They will be neglected to a certain degree. I was surprised. As a curator, I see many artists eagerly sharing and connecting with other artists in Europe and America. Now, the situation is improved in Liverpool. The artists support each other through our 25 years efforts. What I learn from there is that one important index of a sound culture is whether people can be generously inclusive. The very reason Berlin being the Art Center of Europe, or even of the whole world, is that the city treat artists from everywhere nicely, assisting them in tax and providing

them various resources. We see some institutions offer supports to artists living in Germany, no matter what their nationalities or where they are. Also, if we look at the prosperous periods in history, the emperors or queens would support many artists at that time. They showed the big heart as a great country, which will attract lots of international artists. So, the critical culture index is the inclusiveness. Only through this inclusiveness can we express our culture. Using every power to over- protect one ’ s own culture will make it un-sound. This is my personal opinion.

Sean Hu Here comes our last question. We don ’ t have much time left. Both of you have been the museum directors and curators. As you said just now, when you plan an exhibition, will you do the research by yourselves first and look for audiences later, or you plan according to audiences ’needs? Will pursuing to fulfill audiences ’ needs make the researches for

only. I always see it as a process for creation, not a clearly self-defined thinking. An-Lee ’ s the Life of Pi got the reward of best movie. Who would have thought that a story of a little boy and a tiger drifting on a raft over the sea could get the be st movie award? A creative thought is like the yeast fermenting. It might take years to form into the right shape. Sometimes you do the brain-storm with colleagues, thinking and adjusting really hard. This is a moving process in which you set the rules and finally you get the results. Like I said, the audiences might be different at the end. Both the guys with tattoos and grandparents bringing kids came to the motorcycle exhibition. Although kids usually get excited when seeing so many motorcycles, you might not have considered the grandparents as your target audiences, either. So I think it is more important in its social meanings. You wish to do what have not been done comprehensively or to fix what have been ruined by other people. This is a process of creation. It is wonderful to have a creative curator who has great ideas and knows how to find audiences. He will find the audiences.

exhibitions too kitsch? Thomas Krens I don ’ t think this is s a choice. There is always a scenario. Every scenario has both artistic and public sides. You cannot choose one

Sean Hu Let ’ s give them our big hands to thank them. Their schedules in Asia are really tight. We made a lot of efforts to have them here with us. And thank you all for your coming.

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2012.12.25 (Wed) 10：00~12：00 地點：種子計劃 4 移動美術館館前廣場 Place：Seed Projects 4 Mobile Museum

Exhibition Opening 展覽開幕

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藝術 × 建築 × 景觀 × 農學跨界合作座談會

2013.2.2 (Sat) 14:30 ~16:30 地點：種子計劃一樓大廳 Venue: Exhibition Hall of Mobile Museum

Artists Talk 虛山幻水藝術家座談會

2013.1.12 (Sat) 14:30 ~16:00 地點：種子計劃一樓大廳 Venue: Exhibition Hall of Mobile Museum

Art Arch Cross Discipline seminar

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Spinning my little world! Table Lamp DIY Workshop

Tour Guides 導覽紀實

轉吧！內心的小宇宙－旋轉小桌燈工作坊

2013.3.2 (Sat) 16:30 ~17:30 地點：種子計劃一樓大廳 Venue: Exhibition Hall of Mobile Museum

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Urban Symposium 城市座談

Art and Pubic in Asian Cities Lewis Biggs Mobile Museum Trends Thomas Krens 探討亞洲城市與藝術之間的關係 / 路易斯．比格斯移動美術館的趨勢 / 湯瑪斯．克倫斯

2013.03.17 (Sun) 13：30~17：00 地點：中油國光會議廳主講者：路易斯．比格斯愛知三年展策展人湯瑪斯．克倫斯前紐約古根漢美術館館長 Place: Conference Hall of CPC Building Speakers: Lewis Biggs, Curator of Aichi Triennial 2013 Thomas Krens, ex-Director of Guggenheim Museum New York

B ehin d the S cen es

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中谷芙二子 Fuji ko N a k aya

林俊廷 L i n Jiun -T i ng

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徐瑞憲 Sh yu Rue y- S hian n

豪華朗機工 Lu xury Lo g i co

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吳淑敏 W u S hu -M i n g

曾偉豪 Ts en g W e i- Hao

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吳季璁 W u Ch i -Ts ung

陶亞倫 Tao Ya - L u n

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志工培訓營 Volun te er D o ce n t Edu cational Cam p

Artist B io graphy

藝術家年

表

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中谷芙二子 F N

u a

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學歷

Edu cati on

美國西北大學藝術創作學士

BA in Arts of Northwestern University, Evanston, Illinois

經歷

Ex pe ri ence

藝術前衛團體 E.A.T.( 藝術與科技實驗 ) 成員

Member of Experiments in Art and Technology (E.A.T.)

世界第一個霧雕藝術作品創作者， 1970 年世界博覽會百事達展覽館，日本大阪

World ’ s first fog sculpture creator at the Pepsi Pavilion, Expo‘70, Osaka, Japan Lecture of Department of Cinema, College of Arts, at Nihon University

東京大學藝術學院電影學系講師，日本東京

Se l ec ted 展覽選輯

Ex h ibi tio ns

2012

Living Chasm - Cockatoo Island,“18th Sydney Biennial ” , Australia

2012

「活的裂隙 – 鸚鵡島」，「第十八屆雪梨雙年展」，澳洲雪梨

2011

「霧裝置 #47780 飛過明日香的霧，與古時代一同呼吸」，明日香村，日本奈良

Fog Installation #47780 Fog over Asuka breathes with ancient life, Collaboration with Shiro Takatani (Lighting), Ishibutai Tumukus, Asuka-Village, Nara, Japan

2011

Fog Sculpture Stone.Fog, Pedevale Open Air Art Museum, Pedvale, Latvia

2011

「石頭．雲」，佩達維拉戶外美術館，拉脫維亞佩達維拉

2011

Fog Garden #58367 Moss Garden Nicey-sur-Aire, Le Vent des Forêts, Nicey-sur-Aire, Lorraine, France

2011

「霧雕 #58367 尼斯艾爾河畔的莫斯花園」，森林之風藝術空間，尼斯艾爾 , 法國洛林

2011

Fog Sculpture #11060 Cloud Parking in Linz,“Höhen-Rausch.2” , Offenes Kulturhaus, OK Centrum, Linz, Austria

2011

「霧雕 #11060 雲朵停泊在林茲」，「噪音水平」， OK 當代藝術中心，奧地利林茲

2010

Fog Promenade,“Art with Mountain ” , Taipei, Taiwan

2010

Fog Garden #58367, Murasaki, Ryotei Murasaki, Japan Industry Pavilion, Shanghai World Expo, Shanghai, China

2010

「霧中漫步」，「藝術在山左右」，台灣台北

2010

「霧庭院 #58367」，紫 – 日本料理餐廳庭院，上海世界博覽會日本產業館，中國上海

Fog Sculpture #47784 Cloud Forest, Collaboration with Shiro Takatani, Yamaguchi Center for Arts and Media (YCAM), Japan

2009

Fog installation#46696 Talk to Fog, Taoyuan County Performing Arts Center, Taoyuan, Taiwan

2008

Fog Sculpture #48687 － Noontide ,“Singapore Biennale 2008” , Singapore

2010

「霧雕 #47784 雲森林」，山口情報藝術中心，日本山口縣

2009

「霧雕 #46696 －與霧交談」，桃園縣多功能展演中心，台灣桃園

2008

「霧雕 #48687—正午」新加坡雙年展，新加坡

2008

「霧瀑 #47670—雨月物語」橫濱三年展，橫濱，日本

2006

「多倫多之霧 #71624」白色夜晚”藝術活動，多倫多，加拿大

公共藝術典藏畢爾包古根漢美術館，西班牙畢爾包澳洲國家美術館，澳洲坎培拉昭和紀念公園，日本東京冰雪博物館，日本加賀

獲獎澳洲文化獎，澳洲洛迦諾國際錄像藝術節金獎，瑞士建築師吉田五十八特別獎，日本總務省獎 – 高畫質電視節目藝術貢獻獎，日本 2008 日本媒體藝術節：特別貢獻獎，日本

2008

, Yokohama, Japan Fogfalls #47670” Tales of Ugetsu ,“Yokohama Triennale ”

2006

Fog Sculpture #71624 － Fog In Toronto,“Nuit blanche ” , Toronto, Canada

Pub l ic

Col lec tio n

Guggenheim Museum, Bilbao, Spain National Gallery of Australia, Canberra, Australia Showa Kinen Park, Tokyo, Japan Museum of Snow and Ice, Kaga, Japan

Awa r d s Australian Cultural Award Laser d ’ Or at the Locarno International Video Festival, Locarno, Switzerland Yoshida Isoya Special Award Minister of Communication Award - Artistic contribution to HDTV Programming Special Achievement Prize at the 2008 Japan Media Arts Festival

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俊

廷

L i n J i u n -T i n g

學歷

Edu cati on

國立台南藝術學院應用藝術研究所

MFA Graduated Institute of Applied Arts, Tainan National University of Arts

經歷選輯

Ex pe ri ences

四川美術學院新媒體藝術系專任副教授兼互動媒體藝術工作室主任

Director of Interactive Media Studio, New Media Department of SiChuan Fine Arts Institute, China

青鳥新媒體藝術藝術總監

Art Director of BluePhoenix New Media Arts

臺灣藝術大學多媒體動畫所講師

Lecturer of Department of Multimedia and Animation Arts, National Taiwan University of Arts

上海世博會上海館顧問

Consultant of Shanghai Pavilion, World Expo 2010, Shanghai, China

展覽選輯

Se l ec ted

2012

光流的凝點，真善美畫廊，台北，台灣

2012

“Crystal Flow of Light“, Kalos Gallery, Taipei

2011

新媒體與電影的跨學科交往展覽四川美術學院新媒體藝術中心重慶

2011

“Exchange exhibition with New Media and Film“, Sichuan Fine Arts Institute New Media Arts Center, Chongqing

2011

簾 - 海峽兩岸藝術與設計交流展復旦大學上海

2011

“Curtain-Cross strait Art&Design Exhibition“, Fu Dan University, Shanghai

2011

筆墨終結之後：中國式風景本色美術館蘇州

2011

“The End of the Brush and Ink Era：Chinese Landscape“, True Color Museum, Suzhou

2011

, “Festival Croisements - 2011 A China-France Media Art Project – Augmented Senses ” Octshue Cheek Gallery, Shanghai& OCT Art& Design Gallery, Shen Zhen

Ex h ibi tio ns

2011

2011 中法文化之春中法媒體藝術交流專案─感知增生「紀錄零秒 2011」上海 / 深圳

2011

《山水化境》臺北故宮博物院臺北

2011

, National Palace Museum, Taipei “Landscape Transformed ”

2010

「白駒過隙，山動水行」臺北市立美術館臺北

2010

“Time Unfrozen“, Taipei Fine Arts Museum, Taipei

執行專案

Awa r d s

2011

「山水合璧─黃公望與富春山居圖特展」新媒體藝術展區臺北故宮博物院臺北

2005

「The Missed Tense: Travel Through Empty Space Creative Project」, Techno Art Creation Project, National Culture and Arts Foundation

2010

「2010 臺北國際花卉博覽會夢想館」一廳 3D 裸眼立體顯示空間裝置及三廳 360 度環型 UWB 互動劇場規劃設計製作執行

2002

「Yageo Tech-Art Award」, Yageo Foundation & Asian Cultural Council, Location One, New York, USA

2002

「Timeless Space: New Media Art Project」, (91-1 project grants), National Culture and Arts Foundation

獲獎 2005

「消失的時態－實遊虛境創作計畫」科技藝術創作發表專案國家文化藝術基金會

2002

國巨科技藝術創作獎（紐約市 Location One One）受獎人國巨基金會、亞洲文化協會

2002

「超空間科技媒材創作計畫」(91-1 期跨領域藝術類 ) 國家文化藝術基金會

收藏《山水化境》臺北故宮博物院臺北《浮光》郎廷酒店上海《花靈 - 華顏》國賓大飯店臺北《愉悅》上海文化發展基金會上海《化境》澳洲白兔美術館、臺北國巨基金會、澳洲塔斯瑪尼亞新舊藝術館《蝶域》Location One 科技藝術中心紐約

Co l l ec tio n s , National Palace Museum, Taipei “Landscape Transformed ” , Langham Hotel, Shanghai “Time Flaneur ” , Ambassador Hotel, Taipei “Spirit of Flower – Brilliant Colors ” , Shanghai Cultural Development Foundation, Shanghai “Delight Spring ” , WHITE RABBIT gallery, NSU Australia, YAGEO Foundation, Taipei, “Beyond the Frame ” Museum of Old and New Art, Tasmania Australia “Psyche Zone ” , Location One, New York

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EDU CATI ON

法國國家高等造型藝術表達文憑

First Place, National Senior Diploma in plastic Expressions, France

法國國家造型藝術文憑，獲國家評審團獎

Awarded a National Diploma of Plastics Arts, with a National jury honor, France

法國 Aix-en-Provence 藝術學院主修造型藝術

Majored in Plastic Arts, Aix-en-Provence Art College, Aix-en-Provence, France

中國文化大學美術系西畫組

個展選輯

Shyu Ruey-Shiann

Department of Fine Arts, Chinese Culture University, Taipei, Taiwan

SE L EC TED

PAST

SO LO

EX H IB ITIO NS

2013

「詩意的理性，溫暖的冰冷 - 徐瑞憲個展」，伊勢文化基金會，紐約

2013

“Poetic Rationality, Warm Coldness ”，ISE Foundation, New York

2012

「彩虹的邊線」，台北市立美術館，台北

2012

, Taipei Fine Arts Museum, Taipei “Distant Rainbow ”

2011

「旅程」，天理文化中心，紐約

2011

, Tenri Cultural Institute of New York, New York “Journey ”

2007

「○的無限」，國立新竹教育大學，新竹

2007

, National Hsinchu University of Education, HsinChu, Taiwan “Zero to Infinite ”

2006

「回聲」，新樂園藝術空間，台北

2006

, Shin Leh Yuan Art space, Taipei, Taiwan “Echo from within ”

2006

「靜觀其變」，台北國際藝術村，台北

2006

, Taipei International Village, Taipei, Taiwan “Beyond the Becoming ”

聯展選輯 2013

「Smash Palace」，白兔美術館，奇彭代爾，澳洲

2012

「機械動力藝術博覽會」-安畢卡當代藝術特區（Ambika）展出，倫敦

2012 2010

「LunarFest」- 多倫多湖濱中心、國家美術館廣場，溫哥華續 - 李仲生現代繪畫獎特展（回顧），國立台灣美術館，台中

SE L EC TED 2013

PAST

G RO UP

EX H IB ITIO N

, White Rabbit Gallery, Chippendale, Australia “Smash Palace ”

2012

, Seed Projects 4 – Mobile Museum, Taipei “Transcendence of Illusion ”

2012

, Ambika P3, Marylebone, London “Kinetica Art Fair ”

2011

, HarborFront Centre, Toronto/ Vancouver Art Gallery Plaza, Vancouver “LunarFest ”

2009

「秘密後花園」– 亞洲當代藝術周， Chelsea Art Museum，紐約

2010

“Continuation – Special Exhibition of LI Chun-Shen Modern Painting Award

2008

「Snake Alley」– 亞洲當代藝術周，經文處藝廊，紐約

2009

, Asian Contemporary Art Week, Chelsea Arts Museum, New York “Dream in a Contemporary Secret Garden ”

2008

, Asian Contemporary Art Week, Taipei Gallery, New York “Snake Alley ”

2007

亞洲當代藝術博覽會，pier 92，紐約

2007

Jamaica Flux: Workspace and Windows 2007，紐約

2007

Location one 藝術家群展，Location One，紐約

2006

「城市曼波」，雪梨、台北交流展，澳洲

公共藝術作品選輯 2007

「孕」，南台大醫院雲林分院公共藝術設置

2005

「再造教育」，台北市政府環保局資源教育館公共藝術設置 ( 第二屆公共藝術獎入圍 )

2004

「演奏一曲」，台北南港軟體工業園區公共藝術設置 ( 獲得第一屆公共藝術卓越獎 )

獲獎記錄 2007

第一屆公共藝術卓越獎（南港軟體工業園區「實擬虛境—演奏一曲」）

Winners (Review) ” , National Taiwan Museum of Fine Arts, Taichung

2007

Asian Contemporary Art Fair, Pier 92, New York

2007

Jamaica Flux: Workspace and Windows 2007, New York

2007

Nine International Artists Exhibit at Location One, New York

2006

City Mambo Stone Villa, Sydney vs. Shin Leh Yuan Art Space, Taipei

PUB L IC

ART

2007

, National Taiwan University Hospital Yun-Lin Branch, Taiwan “Pregency ”

2005

, Neihu District, Dept. of Environmental Protection, Taipei City “Restructure Exercise ”

2004

, Software Park, Nangang District, Taipei City “Play a melody ”

AWA R D S

PR IZES

2007

Public Art (Excellence) Award : Techno Dream Sphere-Play a Melody,Taiwan Yageo Tech-Art Award of the Asian Cultural Council New York

2006

亞洲文化協會 - 國巨科技藝術獎

2006

2005

高雄國際貨櫃藝術節 2005

2005

Kaohsiung International Container Arts Festival 2005

2003

高雄國際貨櫃藝術節 2003

2003

Kaohsiung International Container Arts Festival 2003

2001

高雄國際貨櫃藝術節 2001

2001

Kaohsiung International Container Arts Festival 2001

2001

李仲生藝術基金會現代藝術創作獎

1998

台北市美展造型藝術類台北獎

2001

Creation Awards, Lee Chung Sheng Art Foundation Modern Painting Award

1998

南瀛獎暨第十二屆南瀛美展優選獎

1998

Nan Ying Award and honors award at the 12th Nan Ying Fine Arts Exhibition

1997

台北縣美展「河流─新亞洲藝術←→台北對話」台北縣政府獎

1998

Taipei Award, Plastic Arts Section, Taipei City Fine Arts Exhibition

1997

Taipei County Government Award, River: New Asian Art – A Dialogue in Taipei

R ESID ENCY

駐村 2007

Location One，紐約

2007

A.I.R. Location One, New York

2002

蓋茲渥克，倫敦

2002

A.I.R. Gasworks, London

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Edu cati on

學歷

1 1 1

Chang Keng-Hau

張耿豪

豪華朗機工 L L

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x g

u i

r c

y o

2007

科技藝術研究所碩士，國立臺北藝術大學，台北，台灣

2003

雕塑學系學士，國立臺灣藝術大學，台北，台灣

2007

Master, Graduate School of Arts and Technology, Taipei National University of the Arts, Taipei, Taiwan

張耿華

2003

Bachelor, Department of Sculpture, National Taiwan University of Arts, Taipei, Taiwan

2002 ~ 造形藝術研究所雕塑組，國立臺灣藝術大學，板橋，台灣

Chang Geng-Hwa

2002

2002~

Graduate School of Arts and Sculpture, Taipei National University of the Arts, Taipei, Taiwan

陳志建

2002

Bachelor, Department of Sculpture, National Taiwan University of Arts, Taipei, Taiwan

2007

科技藝術研究所碩士，國立臺北藝術大學，台北，台灣

Chen Chih-Chien

2003

景觀學系學士，國立東海大學，台中，台灣

2007

Master, Graduate School of Arts and Technology, Taipei National University of the Arts, Taipei, Taiwan

2003

Bachelor, Department of Landscape Architecture, Tunghai University, Taichung, Taiwan

雕塑學系學士，國立臺灣藝術大學，板橋，台灣

林昆穎 2007

科技藝術研究所碩士，國立臺北藝術大學，台北，台灣

2003

應用美術系 / 音樂系學士，私立輔仁大學，台北，台灣

Lin Kun-Ying 2007

Master, Graduate School of Arts and Technology, Taipei National University of the Arts, Taipei, Taiwan

2003

Bachelor,Department of Applied Art / Department of Applied Music, Fu Jen Catholic University, Taipei, Taiwan

個展選輯 2012

「福」個展，就在藝術空間，台北，台灣

2011

「天氣好不好我們都要飛宣告展」個展，台新金控大樓，台北，台灣

2011

「游泳適合複三拍」個展，MOT Arts，台北，台灣

2010

「到這旅行」個展，中央大學藝文中心，桃園，台灣

2010

「灰塵—豪華朗機工」個展，伊通公園，台北，台灣

2010

「照顧計劃─ Treignac Projet」個展，雷亞尼克藝術計畫空間，特雷亞尼克，法國

Se l ec ted

So lo

Ex h ib itio ns

2012

, Project Fulfill Art Space, Taipei “Fruition – Fulfill Arts ”

2011

, Taishin Bank Tower, Taipei “We will fly no matter what ”

2011

, MOT/ARTs, Taipei, Taiwan “Dot．Dot．Dot ”

2010

, National Central University Art Center, Taoyuan “Traveling, Here! ”

2010

, IT Park, Taipei “Dust ”

2010

, Treignac Projet, Treignac, France “Project Woodpecker-Teignac Projet ”

聯展選輯

2009

, Galerie Grand Siecle, Taipei “The Flowing Feast ”

2013

「FASCINATION / IMAGINATION」，K11 Art Mall，香港，中國

Se l ec ted

2013

「如畫美景── 2013 寶藏巖燈節」，寶藏巖國際藝術村，台北，台灣

2013

, K11 Art Mall, Hong Knog, China “FASCINATION / IMAGINATION ”

「台灣報到── 2012 台灣美術雙年展」，國立台灣美術館，台中，台灣

2013

, Treasure Hill Artist Village, Taipei, Taiwan “Landscape of Spectacle ”

2012

, National Taiwan Museum of Fine Arts, Taichung, Taiwan “Yes, Taiwan—2012 Taiwan Biennial ”

2012

「心動 EMU」, 台北當代藝術館，台北，台灣

2012

, Museum of Contemporary Art, Taipei, Taiwan “Crush on EMU ”

2012

「首屆 CAFAM 未來展：」，中央美術學院美術館，北京，中國

2012

, CAFA Art Museum, Beijing, China “The First CAFAM Future Exhibition ”

2012

「2012 粉樂町──台北東區當代藝術展」, 松山文創園區，台北，台灣

2012

, Songshan Cultural and Creative Park, Taipei, Taiwan “2012 Very Fun Park ”

2012

s Painting v.s New Media Art from Taiwan ” , “Cun—Chang Kuang Bin ’ Hong-Gah Museum, Taipei, Taiwan

2012

, The White Rabbit Gallery, Sydney, Australia “Down the Rabbit Hole ”

2012

“Visual Vertigo—New Works by Six Taiwanese Media Artists ”, Hong-Gah Museum, Taipei

2012

, Kuandu Museum of Fine Arts, Taipei “Transjourney – 2012 Future Media Festival ”

2009

2012

「流水席」個展，新苑藝術，台北，台灣

2012

「焦墨排點皴─張光賓書畫與台灣新媒體藝術展」，鳳甲美術館，台北，台灣

2012

「五花八門 - 白兔中國當代藝術基金會收藏展」，白兔美術館，雪梨，澳洲

駐村經歷 2010

特雷亞尼克藝術計畫空間，特雷亞尼克，法國

表演節錄 2012

「M」跨領域創作表演，自用工作室，台北，台灣

2011

「等於」跨領域創作表演，華山創意文化園區，台北，台灣

2010

「一日」跨領域創作表演，華山創意文化園區，台北，台灣

G ro up

Ex h ib itio ns

R esid ency 2010

Treignac Projet, Treignac, France

Se l ec ted

Per fo r mance

2012

“M ”Interdisciplinary Art Performance, private studio, Taipei

2011

“Equal ”Interdisciplinary Art Performance, Hua-Shan Creative Park, Taipei

2010

“Day ”Interdisciplinary Art Performance, Hua-Shan Creative Park, Taipei

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學歷

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偉

豪

Ts e n g W e i - H a o

1995 ∼ 1999

國立台灣藝術學院雕塑系畢業

1999 ∼ 2004

國立臺南藝術學院造形藝術研究所畢業藝術碩士

藝術學士

B.F.A Graduate Department of Sculpture, National Taiwan College of the Arts M.F.A Graduate Institute of Plastic Arts , Tainan National College of the Arts

個展選輯

Se l ec ted

2011

「瞬間」，真善美畫廊，台北

2011

“Transience ”Kalos Gallery,Taipei, Taiwan

「擬在」，台灣新藝，台南

2008

“Resonance ”Galerie Grand Siecle, Taipei, Taiwan

2008

「身音雜記」，新苑藝術，台北

2008

“Imitative Existence ”Taiwan New Arts Union, Tainan

2007

「樂 TOUCH」，台南藝術大學，南畫廊

2007

“Sound Raiser ”National Hsinchu University of Education, NHCTC Artist Space

2007

「聲集」，新竹教育大學，竹師藝術空間

2007

“FUN TOUCH ”Tainan National University of The Arts, South Gallery

「電．跡．繫」，台北當代藝術館，台北

2006

, Museum of Contemporary Art, Taipei “Connect by Traces of Electricity ”

2008

2006

So lo

Ex h ib itio ns

聯展選輯

Se l ec ted

2013

「第三屆好漢玩字節 - 字體繁殖」，駁二藝術特區，台灣高雄

2013

, The pier-2 Center,Kaohsiung,Taiwan “2013 The Delight of Chinese Character Festival -The Evolution of Characters ”

2012

「顫．動．感」台灣數位藝術新視野，K11 藝術空間，台灣 / 香港

2012

“Tremble .Movement .Perception ”Yhe New Horizon of Taiwan New Media Art, K11 Art Space ,Hong Kong

「機動．森林」新媒體藝術展，台北數位藝術中心，台灣台北

2012

“Mobile Forest ”New Media Art, Digital Art Centre, Taipe, Taiwan

2012

, Kuandu Museum of Fine Arts,Taipei,Taiwan “Transjourney - 2012 Future Media Festival ”

2010

“Chinese-characte Installation Exhibition ”7th Chinese-character-Festival, National Chiang Kai-shek Memorial Hall,Taipei

2010

, Taipei Fine Arts Museum, Taipei “Time Unfrozen - From Liu Kuo-Sung to New Media Art ”

2012 2012 2010

「超旅程 -2012 未來媒體藝術節」，關渡美術館，台灣台北「漢字裝置藝術展」第七屆漢字文化節，中正紀念堂，台灣台北

2010

「白駒過隙．山動水行」多媒體科技藝術展覽，台北市立美術館，台灣台北

2009

「 Observatori 2009, X International Festival of Artistic Investigation」, 瓦倫西亞，西班牙

2009

「邁阿密 SCOPE 藝術博覽會幻象之丘—台灣新媒體藝術展」，美國，邁阿密

獲獎

G ro up

Ex h ib itio ns

2009

, Valencia,Spain “ Observatori 2009, X International Festival of Artistic Investigation ”

2009

, Miami, U.S.A. “SCOPE MiamiInternational Contemporary Art ~Beyond the Mirage Taiwan New Media Art ”

Awa r d s 2007

S-AN Art Creativity Sponsored Reward

2006

1st digital Art Award

2005

Taipei Arts Award , Grand prize

2007

世安美學獎造形藝術類創作贊助

2004

Young painting works classical-collection ,Works Reservation

2006

第一屆台北數位藝術獎首獎

2004

National Cultural and Arts Foundation 2004-2 Fellowship

2005

台北美術獎首獎

2003

Taipei Arts Award , Honorable Mention

2004

青年繪畫作品典藏

2003

台北獎優選

駐村經歷

R esidency 2008

Point B Residency, New York, U.S.A

2008

McColl Center Residency, North Carolina, U.S.A

2008

亞洲文化協會獎助赴紐約 Point B 駐村藝術家

2006

CAMAC Residency, Paris, France

2008

亞洲文化協會獎助赴美國北卡羅萊納洲 McColl Center

2006

Gasworks Residency, London, U.K

2006

英國倫敦 GASWORKS 駐村藝術家

2006

法國巴黎 CAMAC 駐村藝術家

1 1 1 1 1 1

吳

淑

敏

Wu Shu-Ming

學歷

Edu cati on

國立交通大學傳播研究所碩士

M.A. Institute of Communication Studies, National Chiao Tung University

國立清華大學中國語言文學系學士

B.A. Department of Chinese Literature, National Tsing Hua University

個展

So lo

Ex h ibi tio n

2009

「涅槃？」特展，展示科技發展趨勢與應用研討會，中正紀念堂，台灣台北

2009

“Nirvana? ”Demonstration Technology Trends and Applications Conference, National Chang Kai-Shek Memorial Hall, Taipei, Taiwan

2008

「行氣」特展，新加坡科學館未來館區，新加坡

2008

, Future Pavilion of Science Center Singapore, “Flow of Qi ” Singapore

2007

「行氣」，行動數位故宮專館，奧地利林茲電子藝術節，奧地利林茲

2007

, Pavilion of Digital Mobile National Place Museum “Flow of Qi ” Taiwan, ARS Electronica, Linz, Austria

G ro up

聯展

Ex h ibi tio n

2009

「台灣急凍醫世代 - 醫療與科技藝術國際展」，國立台灣美術館，台灣台中

2009

, National Taiwan “Freeze! 2009 International MedTech Art Show ” Museum, Taichung, Taiwan

2008

「韓國首爾第五屆國際媒體藝術雙年展」，首爾美術館，韓國首爾

2008

, Seoul Museum of “The 5th Seoul International Media Art Biennale ” Art, Seoul, Korea

2008

「第一屆亞洲電腦圖像和互動技術展覽」，新達城國際會議展覽中心，新加坡

2008

, Suntec International Convention & “SIGGRAPH ASIA 2008” Exhibition Center, Singapore

2008

「第二屆台北當代水墨雙年展」，國父紀念館，台灣台北

2008

, National Dr. “2nd Taipei International Modern Ink Painting Biennial ” Sun Yat-Sen Memorial Hall, Taipei, Taiwan

1 1 1 1 1 1

陶 Ta o

亞

倫

Ya - L u n

學歷

Edu cati on

國立台南藝術大學造形藝術研究所碩士

MFA Institute of Plastic Art , Tainan National University of The Arts , Taiwan

國立台灣師範大學美術系學士

BA Department of Fine Arts, National Taiwan Normal University , Taiwan

經歷

Ex pe ri ence

國立台北藝術大學新媒體藝術學系專任助理教授

Assistant professor, Department of New Media Art, Taipei National University of the Arts, Taipei, Taiwan

國立台北藝術大學藝術與科技中心數位藝術實驗室主持人

Assistant professor, Graduate Program of Arts and Technology, Taipei National University of the Arts, Taiwan

國立台南藝術大學造形藝術研究所兼任助理教授

Assistant professor, Graduate Institute of Plastic Arts, Tainan National University of the Arts, Tainan, Taiwan

中華民國視覺藝術聯盟理事

Council Member of Association of The Visual Arts in Taiwan

個展選輯

Se l ec ted

2010

「切不開的表面」百藝畫廊，台灣台北

2010

, Gallery 100, Taipei, Taiwan “Tao,Ya-lun Solo Exhibition ”

2009

「陶亞倫個展」，OK Center，奧地利林茲

2009

, OK Center , Linz , Austria “Tao,Ya-lun Solo Exhibition ”

2009

「終結歷史之光」台北數位藝術中心，台灣台北

2009

, Digital Art Center, Taipei ,Taiwan “The Light of Historical Ending ”

2009

「電子肌膚」，關渡美術館，台灣台北

2009

, Kuandu Museum of Arts , Taipei Taiwan “Tao,Ya-lun Solo Exhibition ”

2003

「陶亞倫個展」，北歐當代藝術中心，芬蘭赫爾辛基

2003

, Nordic Institute for Contemporary Art, Helsinki, Finland “Tao,Ya-lun Solo Exhibition ”

2003

「陶亞倫個展」，伊通公園，台灣台北

2003

, IT Park Gallery, Taipei, Taiwan “Consciousness in Vacuum ”

So lo

Ex h ib itio ns

聯展選輯

Se l ec ted

2010

「感官拓普 - 台灣當代藝術」，廣東美術館，中國廣東

2010

, Guangdong Museum of Art, China “Bodily Perception of Taiwan Contemporary Art ”

2010

「他者測量 - 台灣當代藝術展」，索卡藝術中心，中國北京

2010

, Soka Art Center, Beijing, China “Measurement of the Other – Contemporary Art from Taiwan ”

2010

「雙盲 - 臨床實驗」，誠品畫廊，台灣台北

2010

, Eslite Gallery, Taipei, Taiwan “Double – Blind Trail ”

2009

「超響」，台北數位藝術中心，台灣台北

2009

, Digital Art Center, Taipei, Taiwan “Tran Sonic 2009”

2008

「感官拓普 – 台灣當代藝術」，光州市立美術館，韓國光州

2008

, Gwangju Museum of Art, Korea “Bodily Perception of Taiwan Contemporary Art ”

典藏選輯

G ro up

Ex h ibit ion s

Co l l ec tio n s

《光體》南港軟體工業園區典藏

Light Substance, Nangkang Software Park, Taipei, Taiwan

《意識真空 2》關渡美術館典藏

Consciousness in Vacuum Ⅱ , Kuandu Museum of Arts

《自我意識Ⅰ、Ⅱ》帝門藝術教育基金會典藏

Self-Consciousness Ⅰ & Ⅱ , Dimension Endowment of Art

《隱性》台北市立美術館典藏

Secret Sexuality, Taipei Fine Arts Museum.

駐村經驗

R esid ency

北歐當代藝術中心，芬蘭赫爾辛基

Nordic Institute for Contemporary Art, Helsinki, Finland

1a space 藝術空間，中國香港

1a space, Hong Kong, China

赫德蘭藝術中心，美國舊金山

Headland Center for the Arts, Sausalito, California, U.S.A

亞洲文化藝術協會，美國紐約

Asian Cultural Council, New York, U.S.A.

西帖藝術村，法國巴黎

Cite Internationale des Arts , Paris, France

獲獎記錄

Awa r d s

1997 年台北獎

Taipei Prize, Taipei Annual Arts Competition, Taipei Fine Arts Museum, Taipei, Taiwan

李仲生基金會－現代繪畫創作獎

Contemporary Painting Creation Prize, Li Chun Shen Foundation, Taiwan

1 1 1 1 1 1

吳

季

璁

Wu C h i -Ts u n g

學歷

Edu cati on

國立台北藝術大學美術系油畫組

BFA Oil Painting, Department of Fine Arts, Taipei National University of the Arts, Taipei, Taiwan

個展

Se l ec ted

So lo

Ex h ib itio ns

2012

「吳季璁個展」，TKG+，台北，台灣

2012

, TKG+, Taipei, Taiwan “Wu Chi-Tsung Solo Exhibition ”

2011

「藝術登陸新加坡博覽會─項目舞台」，濱海灣金沙展會中心，新加坡

2011

“ Art Stage Singapore – Project Stage, Marina Bay Sands Expo and Convention Centre, Singapore

2009

「吳季璁個展－水晶城市」，伊通公園畫廊，台北，台灣

2009

, IT Park Gallery , Taipei , Taiwan “ A Solo Exhibition by Wu chi-tsung ---Crystal City ”

2009

「吳季璁個展－小品」，其玟畫廊，台北，台灣

2009

, Chi-wen Gallery , Taipei , Taiwan “ A Solo Exhibition by Wu chi-tsung ---Still Life ”

2004

「吳季璁個展」，伊通公園畫廊，台北，台灣

2004

“A Solo Exhibition by Wu chi-tsung“,IT Park Gallery,Taipei,Taiwan

聯展選輯

Se l ec ted

2012

「CAFAM 未來展」，中央美術學院美術館，北京，中國

2012

「移動中的邊界：跨文化對話臺灣－以色列交流展」，赫茲里亞當代美術館，以色列

The First CAFAM Future “Sub-Phenomena : Report on the State of Chinese Young Art ” Exhibition CAFAM Art Museum,Beijing,China

2012

ombre des sens」，「蔡佳葳 & 吳季璁：感官之影 A l ’ 薩凡屋，拉培基，法國

“Boundaries on the Move: A Cross-Cultural Dialogue ”Herzliya Museum of Contemporary Art,Herzliya.Israel

2012

ombre des sens ” , Maison Salvan, Labège, France “Charwei Tsai et Wu Chi-Tsung: A l ’

2012

「視覺眩暈－台灣媒體藝術六人展」，鳳甲美術館，台北，台灣

2012

, Hong-Gah Museum, Taipei, “Visual Vertigo-New Works by Six Taiwanese New Media Artists ” Taiwan

2010

「台灣響起－超隱自由難以名狀之島」，布達佩斯藝術館．路德維格現代美術館，布達佩斯，匈牙利

2010

“Taiwan Calling - The Phantom of Liberty / Elusive Island ” , Műcsarnok - Kunsthalle Budapest Ludwig Museum,Budapest,Hungry

2006

「英國世界藝術獎入圍展」，卡地夫國家藝廊，英國

2006

Wales International Visual Art Prize, National Museum Cardiff, Cardiff, UK “Artes Mundi ”

2005

「寧靜的優雅」森美術館，東京，日本

2005

“The Elegance of Silence ”Mori Art Museum,Tokyo,Japan

G roup

Ex h ib itio ns

獲獎紀錄

Awa r d s

2007

獲第二屆國家文化藝術基金會科技藝術創作發表專案

2007

awarded The 2nd NCAF Techno Art Creation Project

2006

入圍英國世界藝術獎 (Artes Mundi Prize)

2006

Wales International Visual Art Prize shortlisted for“Artes Mundi ”

2003

獲 2003 台北美術獎

2003

awarded“2003 Taipei Arts Award ”

收藏紀錄

Co l l ec tio n s

2010

史賓賽藝術館，堪薩斯，美國

2010

Spencer Museum of Art, Kansas, USA

2008

尤倫斯當代藝術中心，北京，中國

2008

Ullens Center for Contemporary Art (UCCA),Beijing

2003

鳳甲美術館，台北，台灣

2003

Hong-Gah Museum,Taipei

駐村經驗

R esdi ency

2010

華人藝術中心，曼徹斯特，英國

2010

“Breathe ”residency,Chinese Art Center,Manchester,UK

2006

格蘭菲迪藝術家留駐計劃，格蘭菲迪酒廠，達夫敦，蘇格蘭，英國

2006

The Glenfiddich Artists in Residence Programme, Glenfiddich Distillery, “Artists at Glenfiddich 06” Dufftown, Scotland, UK

2006

台灣－英國藝術家獎學金企劃，希特畫廊，謝菲爾德，英國

2006

, Site gallery, Sheffield, UK “Taiwan-England Artists Fellowships Programme 2006”

1 1 1

Project

1 1 1

Acknowled gements

Executive

展覽執行

感謝誌我們誠摯地感謝以下的機構與個人對本展覽所提供的協助與支持。 We w o u l d l i k e to e xp re s s o ur s i nc e re a p p re c i a t i o n t o t h e f ol l o w i ng o rg a ni z a t i o ns a n d i n di v i du a l s w h o h a ve p rov i ded t re m e nd o u s s u pp or t a n d a s s i s ta n c e to t h e e xh i b i t i on .

主辦單位 Organ iz e d b y

立偕建設股份有限公司 Lead Jade Construction Co., Ltd.

合辦單位 Co- Organ iz ed by

臺北市政府、臺北市政府文化局、臺北市都市更新處 Taipei City Government, Taipei City Department of Cultural Affairs, Taipei City Urban Regeneration Office

協辦單位 Joint Org a ni ze d by

策展單位 Exe cu ted by

策展人 Cura t or

協同策展人 Assist a nt C u r at or

活動執行 Exhibiti o n E x e cu ti ve

展務協辦 Assisting C oo r d in at o r s

新聯昌廣告股份有限公司 New Land Fortune Advertising Co., Ltd. 胡氏藝術有限公司 Hu ’ s Art Company 胡朝聖 Sean C. S. Hu 黃又文 Erica Yu-Wen Huang 郭一萱、洪于婷、林宜君、林珮鈺、林欣影、簡鈺恬、陳怡如、陳姝蒨 Kuo Yi-Hsuan, Hung Tu-Ting, Lin Yi-Jiun, Lin Pei-Yu, Lin Hsin-Ying, Chien Yu-Tien, Chen Yi-Ju, Chen Shu-Chian 黃志強、楊慶吾、陳惠倩、賴奕蒨、邱懷葦、陳羿吟、曾雅玳、李苡榕、胡蕙欣、許瑀庭、賴品霓 Huang Chih-Chiang, Yang Ching-Wu, Chen Hui-Chien, Lai Yi-Chien, Chiu Huai-Wei, Chen Yi-Yin, Tseng Ya-Tai, Li I-Jung, Hu Hui-Hsin, Hsu Yu-Ting, Lai Pin-Ni

燈光設計 L igh t in g D e s i g ne r

何仲昌 Ho Chung-Chang

技術支援 Te chn ic al C r e w

何志明 Ho Chih Ming

視覺設計 Visu a l D es ig ne r

李激娘 Gina

新聯陽實業機構

248 農學市集

吳念澄 Wu Nien-Cheng

許家榕 Syu Jia-Rong

向度聯合建築師事務所

吳怡婷 Wu Yi-Ting

郭瓊蔓 Kuo Chiung-Man

合契建築師事務所

大研聯合建築師事務所

吳欣如 Wu Shin-Ju

陳佩君 Chan Pei-Jun

境業設計工程有限公司

合契建築師事務所

李采玲 Li Cai-Ling

陳星銘 Chen Hsing-Ming

臺北市政府財政局

境業設計工程有限公司

沈建亨 Shen Jian-Heng

陳貞榕 Chen Chen-Jung

臺北市政府都市發展局

日商織本構造設計 ( 股 ) 公司台灣分公司

林佑亭 Lin Yu-Ting

彭莉婷 Peng Li-Ting

林怡萱 Lin, Yi-Shiuan

曾則瑜 Zeng Ze-Yu

林亭秀 Lin Ting-Hsiu

黃舒瑜 Huang Shu-Yu

林姿廷 Lin Tzu-Ting

黃雲卿 Huang Yun-Ching

林香伶 Lin Hsiang-ling

黃意琪 Huang Yi-Chi

林筠 Lin Yun

黃瀞瑩 Huang Ching-Ying

邱方昱 Chiou Fang Yu

塗珺媁 Tu Jun-Wei

柯潔庭 Ko Jie-Ting

葉麗娟 Yeh Li-Chuan

臺北市交通局臺北市停車管理工程處臺北市建築管理工程處臺北市政府消防局

榮慧貫通企劃工作室財團法人工業技術研究院弘麗企業股份有限公司弘第企業股份有限公司

台灣電力股份有限公司公眾服務處

遵宇科技股份有限公司

臺北市自來水事業處

台灣國際松下電工股份有限公司

戴錫欽議員

台灣華可貴股份有限公司

洪翊鈞 Hong Yi-Jun

廖珮伃 Liao Pei-Yu

汪志冰議員

王人頡 Wang Jen-Chich

徐靖芳 Hsu Ching-Fang

劉醇韓 Liu Chun-Han

信義區安康里吳水上里長

王宜筠 Wang I-Yun

涂雅筑 Tu Ya-Jhu

鄧宇敦 Teng Yu-Tun

信義區廣居里楊玉堂里長

朱亭亭 Chu Ting-Ting

張滋倪 Chang Tzu-Ni

賴俞廷 Lai Yu-Ting

信義區富台里陳國華里長

江宛璇 Chiang Wan-Hsuan

張兢真 Chang Ching-Chen

鍾愛雅 Chung Ai-Ya

信義區國業里張雲娥里長

江昭月 Chiang Chao-Yueh

張禎庭 Chang Chen-Ting

魏呈穎 Wei Cheng-Ying

信義區松光里蔡福來里長

江昱德 Chiang Yu-Te

張寶琳 Zhang Bao Lin

島田清夏 Sayaka Shimada

1 1 1 1 1 1

發行人 Pu blish ed by

張巍懷 Chang Wei-Huai

監製 Direc tor

周炫君 Chou Hsuan-Chun

編輯 Editors

立偕建設股份有限公司胡氏藝術有限公司 Lead Jade Constructions Co., Ltd., Hu ’ s Art Company

專文 Write rs

胡朝聖、路易斯．比格斯、湯瑪斯．克倫斯 Sean C.S. Hu, Lewis Biggs, Thomas Krens

翻譯 Tra nsla tors

廖蕙芬、吳愛頡 Hui-Fen Anna Liao, Ayshye Wu

視覺設計 Visua l D e s i gn er

李激娘 Gina Lee

攝影及影片製作 Photography & Film Production

複氧國際多媒體有限公司 On-Works International Multimedia Co., Ltd

印刷 Print ing

日動藝術印刷有限公司 Sunrise Art Printing Co., Ltd.

出版 Pu bl ish e r

立偕建設股份有限公司 Lead Jade Constructions Co., Ltd. 地址台北市敦化南路二段 92 號 3 樓電話 886-2-2771-1689 3F, No.92, Section2, Dunhua South Road, Taipei, Taiwan +886-2-2771-1689

出版日期 Pu blishe d

2 01 3 年 1 1 月 ( 初版 ) November 2013 (1st Edition)