在過去幾十年來，‘藝術家進駐’(Artist-in-residence)的實行已發展成為一種文化活動；造成現代社會中藝術家對社會議題關注逐漸普遍,‘藝術家進駐’對於當代藝術創作做為一種社會文化再現之形式與社群參與的貢獻及重要性不容忽視。 位於屏東縣的竹田與內埔等地的社區不僅擁有南台灣亞熱帶文化特質，更是一個擁有多元文化族群的聚落－包括客家、閩南及原住民族，也提供了當地藝術家豐富的創作靈感。於1999年開始的米倉藝術家社群的藝術家駐地計畫結合了當地不同的社群，包括藝術家、教師、農民、及生態學者等進行社區文化的整合及改造，期間所帶來的影響並不只在於社區歷史人文的重新思考，也去除了在地藝術家的藝術創作活動與社區文化之間的隔閡。本論文首先從文化解釋(cultural interpretation)的觀念對於‘藝術家進駐’計畫的舊有模式及定義提出批判，特別是那些反映‘在地認同’(local identity)，及‘多元文化(pluralism)的‘藝術家進駐’計畫。其次，透過對於屏東米倉藝術家藝術家進駐的探討與田野調查，本文試圖紀錄與論述台灣當代藝術家在參與社區與反省在地文化的歷程與實踐。

In the past decades, the practice of artist-in-residence has been developed as a cultural activity. The prevalence of artists engaged with social issues in modern society and the importance of its contribution to contemporary artistic practice as socio-cultural presentation has made issues related to artist-in-residence became significant. The origin of Rice Storage Artists' Communities, Chu-Tein Village, is an area containing various races-the special tropical culture that represents the Taiwanese, Haka races, and aboriginal people. Its rich cultural reference can be the resource for artistic creativity. Through the practice of artist-in-residence schemes by the Rice Storage Artists' Communities, either gathering artists to think again about the culture in Pin-Tong or to debate with non-local artists, all of these events are influencial for collecting and arranging regional culture. There are two major components in this research, the first is to discuss the definition of 'artist-in-residence' from the perspective of cultural interpretation, especially those schemes reflect on local identity and pluralism. On the other hand, through the investigation and fieldwork in a particular artist-in-residence schemes in south Taiwan: Rice Storage Artists' Communities in Ping-Tong County, this research aims to view artists reflections on the native culture through engaged with local communities and the influence of 'artist-in-residence' to the cultural scene in local area.