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題名:從超文化工業看當代藝術館的角色定位
書刊名:南藝學報
作者:劉怡蘋 引用關係
作者(外文):Liu, Yi-pin
出版日期:2012
卷期:4
頁次:頁151-173
主題關鍵詞:當代藝術館超文化工業生活美學體驗經濟Contemporary art museumsHyper-cultural industryLifestyleExperience economy
原始連結:連回原系統網址new window
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當代藝術自 1960年代濫觴以降,使「藝術」與「生活」的關連日益緊密:當代藝術家從生活中取材創作,其範疇之大如義大利貧窮藝術評論家切朗(Germano Celent)所言,「廣自對聲色感知的表現到社會裡被當成工具使用的藉口」。尤有甚者,文化商品化與時尚化、越來越向「服務業」與團隊模式靠攏的藝術家、近似大型綜藝演出的複合式作品,以及藝術、設計、時尚與建築合體混搭等當代藝術在過去十年中愈演愈烈的特質,將使當代藝術經由消費實踐滲透並形塑我們日常生活的程度,遠較其他類型與時代的藝術商品為甚。 然而,當因應上述趨勢的歐美當代藝術館為與時尚業競爭而挪用「體驗經濟」的概念,在館內置入星級旅館並出租館內大量空間、與小家電企業合作發展廚藝及園藝計畫以「讓生活變得不平凡」,同時卻不忘堅持藝術作品的獨一性與真實性而斥資建置「游牧分館」時,我國當代藝術館目前在藝術邏輯與商業邏輯之間的融合和衝突上卻顯得動向不明。在分析此一發展的同時,本文旨趣以「超文化工業」論述以及法國兩個當代藝術館案例作為主軸,彰顯當代藝術館必須有為有守,並藉由當代藝術使我們未來的日常生活徹底產生質變。
The contemporary art began in the sixties and created a close relationship between Art and everyday life. The contemporary artists found inspirations in the run-of-the-mill and as Germano Celent said, art subjects are widespread, “from the representation of the sensation to the pretexts of the society”. Moreover, the tendencies are more and more obvious of the contemporary art, such as the culture commercialized and art fractionized, artists leaning towards the service sector and team work, works of art similar with synthesis skill program, the union of art, the design, the fashion and architecture..., will cause the contemporary art works as “industrial objects of time” to infiltrate our life and to influence our everyday by the acts of consumption. However, in order to resist the age of “hyper-cultural industry”, several contemporary art museums in Europe are using the concept of the “Experience Economy”. They installed high-quality hotel in the museum, they put a lot of space for rent, they cooperate with a home appliance and develop gardening and kitchen skill. In addition, insisting on the originality and the authenticity of art work, they invested heavily in establishing branch and mobile museums. By contrast, our contemporary art museums, who are ambiguous, hesitate between commercial logic and artistic logic. This article analyses those developments and we take two French museums as examples to support the theory of hyper-cultural industry. We advocate that our contemporary art museums have to take a very clear stance on what will be done over the next ten years and change our everyday life by the Contemporary Art.
期刊論文
1.張婉真(200904)。消費文化、博物館與社會大眾。博物館學季刊,23(2),5-19。new window  延伸查詢new window
2.呂國禎(2012)。2012 中國關鍵報告。商業周刊,1258,94-95。  延伸查詢new window
3.參金燃(2011)。當村上隆遇見Louis Vuitton:開啟藝術超越時尚浪潮。藝術芭莎,249,92-99。  延伸查詢new window
4.邱瓊慧(2011)。好樣君寓的英式美學:借住一趟英倫人生。La Vie,91,214-217。  延伸查詢new window
5.Bousteau, F.(2010)。2000/2010 ce qui a changé。Beaux-Arts,309,50-57。  new window
6.Bousteau, F.(2010)。2010/2020 ce qui va changer。Beaux-Arts,309,66-73。  new window
圖書
1.李天鐸(2011)。文化創意產業讀本:創意管理與文化經濟。遠流出版事業股份有限公司。  延伸查詢new window
2.劉惠媛(2009)。世界頂尖博物館的美學經濟。臺北:原點出版社。  延伸查詢new window
3.Pine, B. Joseph II、Gilmore, James H.、夏業良、魯煒(2008)。體驗經濟時代。臺北:經濟新潮社。  延伸查詢new window
4.Mattelart, Armand、繆詠華、廖潤珮(2011)。多元性與全球化。臺北:麥田出版社。  延伸查詢new window
5.譚平、Thompson, D.(2011)。身價四億的鯊魚。臺北:原點出版社。  延伸查詢new window
6.村上隆、江明玉(2007)。藝術創業論。臺北:商周。  延伸查詢new window
7.許瑞宋、Tvede, L. (原著((2011)。未來你一定要知道的100 個超級趨勢。臺北。  延伸查詢new window
8.彭玲林、Tai, J.、Chew W.(2011)。再貴也能賣到缺貨的秘密。臺北。  延伸查詢new window
9.廖婉如、Ferrucci, P.(2011)。美,靈魂的禮物。臺北。  延伸查詢new window
10.蘇文淑(2010)。美術手帖:村上隆特集。臺北。  延伸查詢new window
11.李巧云、Thornton, S.(2010)。藝術市場密探。臺北。  延伸查詢new window
12.村上隆、長安靜美(2010)。藝術戰鬥論。臺北:大藝文化。  延伸查詢new window
13.蔡青雯、Books, Pie(2009)。美學企業力。臺北。  延伸查詢new window
14.Mairesse, F.、Desvallées, A.(2007)。Vers une redéfinition du musée?。Paris。  new window
15.Tobelem, J. M.(2007)。Le nouvel âge des musées。Paris。  new window
其他
1.Pironet, O.(2007)。Gilles Deleuze, Le théoricien des sociétés de contrôle。  new window
2.Stiegler, B.(2004)。Le désir asphyxié, ou comment l’industrie culturelle détruit l'individu。  new window
 
 
 
 
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