從超文化工業看當代藝術館的角色定位

Hyper-cultural Industry and Contemporary Art Museum's Role Orientation

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.