博物館論述與文化民主：從超級特展現象再思教育

Museum Discourse and Cultural Democracy: Rethinking Education from Blockbuster Exhibitions

一九九○年代以來，台灣的博物館興起一股「超級特展」熱的現象，其所呈現的特殊展覽型態以及所吸引的大量參觀者，與社會中相關的論述領域有著特定的關係。各個超級特展，依其論述特性而分為三種不同概念類型：「法式或歐式精品」、「神秘古代」、「大師與收藏家」。這些概念類型的成形，與種種論述事件有關，並形成與超級特展－論述的概念與對象形構有關的領域。另外，有關美術策展者的言語論述中，「策畫者地位」的諸描述，乃關聯著超級特展策畫者的角色特性。從分析的脈絡看來，作者認為超級特展乃是當代台灣特殊的藝術「改造」實踐，而這種改造實踐在於因應八○年代以來社會人口秩序的「調控」問題。藉由超級特展中三大概念類型的知識架構，超級特展－論述對於觀展者的改造功能，其實是在進行社會的區分。可以說，當代超級特展乃是某種進行社會支配的、精巧的展覽機制。為了超越這類博物館教育，作者將博物館員重新定位成作為公共知識分子的文化工作者，他們將促使眾多他者的聲音在博物館場域中得以承認、改造並表達出來，並使彼此權能增長。

From the 1990s, the phenomenon of the museum 'blockbuster exhibition' emerged in Taiwanese society. The characteristics presented by the special exhibition, and the many visitors it attracts, have specific relationships with associated discursive fields in society. In accordance with their discursive characteristics, the following blockbuster exhibitions divide themselves into three different kinds of conceptual types: 'French or European Delicacy', 'Mysterious Antiquity', and 'Master and Collector'. The formation of these conceptual types is related to many kinds of discursive events which form related fields of the formation of concepts and objects in the blockbuster exhibition discourse. In addition, the description of 'curatorship' in the dialogue about the art programmers is associated with the characteristics of the role of the blockbuster curators. As far as the context of the analysis is concerned, the author regards museum the blockbuster exhibition as a particular 'art-reforming' practice in contemporary Taiwan which has dealt with the 'regulation' problem of the social populace since the 1980s. In the frameworks of knowledge constructed by the three conceptual types of blockbuster exhibitions, the reforming function of the blockbuster exhibition discourse toward the viewers actually proceeds to exercise social differentiation and social division. In other words, contemporary blockbuster exhibitions in Taiwan are deliberate exhibition mechanisms concerning social domination. In order to transcend this kind of education in museums, the author tries to relocate curators as cultural workers and public intellectuals. What they are going to do is to make the voices of many others' be recognized, refashioned and represented, and promote mutual empowerment.