外公共藝術的永續性評量方法研究──以樹木為主體的公共藝術為例

A Research of Permanent Assessment for Outdoor Public Art by the Sustainability of Aged Trees

誰是空間的擁有者？是市民、政府、創作者、藝術品或土地環境本身？公共藝術發展，自1992年「文化藝術獎助條例」公佈以來，佇立在台灣這個環境中，有褒有貶。在法規的監督與保護下，公共藝術的數量每年持續增加中，時至今日普遍認知，主辦單位對於作品使用的媒材可能對環境產生的影響，必須擔負把關的責任。近幾年的公共藝術作品，除了保持其藝術特質外，也增加了一些功能性，讓台灣民眾有置身藝術氛圍的滿足。戶外公共藝術，如何持續地讓民眾喜愛和互動，是公共藝術必須用盡心思去經營的。興辦單位在評選上也必須把關，對於環境、在地文化特質的認知，非僅以簡單的競賽之類的方式來處理，而能引導藝術創作者正確的態度與方向，是勢在必行的一項前置工作。本研究以土地、人、藝術三者之間的倫理來談融合，試圖整理出評量的方法。十幾年來台灣公共藝術的高立，在街道上的能見度甚高，有時成為一個指示標誌，這標誌的優劣則能提升或降|低環境的素質。本研究從社區的老樹作為啟發，從生態來架構公共藝術評量方式，並嘗試以植樹成功的公共藝術作基準，探討更遠合環境的公共藝術設置方式。讓未來公共藝術在台灣這塊土地上有更優質的呈現，也更符合所有民眾的期待。 Who owns the space? It's citizen, government, creator, artworks or land environment itself? There're various comments on “Culture and Arts Reward Act” that has been published in Taiwan since 1992. The number of public art keeps increasing every year under the supervision and protection of legal regulations. The institutes that built public art are widely recognized should be responsible for the consequence any media of work may cause. In recent years, public artworks not only keep their artistic originality, but also increase some functionality to satisfy the necessity of Taiwan people whenever enjoy an artistic atmosphere. How outdoor public art could remain people's concern and interact is that public art must invest a lot of time and energy to run for it. The host institute should maintain a strict standard for evaluating the awareness of environment and local culture rather than handling a simple competition, so as to lead artists' correct attitudes and directions, and such pre-work is imperative. This study aimed at the integration of ethic between land, people and art, intending to organize assessment method. In a dozen years, massive public art turned up in Taiwan's streets with high visibility, sometimes became an indication sign. The advantage and disadvantage of which may increase or decrease environmental quality. Being inspired by aged trees in community, this study constructed assessment method of public art from ecology. Based on successful tree planting as public art, this study will attempt to explore assessment method for setting up more appropriate public art for environment, so that future public art can be excellently presented in Taiwan to fulfill the expectation of most civilians.

Who owns the space? It's citizen, government, creator, artworks or land environment itself? There're various comments on “Culture and Arts Reward Act” that has been published in Taiwan since 1992. The number of public art keeps increasing every year under the supervision and protection of legal regulations. The institutes that built public art are widely recognized should be responsible for the consequence any media of work may cause. In recent years, public artworks not only keep their artistic originality, but also increase some functionality to satisfy the necessity of Taiwan people whenever enjoy an artistic atmosphere. How outdoor public art could remain people's concern and interact is that public art must invest a lot of time and energy to run for it. The host institute should maintain a strict standard for evaluating the awareness of environment and local culture rather than handling a simple competition, so as to lead artists' correct attitudes and directions, and such pre-work is imperative. This study aimed at the integration of ethic between land, people and art, intending to organize assessment method. In a dozen years, massive public art turned up in Taiwan's streets with high visibility, sometimes became an indication sign. The advantage and disadvantage of which may increase or decrease environmental quality. Being inspired by aged trees in community, this study constructed assessment method of public art from ecology. Based on successful tree planting as public art, this study will attempt to explore assessment method for setting up more appropriate public art for environment, so that future public art can be excellently presented in Taiwan to fulfill the expectation of most civilians.