博物館、知識產製與機構權力論述：以高美館之《裸：泰德美術館典藏大展》為例

Museum, Construction of Knowledge and Discursive Power of Institution: ''Nude: Masterpieces from Tate'' in Kaohsiung Museum of Fine Arts as an Example

「裸：泰德美術館典藏大展」世界巡迴以高美館為最終站，堪稱2018南臺灣年度藝術盛事。此次展覽內容包括123件與人體相關的油畫、攝影、雕塑與其他平面藝術等作品。泰德美術館以時間軸為背景，鋪陳美學、媒材、技法、藝術史、身體政治、性別意識與社會運動等主題，進而闡述18世紀以降裸體之為藝術類型的意涵。然而，本文對此種裸體藝術的進步史觀有著疑慮，因爲它正示範了博物館機構內的知識建構與權力論述。本文立基於傅科的歷史與論述相關理論，分析泰德展的空間和語言敘事文本，試圖揭露高美館在「泰德」與「裸」的宣傳操作之中，所牽涉的知識產製與權力論述。

Kaohsiung Museum of Fine Arts (KMFA) as the last stop of Tate Modern's international exhibition,''Nude: Masterpieces from Tate,''represented the most significant art event of southern Taiwan in 2018. One hundred and twenty-three pieces of artworks in total, the exhibition included oil paintings, photographs, statues and many graphic arts. Backgrounding timeline, ''Tate Nude''foregrounded themes of aesthetics, materials, techniques, art history, body politics, gender consciousness and social movements, so as to elucidate nudity as an Art genre since 18th century. However, the present paper finds this progressive perspective of nudity in Art history problematic. Indeed, it exemplifies the construction of knowledge and the discursive power in museums as institutions. Based on Foucauldian theories concerning discourse and history, the present paper analyzes the spatial and the lingual narratives of the exhibition in order to reveal the construction of knowledge and the discourse of power embedded in the publicity of KMFA's ''Tate''and ''nude.''