「藝術介入」的意涵與在地脈絡

On the Meaning and Context of “Artistic Intervention＂ in Taiwan

臺灣當代藝術自1990年代中期以降，盛行各種廣泛的「藝術介入」論述，特別是在現地製作（site-specific）類型的策展之中，例如「藝術介入社會」、「藝術介入空間」、「藝術介入社區」等，強調藝術的社會性。然而在這個詞彙的使用上，多只基於某種模糊的共識。「介入」一詞在臺灣1990年代以來的當代藝術語境中，字義上不完全等同於歐美「socially engaged practice」或「artistic intervention」所體現的人和社群的參與討論、互動的藝術形式。本文強調臺灣當代藝術實踐的意義生成主體性，探討概念的來源與實質意涵之變化。研究發現，臺灣的「藝術介入」與1990年代解嚴後的民主背景、資本主義高度發展相關，並且帶有明顯的官方色彩，尤其受到社區總體營造、公民美學等文化政策影響。臺灣藝壇對於「藝術介入」的談論，始終以前衛藝術的批判性做為其藝術自主的姿態，並且注重各種關係的營造。這一概念具有政治性，在臺灣持續發展至今，已經成為主流的創作意識形態之一。

Since the mid-1990s, contemporary arts in Taiwan have been bountiful with a wide variety of discourses in art intervention, particularly in site-specific exhibitions such as art interventions in society, space, and communities. These interventions emphasize the social characteristics of the arts. However, the term “intervention” is commonly used based on a vague consensus. The term “intervention (jie ru),” which has been used in various instances of contemporary arts in Taiwan since the 1990s, is not completely equivalent to the art forms of socially engaged practices that represent discussions and interactions between people and communities. This study emphasized the derivation of meaning in contemporary art practice in Taiwan to reflect on the source of concepts and changes in substantial meaning. The results revealed that art intervention in Taiwan was correlated with a democratic background and advanced capitalism in Taiwan in the 1990s after martial law was lifted. The art intervention was also strongly influenced by the government, especially cultural policies such as community empowerment, development, and civil aesthetics. Discussions on art interventions in Taiwan have consistently applied the criticism of avant-garde art to manifest the autonomy of art and focused on the development of various relations. With its continual development of political sense, this concept has become one of the mainstream ideologies of creation in Taiwan.