藝術的共振/殘局/轉機的形成──以李俊賢與高雄藝術生態發展關係為例

The Resonance/Aftermath/Turning Point Formation of Art─Using the Relationship Between Jiunshyan Lee and Kaohsiung's Ecological Art As An Example

當時造成「曾經帶動藝術生態的美好時代華山藝文特區終結」的原因，主要是行政院要把文創產業作為未來國家發展重點計畫，而一併將把華山藝文特區轉型為「創意文化園區」的這個讓抵抗性的藝術能量無法抵擋的決定。 因此，我很想知道在高雄地區的具有批判性地當代藝術圈的共振為何維持得這麼久，以及需要做一個重大改變的時候，這期間是不是也有某些殘局的現象，或是其中有部分能量有一個比較好地延續、轉型、深化？ 我首先發現：一、高雄這塊土地確實有一些有獨特條件與發展：(一)、成為政策犧牲地與民主聖地的高雄港市(二)、高雄港市成為強大藝術抵抗基地的條件。 接著發現：二、高雄藝術生態大推手李俊賢所帶領的共振：(一)、美術館館長前階段：(二)、2004-2008美術館長階段、(三)、2008-2018美術館館長後階段。 因為高雄的特殊政治生態以及有問題的產業狀態，以及李俊賢的啟動領導的驚人能量，得以遠遠比台北的抵抗性藝術能量的共振維持得更久。但是高雄碰到攸關生存的城市轉型政策，似乎讓強大的藝術抵抗力量暫時失去正當性以及原先豐富的活動基地。 最後是轉變以及轉機：三、2017美術館承擔城市轉型重任後的改變：(一)美術館承擔港市合一城市轉型重要角色、(二)新館長上任及稍後的重要展覽空間改造，當然還會有後續的一些發展。四、前館長李俊賢過世後的共振，最大規模的是：(一)「跟著俊賢去旅行」計畫啟動共振與延續、(二)當代藝術的「田野」與「民族誌轉向」幾股能量的匯合。美術館的轉型，加上前館長過世，應該會縮短高雄藝術抵抗能量的共振，但好像已經另一種能量，準備好可以延續下去。這需要再觀察追蹤。

"The main reason behind the project“The end of the Huashan Arts and Cultural Special Zone - A place that once drove the ecological art into its remarkable era”is that the Executive Yuan plans to make the cultural and creative industry an important part of the national development plan in the future, and it will transform the Huashan Arts and Cultural Zone into ""Creative Cultural park"". Therefore, the resistive artistic energy was unable to withstand this decision.For this reason, I would like to know why the critical contemporary art circle in Kaohsiung has maintained its resonance for so long, especially when major changes are made, weren’t there any appearance of unrestness, or a part of the energy had lasted longer, had transformed, and became more intensifying instead?First and foremost, I found out the following: 1. Kaohsiung does have some unique factors and developments: (1) Kaohsiung Port City has become a place of policy sacrifice and a sacred place for democracy (2) Kaohsiung Port City has the conditions to become a strong artistic resistance foundation. Followed by: 2. Resonance led by Jiunshyan Lee, the great promoter of Kaohsiung's art ecology, during the following periods: (1)the pre-curator stage of the art museum: (2)the 2004-2008 art museum director stage, (3)the 2008-2018 art museum postcurator stage.Due to Kaohsiung's special political ecology and problematic industrial state, as well as Lee Jiunshyan's start-up leadership's amazing energy, it can last longer than the resonance of Taipei's resistive artistic energy. However due to Kaohsiung's urban transformation policy, it seems that the powerful artistic resistance force temporarily loses its legitimacy and the original great activity foundation.Lastly is about the transformation and changes: 3. Significant changes after the 2017 Art Museum has undertaken the important task of urban transformation: (1) Art Museum assumes an important role in the urban transformation of the port and the city; (2) The new curator takes over the office and the subsequent transformation of important exhibition spaces. Of course, there will be some resulting developments. 4. The resonance after the death of former curator Jiunshyan Lee has the largest impact: (1) The ""Travel with Jiunshyan"" project initiated the resonance and has continued to set forth; (2) The energy of the ""field"" and ""ethnographic turn"" of contemporary art have merged together. The transformation of the museum along with the passing of the former curator should have shortened the resonance of Kaohsiung's artistic resistance energy, but it seems that there is already another kind of energy ready to continue. This requires further observation and investigation."