大展身手做展覽：以策展實踐「展覽識讀」

Making Exhibitions: Exhibition Literacy as a Curatorial Practice

在臺灣，每年觀眾都有近1萬檔的藝文展覽選擇，如何選擇自己想要觀看的展覽，或是更有意識地去思考策展目的與理解展覽內容，引發筆者思考展覽是否也需要「識讀」的能力。以此作為研究動機，本文研究目的為發展並探討「展覽識讀」透過策展實踐的方法及可能樣貌，並以新竹241藝術空間於2023年所舉辦的「小題大作的每一天」，及2024年舉辦的「日常的形狀」和「奇形怪狀的日常」為研究對象，利用展覽製作方法為基礎，進行透過策展來實踐展覽識讀的研究。
以這三檔展覽作為展覽識讀的策展實踐，從中發現1.透過展覽的方式，有助於推廣「展覽識讀」概念予更多受眾；2.以「識別展覽」與「理解展覽」作為展覽識讀策展實踐的起點，可以利用教育體驗區搭建一座橋樑，連接藝術作品和觀眾，有助於讓觀眾在展覽中找到自己的意義；3.結合兒童策展工作坊於展覽識讀策展實踐中，除了拓展觀眾群的廣度，也能強化展覽識讀的深度，並導入觀眾詮釋，讓策展實踐的觀點更多元。

In Taiwan, audiences have nearly 10,000 cultural and artistic exhibitions to choose from every year. How to select the exhibitions to watch or more consciously reflect on the curatorial purpose and understand the exhibition content has led the researcher to consider whether exhibitions also require the ability to“read”them. This study aimed to develop and explore“exhibition literacy”through curatorial practice methods and possible forms. It focused on three exhibitions organized by the Hsinchu 241 Art Space:“The Practice of Everyday”(2023),“Shapes of Everyday Life”(2024), and“Bizarre Everyday”(2024). This study used exhibition production as the foundation to explore how curatorial practices can promote exhibition literacy.
The curatorial practice of exhibition literacy based on these three exhibitions revealed the following points.
1. Exhibitions can help promote“exhibition literacy”among a wider audience.
2. Starting from the points of“identifying the exhibition”and“understanding the exhibition,”curatorial practice in exhibition literacy can use educational experience zones as a bridge to connect artworks and audiences, helping viewers find personal meaning within the exhibition.
3. Incorporating children’s curatorial workshops into the practice of exhibition literacy not only broadens the audience base but also deepens their understanding of exhibition literacy, allowing for more diverse interpretations and consideration of the perspectives of the audience.