視覺化《上線中——網路藝術展》的可見模型

Visualizing the Visible Model of the“Always on─Net Art Exhibition”

若藝術介入社會依然是藝術中的關鍵議題，那麼假設《上線中——網路藝術展》的藝術世界有能力指出，人們不再認為當前社會境遇是其終身處境，並且試圖以藝術方式轉換現實的制約之時，人們就無法單純透過存有的方式來詰問「何者造就藝術世界」。因為，我們需將隱身於《上線中——網路藝術展》背景中的文化慣習拉到前景來，與展覽內容進行密切碰撞並反思視覺風格的曲折變化，才能辨別出展覽潛能對應藝術世界之所在。
鑒於上述原因，別於歷史學致力於別具意義的行動或結構進行因果分析與解釋，本文旨趣於剖析《上線中——網路藝術展》中模塑資訊社會的能動性（agency），依此，首先藉由討論藝術場域發生的變遷；其次考察社會中藝術觀點的秩序重構；再者描述策展自治性的表現行動；進一步範疇化展覽所欲模擬社會驅力的基本模型。最後藉評論場域進行可見再生產，以呈現出藝術家與觀眾之間互相理解的溝通場所，進而區判「理解藝術世界之入門」正潛藏於——透過評論展覽模型所衍伸的歧義（ambiguity）之中。

The intervention of art in society remains a critical issue in art. Assuming that the art world of the“Always on—Net Art Exhibition”has the ability to highlight that people no longer consider the current social conditions as their lifelong situation and attempt to transform the constraints of reality through artistic means, people cannot question“what constitutes the art world”through its mere existence. We need to shed light on the cultural habits hidden in the background of the“Always on—Net Art Exhibition,”closely engage with the exhibition content, and reflect on the intricacies of visual styles. This would enable us to discern the potential of exhibitions in relation to the art world.
Unlike history, which focuses on causal analysis and explanation of meaningful actions or structures, this study aimed to analyze the agency shaping the information society in the“Always on—Net Art Exhibition.”First, it discusses the changes that have occurred in the art field. Second, it examines the reconstruction of artistic perspectives in society. Third, it describes the expression of curatorial autonomy and constructs a basic model of exhibitions simulating social forces. Finally, through evaluating the venue, visible reproduction is achieved, presenting a communication space for mutual understanding between artists and audiences, thereby serving as an introductory framework that distinguishes how“the entry point to understanding the art world”is hidden within the ambiguities derived from the critique exhibition model.