開放式庫房的實踐與挑戰－以文化部藝術銀行為例

Practice and Challenges of Open Storage - A Case Study in Art Bank Taiwan

長久以來，博物館或美術館的典藏庫房被視為神秘寶庫，僅有少數工作人員或因特定需求的專家學者等可以進入。對於大部分民眾而言，主題式的展覽固然有趣，但對於帶有神秘面紗的庫房更有一窺究竟的好奇。從校園的博物館、圖書館，藏品、圖書被人們理所當然的近用，到現在很多博物館、美術館自遙不可親的神聖殿堂被倡議應納入開放庫房的思考，期許人們可以與藏品產生更多的互動。因此，近年國內博物館領域的學者先進積極的討論開放性庫房被實踐的需求與可能，希望可以藉由異於以往的使用模式，讓使用者與藏品間產生更多的連結。藝術銀行於2013年正式營運，由於創立時的政策設定，開放性庫房成為必然之發想，希望更多人可以自然親近藝術品，打破藝術品總存在白盒子式展場、存在於生活公共區域的藝術品常較為不值錢等的迷思。讓所有想認識藝術、租用藝術品的民眾可以自行至藝術銀行進行挑件，進而追求藝術品更為活潑、多元的呈現機會。本文將以藝術銀行自營運以來迄今邁入第8年，在初始面對將老舊閒置空間修建為庫房的原有條件不足、隨時需提供參訪者、租賃客戶或研究者等的入庫人員管理、作品保存維護與傳統庫房標準異同等相關問題進行分享，希冀以第一線文保人員的角度，討論開放性庫房規劃與執行經驗，做為未來同業規劃時的參考。
For a long time, the museum's or art gallery's collection storage has been regarded as a mysterious treasure house, and only a few staff or experts and scholars with specific needs can enter. For most people, thematic exhibitions are interesting, but they are more curious about the storages with mysterious veils. Most people are accustomed to using campus museums to library collections or books, so many museums and art gallery managers have also begun to think about open storage, and scholars have actively discussed the need and possibility of open storage to be practiced. It is expected that different use modes can shorten the distance between the user and the collections and create more links with them. The Art Bank officially operated in 2013. Due to its goal, an open storage became an inevitable idea. Hope more people can naturally get close to art and break myths, Such as art always exists in white-box exhibition halls or art that exists in public areas of life is often cheaper. Let all people who want to understand art, or use art to create different atmospheres of public space, be free to choose objects, and then pursue more lively and diverse opportunities for art and artists to present. This research will take the Art Bank that has been in operation for 8 years as an example. The content of sharing includes: Facing the predicament of insufficient original conditions-building old idle space into a storage, formulating more flexible rules for people who need to provide different purposes to enter the warehouse and use collections, preservation and maintenance of works and conflicts with traditional storage standards and other related issues. It is hoped that this article will discuss the experience of open storage planning and implementation from the perspective of conservator, and use it as a reference for future storage planning with the same needs.

For a long time, the museum's or art gallery's collection storage has been regarded as a mysterious treasure house, and only a few staff or experts and scholars with specific needs can enter. For most people, thematic exhibitions are interesting, but they are more curious about the storages with mysterious veils. Most people are accustomed to using campus museums to library collections or books, so many museums and art gallery managers have also begun to think about open storage, and scholars have actively discussed the need and possibility of open storage to be practiced. It is expected that different use modes can shorten the distance between the user and the collections and create more links with them. The Art Bank officially operated in 2013. Due to its goal, an open storage became an inevitable idea. Hope more people can naturally get close to art and break myths, Such as art always exists in white-box exhibition halls or art that exists in public areas of life is often cheaper. Let all people who want to understand art, or use art to create different atmospheres of public space, be free to choose objects, and then pursue more lively and diverse opportunities for art and artists to present. This research will take the Art Bank that has been in operation for 8 years as an example. The content of sharing includes: Facing the predicament of insufficient original conditions-building old idle space into a storage, formulating more flexible rules for people who need to provide different purposes to enter the warehouse and use collections, preservation and maintenance of works and conflicts with traditional storage standards and other related issues. It is hoped that this article will discuss the experience of open storage planning and implementation from the perspective of conservator, and use it as a reference for future storage planning with the same needs.