在平面圖與展場間浮現：行動者網絡觀點下的裝置藝術研究

From Floor Plans and Exhibition Galleries It Emerges: An Actor- Network Studies of the Installation Art in the Making

裝置藝術作品如何於展場浮現？裝置藝術作品有著與所處空間密不可分的關係，不僅考量到作品形式本身，亦須考量其所處的空間。有鑑於此複雜性，我將創作者與裝置藝術作品置於科技與社會研究的視野下審視，呼應行動者網絡理論「跟著行動者」的研究倡議，以民族誌書寫藝術作品如何在美術館中透過眾人與眾物之力共同完成。本文依照展覽時序，分為佈展前與佈展時兩部分討論。其中，佈展前聚焦於「平面圖」的非人能動性在作品組裝過程中扮演的重要位置。平面圖將遠不可及的展場資訊轉譯給藝術家，於時間與空間上替藝術家爭取了更多餘裕，將原先無法一窺究竟的展場盡收眼底。平面圖也成為一個容納多位行動者想法的複雜媒介，使策展人、館方、藝術家得以在佈展之前進行意見交換、爭論與構思，作品形貌便在平面圖的變形與流通中逐漸具體。開始佈展後，本文以三位藝術家的實際案例，討論藝術創作者身處在空間中，僅透過平面圖來認識空間是不夠的，於是他們與物理空間中眾多非人行動者展開一連串的磨合與協商，將出風口、消防結構、軌道燈等物納入自身的藝術作品網絡中，使得作品在通過試煉後，逐漸於空間中展演成形。本研究試著填補中文科技與社會研究對藝術提問的空缺，同時也對於越趨難以捕捉的當代藝術，提供另一種「行動中的藝術」的研究觀點。

How can installation artworks emerge out of art museums? Installation art is intimately connected to its spatiotemporal environment. That is, the artist must consider the form of an installation, but also needs to initiate a dialogue between the artwork and its environment. Inspired by the “ followtheartist” approach advocated by actor-network theory (ANT), I conducted participatory observation in an art gallery to reveal the process of “ becoming art.” My analysis is divided into two sections: the preparatory work prior to installation and the work of installing artworks in situ. In the first part, I focus on the agency of the floor plan. Before artists set up their works in the exhibition room, the floor plan translates the unknown and distanced room into something both spatially and temporarily “ foreseeable” to them. It also serves as a complex mediator which accommodates different opinions and allows actors to exchange their thoughts and arguments. Discussing three artists’ cases, I affirm that when the artists are ready to set up their works in the exhibition room, they start enrolling multiple non-human actants in the physical space. This essay engages art studies in science and technology studies and suggests “ art in action” as an alternative approach to studying contemporary art.