以畫廊產業與藝術家探討在NFT趨勢下的影像藝術革命

Image Revolution - A Study of the Gallery Industry and Artists of NFT Trends

區塊鏈去中心化與共享數據履歷的方式，加密貨幣明顯的對比之下，使得傳統中心化貨幣「易炒作」與「不透明」的特性被廣泛討論，加密貨幣也因此水漲船高，2021年的今天，1元比特幣換成新臺幣是1,600,000元，在5年前可能無法相信加密貨幣的價值能夠漲成如此程度。
因此共享交易細目的方式也將挑戰藝術品展示與收藏的思維，其中「非同質化代幣」（Non-Fungible Token，NFT），在2020年底迅速的被大眾媒體報導，以區塊鏈紀錄數位帳本的方式，透過合約與認證的機制，使得數位檔案如「紀念幣」般有了「稀缺」，並因而產生價值，顛覆了華特·班雅明（Walter Benjamin）在《迎向靈光消逝的年代》提出複製品沒有的靈光（Aura），反而透過區塊鏈使得NFT有著版次的概念，數位複製品重新產生出如靈光（Aura）有著獨一無二的特質，也影響了當代藝術中的展示、銷售與典藏。
本研究將以NFT為研究命題，思考NFT之後數位檔案到影像藝術的變化，進行初步的探討。本研究將分成兩個階段進行，第一階段為質化研究，透過焦點訪談法，訪談臺灣15位畫廊工作者，思考NFT對於畫廊產業展示、銷售、典藏三方面之間的影響；第二階段則是實際策劃一檔NFT動畫藝術展，邀請11位動畫創作者，以此策展近距離觀察創作者、觀眾對於NFT的認知，與對於NFT的展示、觀看、收藏之間的問題。

The decentralization of blockchain and methods of sharing data history have drawn attention to traditional centralized currencies’ lack of transparency and vulnerability to counterfeiting, contributing to the rise of cryptocurrencies. Now, in 2021, one bitcoin is worth NT $1.6 million. Five years ago, it would have been impossible to believe that the value of cryptocurrency could rise to such an extent.
These new ways of sharing transaction details will also challenge conventional thinking about the collection and display of art. Among these are “Non-Fungible Tokens”（NFT）. This new form of data technology was quickly picked up by mass media at the end of 2020. Through the recording of digital accounts via blockchain, as well as mechanisms like contracts and authentication, these digital files become a scarce or oneof-a-kind commodity, just like commemorative coins. This scarcity gives them value, overturning Walter Benjamin's theory in A Short History of Photography that a replica has no “aura”. Non-fungible tokens create the concept of unique editions through blockchain. These digital reproductions have a unique “aura-like” quality that influences the display, sale and collection of contemporary art.
This study takes NFT as the research subject to examine and engage preliminary discussion on the changes from digital archives to visual art after the introduction of NFT. This study will be divided into two stages. The first stage is qualitative research, during which focus interviews will be conducted with 15 gallery workers in Taiwan to learn more about the impact of NFT on the display, sale, and collection of visual art in the gallery industry. The second stage is to actually plan an NFT animation art exhibition and invite 11 animation artists, curating a close observation of the problems between artists and the audience's understanding of NFT and the display, viewing, and collection of NFT.