中介、全球化、再生產：從台北藝博會看中介平台對藝術場域之影響

Intermediaries, globalization and reproduction: Using Art Taipei as an example to illustrate the impact of intermediaries on the art field

藝博會近年在全球化趨勢下於世界各地迅速崛起，作為短暫數天的藝術品流通市場，扮演了形式上與符號上靈活組裝與拆卸的中介平台。藝博會透過篩選機制、組織與安置參展畫廊，作為畫商藝術推廣交易、累積符號資本以及獲取經濟資本的場域空間，同時也扮演著藝術場域的消費端，在場域中進行美學感知與象徵價值的再生產。
在全球化的大脈絡下，台灣藝博會場域歷經三階段：「本土場域國際化」、「進入全球化場域」、「跨國集團進入本土」三個階段演變，每個階段皆有極大的轉折與結構性的改變。在朝向全球化場域位移的過程，台灣在地藝術產業在尋求國際「接軌」與產業「升級」的發展主義邏輯下，一步步自我規訓，試圖將本土市場為主的台北藝博會，移動到全球藝博會場域，導致自身場域生產與消費上的斷裂；並在下階段跨國藝博會進入台灣舉辦後，仍難逃被邊緣化的命運。而跨國藝博會挾其高符號與經濟資本的優勢，以全球化當代藝術市場之意識形態，一方面對本土藝術進行價值的認證或者排除，另方面對參與畫廊及觀眾，進行美學品味與意識形態的再生產，造成在地藝術更趨西方價值傾斜的危機。

In recent years, one of the results of globalization has been the worldwide rapid growth of art fairs. Due to the temporary format as short-lived, recurring art markets, the art fair became an intermediary platform accommodating the assembling and dismantling of actual as well as symbolic forms. With a selecting mechanism, art fairs arrange participating art galleries with a space for them to promote and sell art in order for them to accumulate both symbolic and economic capital. At the same time, art fairs act like consumers in the art, that is, they cultivate aesthetic perception and reproduce values in art and symbols.
Analyzed in the framework of globalization, the art fair in Taiwan has gone through three distinct phases: internationalization of the local art field, the art scene experiencing the influence of globalization, and the arrival of multinational groups on the local art field. Each stage marked a great turning point which brought about distinctive structural change.
The research shows, as Taiwan’s local art industry evolved and faced increasing globalization, it looked for ways to connect to the international art scene and worked to modernize methods and mindset to bring Art Taipei (created to support the local art industry) into the global art field. These changes disrupted production and consumer mechanisms of the local art market, which, in its weakened state became marginalized by the new multinational art fairs on Taiwan. The multinational art fairs have taken advantage of their symbolic and economic capital and use the ideology derived from the global contemporary art market to authenticate or exclude local art and to reproduce aesthetic taste and ideology for participating galleries and audiences. These developments have caused a crisis in Taiwan’s art scene, which has led to a shift in local art production towards Western values.