International Exhibitions of Taipei Fine Art Museum in Post-90S: Investigation of the Strategy “Localization/Globalization”

• Main Authors: Pei-yi Lu, 呂佩怡
• Other Authors: Yai-tan Chang
• Format: Others
• Language: zh-TW
• Published: 2000
• Online Access: http://ndltd.ncl.edu.tw/handle/84785314338571793794

碩士 === 臺南藝術學院 === 博物館學研究所 === 89 === In Post-90s，Taipei Fine Art Museum adopts some more active strategies in pushing Taiwanese contemporary art into the global world of Art. There were two ways at the some time: one was “export”─the Taiwanese Pavilion at the Venice Biennial and the other was “import”─setting up the Taipei Biennial to invite international curators and artists in participating and communicating with local context. In the first part of my thesis, I review the “localization/globalization” discourse which lead me to realize that after the exhibition 1996 Taipei Biennial：the Identity Quest for Taiwanese Art, the call for “localization” alters its phase to “Globalization. ” Here, the “Globalization” rejuvenates itself from the previous dichotomization in becoming a term that is closer to a combination of “Localization＋Globalization, ” that is to say, in the globalized world, exhibitions tend to address the local characteristics whereas in the local space they attempt to girdle the international rail. In Post-90s, the discourses gather themselves to form the energy that allows local voices into the global community. “Taiwan Consciousness” controls the exported international exhibitions and the Taipei Biennial also bases on this notion to attract the international artists and curators. In the proceeding discussion, I used the method of “poetic and politics of exhibition “in New Museology to understand the structure, the process, and the interpretation of exhibitions. The case studies include 1995、1997、1999 The Taiwanese Pavilion at the Venice Biennial and 1998、2000 Taipei Biennial. The analysis clearly shows that the politics extends its power to the culture realm. Furthermore, the exhibition, as a whole, depends on the western structure and value while strategically combined with the “accomplice structure” of the western curators and judges. The reason lies in a void of identity and lack of confidence as the Taiwanese. Only when the western curators and our artists use their culture imagination to visualize the need of the international exhibition, then, depend on the western judges as well as curators to decide which styles should Taiwanese artists present, could we possibly receive attention in the global community. These strategies bring certain degrees of influence to the Taiwan contemporary art. Positively speaking: (1) Through these exchanging opportunities, they bring new excitations and ideas as well as accomplish the primary goal that establishes Taiwanese art circuit into a global network. （2）By this chance, the Taipei Fine Art Museum also has internal change in their organization system. Negatively speaking:（1）In connecting with international art society, these grand exhibitions over-centralize the resource, supplant some small exhibition out from the group, and dwindle the internal rejuvenation. （2）Since the strategy insists on grand exhibitions, it makes the “paragon” of the Taiwan contemporary art which narrows its potentiality in the future. Base on the above observations, I contribute two suggestions in my thesis:（1）Building multiple stepping channels for Art Exhibition .（2）Developing the epistemology and the ecological art network.