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• Main Authors: Hsiao-Lan Sun, 孫曉嵐
• Other Authors: None
• Format: Others
• Language: zh-TW
• Published: 2002
• Online Access: http://ndltd.ncl.edu.tw/handle/81936297742475006386

碩士 === 國立中央大學 === 藝術學研究所 === 90 === Abstract This thesis attempts to discusses the changes of the exhibitions held by Taipei Fine Arts Museum（TFAM） in 1983-1994 and the included discourses of national identity. It mainly concerns the politics of art in the modern art museum in Taiwan. This thesis assumes the exhibitions to be “the material speech of an art institution”. Meanwhile, they present narratives about national identity on behalf of the art institution where they are held. Refusing any arbitrary or oversimplified polar evolution structure, this thesis suggests the changes of the exhibitions of the TFAM need to be understood in a bigger context of culture and contemporary arts. This thesis found that the character we know about the TFAM from exhibitions is a crucial part of the whole representative image of it. Like any of us, this character has to face both inner and outer pressure. He has to repeatedly contemplate about the learned collective self and the newly investigated one, being irresolute when about to make any affirmative or negative statement. That helps to understand the inconsistency or changes observed from the exhibitions of TFAM. The TFAM showed its efforts and tried to transform from an “official” art museum to a “public” one, but it still chose to follow the government order to be relatively conservative when making its plan for art. In the meantime, it also chose to hold a resilient space to keep being a leading component in the mainstream of contemporary art society. The changes of the exhibitions show us that the TFAM, being an official art institution, was responsible for presenting the collective self-image approved by the government. Moreover, it had to respond to the reality and democratic progress of Taiwan society and simultaneously convey the commitment and responsibility of government. That is why the statements about national identity presented in the exhibitions in this period were so obscure and vague. Besides, the people working in the TFAM are still part of the society, whose personal identity might constantly changes with living experience and time. These subtle changes might influence the identity of the whole government institution. But we have to consider the particular background and constrain of official art institutions, for they are put on more restraints as an art model and leader for the society in the bigger plan of state building. Hence, the vague attitude about national identity might be a result of reality force, but undeniably it could be a choice as to maintain or create specific relationship of power.