From Display to Curating：A Study of Exhibition Planning of National Taiwan Craft Research and Development Institute

• Main Authors: Wei-Po Yeh, 葉韋柏
• Other Authors: 廖仁義
• Format: Others
• Language: zh-TW
• Published: 2011
• Online Access: http://ndltd.ncl.edu.tw/handle/sm9q95

碩士 === 國立臺北藝術大學 === 藝術行政與管理研究所 === 99 === Craft originates from the production and usage of various tools for daily livelihood, where their basic function is to adequately and efficiently facilitate the comfort of living, so that work becomes convenient and logical. Therefore, once craft becomes the subject of exhibition, it is a declaration of transformation in terms of usage significance and relationship with people. The planning of the Taiwanese craft exhibition is fundamentally based on the structure of the knowledge classification in the museum and is inspired by the theme of conveying rational/scientific knowledge within the realm of craft. It starts by labeling information on the craft exhibits to gradually creating the topic and integrating the exhibits with visual design and spatial ambiance, supplemented by multimedia and interactive devices; hence the stationery craft exhibition is transformed into a dynamic experience. Although a diverse exhibition design and multimedia application may provide the audience with more sensual stimuli and experience, however, the cultural connotation presented for craft may potentially be the output of unilateral communication. The study focuses on the policy development of the NTCRI’s actual craft exhibitions during 2002~2010 as the research content. Through such a national iconic institution, its task migration in researching and promoting craft is used to analyze Taiwanese craft’s lateral connection in three major facets such as livelihood economics, government policy and cultural development, as well its historical connotations. The transition from craft display exhibition method to theme design and then to exhibition thinking is clarified, further analyzing the current implementation technique and condition of craft exhibitions. It is hoped to examine the concept, and the pros and cons of the current exhibition system, so as to propose adjustments in response to the changes in time and compile issues worth reviewing in contemporary craft creation and exhibition interpretation, ultimately provide exhibition organizers and the audience with more diverse clues when contemplating the subject of viewing exhibitions.