| Summary: | 碩士 === 國立臺灣師範大學 === 圖文傳播學系 === 102 === The development of French art has always been a pivotal position in the world. There were famous artists from Medieval, Renaissance, Baroque, to the nineteenth and twentieth centuries, and their works handed done until today. With the development of technology and the evolution of history, the leading place of French art has been shake after the World War Two. Some French collectors worried about the situation of French art, and therefore they founded the Association for the International Diffusion of French Art (ADIAF). They tried to revive the international status of French through the combination of private collectors and public museums. They not only support young artists but also cooperate with Centre Pompidou to found “Marcel Duchamp Prize”. ADIAF hold some large-scale international exhibitions based on the works of the finalists, and they branched out into Asia and held exhibitions in China, Japan and Korea these years. All these activities show the intention of ADIAF to broadcast French contemporary art.
In this research, we discourse the role that ADIAF plays in French contemporary art by drawing a comparison between the literatures and the result of interviewing the members of ADIAF and Taiwanese art experts. First, we found the core objective and the idea that the leaders want to broadcast the spirit of France through the description of ADIAF’s history. Then we observed the ways this foundation broadcast French art by expounding the communication theories and exploring the relationship between ADIAF and contemporary art. Last but not least, we tried to figure out four research objectives: understand the development and the organization structure of ADIAF, analyze its connection with contemporary art, find the strategies that ADIAF uses to broadcast French art, and assess the possibility that Taiwan learn from its success. It proves that through a series of activities to broadcast art, ADIAF not only brings us artists who can well represent the spirits of French art, but also cooperates with the museums overseas, broadcasts French art there and getting people’s attentions successfully. Given the status of Taiwan art circles, there’s low possibility for the art-broadcasting model of ADIAF to transplant to Taiwan. However, we can still introduce the exhibition of Marcel Duchamp prize to Taiwan, triggering the interactions with French art, and getting close to international stage. It is expected that this research could be a reference for art promoters to set an art communicational strategic planning in Taiwan.
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