| Summary: | 碩士 === 國立臺北藝術大學 === 藝術跨域研究所 === 105 === As in the general context of " in the name of love ", " in the name of God ", " in the name of art " or other " in the name of…", the reason why the syntax can be rationalized are the causal relationship in the context. In Taiwan, "curating" and "curators" are interpreted and practiced in an extremely diverse way. The more diverse interpretations and practices, the more the name of the curating shifts between professionalism and gimmick, popularity and misuse. However, this is the path that I (we) recognize and practice curatorial, and also it is the condition that I practice in the name of curating, in and out of various typical or atypical contemporary art exhibition. These conditions, of course, also contributed to the proliferation and prosperity of people who practice in the name of curating. Therefore, in this paper, " in name of the curating " can be regarded as a kind of cultural phenomenon observed by the author in Taiwan. It is also the action strategy and method of art practicing
of the author.
As a curator who graduated from a non-art undergraduate course - more accurately, it should be someone who practices in the name of curating - lacking of specialized knowledge of art and art history and the skill of making traditional “ artwork ”, the author should have been an anonymous person or nobody but in the name of a curating, she become a “ curator ” playing a special role with given power in the art production institution. This emerging role not only creates new power relationship, but also makes it more complex and active. People who practice in the name of curating do its alternative art practice between these relationships. However, when the development of contemporary curatorial in Taiwan and Europe and the United States are all difficult to be refer to their own situation, people who practice in the name of curating are still a non-contextual curator. The relationship between them and their society is unknown. They deeply depend on the given cognitive system to recognize the world. So in addition to establishing its own methodology, the author also attempts to re-discourse and re-write his own practical experience, and then proceed to a more macroscopic analysis of “ the name ” and its “ mechanism " and use it as the self-technology of constructing subjectivity and social context. After this, starting from re-defining the " practice method " and " knowledge system ", the author tries to re-calibrate its cognitive system, that is, Re-calibrate the way of recognizing the world.
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