Summary: | 碩士 === 國立臺灣藝術大學 === 美術學系 === 106 === Carsten Höller, born in Brussels, occupies a unique place in the fierce debate between Nicolas Bourriaud and Claire Bishop. Although Höller made his fame in contemporary art as a “Relational Artist”, his work had a challenge to the “relationship” through his artwork’s context of “deniable subject”. The “valerio phenomenon” and the participants’ experience in Höller’s Slide could’t be controlled. The falling “suject” make relationship go to unpredicted. The conception has fallen short of Bourriaud’s expectation, which “Relational Art” can repair the séparation in a capitalist society. Bishop, by contrast, claimed that relational art works were an outgrowth of installation art, and installation art had come down to competitive scale. This literal spectator participation couldn’t be called “Participatory Art”. These questions took into account Höller’s art works, especially such as his ambitions for the project building a slide city including Test Site in the Turbine Hall of Tate Modern and The Orbit Tower Slide, the longest and tallest tunnel slide in the world. Therefore, this thesis approached the debates on Spectator Participation for Höller’s art practices. It was organised around a definition and dimensions of Spectator Participation in which significance on art practice and hermeneutics, and then suggested life value in installation art based on museum system, relational aesthetics and first-hand experience.
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