Grounding research of Taiwanese artists engaged in Setouchi Triennale

• Main Authors: WANG, CHUN-AN, 王淳安
• Other Authors: TSENG, JIEH-HORNG
• Format: Others
• Language: zh-TW
• Published: 2018
• Online Access: http://ndltd.ncl.edu.tw/handle/3755sp

碩士 === 國立臺北藝術大學 === 藝術行政與管理研究所 === 106 === Since the mid-twentyth century, the development of the art world has been affected by technical knowledge, postmodernism, and various social movements. Several volatile factors contribute to the perceived power of the art and artworks, such as formation of exhibitions, content of artwork, and the concept of creation. Therefore, many governments and social organizations around the world try seek to juxtapose that power with policy, economics or industry, in order to multiply its effects. The strategic use of art in urban and community regeneration has become a trend in recent years; beginning from 2010 with the main proponent being the Setouchi Tiennale directed by Japanese curator Fram Kitagawa, followed by many others. From the perspective of a member of the Setouchi Triennale volunteer group, this article seeks to explore how the artists define their identity in the Triennale, and how they deal with different expectations and goals between the organization of Setouchi Triennale and the local people. Hence, this study commences from the interview of Taiwanese artists engaged in the Setouchi Triennale, and utilizes ground-theory to analyze the source, and finally, discusses the different identification of artists and how the identification affects the creation process and the relationship between artists, organization and local people in the Setouchi Triennale. The research finding: Firstly, we find the majority of Taiwanese artists in the Setouchi Triennale have different identifications and growth backgrounds, which contribute significantly to different impacts on the identification of artists. Secondly, we find that artists participating in the Tiennale hold differing goals and expectations prior to their engagement, affecting their performance and collaboration during the event. What’s more, the Triennale organization also sets disparate goals for artists, the boundary only visible when it is crossed. Lastly, we find that the Setouchi Triennale’s key to success is finding the balance between the Triennale organization, the artists, and the local people, to help each achieve their sought-after goals in the end.