從典律空間到公共空間—試探台灣 1980 年代以來裝置類作品的空間演變

Abstract

As a genre of visual art, "Installation" was generally to be seen a mainstream of contemporary art in Taiwan. But unlike its context in western Modem art, developments of the "Installation" in Taiwan were more heteronomous. It was founded on the complex relation between artist's intentions, ideas of exhibition, social conditions and institution of art. Powers of heteronomy influenced the occurrence of two "Installation tendencies" in Taiwan in early 1980's and late 1990's, the early one related to artists' application of "canons" of western Modem art, the later one referred to the subject of "art in public spaces." In these tendencies, curators, critics or artists, were emphasizing the concepts of "Installation" and its influences. Through the research of these two "Installation tendencies" and changes of institution of art, this essay would clarify the powers of heteronomy that dominated the "Installation" in Taiwan.