村即是美術館，美術館即是村：台南土溝農村美術館的敘事分析

Abstract

The ToGo Rural Village Art Museum located in Tainan city in Taiwan had its inauguration on December 16^th, 2012, launching the “Village House Contemporary Art Exhibition” with the slogan “village is art museum, art museum is village”. This art exhibition and the village itself represent the goals of creation of such an “atypical” art museum: “farmland is the canvas, the farmers are artists, and agricultural products are the artworks”. Their intention rests on the demonstration of aesthetics of rural everyday life, including the natural scenery, cultural tangible objects and intangible human relation, as well as a kind of ontological touch of rural life. ToGo Rural Village Art Museum are very different from the typical art museum in many aspects' though quite similar with eco-museum conceptually, however, its definition of art is in a broader, and it pays more attention to repair the social relation in the village. Besides, it has a stronger aesthetic appeal, and the arts are treated as a platform to re-active the human relations, which composes a very special tone of narrative aesthetics. This paper tries to reveal the specificity of such a narration carried out by ToGo village, by discussing the transformation of the nature of an art museum and innovative significance it creates. The research is carried out with the methodology of depth-interview and field investigation in Togo rural village, and the author found that if we regard an art museum as a narrator, the narratives of ToGo is based on its emphasis on not only “life” itself, but also the ideal of community governance, strong reciprocity and inter-subjectivity, and finally, the local, personal context to interpret any art in a broad sense.