空間演繹及其回返：初探台北雙年展展示策略

Abstract

Since its inception in 1996, Taipei Biennial at the Taipei Fine Arts Museum has indelibly marked key defining moments in the exhibition history of contemporary art in Taiwan. Factors such as the actual use of exhibition spaces at each Biennial, the presentation strategies, and intertextuality between the works, parallel events, and how spaces might be interpreted and extended, how to seek effective evolvement, etc. – all contribute to the overall effective validity of the biennial exhibition, and reveal current trends in contemporary art production. With the 1996-2012 Taipei Biennial as the main focus, this essay will attempt to explore the evolution and adaptation of exhibition spaces and presentational strategies at the Biennial , through an analysis of the Biennial’s use and transformations of actual spaces at and around the Museum, as well as its distinctive creative or curatorial concepts, and also to depict its relationship between the space, the work and the spectator along the transformation. The case study is a preliminary observation of how specific strategies are developed within an institutionalized white cube to breakthrough, subvert or deconstruct the "white cube" style of exhibition presentation, and its conceptual consciousness. In other words, how has the Taipei Biennial managed to go beyond and overturn an "institutionalized" exhibition method that is steeped in tradition: one that is rigid, stratified, restricted, and removed from reality? How can the traditional exhibition curating and presentations be broke through in order to develop and transform the space?