現代美術學報 9
Journal of Taipei Fine Arts Museum 9


Let the Audience Express Their Viewpoints-Observing How Theories Can Be Applied to the Research of the Design and Arrangement of an Art Gallery



本文之論述架構,將根基於此項觀點,延伸至與美術館展示之相關課題,首先強調在美術館中,如何運用展示作一「有效性」的呈現,達到加強互動的基礎,而其中則牽涉了相關展示內容的參與程度、詮釋與再建構的過程;而後將深入探討在這個架構之下,如何以觀眾為主體,用一種全新的角度切入,帶入拉崗(Jacques Lacan)與傅珂(Michael Foucault)的論述,來看待展示設計的過程;最末,則嘗試在本文中涉入兩肇學者提及有關觀看理論的運用,輔以選取國內展示實例來論述觀者於其中參與程度之分析,作為日後美術館策展之基底,也希冀與意欲從事美術館教育時,針對其展示之思考模式的一個分享。




The popularity of the life-long learning driven by our needs means the museum era has come. Today, new museums started to focus on application, exhibition, and promoting the education from the people-based start point, and thus are different from the emphasis of collection, research, maintenance in the past. Among all, art galleries belong to one branch of museums, and are the most frequent places for art education activities. Art galleries not only provide us with the visual experiences for appreciating some original art works, they also become the best venues for appreciating education. However, how art galleries can apply the design of the exhibition, to express and accomplish such tasks will be involved with different thoughts caused by their discrepant structures such as the use of space, the compartment of thoughts, concepts, and whether they are interactive with the audience or not. The audience who gets involved needs to accomplish the goal of communicating with the art works, and realizing the implementation of the self-observation by the participation and the observation processes.

The structure of the article will base on this viewpoint, and be extended to some relevant issues of the exhibition of art galleries. First, we emphasize how we can utilize our exhibitions to provide an effective presentation, and thus, to strengthen the interaction. Among all, they are involved with degrees of participation of some relevant exhibitions, the processes of interpretations, and reconstructions. Finally, with the audience-based main body we will have a profound exploration as to how we can use a brand-new angle to bring in remarks by Jacques Lacan and Michael Foucault to examine the process of the design of the exhibitions. Finally, two studies about the application of the observation theories were mentioned, added by some examples from Taiwan to show the analysis of the degrees of participation from the audience, and this latter part can also serve as the basis of some future art gallery exhibitions. The final hope of this article was to share with many others on the thought models of exhibitions when they want to engage themselves in art gallery education.


Observing theories, Jacques Lacan, Michael Foucault, curator, Constructivism