「藝術介入社區」是台灣從 1990 年代起文化政策和民間展覽的熱門主張，流露公部門和藝文界對於藝術能夠活化蕭條社區或閒置空間的期待。本文藉由處於社區型藝術、違建抗爭、都市更新論述交叉點的台北寶藏巖歷史聚落，分析藝術得以進入社區的條件和策略，凸顯實驗性共生藝術村所反映的不同意識形態衝突。本文首先分析流行的「如畫」影像和溫情論述，所建構的寶藏巖地方意象和歷史意義。接著討論台北市文化局和都市改革組織對「行動藝術村」的想像，以及社區居民的疑慮，然後聚焦於駐村三年的寶藏巖泡茶照相館計畫，由葉偉立、劉和讓、吳語心和十餘位大學生合作《肖像》、《寫生》、《垃圾》、《花園和阿凱夫》四階段創作，其顯示美學自主性和工具性之間的辯證。本文參酌 Michelde Certeau 的空間實踐槪念，探討在現行當道的觀光和行動主義邏輯之外，寶藏巖泡茶照相館計畫此場域特定藝術，以日常生活戰術豐富地方的文本性、物質性、美學用途，造就拾獲物的擴充領域和文化記憶保存，並在影像和論述中標示身體。
寶藏巖、社區型藝術、空間實踐、都市更新、文化觀光、攝影和文本
The concept of "art's intervention into the community" has come into vogue in the cultural policies and exhibition projects in Taiwan since the 1990s. This shows the widespread expectation of art's capacity to revitalize derelict places and impoverished communities. This essay will focus on the Treasure Hill village in Taipei, which has been at the intersection of community-based art, illegal housing, and urban planning discourses for a decade. It discusses the conditions and strategies that enable art to enter a community against the constant threat of demolition, and foregrounds the planned Treasure Hill Artivist CO-UP as the contested terrain of different ideologies. The paper first analyzes the popular representations of the picturesque village and the sentimental discourse which construct the unique imagery and historical significance of the place. Then I will discuss the activist art program envisioned by the city government and the urban reform organization and the residents' suspicion and indifference toward it. I concentrate on the dialectic of aesthetic autonomy and instrumentality manifested by the three-year Treasure Hill Tea + Photo Project in which Wei-Li Yeh, Ho-Jang Liu, Yu-Xing Wu, and a dozen of university students collaboratively produce four phases of photography and environmental renovation: Portrait, Delineations, Trash, Garden and Archive. I apply Michel de Certeau's idea of spatial practice to explore how this site-specific art enriches the textuality, materiality, and aesthetic functions of a place with an everyday tactic beyond the dominant logic of tourism and activism. The project shapes an expanded field of found objects, preserves cultural memory, and enunciates the body in images and discourses
Treasure Hill, community-based art, spatial practice, urban renewal, cultural tourism, photography and text
