二十世紀以來，在達達、普普、新普普以及後現代主義風潮的洗禮下，藝術家越來越注重與觀眾的互動關係，甚至藉由傳播媒體進行創作。法國當代藝術家馬修．羅罕特（Matthieu Laurette）透過電視、廣播與網際網路等管道，展示其「顯現」、〈靠退費糊口〉等系列的作品，意圖獲致廣大觀眾的參與和認同，以推介其藝術理念，堪稱為當今藝術與傳播媒介相互結合極佳的實例。本文透過文獻分析與彙整，概述其生平與作品，介紹其創作理念與策略，藉以論述藝術與傳播的關係，並且評述其創作活動與策略被接受的程度與意義。研究結果發現：一、此藝術家為「當代藝術傳播媒介化」的典型人物；二、藝術與傳播媒體具有相互依存的可行性；三、藝術家亦可擔負社會傳播的責任。期盼藝術家能與傳播界相互為用，為追求「藝術創意實用化，傳播科技藝術化」 的目標而努力。
馬修．羅罕特（Matthieu Laurette）、當代藝術、傳播媒介、擴散閱聽人、顯現
Since the beginning of the 20th century, the art movements of Dada, Pop, New Pop and Postmodernism have set new standards, by which artists have paid more and more attention to their interaction with viewers. Some artists have even used mass media itself to create their works. French contemporary artist Matthieu Laurette has used television, radio and Internet to present series of works including "Apparition" and "Money-Back Life" (mangez remboursé). He has attempted to propagate his concept of art through public participation and art works that are realized within the public sphere, and thus serves as a fine example of the recent integration of art and mass media. This essay will use literary analysis and collected research to outline Laurette's life and works, to introduce the ideas and strategies contained in his works, and through this discourse discuss the relationship between art and mass media. The essay will also evaluate how well his works and strategies are accepted and what meanings they engender. By way of conclusion, the essay proposes that (1) Laurette is a typical example of the "mediatization of contemporary art"; (2) it is feasible that art and mass media are mutually reliant upon each other; and (3) artists are also able to take up social responsibilities related to mass communication. The author hopes for further collaboration between artists and the mass media, so that they can together pursue the goal of "art with functionality and media technology with artistry."
Matthieu Laurette, contemporary art, mass media, diffused audience, apparition
