摘要
位於臺南市後壁區土溝里的土溝農村美術館於2012年12月16日正式開館,推出「村之屋當代藝術展」,打著「村即是美術館、美術館即是村」的標語,並兌現「農田就是畫布、農夫就是藝術家、農產品就是藝術品」的理念,意欲展示農村生活美學的所有意涵,包括有形的自然風景及文化物件,以及無形的農村人情與生命情調。土溝農村美術館與典型的美術館在空間條件與體質上大異其趣,雖然在性質上較接近生態博物館的概念,然而細細檢視,土溝農村美術館所傳遞的藝術經驗,以及對藝術定義的改寫是更為寬廣而多元;它不但有著更濃厚的美學訴求,並且以藝術為平台,重新活絡了社會關係。本論文探討土溝農村美術館做為藝術敘事者的特殊性,以及如何轉換傳統美術館的體質,展現多元文化下的社群藝術論述,文中並申論其敘事模式中所透露出的社群治理模式,以及內涵的相互主體性與強互惠原則。本文嘗試從農村美術館的關鍵敘事者對外陳述的敘事模式切入分析,以掌握土溝農村作為當代美術館所傳述的藝術文化新意,同時藉由筆者在土溝進行的田野調查與深入訪談,佐證該美術館立基於生命經驗、社群關係與在地脈絡的獨特敘事模式。
關鍵詞
土溝農村美術館、南藝團隊、社群治理、敘事分析
Abstract
The ToGo Rural Village Art Museum located in Tainan city in Taiwan had its inauguration on December 16th, 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.
Keywords
ToGo Rural Village Art Museum, TNNUA team, community governance, narrative analysis