本論文以「美術館內的錄像藝術展示」為研究對象，旨在探討數位科技如線上影音平台、線上展覽等新興展示形態，對美術館身為一個藝術典藏與展示機構的衝擊，並且思考美術館如何在錄像藝術已成為當代藝術中無所不在的「預設媒介」的情況下，發展出一種無須依靠媒介特性論或以增強觀者的感官經驗來與線上展示的影像做出區隔的錄像藝術美學。錄像藝術的傳統是反敘事、反幻覺的高度反身性論述，但在資訊時代中，錄像藝術開始發展出獨特的敘事體例，以更積極地回應它複雜的歷史脈絡。本文最後以幾個例子來論述美術館如何在錄像藝術的敘事轉向中扮演了重要的角色，不但對既有的錄像傳統產生「再媒介」效應，也使得美術館不再受限於美術史學者夏洛特．克倫克（Charlotte Klonk）所謂的「經驗空間」，而美術館也不再只是一個製造觀展經驗的實體場所，而是一個能藉由創意敘事來豐厚自身歷史的論述結構。
錄像藝術，經驗空間，數位科技，敘事，再媒介
Contemplates on the influences brought by digital technology on the relationship between art museums and video art, such as online sharing platforms and online exhibitions organized by different arts institutions, and explores how art museum may develop an aesthetics that either depends on medium specificity or augmented experiences in physical galleries. The conventions of video art tend to be antinarrative, anti-illusionistic and highly self-reflexive; however, video art has started to develop unique narrative forms to actively respond to its complex historical context in this information age. The last part of this essay focuses on several examples to discuss how art museums play a crucial role in this narrative turn, by which museums remediate the conventions of video art and liberate themselves from the role of "spaces of experience" defined by art historian Charlotte Klonk. As a result, art museums are not merely a physical site for producing experiences, but a discursive formation that is capable of enriching its own history by creative narratives.
video art, spaces of experience, digital technology, narrative, remediation
