出版作為藝術實踐，在今日如何可能？本文將問題拋向簡麗庭與柏雅婷在臺北市立美術館共同策劃的展覽「跨域讀寫：藝術中的圖書生態學」，以十一位藝術家的「創作」與兩位策展人的「策劃」作為方法，重新思考「出版做為藝術實踐」在當代的意義，並探索其可能性。本文認為，思考此一問題最合宜的研究對象，莫過於「主題是書，但不是也不會是書展」的展覽所發行的「主題是展覽，但不是也不會是展覽畫冊」的出版品。因此，本文以《跨域讀寫：藝術中的圖書生態學》作為研究對象，以「跨域讀寫」作為研究方法，嘗試針對展覽出版品中的所有作品，進行創造性的閱讀，希望透過「跨域讀寫」擾動我們對於「書」的既有概念邊界，並重啟可能的想像。
出版、藝術實踐、跨域讀寫、書
In this 21st century, how do we realize art practice in publication? This particular question in this study would be investigated from the exhibition, Cross-Domain Reading & Writing: A Biblio-ecology in Art, held in Taipei Fine Arts Museum. In this exhibition, the unorthodox art creation from eleven artists and the strategic planning from two curators are adopted to rethink the contemporary meaning of “art practice in publication” as well as to explore its potentiality. The most pertinent research object of this study is the publication, “The topic is the exhibition but the exhibited painting album” published for the exhibition, “The topic is the books but the book fair”. Thus, “cross-domain reading & writing” is employed to analyze the research object in this study, “Cross-Domain Reading & Writing: A Biblio-ecology in Art”. It’s an attempt to stir the established concept of “books” and broaden the sphere of imagination via creative reading into the artworks listed in the publication of “Cross-Domain Reading and Writing”.
publishing, art practice, cross-domain reading & writing, books
