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收入本書的相關專文，便是在以上的脈絡下展開邀請專稿。除筆者的導論之外，另兩位學者是接近同時代、但又保有一定距離的中生代藝術評論學者，兩位是次世代並有豐富著述的藝評人，作者們都是長年鑽研相關議題並已有成績的學者。
國立臺北教育大學副教授呂佩怡長年研究當代的「場外藝術」（off-site art），她以〈以淡水河作為方法：「環境藝術」（1994）、「淡水河上的風起雲湧」（1995）、「河流——新亞洲藝術．臺北對話」（1997）〉一文，深入探討以淡水河的自然地理風貌、人文歷史成為作品發展的靈感與主題，展覽也從臺北縣立文化中心室內展覽空間移至淡水河畔的真實場域。透過分析這三個重要展覽，詢問以「現實地點」作為問題意識所發動之主題性策展，為何出現在1990 年代中期的北縣美展？有何當時的特殊環境脈絡所支持？此種以「淡水河」作為方法的特定場域展演，對臺灣當代藝術發展的作用力何在？作者透過對「環境藝術」與相關當代概念的比較，從策展論述中洞察「亞洲」論述在臺灣藝壇的想像，也指出此種身分認同的「場域」實踐，實更多來自於展覽與「區域」鄰國他者之間的地緣辯證。
臺灣當代文化實驗場研究總監、策展人游崴博士，多年來投入此時期的前衛藝術與展覽實驗研究，此次他以〈臺北盆邊1993–1995：垃圾、噪音與地方美展實驗〉一文，先爬梳從臺灣的官辦美展到主題展的變遷，來看北縣實驗藝術發生的相關背景，「責任藝評」制催生了日後以策展人為主的主題展規劃，也從相關策劃中，發展出捕捉「新素人」的機制，從而引入吳中煒及《臺北空中破裂節》計畫。游崴指出，這個計畫「並不是傳統概念下的環境藝術，而是一個糅合環境雕塑、偶發、噪音、垃圾藝術的大雜燴，也是一個歷時月餘的烏托邦聚落」。而北縣「臺北盆地邊緣地帶特殊的工業社會地景」，也成為孕育此種草根、邊緣、反抗的另類主流最好的沃土，開啟了一條帶著顛覆展覽企圖的展覽史脈絡。
長年專研攝影評論的藝評人陳寬育，則以〈「看見淡水河」攝影展：記錄環境主義治理下的人文地理景觀變遷〉一文，深度解析「看見淡水河」展的內容與帶來的觀看內涵，也以不同的視覺詩學與政治，重新考察了此展在北縣美展脈絡周邊的關鍵性意義。尤其他以「視覺無意識」的角度，注意到「那些居住在堤防內外的生存故事和生命狀態」，並試著指出「在城市的一般市民大眾與中產階級場景中，這些居住在邊緣地帶的生命樣態，是如何像是攝影的視覺無意識向度般地被忽視」，更為「看見淡水河」攝影展，開啟另一種觀看藝術史與展覽史的向度。
近年關注當代新世代藝術家的藝評人楊佳璇〈解嚴前後臺北盆邊的身體解放〉一文，則更聚焦置身於上述批判場域的身體圖景。她注意到：解嚴前後，藝術圈也與小劇場運動有著平行且交疊的合作關係，而解嚴後，破爛視聽下的次文化與邊緣身體，成為反文化與反體制下的另類主流，既交疊著解嚴前後社會運動中抗爭的身體，也形塑自逐步醞釀於民間，關於庶民的、邊緣的身體狀態，並在解嚴後逐漸發展，繼而形成一種嘉年華般集體狂歡的身體解放狀態。楊佳璇指出臺北縣的沿河市鎮，聚集著大量中南部移民、客家人、弱勢原住民，加上工業化發展，廟會、工地秀、電子花車、檳榔攤等生猛文化也因而在此匯集，形構出臺北縣位處臺北盆邊的邊緣特質。而從「甜蜜蜜」、「臺北破爛生活節」到「臺北空中破裂節」的邊緣、反體制的次文化能量，訴諸官能、混亂、過剩、張狂的身體，也在此得以容身，更使得北縣文化中心，成為一連串前衛藝術活動的發生場域。楊文提供了一個綿密、複雜的身體網絡，讓讀者得見跨領域的身體實踐與生成流變。
藉由這四篇專文，與約200件的檔案彙編，我們希望以此為起點，讓里程碑式的重要策展，成為藝術史與當代策展參照的案例。伴隨此書的出版所蒐集與建置的相關檔案，將提供新北市美術館未來脈絡式地回應當前國內外對當代藝術與策展專業意識（contemporary curatorship）及其方法的關注，也標誌著今日當代藝術發展與跨領域知識生產的檔案轉向。從新北藝術展覽史此一基礎上，建置線上資料庫作為國際交流平臺，拓展國內外藝術界與學界對臺灣藝術史之認識，激發國內外更多不同的研究視角，強化臺灣與世界藝術史、展覽史的對話連結。考掘新北藝術的展覽史，也是從當前的課題出發，批判地思考當代展覽如何成為生產各種意識與課題的知識平臺，盼能對於美術館未來的地方性與跨地方主義，提供更豐富的參考。
The Structure of this Book
The articles in this book were commissioned in the above context. Two of the writers and myself are mid-career art critics who were contemporaries but not directly involved in the events described. The other two writers are younger art critics with a large body of writings. They are all scholars who have researched the relevant issues for years and published works on them.
Lu Pei-yi, an Associate Professor at the National Taipei University of Education, has conducted research on “off-site art” for many years. In her article “The Tamsui River as a Method: Environmental Art (1994), Resurgence on the Tamsui River (1995), River: New Asian Art: A Dialogue in Taipei (1997),”she analyzes these three exhibitions, exploring how the natural geographical environment, culture, and history of Tamsui River became the inspiration and themes of the works, and how the exhibitions were moved from the gallery of the Taipei County Cultural Center to sites along Tamsui River. Through analyzing these three key exhibitions, she questions why these thematic exhibitions using a “real location” as the problematic were held as Taipei County Art Exhibitions in the mid-90s. What were the special contexts that produced them? What impact did these site-specific exhibitions with “Tamsui River” as a methodology make on the development of Taiwanese contemporary art? By making comparisons between “environmental art” and the relevant contemporary concepts, she examines Taiwanese artists’ imagination of “Asia” in the curatorial discourse, and points out that these experiments with “sites” about identity were inspired by the examples of art exhibitions in our neighboring countries.
Dr. Yu Wei, curator and head of the research team of Taiwan Contemporary Culture Lab (C-Lab), has devoted himself to the research on the avant-garde art and exhibition experimentation of this period for many years. With the article “On the Rim of the Taipei Basin, 1993-1995: Trash, Noise, and the Experiment of Local Government-sponsored Art Exhibitions,” he traces the evolution from Taiwan’s official art exhibitions to thematic exhibitions, and looks at the background to the emergence of experimental art in Taipei County. The “responsible art critic”system gave rise to the curated thematic exhibitions, from which sprang the “new amateur” mechanism. This accounted for the inclusion of Wu Chong-wei’s Taipei Breaking Sky Festival project. As Yu Wei points out, this project “was not land art in the traditional sense, but a hybrid consisting of environmental sculptures, happenings, noise, and junk art, as well as a utopian community lasting more than a month.” The “unique industrial landscape at the fringe of the Taipei Basin” also became the best soil for nurturing this kind of grassroots, marginal and resistance alternative, creating an exhibition history that demonstrates the intention of subverting exhibitions.
In the article “View on the Tamsui River in 50 Years──Documenting Changes in the Human-Geographical Landscape under the Governance of Environmentalism,” the critic Chen Kuan-yu, an expert on photography criticism, analyzes the content of the “View on the Tamsui River in 50 Years” exhibition and its viewing experience. Based on the curatorial concept of the exhibition, the author tries to explore how the “Tamsui River consciousness” overlaps and coincides with the environmental consciousness at the time. The article also uses different visual poetics and politics to reexamine the key significance of this exhibition. In particular, the author brings up the concept of the “optical unconscious,” noting “the life stories and conditions of those living inside and outside the embankments, and suggests that among the ordinary people and middle class in the city, these lives at the fringe are overlooked, just like the optical unconscious of photography.” In doing so, he opens up another dimension of looking at art history and exhibition history.
Art critic Yang Chia-hsuan has studied the new generation of artists in recent years. In her article “Body Liberation at the Sides of the Taipei Basin Before and After the Lifting of Martial Law,” she focuses on the body landscape at the above site. Before and after the lifting of martial law, the art scene and the experimental theater movement had a parallel development and also overlapped and worked with each other. After the lifting of martial law, the subculture and marginal body of the “broken audio-visual” phenomenon became an anti-culture and anti-establishment alternative. While overlapping with the body of resistance in the social movements before and after the lifting of martial law, this phenomenon also shaped the marginal body that gradually emerged among the masses. After the lifting of martial law, it gradually developed into a carnival-like, orgiastic liberation of the body. Yang notes that the towns along the river in Taipei County teemed with migrants from Central and Southern Taiwan, hakka people, and disadvantaged indigenous people. Due to industrial development, temple fairs, concerts at construction sites, Electric Flower Cars and betel stalls were concentrated here, constituting the marginal character of Taipei County at the edge of the Taipei Basin. As the marginal, anti-establishment subcultural energy of the Sickly Sweet, the Taipei Broken-Life Festival and the Taipei Breaking Sky Festival gave rise to the sensual, chaotic, excess and wild body that found a place here, the Taipei County Cultural Center became the site for a series of avant-garde arts events. Yang’s article guides us through an intricate and complex network of
the body, so that readers can follow the interdisciplinary body practices and their evolution.
With these four articles and the compilation of two hundred documents, we hope this will be a starting point for referencing landmark curatorial cases in art history and contemporary curating. The documents collected and compiled for the publication of this book will be provided to the New Taipei City Art Museum, so that it can systematically respond to the present interest in contemporary art and contemporary curatorship as well as its methods in the future. They also symbolize the archival turn of contemporary art development and transdisciplinary knowledge production today. On the basis of the history of the Taipei County Art Exhibition, the New Taipei City Art Museum will build an online database as an international exchange platform to enhance local and overseas artists’ and scholars’ understanding of Taiwanese art history, stimulate more research angles, and strengthen the dialogue and connection between Taiwanese and world art history and exhibition history. By investigating the exhibition history in New Taipei City, we also wish to critically explore how contemporary exhibitions can become a knowledge platform for producing different kinds of consciousness and issues, in order to provide points of reference for localism and glocalism of museums in the future.
2024專利防護中