簡介

壹、簡史

本所成立於2006年8月,由盧明德教授(前國立高雄師範大學藝術學院院長)創立,強調藝術與各學科及差異社群領域之間的碰撞、對話、交流與學習,以藝術實踐(art practice)、文化行動(cultural activism)與批判研究(critical research)三者為課程主要發展方向,為全台灣第一所,且是世界少數以此為核心理念的先鋒性研究所。

電訊、傳播、交通科技與跨國資本主義的高度發展,急速加深、加劇世界各地的全球化發展。一方面,人與人、社群與社群、地方與地方間的時空距離變近。倫敦、紐約、巴黎、東京、漢城、曼谷和台北,踩著同樣流行的步伐,有著類似的都會議題,但同時又快速且多方面的交換彼此的文化差異,形成繁複且多元、多層次的文化節理。另一方面,跨國企業、超級強國的政經力量不斷滲透世界各個角落。政經文化商旅,在都會的頂端穿梭來去。麥當勞、星巴客、CNN與微軟之類的經濟體系正同化著人們的生活與工作模式。經濟開發幾乎征服了每一個地理版圖,產生諸如全球暖化等地球資源被快速破壞的問題,以及全球貧富、城鄉的差異和不均,正在急速擴大的問題。當資本主義經濟體系打著「全球多元文化主義」(global multiculturalism)的旗幟,讓世界朝向所謂「地球村」(global village)的趨勢發展的同時,許多政經力量相對薄弱的國家,正面對經濟的垮台、環境的破壞、社會的衝突與文化的消逝。取徑工作、進修或婚姻,其人口與勞動力不斷向較繁榮的國家和地區移動。

如此急速且普遍的變遷,不斷衝擊人與自然、時空、物質、社會,以及社群之間的關係,形塑與轉變著文化藝術、社會歷史、政經心理的結構與面貌。基此,跨藝所選擇以跨領域藝術實驗和實踐(interdisciplinary and experimental art practice)的過程、經驗和美學,文化行動(cultural activism)的能力和精神,以及批判研究(critical research)的知識與思辯,為介入當前環境的平台,追求更適合人與自然和平共存、多元差異社群平等發聲、彼此對話增能的發展模式、價值與美學。

其一,急遽的全球化,統一了許多政經結構和文化趨勢,同時也使得人類與社群的文化經驗變得比以往更複雜而分歧。如此多音變異與多文化混種的人文經驗,必須從多方面的角度來理解、分析、表述與詮釋。是以,跨藝所強調跨領域與跨學科的對話,試圖從藝術與其他諸如科學、醫學、物理學、環境科學、城鄉計畫、哲學、社會學與文化研究等等領域的碰撞中,找到更貼近特定社群經驗和日常生活感覺的新表達元素。同時,也強調藝術中視覺藝術、表演藝術、建築與空間藝術、音聲藝術等各形式之間的整合與交流。無論在觀念思維、媒介形式或表現語彙上,均追求開放的實驗精神,以回應不斷轉變中的多重主體與多重文化混和及複合在一起的經驗。

其二,對跨藝所而言,藝術,是人類社會與文化的生產活動,除了具有自身的歷史文化與美學演繹過程、特性及價值外,也承載扮演著人與人、人與社會、人與物、人與自然、宇宙之間交遇的經驗與媒介。處在瞬息萬變的社會文化變異以及遷移流動當中,跨藝所強調文化行動的實踐,嘗試介入當前藝文思潮與實踐,且探索與提出另翼思維、作法與價值。文化行動,可以是藝術創作、展示、寫作、流通等機制思維及運作模式的改變,可以是藝術與社群、空間、環境以及公共領域的交流與碰撞,可以是充滿社運衝撞精神的基進改革,也可以是其他未知的可能作法。

其三,就跨藝所來說,批判性的研究,乃是前述跨領域藝術實驗與實踐以及文化行動的思想根基。本所著重以實踐為前導的研究(practice-based research),從所規劃、執行之藝文與社會實踐的需要出發,透析其涉及之獨特的經驗歷史、文化與社經脈絡,使藝術實踐和文化行動皆有所本,且有更深刻的介入。其次,跨藝所也強調對於藝文與社會實踐的總體歷史、文化與社經結構、機制與意識型態加以探究,讓藝術實踐與文化行動,能夠有超越自身經驗的理解和視野。最後,本所也重視從所規劃、執行之藝文與社會實踐以及所探索之思維脈絡及社會運作的溝通中,粹取出另翼的美學與藝文思潮。

從籌備與創所期以來,跨藝所建立藝術實踐與論述的努力包括:

結合高師大作為綜合型大學豐富的跨學科資源,盧明德所長不斷實驗藝術課程、藝術實踐與其他學科合作對話的可能性,並觀察如此的互動,能為藝術實踐及其所合作的學科,帶來什麼樣的質變、開發出什麼樣的可能性。他與物理系郭榮生教授共同開設跨領域協同研究課程,是最初的跨領域碰撞遊戲。二者在街頭物理的層次上,交換了對於玩具動能、設計理念與美學的意見。此後,並與高師大科學教育研究所、環境教育研究所、地理系、物理系合作,並連結屏東科技大學野生動物收容中心裴家騏教授與樹德科技大學郭挹芬教授,以及藝術界眾多優秀藝術家、策展人以及跨藝所師生的努力,發展、主辦與參與深受好評的《潮間帶藝術偵測站》(2005)與《生聲不息─燕巢環境藝術計畫》(2007)。

繼續整合校內外藝術、建築、教育、生態保育、社區營造等方面的人才資源,進入多元社群互動、對話,以凝聚邊緣社區自覺與美學意識,吳瑪悧教授以形塑社區環境意識與建立社群對話美學為主軸,發展一系列相關的環境藝術計畫與行動、以藝術實踐為前導的論述與課程。其活動包括:《嘉義縣北迴歸線環境藝術行動》(2006、2007)、「綠色奇蹟:藝術與環境生態的對話」工作坊、「藝術與公共領域:藝術進入社區研討會」(2007)、《燕巢生態藝術行動》(2007)、《台北明天還是一個湖》(2008)台北雙年展藝術行動計畫、《如果高雄只剩下一座壽山島》(2008),以及舉辦國際知名的藝術介入環境實踐藝術家系列講座,邀請諸如David Haley、Helen and Harrison Newman、Sam Bower、Anne Douglas、Reiko Goto以及Tom Collins等人蒞校演講交流、指導學生。

來自建築、景觀、城鄉規劃的學術背景,與累積長年以另翼文化與媒體形式進行社會抗爭和運動的經驗,黃孫權教授在跨藝所開設跨領域文化研究與實踐課程,培養學生跨領域、跨學科思維基礎,與實現文化行動與介入空間的社會實踐的能力。他規劃一系列的跨領域協同研究講座(2008),邀請國際知名的台灣文化工作者,從音樂、劇場,以及視覺藝術,耙梳台灣反抗藝術文化行動的歷史。與盧明德所長及所內學生合作,他分別於2007和2008年執行高雄縣文化局委託之「高雄縣地方文化館輔導團」計畫與「97年度高雄縣地方文化館經營管理平台」,建議各地方文化館進行轉型重整,以表現其所在區位之獨特歷史與文化,與各館空間規劃和特性,並鼓勵各館串連,形成一股新的文化力量。

2008年8月甫自UCLA回台加入跨藝所的陳香君教授,其藝術史、藝術評論與策展實踐,著重藝術機制的變遷,及其與政經社會、文化心理間的深層對話。2008年4月在倫敦泰特畫廊的英國藝術史學家協會年會中,與美國學者共同主辦為期2天的研討會「多元文化主義、移民與超級大展:節慶、雙年展、文件展的衝擊」(The Multiculturalism, Migration, and the Mega-Exhibition: Considering the Impacts of Contemporary Festivals, Biennales, and Documentas),探討全球化效應與世界各地之當代藝術雙年展的發展問題。並發表論文,討論跨亞藝術社群的關係,且集結該會中探討亞洲雙年展之論文篇章,以中英文分別於2008年9月以及2009年1月刊登於《典藏今藝術》與Yishu: Journal of Contemporary Chinese Art等專業雜誌上。

跨藝所研究生,也有各自亮麗的成績,如需進一步資訊,請參照網站上的研究生網頁。

Introduction to the Graduate Institute of Interdisciplinary Art

The advanced development of telecommunications/transportation technology and transnational capitalism at the beginning of this century has rapidly deepened and intensified the globalization. The expeditious globalization unifies many political and economic structures, as well as cultural trends around the world, while at the same time making the cultural experience between human and their communities more complex and diversified than ever. On the one hand, as the time-space gaps between people and places are drawing closer, the political and economical forces of international corporations and superpowers continue to penetrate all corners of the world and assimilate people’s living and working patterns. As a result, major cities in the world are following the same pop cultural trends and experience similar urban issues. On the other hand, while the capitalist economic system pushes the world toward the so-called “global village” trend under the slogan of “global multiculturalism”, the rich-poor and urban-rural gaps, and the consequences of rapid destruction of global resources such as global warming, are quickly expanding. Many countries with relatively unfit political and economic power are facing the collapse of the economy, the destruction of the environment, the conflicts of society and the disappearance of tradition. The population and labor force continue to move toward more prosperous countries and regions in pursuit of job opportunities, advanced training and development, or marriage.

As an island, Taiwan has experienced various extreme situations in the above-mentioned international political, economic, technological and cultural changes, such as the reorganization of various social orders caused by the high prevalence of advanced technology, the exploitation of transnational labor, and the environmental damage due to the economic development. The Graduate Institute of Interdisciplinary Art was founded, particularly in response to these changes, by Professor Ming-Te Lu (Master of the Institute of Art, National University of Tsukuba, Japan; former Dean of the College of Arts, National Kaohsiung Normal University; winner of the 2018 Kaohsiung Culture and Arts Award) in August 2006. As the first cross-disciplinary research institute in Taiwan, the three main developmental objectives are designed as follows: 1. the process, experience and aesthetics of Interdisciplinary Art Practice, 2. the competence and spirit of Cultural Activism, and 3. the knowledge and speculation for the Critical Research. All these are for the pursuits of a better way of peaceful coexistence between human and nature, and the mutual dialogues among diverse communities.

Under the above three objectives, the five main fields of study we have developed are: “interdisciplinary art curating and criticism”, “environment, society and activism”, and “educational art”, “trans-medium art practice” and “cultural innovation and social design”. The students of the Institute come from a variety of professions and work domains. During their study, they are encouraged to target the issues of their concerns, bridge the gaps between their professions and other interested fields, and learn how to let art appear by way of communication and coordination.

After the establishment of the Institute, Professor Lu, the founding director of the Institute, began to collaborate with other disciplines such as environmental science, geography, and physics, and tried to integrate talent resources in art, architecture, education, ecology, community development, etc. into the courses and their community projects, such as “Intertidal Zone Art Monitoring Station” (2005) and “Endless sound of Life – Yanchao Environmental Art Project” (2007). Associate Professor and Director of the Institute Mali Wu, (Meisterschüler, Kunstakademie Düsseldorf, curator of the Taipei Biennale 2018, winner of the Taishin Visual Arts Award 2013 and the National Award of Arts 2016) has planned a series of environmental/community art projects and actions over the years, which highlighted gender, ecology, as well as urban and rural development issues. For example, her project “Tropic of Cancer Environmental Art Action” (2005-07) planned in Chiayi County, has given the attention to the cultural participation rights of rural residents; In “The Floating World: Tracing the Tamsui” (2006) and “Return to Rivers and Mountains – Up and Below Keelung River” (2012), she worked with community colleges to initiate discussion on the scenario of the river and environment surrounding its residents. In “Art as Environment – A Cultural Action at the Plum Tree Creek” (2010-11), through collaborating with the Bamboo Curtain Studio in North Taiwan, she invited folks to reexamine the problems of eco-city and urban development. As for the “Cijin’s Kitchen” (2016-18), the project opened up the interactions and understanding among locality, history, and its new and old residents in the name of cooking.

Assistant Professor Pei-Kuei Tsai (Ph. D., Courtauld Institute of Art, University of London), has long been involved in art commentary, art in education, art and technology, as well as curating. She leads students to comment, curate, and to practice educational art projects based on the concept of art as a form of knowledge, such as the ongoing program “Deam Classes Beyond Art”. The group exhibition “Non-Sleep in Non-Home: Art Living in a Historical Hotel” (2012) curated by Professor Tsai is composed of three exhibitions. From social issues such as homeless problems to private matters regarding faces in private connections, or even an invitation to immerse oneself in an unexpected space, each exhibition explores a different discourse about people and space but in relation to the others in multiple dimensions. “The Popping City: A Technical Guide to a Great City” (2018) uses a variety of digital network concepts such as online citizenship, games, virtual maps, and even augmented reality to invite citizens to actively investigate the issues of the infrastructure and pollution in Kaohsiung City. Assistant Professor Cheng-Yu Pan, who recently joined the faculty team (Ph. D., Arts Plastiques et Sciences de l’Art, Université Paris 1 Panthéon-Sorbonne) and has long been concerning the interrelated aspects of technology, art, and culture, is leading students to observe and practice in related fields such as contemporary subculture, mappamundi/world maps/geographic information systems (GIS), and the possibilities as well as the impacts of virtual/augmented/mixed reality (VR/AR/MR). His recent project, “Celestial Questions” series (2016-), a large-scale mosaic image installed on the rooftop of an urban city, “borrows” satellite imagery technology and the Internet. The physical installation is designed to be finally displayed and “exhibited” on user’s GIS interface. Similarly to Professor Pan’s other projects, “Celestial Questions” intends to explore the relationship between individuals, technology, culture, and the future of contemporary civilization. Our adjunct faculty, Associate Professor Xin-Lan Hong and Assistant Professor Nicole Yi-Hsin Lai, providing strong teaching support for the Institute, have enriched our thinking in gender issues, urban culture, and curatorial practices. The successive faculty such as Associate Professor Chien-Hung Huang, Associate Professor Qianhui Gao, Assistant Professor Chenhan Yang, Assistant Professor Sun-Quan Huang, Assistant Professor Elsa Hsiang-chun Chen and Assistant Professor Chieh-jen Chen, contributed respectively their expertise in contemporary image and Asian cultural studies, sociology of art and visual/material culture studies, contemporary art and social studies in Taiwan, alternative culture practices and engagement in spaces, art commentary and curatorial practice, contemporary art practices, etc., and have laid a solid foundation for the development of the Institute.

Over the past 13 years, our faculty and students have developed in constant experimentation in response to the rapid changes of the outside world. In addition to continuing to develop critical, transdisciplinary artistic practices, we are also paying special attention to the pursuit of new relationship among our civilization, the nature, and the future impacts of new media and technology. Moreover, we continue to actively involve in international collaboration. As the Graduate Institute of Interdisciplinary Art was born under the context of globalization, we believe that the art practice must be considered on a global scale. Through exchanges with artists, curators, theorists and critics from other cities, we hope to contribute creative solutions to similar matters on the one hand, and to collide the differences into the sparks of art on the other.

貳、目標

intro_01

參、教學及研究

(一) 特色

以統合藝術實踐、文化行動與批判研究三個領域間的對話與實驗,規劃四大研習領域,依此開設相關課程,以符合當代跨領域之前沿發展:

  • 藝術跨域與交遇(art as encounter)核心領域
  • 藝術行動(art as activism)核心領域
  • 環境藝術(art as environment)核心領域
  • 跨媒體藝術實踐(trans-media art practice)核心領域
(二) 重點
  • 著重藝術實踐與理論批判的雙主軸教學系統;
  • 兼具前衛論述與進入社區的整合性學習環境;
  • 邀請國內外知名學者專家與文化行動團體進行對話與交流。
(三) 課程

請參閱課程結構系統表

(四) 課程要求

本所以培養具有國際視野、實驗精神與跨領域思維的優秀專業人才為核心重點。本所學生,需符合以下條件,始得畢業,取得碩士學位:

  1. 修習畢業論文、創作或計畫。選擇畢業論文者,需撰寫具有學術研究價值之長型論文一篇。選擇創作或計畫者,需舉辦至少一個專業性質展覽並同時撰寫具有論述性之創作論文或計畫報告書一篇。
  2. 需修滿36學分(不含論文、創作或計畫書六學分)
  3. 全民英檢中級檢定合格

說明:

  • 由於本所為實驗先鋒性研究所,課程規劃與要求將依發展變化而略微調整。
  • 碩一上修習跨領域藝術導論必修課,學生需於學期開始初期,說明其經歷與研究或創作意向,以俾師生相互瞭解與交流。
  • 碩一下修習跨領域研究方法必修課,學生需於碩二學期開始之前,舉辦與參加所上之展覽與評鑑活動,發表其未來研究、創作或計畫發展方向。
  • 碩一下始可選擇指導教授,修習畢業論文、創作或計畫。請教授簽署指導意願徵詢表時,需檢附論文題目與修課計畫。

肆、發展軸線

(一) 理論與實務並重,建構新世紀的藝術發展/學習理論,培養學生以批判性的觀點進行學術論述/創作;

(二) 結合在地與國際觀點的交流平台,藉由實際參與國內各項文化活動並規劃國際學術論壇,打造兼容並蓄的新跨領域人才;

(三) 跨學科與操作的研究架構,提供學生多面向的研究取向與理論整合。

伍、未來展望

(一)本所之研究取向已受到國內外專業社群的注目,未來將更積極創造國內外學術、專業以及相關社群的交流學習,期冀成為國際跨領域藝術研究的領先團體;

(二)跨越創作與理論的界線,創造真正多元整合的學術行動環境;

(三)促進產學結合,藉由與各地方政府、社區、文化藝術團體的合作,提供文化產業界具備完整學術訓練以及精實實務操作的藝術領航者。

陸、建議書單

一般書籍、參考工具書、書的一章
  • Groys, B. (2008). Art power. Cambridge,Mass.: MIT Press.
  • 王志弘(譯)(2008)。新自由主義化的空間:邁向地理不均發展理論(原作者:David Harvey)。臺北市:遠流。
  • 王雅各(譯)(1998)。藝術的魅力重生(原作者:Suzi Gablik)。臺北市:遠流。
  • 匡驍(譯)(2013)。當代藝術的主題:1980年以後的視覺藝術。(原作者:Jean Robertson & Craig McDaniel)。南京:江蘇美術出版社。
  • 吳瑪悧(主編)(2007)。藝術與公共領域:藝術進入社區。臺北市:遠流。
  • 吳瑪悧等(譯)(2004)。量繪形貌:新類型公共藝術(原作者:Suzanne Lacy等)。臺北市:遠流。
  • 林家瑄(譯)(2010)。我在底層的生活:當專欄作家化身成為女服務生(原作者:Barbara Ehrenreich)。臺北市:左岸文化。
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