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台北當代藝術館 館長的話 From the Director

台北當代藝術館 館長的話 From the Director

文/台北當代藝術館館長 潘小雪 Yuki Pan

 
台北當代藝術館聚焦在「當代性」方面比臺灣其他各大美術館的任務輕快而慧頡,有帶領風騷的鮮明性格。基於這個定位,我們不斷往前求新求變的同時,也要不斷回到藝術的原初性,這就是「走在世界的前端(Walking in the front end of the world)」,同時也要「禮失而求諸野(If the proper knowledge of rituals is lost, then look for it in the wilds)」。位於文化風潮中心的臺北都會,潮流變化很快,藝術難免成為符應前衛思潮的產物,與存在無關,於是我們必須覺察文化疲敝的時刻,如何找回野性,恢復生命力。
 
The Museum of Contemporary Art, Taipei (MOCA Taipei) has been focusing on “Contemporaneity”, so that its mission is lighter and more agile than other big museums in Taiwan, and has a vivid character of leading the trend. Based on this orientation, as we continuously in seeking the new and to change, we have to go back again and again to reach the originality of Art. This is so-called Walking in the front end of the world, at the same time, if the proper knowledge of rituals is lost, then look for it in the wilds. Located in the cultural center, current trends in the Taipei city change with high-speed and it is difficult for Art to escape from being a product which corresponds only with avant-garde trends and not for its sake. Therefore, we should become more aware of the moment when the culture is getting feeble, and we should know how to regain the wildness, to restore vitality.
 
 
開館以來,歷屆館長與工作團隊的努力,當代藝術館的創新前衛都能與世界並駕齊驅,近年來在社區行動以及增強市民觀賞的熱情,提升市民藝術視野、國際接軌、交流平台方面的成就也為各界所肯定。由於當代藝術館的建築空間是日治時代的小學校,國民政府來臺後的臺北市政府辦公廳舍,它和世界各地古蹟或替代空間翻轉為大城市中的MOCA情況一樣,有其潛力與限制,無法滿足當代特殊藝術家的雄心與蠻力,卻有歷史餘風的莫名趣味。於是我們思考,在古蹟中如何進行最現代的藝術展覽與活動?或是拓展實體空間,把新舊建築巧妙結合,或是拉長連線,與鄰近公共空間、大樓環境、藝文場所合作,或是走向數位聯結,擴大虛擬空間,如此因應城市越來越強旺的創造力。
 
Since its inauguration, MOCA Taipei had been managed and operated by the museum directors over the years and the diligent staffs. Thanks to their hard work, the innovation and modernity of MOCA Taipei are being able to run neck to neck with the world. In recent years, MOCA, Taipei’s activities in the communities have increased the viewing passion of the citizens and broadened their art horizons. Its contributions for integrating into the global community and building a platform for communication have earned much recognition from people in various fields. The architecture of MOCA, Taipei was built during the Japanese Colonial period and eventually became a City Hall administrative office. Similar to other historical site or alternative space which has been transformed into contemporary art museum in the big city, the structure possesses its own potential and limitation, and it may not be able to satisfy the ambition and the brute force of the contemporary artists nowadays; however, we can still enjoy its unique historical features and inexplicable interest. For these reasons, we start to think, how can we house the most contemporary exhibitions and program into this historical site? We could expand our physical space, juxtapose new and old architecture, or lengthen our link to the neighboring public space, cooperate with office buildings or cultural institutions, even more, we could move towards digital directions, and to broaden virtual space, so that we can correspond to the increasingly strong creativity of the city.
 
 
基於上述思考,我們重新定位與確定近期發展面向:
一、 以藝術家為核心的美術館。讓藝術家自我探索的生命力發揮感染力。
二、 以策展人為策略,發展藝術家策展人。
三、 展覽空間的新思維,拓展藝術的可能版圖與領域,無論實體與虛擬。
 
Based on the above-mentioned thinking, we would like to re-orientate and to determine the developmental aspects in the near future.
1. An artist-oriented museum. Invite the artist to bring their self-exploring life-force into practice.
2. A curatorial strategy. To develop the artist into a curator.
3. A new way of thinking about the exhibition spaces. To expand the possible area and fields of Art, whether it is real or virtual. 
 
 
藝術品與藝術欣賞不是少數特殊階級的專利,而是全體市民的人文資產,所有的人可以按自己的品味自由接觸,這是當代館的社會責任。當代館近年參觀人數不斷上升,以年輕世代的觀眾居多,相關研究顯示,由於地緣關係老城區的文化生活是原因之一,最重要的還是展覽的「當代性」,它的新媒材與新形式、既貼近生活又超越現實、新奇而又強大的視覺震撼,當代藝術的魅力無窮。然而,我們深知網路趕潮與藝術愛好之間,差之毫釐失之千里,不可等同視之。除此之外,對於無法接受當代藝術的前衛與爭議者,需要更好的方法策略,基於前述兩個問題,我們的責任在於努力揭示藝術中的人文精神,無論作品如何前衛與極端,爭議與批判,流行與媚俗,都要闡釋它的人文內涵,讓市民透過當代藝術而擴大人類的視野、了解世界,市民對當代藝術的欣賞與熱情,即是對人性最深沉的體會與最大寬容。
 
Artworks and art appreciation are not only for a privileged few, they should be the cultural property of all citizens. Everyone can freely approach art according to their taste, and this is the social responsibility of MOCA, Taipei. These years in MOCA, Taipei, the number of visitors has been continuously increasing, and mostly of them are young generation. Correlation studies show that, the regionalism and the cultural life of the old city district nearby might be one of the reasons, but most important reason is the “contemporaneity” of the exhibitions. Through the new media and various forms of the artworks, the experience of viewing is close to our daily life but somehow beyond the reality so that the visitors can perceive a novel and powerful visual impact, and that is the charm of the contemporary art. However, we are fully aware that, no matter the trendy crowd on the internet or the art amateurs, they cannot be equated with each other. Besides, a better strategy would be needed for the people who cannot accept the avant-garde and controversy in contemporary art. Based on two above-mentioned questions, our responsibility is to strive for revealing the spirit of humanism in Art, no matter how audacious and extreme the artwork would be. Controversial and critical, fashionable and kitsch, the humanism connotation in the work should be clearly interpreted. Through Art, the citizen can enlarge the vision of human beings, understand the world and the appreciation and passion toward art of the citizen would be the deepest understanding of humanity and the biggest tolerance.
 
 
除了人文精神的闡述與擴充之外,我們持續過去的成就,將藝術展演帶到都會及社區空間,與臺灣人美好的人情結合。從鄰近社區的事件、故事、歷史為題材,透過年輕藝術家用藝術的各種手法表現與生活結合,讓城市更有魅力。 
 
Except the interpretation and expansion of humanism, we will continue our previous achievement, keep bringing art into urban and community space, with hospitality of Taiwanese people integrated. Taking an event, a story, or a history from neighboring communities, through young artists’ various techniques of expression to integrate into life, we can make the city more glamorous.