| 摘要: | 前衛藝術脫離純粹美學與「手製」領域，強調藝術藉由語言揭露並建構現實。當代藝術創作的形式沒有所謂統一的風格，不僅創作手法多元混雜，可用來創作的媒材也是包羅萬象，「多元、去中心化」是後前衛藝術的最大特徵。資本主義將人際關係幾乎變成標準化的人工製品，關係美學認為藉由藝術可以避免資本社會中商業化的可預期性，若藝術能夠探討人與人之間的關係縫隙和社會本質，人們便能學著用更好的方式生活於世界。 都市發展使密集的人群產生連結性的藝術實踐，以大眾所能理解的基底為主所產生互動、貼近使用者的新類型公共藝術應運而生。藝術不再被限制於精英的小眾，講究的是如何將現實包裝呈現，而拉近藝術與人群、將藝術的空間場域延伸至群眾生活領域的公共藝術因此逐步發展，直至當代，公共藝術已發展成為以涉入或改善現實生活為主的對話、參與、議題式的創作類型。 本文以文獻探討的方法研究涵蓋前衛、後前衛藝術及關係美學概念的參與式創作之歷史脈絡及其理論背景，並探討新類型公共藝術，研究台灣北回環境藝術與樹梅坑溪藝術案例。在實務上，選擇位處偏鄉邊陲的瑞里作為案例，該地區民眾曾歷經北回歸線環境藝術行動洗禮，藝術家駐村活動在社區注入活力，當北回歸線環境藝術行動後，社區民眾開始推廣茶藝，當地的瑞里國小也積極推動「用心尬創藝，瑞里向美走」藝術行動。除了整理台灣茶藝發展的歷史源流之外，研究者以藝術教育工作者的身分透過參與觀察的研究方法，介入並紀錄瑞里的新類型藝術創作實踐，探究其過程與意義。 研究過程中發現以在地草根地理中的歷史人文、故事記憶、自然生態、人際生活作為創作的元素，透過社群、拼貼、混雜、對話、互動、關懷的藝術表現手法，能讓參與的教師、學生、民眾在形塑藝術創作過程中，尋找出在地空間與人文的內爆力量，藉由感受認同土地的動態過程，使人文情懷能夠改變參與者的生活態度。
Avant-garde art departs from pure and “hand-made” aesthetics, it emphasizes that art expresses and builds reality by languages. There is no unified style in the forms of contemporary artistic creation, the techniques are diverse and the media is all-embracing. “Diversity and decentralization” are the most significant characteristics of Post Avant-garde. As capitalism has turned interpersonal relations into standardized artifacts, according to Nicolas Bourriaud’s Relational Asthetics, he believed that art could prevent the predictability of commercialization in capitalist societies. If art can examine the relation gaps and nature of societies between human beings, people may learn a better way to live in the world. Urban development enables the crowd’s art practices to be connected, and Relational Aesthetics, which is understandable, interactive and close to the users, is emerged. Art is no longer limited to the minority elite, random and temporary artistic groups are formed based on various kinds of relations. Relations make arts and people closer, and conversations, participation and issues related to or improving real life, will have a profound effect to public art by extending artistic spaces to people’s life. The method of Literature Review is adopted in this essay to analyze the inheritance and transformation of creation styles from Avant-garde art to New Genre Public Art, and to investigate the evolution and development of the relation between arts and life during this period. The Objective of this research is to study the history of New Genre Public Art and discover its rationality in the arts. Study the cases of “A Culture Action on Tropic of Cancer” and “Environmental Art Movement at Plum Tree Creek” in Taiwan. Practically, the researcher took Rueili as an example. Residents in Rueili ever took part in “A Culture Action on Tropic of Cancer”, artists’ living in the village energized the community. After the culture action, residents started to popularize tea art. In the meantime, The team of Rueili Elementary School carried out the art move named ”Creating Graceful Art by Heart, Rueili Goes toward Beauty”. In addition to researching the history of tea art in Taiwan, as an art educator, the researcher recorded the process and the meaning of New Genre Public Art in Rueili by means of participation, observation. The art movement in Rueili concluded elements of creation such as humanity, history, stories, memories, nature, ecology, human communication and life. The art creation is presented by social grouping, collage, mix, conversation, interaction and concern. All the teachers, students and populace who took part in the movement found out the power between local space and humanity and their living attitude were changed during the process of feeling the development of identification toward their hometown. |
