臺灣當代藝術市場典範轉移之研究－以卡漫藝術的市場現象為例

Abstract

本研究針對臺灣當代藝術市場，以卡漫藝術在臺灣的發展作為主軸，分析2003年後卡漫藝術在臺灣藝壇的發展脈絡，藉由追溯西方藝術史的演進做為切入依據，結合湯瑪斯•孔恩的典範轉移理論為方法，試圖梳理卡漫藝術在臺灣當代藝術的演變。卡漫藝術創作從最早期的卡漫圖像挪用，逐步到將卡漫精神內化成一種創作形式。另一方面在藝術市場，日本藝術創作的輸入漫漫建立起大眾對於卡漫藝術的支持，卡漫漸漸地由一種創作模式變成藝術典範，在面臨經濟困難的挑戰時，藝術市場的客源由過去的菁英階級轉向了大眾，舊有的藝術典範已經不再符合閱聽者的需求，卡漫藝術得以作為一種新典範，推動藝術市場的典範轉移。研究者就實際藝術市場經營者做訪談踏查，補足在市場文獻效度的不足，針對文獻回顧中所發現的問題，與實際在藝術經濟上操盤者做求證，深入史料報導所無法觸及的核心，藉著訪問藝術市場經營者，新苑藝術、藝境畫廊以及尼頌詩藝術，作為藝術市場資料佐證，與文獻相輔，推演卡漫藝術在臺灣當代藝術市場的發展。當代藝術市場上主要的消費族群，慢慢由高尚的精神追求轉移到了網路社群建立自我的認同，閱聽者不再聽取市場權力者的言語，卡漫藝術的崛起代表了藝術市場由大眾消費文化主導。

This research focused on contemporary art in Taiwan. The Camon Art progression in contemporary art of Taiwan was clarified according to Thomas Kuhn's paradigm shift theory, the analysis of Western art progression and Camon Art development after 2003 in Taiwan as well. From borrowing Camon images from the very beginning, to the creation later directly based on Camon narrative logic, it grew gradually and internalized the spirit of cartoon/comic to become a style of creation. Meanwhile, the import of creation from Japanese art proved the heated debates of Camon Art in the art world in the early years, and gained the public support gradually.Camon gradually became the paradigm art rather than just one of the styles of creation. At a time when the art market is facing economic challenges, Camon Art can serve as a new paradigm to promote the paradigm shift in the art market.In terms of culture, Camon Art has established a good foundation; on the market, financial support is actually the main factor that drives the paradigm shift. The interviews for marketeers in actual art market were conducted, not only making up for the lack of validity of literature, but also verifying problems found in literature reviews with marketeers and going deep into the core issues that cannot be touched in historical reports. Because of economic challenges, it has shifted from the elite class before to the public for customer source in the art market. The old paradigm art no longer meets the needs of audiences, and main consumer groups in the market have gradually shifted from spiritual pursuit to their own cultural identity. Audiences no longer listen to the authorities. The rise of Camon Art represents that the art market is recently dominated by mass consumption.