跨國藝博會的文化政治：一個台灣視野的研究

Abstract

進入21世紀，在藝術全球化動力與競爭下，西方跨國展會公司挾帶豐沛商業能量以及全球場域的高階權力在亞洲設立藝博會，影響亞洲藝術發展。本研究以Bourdieu「場域論」為架構並採取展覽文化政治分析，探討跨國藝博會Art Basel Hong Kong以及Taipei Dangdai之機制運作、篩選制度、空間政治、符號再現等面向，瞭解其如何運作微觀權力在亞洲進行符號、品味與價格的再生產，重編全球與亞洲藝術市場的秩序。Art Basel Hong Kong基於「西方中心」與「金權」意識形態，展會機制設計不僅帶來亞洲新興畫廊的劣勢與困境；展會空間安排呈現「中心—邊緣」之嚴密階層秩序，凸顯西方為中心、亞洲為邊陲的跨國世界觀，並透過空間的象徵性與關係性鋪排，操弄藏家與觀眾對符號意義的判讀以及藝術價值的建構。Taipei Dangdai進入台灣藝博會場域形成新的場域相對位置與分化架構。跨國展會提供在地高文化資本畫廊與全球場域銜接，同時擠壓本土主要藝博會朝向低文化資本移動以及大眾市場發展；如此可能導致台灣藝術生產場域自主性，受到商業化的消費端以及西方跨國意識形態的雙重宰制。整體而言，跨國藝博會進入亞洲以當代藝術塑造自身的公共性並擴張其象徵權力，跨國展會雖有助提升在地城市國際形象，同時也以高階文化資本與象徵權威形塑在地藝術市場價值體系，與在地行動者形成競合與共構之關係。In the 21st century, under the impetus and competition of globalization, Western multinational art fairs, with abundant commercial energy and high-level power in the global art field, set up art fairs in Asia to influence the development of Asian art. This research takes Bourdieu's "field theory" as the framework and adopts the analysis of exhibition cultural politics to explore the mechanism operation, selection system, spatial politics, symbolic representation and other aspects of Art Basel Hong Kong and Taipei Dangdai, and to understand how they operate micro-powers to reproduce symbols, tastes and prices in Asia, reordering the global and Asian art markets. Art Basel Hong Kong is based on the ideology of "Western-center" and " plutocracy". The exhibition mechanism design has caused the disadvantages and difficulties of emerging Asian galleries; the exhibition space presents a strict hierarchy order of"center-periphery", highlighting that the West is the center and Asia is the periphery, which represents the world view of the transnational art fairs. Through the symbolic and relational arrangement of exhibition space, this ideology manipulates collectors and audiences' interpretation of the meaning of artistic symbols, as well as the construction of artistic value and taste. Taipei Dangdai entered the field of Taiwan art fairs, forming a new relative position and differentiation of the field.It provides local high cultural capital galleries to connect with global fields, and at the same time squeezes the main local art fair towards lower cultural capital position and to develop towards the conservative local mass market. This may affect the independence of Taiwan's art production field, which is dominated and influenced by the commercialized consumption-side and the ideology of Western art fairs. Overall, transnational art fairs have entered Asia to shape their own publicity and expand their symbolic power with contemporary art. Although transnational art fairs can help enhance the international image of local cities, they also shape local art market value system with high-level cultural capital and symbolic authority and forms a co-opetitive and co-constructive relationship with local actors.