艺术介入… （rt Intervening…）.docVIP

藝術介入… (Art Intervening…) 授課教師：康旻杰 選修：3學分 上課時間：每週四14：20 – 17：20 藝術介入空間，藝術介入社區，藝術介入地景，藝術介入社會，藝術介入公共…，曾幾何時，藝術從某種被看的形式轉而成為一種主動干預社會及空間意義變遷的裝置、媒介、工具、主詞（或動名詞）、行動（或動員）、「替代」空間、政策、乃至攻擊(art attack)。這股方興未艾的潮流，究竟逐步建立藝術的自主性，抑或見證藝術不斷被更細膩之機構收編的淪喪？而被藝術介入之「對象」（...），只得被迫迎接那天外飛來的奇觀，或竟從他者的詮釋看見自我的反身性？是藝術作品中被框限的象徵性龍套樣版（token representative）或真實的藝術行動主體？諸多相關的辯證其實並非當代藝術或空間論述的新鮮概念，而是在歷史縱深中透過一連串作品、形式、批判、評論、實驗、及空間實踐交織出的未解狀態。進一步探索藝術介入的議題，或更根本的、藝術如何離開美術館及個人收藏而介入外在世界的空間現實之前，不妨先回推約半世紀前，杜象的一段宣言： In 1913 I had the happy idea to fasten a bicycle wheel to a kitchen stool and watch it turn. A few months later I bought a cheap reproduction of a winter evening landscape, which I called Pharmacy after adding two small dots, one red and one yellow, in the horizon. In New York in 1915 I bought at a hardware store a snow shovel on which I wrote In advance of the broken arm. It was around that time that the word Readymade came to my mind to designate this form of manifestation. A point that I want very much to establish is that the choice of these Readymades was never dictated by aesthetic delectation. The choice was based on a reaction of visual indifference with at the same time a total absence of good or bad taste ... in fact a complete anaesthesia. One important characteristic was the short sentence which I occasionally inscribed on the Readymade. That sentence instead of describing the object like a title was meant to carry the mind of the spectator towards other regions more verbal. Sometimes I would add a graphic detail of presentation which, in order to satisfy my craving for alliterations, would be called Readymade aided. At another time, wanting to expose the basic antinomy between art and Readymades, I imagined a Reciprocal Readymade: use a Rembrandt as an ironing board! I realized very soon the danger of repeating indiscriminately this form of expression and decided to limit the production of Readymades to a small number yearly. I was aware at