H. Marcuse曾說，「藝術的使命是傳達批判的自由觀，這種自由既源於感官的淨化。也源於對主導社會秩序的具體否定; 藝術的使命，是喚起感覺、體驗及行動的另類視野，以促進社會的改變。」社會參與式的藝術創作，在過去幾年成為一個廣受注目的藝術形式，政策面上的動力來自於2006年起文建會所推動的「公共空間藝術再造補助計畫」，到2008年改為「藝術介入公共空間補助計畫」，促成藝術家與社區合作，以藝術做為平台，共同與居民一起進行公共空間的改造與提升。就藝術家的立場而言，社會實踐式的藝術創作，發揮了民主社會中公民參與的精神，以及藝術創作本身的創新與革命意義。然而，如此充滿創意的社會實踐方式並不單純，既涉及了藝術家/社群/政府不同的立場與態度，也挑戰諸多既定的傳統觀念與行動邏輯，在激發出創新文化之餘，更製造出深刻的衝突與反思議題。藝術學界與社區營造等相關學門，對此等議題已有相當的探討，但是社會學者較少系統性的涉入。而藝術的社會實踐課題，實則牽涉諸如社會網絡、公共領域與公共論述、社會溝通、社會變遷與社會運動等重要的社會學課題，也反映不同領域行動者的磨合與互動過程，亦是藝術社會學所關心的跨領域社會現象。國內藝術家的社會實踐案例已有一定的累積，但是理論方面仍處建構的過程，也欠缺與社會科學深入的對話。H. Marcuse once said, "The mission of art is to convey critical freedom, which originates from both the purification of the senses. It also originates from the concrete negation of the main social order; The mission of art is to sing out a different perspective of perception, experience and action to promote social changes. "Social-related art creation has become a highly regarded art form in the past few years. The policy dynamics have been built in 2006. The "Public Space Art Reinvention and Subsidy Plan" promoted by the Society was changed to "Artist intervention in public space supplementary plan" by 2008, which will promote the cooperation between artists and communities, use art as a platform, and jointly carry out public space transformation and improvement with residents. As far as artists stand, socially realistic artistic creation develops the spirit of citizen participation in democratic society, as well as the innovative and revolutionary meaning of artistic creation itself. However, such a creative social practice method is not simple and pure. It not only involves different positions and attitudes of artists/communities/government, but also challenges many established traditional concepts and action logic, which stimulates innovative culture and creates profound conflicts and reflection topics. The art community and community construction have already discussed these issues, but socialists have less systematic involvement. The social preparatory courses of art actually involve important social subjects such as social networking, public domain and public argumentation, social communication, social change and social movement, and also reflect the running-in and interaction process of actors in different fields. They are also cross-regional social phenomena that are concerned about in art society. The social actual cases of domestic artists have accumulated a certain amount of accumulation, but the theoretical construction process is still lacking in-depth dialogue with social science.
1. Grant H.Kester, 2004, Conversation Pieces: Community+Communication in Modern Art. California: University of California Press. 中譯本：吳瑪悧、謝明學、梁錦鋆譯，2006，《對話性創作：現代藝術中的社群與溝通》。台北：遠流。
2. Suzanne Lacy, 1995, Mapping the Terrain: New Genre Public Art. California: Bay Press.中譯本：吳瑪悧等譯，2004，《量繪形貌：新類型公共藝術》。台北：遠流。
3. 吳瑪悧編，2007，《藝術與公共領域：藝術進入社區》。台北： 遠流。
4. 鄭慧華編，2009，《藝術與社會：當代藝術家專文與訪談》。台北：台北市立 美術館。eBook: http://praxis.tw/publish/
1. Grant H.Kester, 2004, Conversation Pieces: Community+Communication in Modern Art. California: University of California Press. Chinese translation: Wu Maju, Xie Ming, Liang Feng, 2006, Dialogue Creation: Community and Communication in Modern Art. Taipei: Far.
2. Suzanne Lacy, 1995, Mapping the Terrain: New Genre Public Art. California: Bay Press. Chinese version: Wu Masuji et al., 2004, "Measuring the Graphics: New Types of Public Art". Taipei: Far.
3. Wu Magui, 2007, "Art and Public Domain: Art Entering the Community". Taipei: Far.
4. Zheng Huihua, 2009, "Art and Society: Contemporary Artists' Prose and Interviews". Taipei: Taipei City Art Museum. eBook: http://praxis.tw/publish/
| 評分項目 Grading Method | 配分比例 Grading percentage | 說明 Description |
|---|---|---|
| 平時表現平時表現 Normal performance |
10 | |
| 分組討論作業分組討論作業 Sub-group discussion |
30 | |
| 期中報告期中報告 Midterm Report |
30 | |
| 期末報告期末報告 Final report |
30 |
