［經典閲讀］東京藝術大學美術系館館長、瀨戶內海國際藝術祭策展人秋元雄史（Yūji Akimoto）先生分享會
［經典閲讀］東京藝術大學美術系館館長、瀨戶內海國際藝術祭策展人秋元雄史（Yūji Akimoto）先生分享會
主辦：台灣藝術與文化社會學會
東吳大學社會系
時間：2017年5月8日（一）am10-12
地點：東吳大學社會系D814室
主持人：石計生教授(東吳大學社會系主任，台灣藝術與文化社會學會理事長)
中、英文提問問題：
1. 許嘉猷老師中研院歐美所兼任研究員 （Mr. Jia-You SHEU, Institute of European and American Studies, Academia Sinica, Adjunct Research Fellow）
中文提問：
(1)瀨戶內海藝術季為何能辦得如此成功？對於世界其他國家想辧類似性質的展覽，您有何建議？
(2)村上隆一方面致力於純藝術的創作，另一方面又替LV設計包包，似乎想要降低二者之間的隔閡，請問做得成功嗎？日本藝術界對他的評價如何？
English:
(1) Why can the Art Setouchi be so successful? Do you have any suggestion for those similar exhibitions in the other countries?
(2) The Japanese artist Murakami Takashi（むらかみ たかし）devotes himself to the creation of pure arts on the one hand, and on the other hand, he designs the bags for Louis Vuitton. It seems that he wants to minimize the distinction between the art and the design of fashion. Do you think he is successful? How does the Japanese Art world evaluate him?
2. 石計生老師，東吳大學社會學系教授兼系主任 （Mr. C.S. Stone SHIH, Department of Sociology, Soochow University, Professor, Chairperson of Department）
中文提問：丹托藝術終結後美術館屬性的轉變隨著的是藝術評論原則而改變，爾今普遍認為，當代美術館重視的是engagement，參與介入。但這其實是資本主義化、商品化的各式社會問題與社會運動風起雲湧的必然滲透，也是藝術世俗化的表現，也使社會學必然成為藝術領域裡一個領航的知識與解釋泉源。不知秋元先生認為，美術館在此時代趨勢下，其角色究竟是價值中立的展出？還是具備有改造社會的可能性？其次，我們如何思考在街頭真實衝撞體制的女性主義或貧窮戰爭的戰略與藝術呈現這類「美術館之外的藝術」？在美術館內展出女性主義或社會運動的作品是藝術昇華還是運動的死亡？「美術館之內的藝術」是不是一種藝術的布爾喬亞化？這對於改善人民的痛苦有何作用？
English:
After Arthur C. Danto’s claiming the end of art, it seems that the nature of art gallery has changed along with the principles of art critics. And now most people think it proper for a contemporary art gallery to emphasize on audience’s engagement.
Such new inclination of engagement, from my point of view, is one result of Capitalization, commodity fetishism involving all kinds of social problems or movements. The interwoven of social phenomena paves gradually the way for secularization of art. And sociology might become one of the leading source for art knowledge and interpretation. Do you have any comment on this aspect? Besides, one future question for art gallery will be: whether the museum or gallery could maintain its value neutral position or should expand such engagement potential for effective reformation of our society?
One further question: How do we evaluate some art strategies as works outside of the gallery, such as feminist intervention or war against poverty on the street? When we appreciate some ‘masterpieces’ aiming at feminist or social protest goals in art gallery, it could be counted as an artistic sublimation or an implication of the death of that social movement? Does ‘art inside art gallery’ risk a bourgeois art type? By contrast with the art of engagement, how is ‘art inside art gallery’ relevant to real miserable people on the street?
3. 賴嘉玲老師 ，臺灣師範大學歐洲文化觀光研究所副教授（Miss Chia-Ling LAI, Graduate Institute of European Cultures and Tourism, National Taiwan Normal University, Assistant Professor）
中文提問：
(1) 瀨戶內海藝術祭的策展是藝術界很成功的案例，既引進頂級藝術家作品呈現，也活化了邊陲老齡化的離島，更讓瀨戶內海藝術祭成為新的國際藝術參訪新景點。此成功個案當初如何勸說知名藝術家的共同參與以及當地政府與居民的接受？過程與困難為何？然而博物館與公共藝術的大眾化，常一方堅持藝術的前衛性而讓艱澀的文化資本與大眾藝術愛好者脫節，或為了迎合消費者品味而商品庸俗化。請問瀨戶內海藝術祭如何平衡藝術家，在地居民與國際參觀者的品味，以及如何預防其未來朝向商品化觀光化的問題？
(2) 您策展主管的博物館長與當今文創建築有關，請問您對博物館建築近年來發展的想法？
(3) 您策劃的東京文化奧運是否也將運用瀨戶內海藝術祭的策展精神？將會有何種面對在地社群，藝術家與國際舞台呈現的特色與限制？
English:
1. Art Setouchi is a very successful example of curating public art and festivals. It not only introduces top international famous artists, but also activates decayed islands when turning the Art Setouchi into an attractive tourist destination. Could you please tell us about your experience and strategies to achieve this difficult projects by persuading local community, attracting international artists and reduce the cultural distance between the too. Also, how did you manage to keep the good quality of an alternative art event while attracting international tourists? What will you predict the influence of tourism toward the Art Setouchi in the future?
2. You used to work as the director of 21th century of contemporary art museum in Kazanawa which is housed in SANNA’s architecture. Have you got any opinion on the recent phenomenon of museum architecture based on creative architecture, such as flagship architecture as trademark for the community? Have you got any experience in dealing with the mismatch between fanciful creative architecture and museum? How will you deal with the mismatch?
3. You serve as the leading role for the Cultural Olympia of Tokyo 2020, how will you operate your curating strategy to this kind of mega-event making? What is the limit and chances when representing national artists on the global stage, in terms of budget, international politics, cultural and local art communities in Japan?
