政大機構典藏-National Chengchi University Institutional Repository(NCCUR):Item 140.119/152128

政大機構典藏-National Chengchi University Institutional Repository(NCCUR):Item 140.119/152128

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Please use this identifier to cite or link to this item: https://nccur.lib.nccu.edu.tw/handle/140.119/152128

Title:	藝術空間與科技中介物的共譜展演：以上海當代畫廊線上展廳的空間關係與社會互動之實踐為例 Co-performance of Art Spaces and Technological Intermediaries: A Case Study of the Spatial Relationships and Social Interactions in the Online Exhibitions of a Contemporary Art Gallery in Shanghai
Authors:	廖唯霓 Liao, Wei-Ni
Contributors:	劉慧雯 Liu, Hui-Wen 廖唯霓 Liao, Wei-Ni
Keywords:	線上展廳數位轉型行動者網絡理論空間生產虛實共生 Online viewing room Digital transformation Actor-network theory Production of space Virtual-real symbiosis
Date:	2024
Issue Date:	2024-07-01 13:27:03 (UTC+8)
Abstract:	本研究以上海當代畫廊德玉堂的線上展廳建置項目為案例，運用行動者網絡理論(ANT)和空間生產理論，探討疫情催化下藝術機構數位轉型的複雜圖景。研究發現，線上展廳的誕生標誌著藝術生產方式的去物質化趨勢，體現了數位技術對藝術資源再生產的重塑力量。在建置過程中，3D攝影師等新行動者的加入，引發了圍繞光影呈現的多方博弈。光線和展廳空間形狀等非人行動者也展現出不容忽視的能動性，在很大程度上左右著線上展廳生產。隨著項目推進，傳統由策展人主導的權力結構開始鬆動，不同行動者圍繞策展權展開角力。作為多重介面，線上展廳打破了傳統藝術欣賞的時空界限，為觀眾提供了更加主動、開放的參與模式。但畫廊在拓展客源、促進交易方面仍面臨觀眾信任和作品真實性呈現的雙重考驗。總的來看，線上展廳的出現標誌著藝術生產邁向虛實共生、多元協作的數位化時代，傳統藝術場域秩序正在重構。本研究揭示了線上展廳生產過程的複雜性，豐富了數位藝術社會學的案例積累，也為藝術機構謀求數位轉型突破提供了經驗借鑒。 The research investigates the complex landscape of art institutions' digital transformation catalyzed by the pandemic, using the online viewing room project of the Shanghai contemporary art gallery Matthew Liu Fine Arts as a case study. Drawing on Actor-Network Theory and the Theory of the Production of Space, it finds that the emergence of online viewing rooms signifies the trend of dematerialization in art production, reflecting the reshaping power of digital technology. During the construction process, the involvement of new actors like 3D photographers triggered multi-party gaming around light and shadow presentation. Non-human actors such as lighting and gallery space shapes also demonstrated significant agency, largely dictating the production. As the project progressed, the traditional curator-led power structure began to loosen, with different actors jostling for curatorial power. As a multi-interface, online viewing rooms break the boundaries of traditional art appreciation, providing audiences with a more active and open participation model. However, galleries still face the dual challenges of audience trust and authentic artwork presentation in expanding their customer base and facilitating transactions. Overall, online viewing rooms mark the digital era of art production moving towards virtual-real symbiosis and multi-party collaboration, with the traditional order of art fields being reconstructed. This research reveals the complexity of online viewing room production, enriching the case studies of digital art sociology and providing references for art institutions seeking digital transformation.
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Description:	碩士國立政治大學傳播學院碩士在職專班 107941013
Source URI:	http://thesis.lib.nccu.edu.tw/record/#G0107941013
Data Type:	thesis
Appears in Collections:	[EMA Program in Communication] Theses

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