LIN YU SHENG
「公路駐村計畫」利用汽車作為藝術村,讓藝術家在高速公路上進行創作,形成了一種既自由又束縛的矛盾感。這個作品在訴求上提出了當代藝術家的困境,即藝術家在追求自由、創新和獨立的同時,卻又受到藝術機構、市場和社會環境等多重限制和束縛。
藝術家被認為是具有獨立思考和行動自由的人,但現實卻是藝術家需要依靠藝術機構和市場來推動自己的事業和生計。在這樣的環境下,藝術家需要適應藝術機構和市場的需求和規範,有時候甚至需要犧牲自己的創作理念和風格以迎合市場的口味。
這個作品也透露出對於藝術機構權力機制的批評。藝術機構通常扮演著藝術市場的中介角色,它們對於藝術家的選擇、推廣、評價和獎勵等方面都具有相當的權力。藝術家通常需要經過藝術機構的認可才能獲得展示和推廣的機會,因此藝術家與藝術機構之間的關係也是一種權力的交換和角逐。
透過這樣的作品形式和訴求,希望引起觀眾對於當代藝術家和藝術機構之間關係的關注和思考,同時也提醒藝術家應該如何在這樣的環境下保持獨立性和自由性。
How do we use the "Car Artists Village" to discuss the relationship between art institutions and artists? How do we criticize the power structure of art institutions through this work?
In the "Car Artists Village", we use a mobile art village in the form of a car to allow artists to create while traveling on highways. Although it appears to be a free and open experience, the artists inside the car are actually confined to a small space. Through this form, we discusse the challenges faced by contemporary artists and criticizes the power structure of art institutions.
In terms of the challenges faced by contemporary artists, we highlight the difficulties of obtaining support and resources from art institutions, as well as the pressure to conform to the expectations of the art world. By confining the artists within a small space, he symbolically represents the limited support and resources that artists often receive.
Regarding the criticism of the power structure of art institutions, we point out the control that these institutions have over the careers of artists. By forcing artists to conform to their expectations, institutions limit the creative freedom of artists and maintain their own power and authority. The mobile art village in the form of a car becomes a metaphor for the artist's desire for freedom and mobility in the face of institutional control.