全球化面貌下的地緣美學──台灣畫廊與藝博會之產業脈絡

台灣是全球華人藝術產業發展歷史最悠久、產業機制最健全的地區。從1960年代以觀光客為主的展售小店，1970、1980 年代發展出上百家畫廊，進而二手市場開始發展，到1990年代籌組畫廊協會凝聚產業共識，成立藝術博覽會與全球市場接軌。40多年來自發性的發展，歷經種種經濟與環境的淬煉，扎根本土並放眼國際，培養眾多底蘊深厚的收藏家與優秀的藝術經紀人。

1989年台灣股市突破萬點，房地產興起，自 1989 年下半年成立大量畫廊，進入新的產業局面。 1990 到 1992 年三年期間，台灣畫廊成長數量超越過去30年的數 量，全台畫廊總數超過 200 家， 台北地區即有近 150 家。

1990年代正值本土意識抬頭，台灣前輩畫家史料陸續出版，美術館推出前輩藝術家大展，本土美術成為橫跨產官學的顯學，藝術市場亦以本土泛印象派風格為主流。而 1987 年解嚴後，藝壇創作力旺盛，題材與風格百花齊放，開始有理念型的畫廊經營現代藝術，並漸漸茁壯；解嚴開放中國大陸探親，業者引進中國大陸藝術家作品，亦掀起中國大陸美術熱潮。因此， 1990年代初期的藝術市場，台灣本土泛印象與現代美術、中國大陸畫家，加上少部分海外華人藝術、西洋畫作，展現充沛的活力與多元的面貌。

在藝術產業發展 20 年後，第二市場需求漸增，蘇富比拍賣行 （Sotheby's） 在 1992 年來台成立分公司，本土拍賣公司在 前後相繼成立，台灣拍賣市場 逐漸活躍。畫廊與拍賣市場的 並存，使得產業更為完整，走向流通循環並相互制衡的產業結構。

台北藝博會成立

在產業發展高點，1992年畫廊界成立「社團法人中華民國畫廊協 會」（簡稱畫協），共 62 家畫廊加入會員，約佔全台灣畫廊 1/3。 同年 11 月在台北世貿中心舉辦首次「中華民國畫廊博覽會」，共 56 家畫廊參展。

與此同時，美國「國際美術展覽公司」（IFAE）因歐美藝術市場發展艱難，亞洲經濟崛起，欲作全球化布局，1992 年 11 月到香港舉辦首屆「香港國際藝術博覽會」，同年新加坡也舉辦首屆藝術博覽會。

畫協在感受歐美會展公司叩關的壓力下，加快台北藝博的國際化腳步。在當時理事長李亞俐主導下，1994 年策劃「 海外華人藝術家」主題展，將華人藝術家帶回台灣，連結國際資源， 作為國際化的墊腳石。1995 年向國際招商，改名為「台北國際藝術博覽會」（ 簡 稱「ART TAIPEI」），邁出台灣藝術產業走向國際第一步。當時佩斯畫廊 （Pace Gallery）、 理 查 德． 格 瑞 畫 廊（Richard Gray Gallery） 、恩里柯．納瓦哈畫廊（Galerie Enrico Navarra）、 馬樂伯畫廊（Marlborough Gallery）等一線 畫廊陸續來台參展，帶來帕布洛． 畢卡索（Pablo Picasso）、馬克． 夏卡爾（Marc Chagall）等西方現代大師精品。

經過國際經驗洗禮，台灣藝術產業更有機會和條件走向豐富多元的發展。但不久後爆發亞太金融危機，亞洲經濟環境開始變差， 1998 年國內外參與藝博會的畫廊明顯較少，接下來年年衰退，藝術產業從 1990年代初極盛走入蕭條。 「ART TAIPEI」的舉辦，透過機制規範、畫廊彼此觀摩、國際畫廊引入，對於本土藝術市場帶來 秩序化與透明化的效果，對快速成長的產業具有規範與引導的力 量，讓民眾擴大藝術收藏的視野， 認識畫廊的功能角色以及藝術產 業的運作規則。儘管 1990 年代 短暫的藝術榮景深受經濟景氣影 響，1995 年之後藝術市場持續萎縮，但畫協的成立與藝博會的舉辦都有助形塑產業凝聚的力量， 不僅在市場快速變化情勢下具有緩衝與支撐的功能，在市場泡沫化之後仍有核心的主導力量，能夠重新整合與再出發。

2000 年前後台灣經濟發展陷入困境，2000 年、2001年蘇富比與佳士得（Christie's）相繼撤離台北，許多畫廊不敵景氣紛紛結束營業。相較下，中國進入21 世紀後政經崛起，世界目光聚焦於此， 國際游資看好中國藝術市場紛紛投入，致使中國大陸藝術市場興 起，也帶動周邊日、韓、東南亞以及台灣藝術市場。第二市場的快速與強勢發展，蓋過了需要時間運作與經營的第一市場，造成 一時亂象。

畫協經過幾年沉浮與調整腳步， 2005 年因應 21 世紀藝術市場趨 勢，將「ART TAIPEI」新定位為「當 代亞洲藝博會」。同年，文建會加入台北藝博會贊助與合作單位， 「文建會青年藝術購藏計畫」進場收購作品，引導畫廊對年輕藝 術家的關注與支持。2006 年「ART TAIPEI」主推青年藝術家並聚焦亞洲新興藝術，將展區切分為「經典藝術展區」、「當代藝術展區」、 「 電子藝術展區 」， 成 為 日 後 ART TAIPEI 轉型後的基本格局。 同時這幾年間，標榜當代藝術的畫廊陸續成立，原先不是經營當 代藝術的畫廊，也更改策略開始 主攻當代藝術，發展了 20、30 年 的老牌畫廊開始進行二代接班， 帶入新的當代藝術品味與經營理念，小型畫廊甚至進行策略聯盟， 進行國際團體戰。2009 年「台灣當代藝術連線」開辦飯店型藝博會「Young Art Taipei」， 聚焦在45 歲以下當代藝術家作品，成功 吸引不少日本與亞洲中小型畫廊參與。此後飯店型博覽會「Photo Taipei」、「Art Taichung」、「Art Tainan」、「Art Kaohsiung」等， 漸漸在北中南大城市流行，對於藝術收藏的推廣，以及培養中小型藏家功不可沒。

2008 年「ART TAIPEI」參與的國 際畫廊增加且交易成績頗佳，國際地位逐漸確立。2011 年，國際參展畫廊達 66 家，吸引各國藏家 組團來台觀展，銷售成績在亞洲 僅次於香港藝博（Art HK）。自 2012 年 後「ART TAIPEI」開始擴 大展區，每年約有 150 個展商參 與，其中五成以上來自國外。法國 研究者阿蘭．哥曼 (Alain Quemin) 於 2013 年的研究，以國外參展畫 廊數以及參展國家的多元性，來定 義所謂「國際當代藝博會」，從 全球 250 多個藝博會中共篩選出 41 個國際藝博會，「ART TAIPEI」 為少數亞洲藝博會的佼佼者，晉身為「國際當代博覽會」之列。

1989 年之後世界政治與世界貿易發生結構性的轉變，藝術生產亦隨之擴張至全球各地，而後被賦予一種全新的意義。德國藝術史家漢斯．貝爾丁（Hans Belting） 認為，全球藝術不再是現代藝術的同義詞，根據其時序和象徵甚或意識型態的意義來看，全球藝術是當代的，藝術市場則再現了全球藝術，以經濟機制作為其跨越文化疆界。 「ART TAIPEI」自 1990 年代在本土地域市場成立，在本土藝術為意識形態與市場主流的脈絡下， 以國際化為目標，試圖打破本土場域封閉局面，與國際接軌，因 經濟衝擊而中止。「ART TAIPEI」 於 2005 年重整再起，從封閉的地方市場結構轉進東亞地區市場， 並逐漸匯流入藝術全球化的整合框架之下。整體而言，台灣藝術產業與市場，呈現一種地緣政治的全球化面貌，甚至帶有地緣美學（Geo-aesthetic）的特質； 她既非是西方的，亦非中國的，而是經歷自身現代化進程的洗鍊後的獨特展現。

By Chu Ting-Yi

Taiwan occupies the region that has the longest history and the mos t comprehensive indus try support in the world of Chinese art. Over the past forty years, its gallery indus try has d evelo ped ind epend ently, beginning with the emergence of tourist-oriented shops in the 1960s, to the inception of hundreds of commercial galleries and their secondary market in the 1970s and 1980s, followed by the establishment of Taiwan Art Gallery Association (TAGA) and the commencement of international art fairs in the 1990s. This extensive experience has allowed the industry in Taiwan to thrive locally and internationally, giving rise to insig htful and kn owledgea ble collectors and art dealers.

In 1989, Taiwan's stock market hit 10,000 points and the real estate prices rocketed, facilitating the birth of a large number of galleries. From 1990 to 1992, more galleries were running than in the previous thirty years, totaling the number of galleries in Taipei to 150, and the number of galleries in Taiwan to over 200.

After Taiwan's martial law was lifted in 1987, the local art scene began to flourish with interests in a variety of forms and styles, including modern art. In the 1990s, growing recognition for local identities motivated the publication of Taiwanese art mas ters and exhibitions featuring important local artists. Taiwanese art became m a i n s t r e a m i n t h e m a r k e t , dominated by local impressionist works. The lifting of martial law also opened up the Taiwan-China border to some degree, allowing the industry to access artworks by Chinese artists, creating a craze in Chinese art collectorship. In general, the early 1990's art market in Taiwan exhibited a dynamic and diverse energy featuring primarily Taiwanese impressionist, modern art, and Chinese art, along with some overseas Chinese pieces as well as paintings from the West.

Twenty years after its initial d evelo pment, the art indus try sensed an increase in d emand for secondary market services. In 1992, Sotheby's set up its Taiwan branch, and local auction houses By Chu Ting-Yi Geo-Aesthetics Under Globalization : Art Fairs and Taiwanese Gallery Industry followed suit. Galleries and auction houses complimented each other in their roles, creating a business environment that encouraged circulation.

Taiwan Art Gallery Association (TAGA) was found ed in 1992, comprising of 62 member galleries, a bout one-th ird of the total Taiwanese galleries. Same year in November, the first Art Galleries Fair, R.O.C. was held at Taipei World Trade Center, featuring 56 Taiwanese galleries.

Also in November of 1992, the International Fine Art Expositions ( I F A E ) o f t h e U n i t e d S t a t e s launched its first "Art Asia: Hong Kong Convention and Exhibition in Hong Kong" in the ho pes of expanding its Asian market after experiencing difficulties in the EuroAmerican market. Concurrently, Singapore held its first art fair in 1992.

Pressured from the new EuroAmerican presence in the region, TAGA was determined to internationalize art fairs in Taipei. Led by the association's chairperson Lily Lee, an exhibition titled Overseas Chinese Artist opened in 1994, connecting ethnic Chinese artists with international resources. In 1995, TAGA began to recruit galleries abroad and renamed Art Galleries Fair, R.O.C to Taipei International Art Fair (ART TAIPEI). Pace Gallery, Richard Gray Gallery, Galerie Enrico Navarra, and Marlborough Gallery were among the internationallyrenowned galleries that first joined the fair, showcasing works by masters of modern art such as Pablo Picasso and Marc Chagall.

After gaining more international exposure, the Taiwanese art industry was struck by an economic recession in Asia in the late 1990s. It saw a decreased number of participating galleries, both international and domestic, in the 1998 ART TAIPEI, and experienced the beginning of a decline since its heyday in the early 1990s.

ART TAIPEI introduced a sys tem o f i n t e r n a t i o n a l e x c h a n g e a n d p o s i t i v e g a l l e r y c o m p e t i t i o n , providing the Taiwanese art market institutionalized transparency and ord er. It served as a regulatory force for a growing industry, and also helped enhance the public's u n d e rs t a n d i n g o n a r t a n d t h e industry. The early 1990s economic boom did not uphold the art market after 1995's financial downt urn. The establishment of TAGA and Art Taipei, however, helped unite the industry, functioning as a safety net and offering leadership in times of rapid economic change.

Sotheby's and Christie's left Taipei in 2000 and 2001 amidst financial crisis in Taiwan, and many local galleries end ed business around the same time. China, however, rose to become a political and economic power at the beginning of the 21st century, attracting inves tment in the arts from all over the world. This sudden advancement made a positive impact on China's neighbouring art markets in Japan, Korea, Southeast Asia, and Taiwan. There was a temporary chaos in the industry brought by secondary market's triumph over its primary source.

After several years of trial and error, TAGA reframed ART TAIPEI as a "contemporary Asian art fair" in 2005. In the same year, the Council for Cultural Affairs (CCA) became an official sponsor and co-organizer of ART TAIPEI, and initiated the Young Artist Collection Program, encouraging galleries to support emerging artis ts. In 2006, ART TAIPEI focused on promoting young artists and emerging Asian art. It featured three sections – Classical Art, Contemporary Art and Digital Art, forming the basis for ART TAIPEI in its future iterations. New galleries specializing in contemporary art began to surface, and older galleries started to shift directions towards contemporary art during this period. Moreover, reputable galleries with over twenty years of experience began transitioning their management positions to the next generation, incorporating contemporary art in their new business s trategies. Smaller galleries also d evelo ped s trategic alliances to s trengthen their international ventures. In 2009, Taiwan Contemporary Art Link held the first hotel art fair, Young Art Taipei, that highlighted contemporary artists under the age of 45. The fair successfully garnered the support of many small, medium-sized Japanese and Asian galleries. Since then, hotel art fairs such as Photo Taipei, Art Taichung, Art Tainan, and Art Kaohsiung became popular in cities all over Taiwan, playing an indispensable role in cultivating new collectors and promoting art collectorship.

A R T T A I P E I 2 0 0 8 fe a t u re d a n increased number of international galleries, solidifying its reputation as an international art fair. ART TAIPEI 2011 saw the participation of 66 international galleries, achieving a total sale only second to that of Art HK. Since 2012, ART TAIPEI has upsized its exhibition space, housing a p p ro x i m a t e l y 1 5 0 e x h i b i t o rs per year, 50% of whom based in locations abroad. According to French researcher Alain Quemin's study in 2013, an international contemporary art fair is defined by the number of its participating foreign galleries as well as the diversity of their nationalities. The study has named 41 international contemporary art fairs, including ART TAIPEI, from over 250 art fairs around the world.

The meaning of artistic production has expanded since international trade and world politics began to transform regions and nations in 1989. German art historian Hans Belting believes that "global art" is no longer synonymous with modern art. Rather, global art is very much contemporary, defined by ideology and symbolism of its time. Art market recreates the workings of global art, utilizing economic prowess to perform cultural change.

Established in the 1990s as a site to assert local identities, ART TAIPEI has developed into an institution for internationalization d espite challenges in the late 1990s financial crisis. It began its reformation in 2005, connecting with markets in East Asia and the rest of the world. As a part of globalization, the art industry in Taiwan exhibits a quality of geo-aes thetics – it is neither Wes tern n or Ch inese in nat ure, but a unique manifestation of selfmodernization.