分類彙整30 篇
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It needs, however, assistance from the market and the academia to gain more international visibility and to form mutually beneficial coalitions with international platforms – a goal that may perhaps be achieved in the 2020s.
Understanding Taiwan's funding system, therefore, can provide an insight into the development of the arts in the country.
I believe a dynamic civil society contributes to the cultural energy we experience in Taiwan today. It empowers marginalized communities and allows non-mainstream voices to be heard, pushing Taipei to become Asia's leading indicator city for freedom, democracy, creativity, and human rights.
Thirty-six years have passed since Taiwan's first art museum was built, and the museum sector is heading towards a more diverse and professional direction, performing better than before.
Moreover, important Taiwanese collections from earlier times are gradually reintroduced into the market and have become highly desirable items to collectors around the world. This phenomenon reflects the depth and scope of outstanding art collectorship in Taiwan.
The ideal of "progressive businesses as active collectors" has now become reality. With the support from businesses and corporations, we are able to enjoy a spectrum of art forms in our daily lives and take pride in our collective cultural achievements.
What's precious about Taiwan's art collection scene is that there are generous art lovers in all fields who disperse knowledge and experiences of art collecting amongst friends, and a ripple effect ensues.
Over the past forty years, its gallery industry has developed independently, 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.
Here’s the thing: Taiwan does not suffer from a talent shortage in international curation (there are plenty of curators of my generation who, like myself, are well equipped with the skills and experience to go onto the world stage). What we do suffer from, however, is the lack of understanding of our own needs within the larger, global realities.
Classical masterpieces, archives, and artists from the Japanese colonization period as well as the post-war era in Taiwan were once again brought to light.
