朝向異托邦：藝術家的書
Toward Heterotopia: Artists’ Books
展覽日期：2/14（一）—4/29（五）
展覽地點：陽明交通大學 交大校區藝術多寶閣
交通資訊：陽明交通大學 交大校區藝術多寶閣
參展藝術家：
Ho Tam、Leannej、Marlene Yuen、My Name Is Scot、Tomoyo Ihaya、
王佳渝、朱盈樺、江坤森、吳睿哲、巫佳璇、李昇祐、岳昕、呂紹文、孫佳綺、張懿、
張莉崴、梁瀚云、陳姝里、游婷雯、湯景光、黃詩婷、劉思妤、劉培安、
劉群禹、蔡胤勤、呂彦青、柯淑慧、彭惠姿、賴克、賴雯淑、賴銘哲
策展人：賴雯淑副教授｜陽明交大應用藝術研究所，文化研究國際中心研究員
Curator: Wen-Shu Wendy Lai, Associate Professor, Institute of Applied Arts NYCU / Researcher of International Center for Cultural Studies NYCU
「藝術家的書」出現於20世紀的西方，處於各種學科領域、思想、藝術活動的交會處，
展現出多重樣態，也保有其自身的藝術範疇，隨著歷史的推移而有許多轉折。
這次參展的國內外藝術家，透過想像變異，跟書一起叛逃，通過作品打開創造性的異質空間。
藝術家的書在陽明交大應用藝術研究所已深耕十年，蘊含著豐富的創作動能，
在思想、媒材、實驗技法的擾動下，給出帶有異質性的異托邦，持續展開輻射運動，朝向未知域。
The “Artist’s Book” is a zone of activity made up of the intersection of various disciplines, fields, and ideas of the contemporary art.
Not only has this unique form of art changed significantly over the course of history, but its meanings and its emphasis have also altered.
In this exhibition, the artists make use of different media, methods and philosophical reasoning to challenge the conventional ideas of the book.
The endeavor to foster Artist’s Books in the Institute of Applied Arts at NYCU is an on-going journey since 2011.
It takes in alterity, embraces experimental methods and thereby subverts the norms and traces new paths.
It is a journey towards artistic heterotopia—a world of heterotopia and utopia.
“The book” thus evinces an air of restlessness while at the same time bursting with unknown possibilities.
藝術家的書在陽明交大之教學藝術實踐
The Teaching and Art Praxis of Artist’s Books at NYCU
文 / 賴雯淑 Wen-Shu LAI
國立陽明交通大學 應用藝術研究所 副教授
Associate Professor, Institute of Applied Arts
—摘要—
藝術家的書處於各種學科領域、思想、藝術類型活動的交會處，
但不受其中任何一種的限制，它於 20 世紀出現，有豐富多重藝術樣態，同時保有其自身獨特的藝術範疇。
作為當今藝術實踐的路徑之一，隨著歷史脈絡而有許多轉折與樣態，理解它的視角也因其發展之時代背景與著眼點而各異。
藝術家的書作為意義與內容的載體，具有「意義─書─內容」的辯證關係，除從實體的製作來進行分析，更需從藝術家本身的意圖來進行理解。
有些藝術家的書是單一原作，有些是透過網路或印刷進行複本傳播；有些則導入異質性觀念，以媒材或行動為手段，企圖叛逃、顛覆既有分類、形式、結構，指向域外。
對一本藝術家的書的理解常介於藝術家的書、隱身於此書中的藝術家及其意圖、以及讀者三方之間，而這些都跟創作當下的時空脈絡、藝術家本身的訓練或意圖有密切關聯。
本文將聚焦在當今台灣的時空語境下，觀察和梳理「藝術家的書」作為藝術實作課程，如何啟動藝術家的書之教學與相關的創作實踐。
以筆者開設於陽明交大應用藝術研究所的兩門課「藝術家的書」與「藝術家的書_進階篇」為研究對象，探究以教學來推進藝術家的書之藝術實踐，給出何種前進路徑？
本文將從：一、藝術家的書的意義之擴延，二、藝術家的書的課程架構思維與創作技法，三、藝術家的書的展覽，四、藝術家的書的課程作品案例分析，來展開回顧與討論，
亦即從藝術家的書的意涵、教學實作、展覽、作品分析四個方面切入，來探究兩門課程之教學與藝術實踐路徑，以及從中所給出的觀點。
Artists’ book is the 20th-century art form. It is a zone of activity made at the intersection of a number of different disciplines, fields, and ideas—rather than their limits. As one of the paths of art praxis, the artist’s book has many turns along with its historical context. It needs to be understood from the artist’s intentions as well as the work of itself since it has a dialectical relationship with the artist and its readers. We can discuss Artist’s books from several dimensions such as the production, media, binding, and printing of books, or discuss the creative philosophy and distinctive signature of a book artist’s oeuvre from the angle of the artist’s professional training. Some artist’s books are the only existing copies. Instead of being published and produced massively, they are intended to topple the conventional idea, form, and structure of books by introducing heterogeneous concepts and media. The understanding of an “artist’s book” often lies between the artist’s book, the artist and his intentions hidden in the book, and the readers. It covers the conceptual, material, technical, and spiritual aspects of the book. Also, these are closely related to the artist’s own training or intentions. This paper seeks to investigate how artist’s books appear as an approach of artistic praxis in related fields in Taiwan, and what possibilities this approach can offer, with a special focus on two courses—“Artist’s Books” and “Advanced Artist’s Books” offered by the author at the Institute of Applied Arts, NYCU since 2011. This paper proceeds in accordance with the four major topics that underpin the two courses. They are: the expending meaning of the artist’s books, the curriculum thinking and innovative techniques of the artist’s books, the exhibition of the artist’s book, and the analysis of the works of the artist’s books. In sum, this paper elaborates on the praxis of “artist’s books” from the aspects of the meaning of the artist’s books, teaching praxis, exhibition, and work analysis. From above, this paper will clarify what teaching and art praxis paths that the two courses offer, and the insights derived from them.