遮蔽與敞開－報導攝影與展示設計的一場對話

黃旭(Hsu Huang)

doi:10.6686/MuseQ.201510_29(4).0005

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遮蔽与敞开－报导摄影与展示设计的一场对话

Concealment and Disclosure: Dialogue between Documentary Photography and Exhibition Design

黄旭(Hsu Huang) , 　　导师：　　

繁体中文 DOI： 10.6686/MuseQ.201510_29(4).0005

博物馆展示；报导摄影；展示设计；环境污染；社会议题； museum exhibition ； documentary photography ； exhibition design ； environmental pollution ； social issues

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摘要 │ 参考文献 (19) │ 被引用文献 (4) │ 国际计量

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Documentary photography is a particular genre of visual arts, combining images and news reporting to state that the real world is to be unfolded before viewers' eyes. What are the challenges for exhibition planners when incorporating documentary photography into museum exhibitions? Through exhibition design what meaning is passed on to visitors? At the end of 2014, the National Museum of Natural Science presented the ＂When the South Wind Blows: The Documentary Photography of Taixi Village＂ special exhibition which focused on the work of Chung Sheng-hsiung and Hsu Cheng-tang. The aim of this paper is to explore the challenges faced by the museum's curators in the planning of this exhibition and the role of exhibition design. Taixi Village is a small farming community in southwestern Changhua County of Taiwan. There are 398 smokestacks of the Sixth Naphtha Cracking Plant, just four miles away that began operating in 1998. Every summer, when the ＂south wind＂ blows, fumes from these smokestacks are sent northward to Taixi Village. The residents of this village not only have to put up with the foul odor, but also face health risks from harmful air pollutants. This paper begins with a discussion of the general issues faced when exhibiting photographic images in museums. The ideas of art critics Han Pao-teh and Susan Sontag are studied to investigate the potential aesthetic control and the ＂concealment＂ issue, such as the discrepancy between ＂semblance＂ and ＂understanding＂. Documentary photography is an ＂on-site＂ visual record, yet the ＂representation＂ of a real world is at risk of ＂de-contextualization＂ when the record is presented in other sites and spaces like museums. The challenge for museum exhibitions thus becomes one of how to ＂re-contextualize＂ the photographic images. Next, how the ＂concealment＂ issue was responded to in the design of this special exhibition was analyzed, including the aspects of imagery, narrative spatial structure and narrative visual support. The role of exhibition design in raising awareness of the issues portrayed in the photographic images was also addressed. To conclude, exhibition design, including spatial and graphic design, narrative text and other media, allows integrative museum exhibitions to highlight and strengthen the content of documentary photography. The ＂practice＂ of documentary photography should include exhibition design to allow for viewing by wider audiences and museum visitors to better understand, think about and take action on social and environmental issues.

参考文献 ( 19 ) 〈TOP〉

林家安（导演），2011。天堂。台中：左上电影工作室
国立自然科学博物馆（主办），2014。台西村戏剧工作坊纪录。台中：国立自然科学博物馆、春雨文教基金会、台中市青年醉善协会。
台湾大学科学人文跨科际人才培育计画（制作），蔡侑勳（导演），2013。从跨科技观点看六轻问题：台大陈竹亭教授、詹长权教授对谈六轻空污。台北：教育部资讯及科技教育司
Hillier, B.,Hanson, J.(1984).The Social Logic of Space.Cambridge:Cambridge University Press.
Huang, H.(2008).Mapping of knowledge in the Natural History Museum.Collection and Research,21,51-78.

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引用含有DOI的文献

DOI可强化引用精确性、增强学术圈连结，并给予使用者跨平台的良好使用经验，目前在全世界已有超过五千万个对象申请DOI。 如想对DOI的使用与概念有进一步了解，请参考 （ ） 。

DOI可强化引用精确性、增强学术圈连结，并给予使用者跨平台的良好使用经验，目前在全世界已有超过五千万个对象申请DOI。如想对DOI的使用与概念有进一步了解，请参考（）。