陳志誠教授 Professor Chen Chih-cheng陳志誠教授 Professor Chen Chih-cheng

國立臺灣藝術大學校長

President of National Taiwan University of Arts

 經歷:

  • 世界各國派駐巴黎之文化機構小聯合國(FICEP)常任理事
  • 行政院文化部派駐法國台灣文化中心主任(負責台灣與歐盟各國之文化國際交流)
  • 行政院文建會顧問
  • 國立臺灣藝術大學美術學系、所主任
  • 國立臺灣藝術大學美術學系專任教授
    暨任教於國立巴黎(聖德尼)大學造形藝術研究所
  • 經常受邀參與國際重要展覽暨學術研討會
  • 文化部、臺北市視覺藝術類評審委員
  • 高雄市立美術館典藏委員、高雄獎、桃園獎…評審委員
  • 威尼斯雙年展評審委員
  • 全國、省美展評審委員暨國內各縣市美展評審委員
  • 國內各項公共藝術(中正機場二期航站、臺北縣新縣府廣場…等等 )規劃暨評審委員
  • 全國大學聯招及國內教師資格檢定甄試、各大學研究所考試委員
  • 九年國教藝術與人文規劃及審查委員
  • 文化部、台北市立美術館、朱銘美術館、歐盟各重要美術館等國際大型策展暨研討會、策展籌劃
  • 當代藝術研究中心總監
  • 夏姿國際創意總監、基金會董事
  • 臺中愛樂音樂廣播電台「藝術大道讀生活」節目主持人
  • 揚智文化 當代文化思維 叢書主編。
  • 獲頒法國藝術及文學勳章,騎士勳位(Ordre des Arts et des Lettres,Chevalier)
專題演講主題:文化治理

無所不在參滲於我們的日常生活中的資訊媒體網絡傳播,充分表徵大眾傳媒時代,其效能展延鋪陳「媒體就是信息」的1960代之宣示。由於20世紀晚期數位新媒體科技的大躍進,造成全球時間與空間的加速扁平化,政治經濟體系過往所倚賴較單一化之國家計畫型型態也在全球化的趨勢潮流中,逐漸地促使我們提議新的當代國家與都會的治理的突,得突破既有的地理政治疆界與文化宗教藩籬,而國際之政經體制、人文社會底藴之間,也得共構形成跨領域和今日的網際跨界的「鏈結繁複體制」;各區域的知識體系、治權體制、社會資源、媒體資訊、文化資本、藝術形式與思維理念,得進入此種鏈結體制中而快速流動,然而我們具體的藍圖擘劃為何?

就文化層面而言,若今日都會本身是一個新型態跨領域、跨疆界整治的軸向,則「文化都會」無疑地更深化了如此的遊牧串連與實踐的核心驛站。「文化全球化」代表的當然不只是各式各樣文創產品、流行符碼與物流通路的跨國流通,也不單是國際文化組織與跨國文化市場連結成的全球化體系的過程,而是我們得正視今天因應新國際趨勢的發展,文化都會治理之建制已是必須且必要。其次,區域人文藝術價值、知識文本或結構體系,亦即所謂的多元主體性的堅持,得褪色而隱匿?換句話說,對於人們文化生活質地、人文地誌學所產生的體系化影響(或偏航)亦應有一反思回饋機制?文化治理應當是一種建制在具有科學邏輯思維,且具有「遊牧」性質之開展性、與內在反思批判性特質的運作與微調機制。當我們深入檢視西歐都會文化治理案例,我們愈明晰它們的文化治理現狀,看似依然座落在國家體制形式上,然而機制運作層面,則是既尊重多元理性思維邏輯的能動,且他們之間亦逐步地產生複式相互對話的鏈結,也使得文化治理趨向多元、多層次、多中心的「千層平台」(例如: 政府、藝文機構、企業、社會團體、藝術家、個體戶) 的運作模式,地方治權的遍佈、分享參與、文化夥伴,開放的多面向關係連結場域。

「文化治理」早已經作為文化先進國度必然的體制,而我們近年在輿論界、 文化研究以及藝術文化政策研究領域也漸進地被廣泛討論此一新興概念。就字義上而言,它的新穎與創意在於著重「文化治權」,文化蘊含開放觀點的族裔歷史系譜、藝術生活、價值理念,但同時卻又是十分貼近人們日常細瑣的具體而微 ;而「治理」這個具有政策與治權、資源與分配等組織機制整備意識,卻又與大眾媒體時代的微細的多元參與、滿佈的網絡之溝通與夾雜反思自我調節等狀態的概念中。確實,當代全球都市治理的「文化轉向」,歐美先進文化國度之都會,如巴黎確實提供典範。這些優異的文化都會體現,札札實實的引領我們反思,藝術文化政策擘劃與踐履的長期被輕忽或視為邊陲的資源,我們開始重視在國家、區域、都市和地方的政治、經濟、社會面向治理網絡體系中,開始被賦予近代發展始終所沒有的核心意義及地位,在人文與社會科學的理論與分析中出現了知識典範的轉移。

何謂都市治理的「文化轉向」?如何讓人文底蘊:美學、藝術創造與人本價值重新回復其該有的重要位置,回到治理場域論壇的思維脈絡中心?近年來當代都市治理展現出一種嶄新的策略性都市規劃法,文化藝術不僅只是都市首長在治理過程中用來美化都市的狹義工具,而是以人(身體)與環境所在之活生生之宜居、好居、愛智與藝術人文面向來翻轉城市治理的主體與核心、價值與典範,也就是說,都市治理趨向以文化為核心導向的策略。將文化作為一種城市治理的意義生產質地中介,運用其作為整合性、整體性途徑,使「文化能量與價值」具體地融入都會公共政策的計畫與發展程序之中,成為都市治理的指標。例如,巴黎羅浮宮,透過所謂的文化大建設與其他部門政策措施的整合性、全面性的治理藍圖規劃,文化權力與資源分配決策機制的法制化,以及公私部門協力夥伴關係的網絡整合機制,對都市社會資本、經濟資本、藝術文化資本進行主導性的運用。簡而言之,「文化」是城市治理的「主體」,也是「中介」,它是都會治理的核軸也是核心平台。為了彰顯其價值,文化部門必須以更積極的「文化主體之思維」,以更有效益的溝通、整合,積極建立以藝術文化為核心的跨局處文化治理體制,並滲入城市治理的模式之中。「文化智識管理」是大眾傳媒時代最有效能的代言中介。


Professor Annick SchrammeAnnick Schramme

President of ENCATC

Annick Schramme is a full professor and academic director of the master in Cultural Management and the Competence Center Management, Culture & Policy (Faculty of Applied Economics at the University of Antwerp). Additionally, she is academic director of the Competence Center Creative Industries at the Antwerp Management School. She has published about Arts policy in Flanders, cultural governance, international cultural policy, public-private partnerships in the heritage sector, leadership and cultural entrepreneurship, etc. From 2004 until 2013 she was also advisor-expert of the Vice-Mayor for Culture and Tourism of the City of Antwerp. She is member of several boards of cultural organizations and governmental advisory committees in Flanders and the Netherlands. In 2013 she became the president of ENCATC, the international network on cultural management and cultural policy education.

Keynote Title: Governance and international cultural networks

In the nineties a lot of European networks arised in the cultural sector. The speaker will look into the reasons of this phenomena. What were the goals of these networks, what was their working and how did they evolve? Parallel with the institutionalization of these networks, their governance model changed also. Finally the speaker will make some reflections about the challenges for the governance of international cultural networks in the future.


Professor Gerald LidstoneGerald Lidstone

Director of the Institute for Creative and Cultural Entrepreneurship
Goldsmiths, University of London

Gerald Lidstone BA MA ATC Dr.h.c FRGS is director of the Institute for Creative and Cultural Entrepreneurship at Goldsmiths, University of London, where he is the founder of the postgraduate MA Arts Administration and Cultural Policy and co-creator of the MA in Creative and Cultural Entrepreneurship. He has also developed the first MA in Cultural Policy, Relations and Diplomacy.  For the British Council and other agencies he has taught Arts Management courses including Arts Marketing, Arts Education, Fundraising, Copyright, Strategic Planning an Cultural Policy in over 20 countries worldwide, including co-writing and delivering an MA in Cultural and Creative Industries in Abu Dhabi. For a number of years he analysed the statistics for the West End Theatres in London, and has also worked for many years on behalf of The Ministry of Culture and Information in Viet Nam establishing Arts Management education in Hanoi, funded by the Ford Foundation. He was deputy president of ENCATC and chairs their thematic area Europe International.

Keynote Title: What’s next for International Cultural Relations? The diplomats formally known as the public.

Digital engagement by certain parts of the world is developing new ‘knowledge’ that creates and changes perceptions of countries, cultural groups and religions. This had, in the recent past, been mainly constructed through the lenses of dominant cultural expressions mostly originating from non-state actors, Hollywood, Korean Soap Operas, to popular music. These processes have also been significantly augmented by the brand association, of products associated with countries. However maybe the more recent growth of individual, independent (or not) communicators is beginning to have greater impact than the traditional state mechanisms. At the same time state agencies have understood that cultural ‘exchange’ may not have great impact for those outside of particular cultural cliques. Co-creation is advanced by some as a more effective form of engagement but again mainly within specific ‘cultured’ groups. Should we widen our cultural relations mechanisms to place more emphasis on understanding the impact of, for example, fashion, television, sport and gastronomy?