主論述

典藏與研究是博物館的古典機制，美術館透過研究典藏與展示，在藝術生態中扮演著保存與建構「藝術經典」的重要角色；同時藉由展示與教育推廣，肩負著推動公眾學習和文化傳播的任務。高雄市立美術館（以下稱高美館）作為南臺灣第一座現代美術館，自1994年成立以來，持續推動國內外藝術交流，關注並呈現南臺灣的藝術發展風貌，藉由長期而系統性的典藏與展覽研究，形塑出屬於「大南方」的藝術歷史與文化系譜，並向廣大的受眾發聲。

全球國家藝術銀行的設立，以1972年加拿大為首例，將藝術資產化與促進流通，藉由藝術支持、公眾教育與產業推動的機制，成為藝術生態中另一種嶄新的機構範式，讓藝術化做公眾生活的一部分。文化部自2013年設置臺灣藝術銀行(以下稱藝術銀行)，通過公開徵件之購藏機制，支持臺灣生涯發展初期藝術家，並透過租賃制度培養潛在收藏社群，為臺灣藝術發展建立公眾基礎。

高美館與藝術銀行在臺灣藝術生態與社會組成結構中，各自肩負不同的任務與目標，兩者均透過收藏機制，影響臺灣藝術與社會的發展。本展覽聚焦高美館與藝術銀行「典藏／購藏」制度在藝術生態中的角色與功能，期待通過邀請三位在藝術界扮演不同角色的研究員，針對兩機構屬於共同藝術家的創作收藏進行對比研究和選件，檢視雙方的收藏機制是如何維繫藝術創作之永續性、促進藝術作品的流通，以及呈現藝術家的生涯發展樣態。

同時，在臺灣當下美術館數量大幅增長的時代，本展覽期待通過靈活運用多樣異質的展示語彙，發揮其社會教育功能，促進觀眾對美術館、當代多元藝術機構的差異認知，以更深入認識藝術生態的運作邏輯。

A Collaborative Exhibition by Kaohsiung Museum of Fine Arts x Taiwan Fine Arts Foundation – Whispers in the Storeroom

Collection and research are classical functions of museums. Art museums, by studying, collecting, and displaying artworks, play crucial roles in preserving and shaping the “art canon” within the art world. Through exhibitions and educational outreach programs, they also carry out missions of public learning and cultural dissemination. As the first modern art museum in southern Taiwan, the Kaohsiung Museum of Fine Arts (KMFA) has actively engaged in both international and domestic art exchanges since opening in 1994. It has also consistently emphasized and promoted the development of the art scene in southern Taiwan, building an artistic history and cultural lineage of the “South Plus” to reach broader audiences.

In 1972, Canada pioneered the idea of national art banks, turning art into an asset and encouraging its circulation. By establishing support systems for artists, promoting public education, and fostering industry growth, art banks have formed a new institutional model in the art world that integrates art into public life. In 2013, Taiwan’s Ministry of Culture established the Taiwan Art Bank (referred below as the “Art Bank”), which uses an open-call acquisition process to support emerging Taiwanese artists and cultivate potential collecting communities through a rental system. This approach has helped build a foundational public platform for the development of Taiwanese art.

KMFA and the Art Bank have distinct missions and goals within Taiwan’s art ecosystem and society. However, both influence the development of Taiwanese art and society through their collection mechanisms. This exhibition highlights the roles and functions of both institutions’ “collection/acquisition” systems within the art ecosystem. It features three researchers from different backgrounds in the art world, who compare and select artworks by the same artists from KMFA’s and the Art Bank’s collections. The exhibition examines how the collection practices of both institutions sustain ongoing artistic creation, promote the circulation of artworks, and reflect the trajectories of artists’ careers.

Meanwhile, in an era when the number of art museums in Taiwan is growing rapidly, this exhibition aims to fulfill its social and educational roles by using varied, heterogeneous display vocabularies to help audiences navigate the differences among art museums and contemporary art institutions, thereby deepening their understanding of how the art ecosystem operates.