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Howard H. Huang ／ CEO of Foundation for Research on Open Space, Taipei Public art in Taiwan has undergone continuous changes and evolution over the past 30 years from the plain installation of artworks in the early days to the expression of increasing new media, the integration with architectural environments, as well as diverse interdisciplinary collaborations and art projects thanks to the amendments to related laws and regulations. With the amendment to the “Regulations on the Installation of Public Art,” the presentation of software projects that take the forms of public participation, educational promotion, as well as art exhibitions and performances will show greater flexibility and creativity in the foreseeable future. Against the background, this article focuses on how to consider the relational trinity of the site's environment, people, and arts in public art cases with a budget between NT$500,000 and NT$2 million after the regulation amendment. Drawing stellar examples, this article introduces them to the competent authorities' future implementation of projects on educational promotion, public participation, and aesthetic cultivation, insofar to inspire the competent authorities' imagination about their own software projects on public art.
Ming-Hung Yen Professor, the Department of Creative Design and Management, National Taichung University of Education This article cites the case of Bob Dylan, a well-known American singer awarded the Nobel Prize in Literature in 2016, to illustrate the path of aesthetic transmission. Aesthetics has gradually shifted from the traditional definition of artistic expression toward a transdisciplinary, trail-blazing public dialogue over time. It conveys the underlying meaning of group identity that signals the public value different from contemporary art and demonstrates the influence of public art on humanities and society. Based on public art cases and related exchange at home and abroad, this article cognitively positions public engagement in public art praxis.”Some people feel the rain. Others just get wet,“Dylan said. His words serve as the keynote of this article, in the hope that public art can use artists as a catalyst to materialize abstract beauty and form a collaborative relationship among the artist, the work, the venue, and the multitude in which all of them can share the rain of aesthetics through more diversified dialogues and considerations.
What is the deeper purpose of public art on campus? Is it merely to beautify the campus environment? Is it just to commemorate the gradually disappearing visible cultural landscape of the school or community? These are indeed the most common motivations for installing public art.
In 2021, the field of public art in Taiwan continues to advance on its existing basis andshows the trends and achievements in terms of its diverse distribution, review mechanism,creative media, ways of call for entries, and creative aesthetics. Within the gradually improved institutional environment and legal system, the public art policy in Taiwan has come of ageboth theoretically and practically. For example, the steady progress in relocating existing works and redirecting partial budget into the public art foundation, along with the trend of multicultural concern, have collectively formed a solid foundation for the advancement of public art in Taiwan. Meanwhile, the central and local governments have enacted corresponding policies in response to the impacts of the pandemic, thereby reaffirming their support for public art and artistic creation.
This year not only marks the 30th anniversary of the implementation of Taiwan's public art policy, but also celebrates the amendment of "Culture and the Arts Reward and Promotion Act" and "Regulations Governing the Installation of Public Artwork." Looking forward to a more exuberant development of public art in the next three decades, we put forward the following recommendations: (1) actively use public art funds/accounts for the maintenance and management of public artworks, and keep track of their status and effectiveness; (2) enhance the experience perpetuation of local competent authorities and personnel through public art education and promotion; and (3) elevate the organizational level of competent units within the Ministry of Culture, insofar as to support and promote the implementation and development of public art from a national perspective.
Since the "Regulations Governing the Provision of Incentives for Cultural and Artistic Pursuits" were passed by the Legislative Yuan in 1992, it is promulgated by law that 1% of the costs of all public constructions must be contributed to the installation of public art. Twenty-eight years have since passed.
Chieh-Hsiang Wu (Associate Professor, Department of Fine Arts, National Changhua University of Education) Translated by C. J. Anderson Wu / 2020-08-13 According to the law, the implementation of public art should have public participation. How much the public should be involved depends on the properties of the projects as well as their locations. In some projects, the expense for public participation takes 5~10% of the total budget, and in some cases, it is as high as 30%. The targeted participants and how to participate usually are set according to the objectives of art education of the public, but in practice it often focuses only on the understanding and acceptance of the artworks in question. How much the public participation has achieved is hardly known.
Yao-Hua Su (Assistant Professor, Department of Fine Arts, National Taiwan Normal University) / 2019-09-26 The book, Public Art in Taiwan Annual 2017, is a compilation of all of Taiwan's public art projects in 2017. The data on the percentage of public artwork budget and resource allocation produced should not merely be regarded as a single-year image presentation. Rather, with yearly data accumulated over the past two decades, it is time to apply the concept of database to these big data.
Wu Mali (Associate Professor, Graduate Institute of Interdisciplinary Art at National Kaohsiung Normal University) / 2018-08-24 The 2016 Public Art in Taiwan Annual encompasses, as does all previously published annuals, a compilation of all projects unveiled throughout the year, as well as related statistics (presented in graphs) and analyses of those figures, all of which are extremely useful and valuable to those who wish to conduct research on public art in Taiwan.
