歡迎來到2011粉樂町官網

Curatorial Philosophy

The philosophy behind “Very Fun Park” is to create a wall-less art museum and seeking to make it an integral part of the urban living environment and space. In this way, at the same time as visitors view the works of art no tickets are needed to grant access. This approach also imbues the locations in which the art is displayed with a more human feel, enhancing its visibility in what is a mixed environment, presenting what amounts to a revolution in the display or art, which though seemingly leisurely has profound implications.

Curatorial Details

“Very Fun Park” Lights Up Dreams
2011 is the sixth year “Very Fun Park” has been held.

This year marks the sixth year “Very Fun Park” has been held.

Numbers allow us to compare similar lengths of time. For example, children undergo six years of basic education at elementary school that are intended to prepare them for the challenges to follow at junior high school. In six years a team can accumulate a great deal of experience and knowledge. It can also cultivate a certain familiarity with and confidence in the community in which it operates and for any supporting enterprise that is also enough time to reasonably highlight its sincere desire to give back to the community. If we consider six years to represent one phase, then the question becomes what will the next phase of “Very Fun Park” be like? This is the question we are now asking of ourselves?

From the very beginning, the complicated and intricate nature of “Very Fun Park” has involved endurance, manpower, materials and financing. Although there has been a positive correlation between the scale of the exhibition and the parameters detailed above and experience has been accumulated rather than exponential, this has made it possible to retain the each individual style rather than customize it to fit a consistent approach. This in turn has allowed the exhibition to organically follow the ideas and concepts favored by artists as part of a spatial dialogue. Indeed, managing and gradually realizing works of art in an open environment has provided the necessary structure for the “Very Fun Park” formula. As such, participation and experience, which resemble the way in which students learn, are currently the preferred way to showcase participating works. Over the long term, it is foreseeable that as we hone our skills Fubon Art Foundation will find partners to work with who are both interesting and experienced, both of which are key factors in ensuring a degree of tacit understanding in the execution of “Very Fun Park.” However, this process has its own difficulties which are not limited to the Foundation’s relationship with its partners. Indeed, there are a number of problems of differing degrees both internal and external. Externally, changes in communities are guided by the experience and environment. Internally, artists and the works they produce may not meet expectations. The entire process can be likened to a war of attrition, as it is necessary to ask how best to infuse new blood into the ranks at a time when combat capability is exhausted, how to concentrate minds on future yearnings on an extended journey. These skills provided the psychological foundation needed to fight a protracted struggle. Over the last few years, “Very Fun Park” has marshaled its forces to make incremental progress in this fashion. Curatorial work has also resulted in structural changes, making it necessary to establish outside contacts to locate more resources, utilizing both the theory and practice of integrated marketing strategic alliances, developing a better understanding of the conversion of distribution channels, in an attempt to examine the tastes and preferences of users. In this sense, the exhibition transcends the art work on display, as it is a collective expression of time, place and people. In addition, complete planning for remains a test because of the changeable weather – this is “Very Fun Park.”

With so many problems to overcome and pressure to overcome, those who enjoy such an experience first hand find themselves in the role of storytellers. Although the act of participation makes each scene and dialogue more deeply moving, “Very Fun Park” still can only be completed as part of the real world. In other words, each display needs to be revised and carefully adjusted, to such an extent that it is only after the exhibition starts that problems are faced. As such, finding ways of resolving these becomes summer vacation homework for everyone involved and it is only at this point that the team really gets to show how prepared it is for all eventualities.

The theme for this year’s “Very Fun Park” is “Light up” which follows on from last year’s theme “Look up”. The hope is that at the same time as lighting up, these works will reflect on one another that will make them even more eye-catching points of light and a situational depiction that forms a consensus. In the same way that regardless of the size of “Very Fun Park,” and whether the works at different locations are domestic or foreign, conceptual or mixed application, each and every display point is part of a single route traversed and together create a single exhibition, that is artfully laid over the living environment, transforming the emotional tone of the city.

“Light up” is an action and refers to the way in which the exhibition lights up our shared prosperity. It is also not difficult to find several pieces that directly echo the sentiment of this motif and some of the locations convey the same meaning in a more indirect way. The majority reflect a collective imagination of the environment, but at the same time also speak to a broader interpretation of the term “Light up.” In fact, in addition to the works on display, the sites where they are located showcase a sense of friendship and shared prosperity. With the exhibition this year extending beyond the eastern district of Taipei City into Xinyi District, it also exchanges a views of “Very Fun Park” – Eslite bookstore, Home Hotel, China Trust Building have all become important supporters and key cooperative foundation stones for the many achievements of “Very Fun Park.” Without such venues there could be no “Very Fun Park” and without the promotional work of our main corporate sponsors the event would lack its message of shared prosperity and broader vision. “Very Fun Park” emphasizes that art is fun, that works of art should be courageous enough to engage in dialogue with different spaces. In this sense, the participation of a wide range of different venues is more important that any educational promotion, bringing together collective consciousness and dreams about the environment in which we live and it is the win-win nature of this cooperation that enables the integration of “Very Fun Park” as a singular work of artistic excellence.

Other than focusing on getting all the details of and arrangements of “Very Fun Park” just right, as part of the promotional process we also constantly raise our heads and gaze upwards. Although this display model is a response local self development on the ground, other cities are currently planning similar exhibition-type events and these serve as an incentive for our continued hard work and to strive for further progress. Recently, Hong Kong has offered a number of impressive examples. Since 2007 has held exhibitions in Times Square and Ocean Terminal Square. In addition, Zaha Hadid Mobile Art has used fashion brands to enter the marketplace and in 2000 a real estate company turned Shatin Park in Kowloon into a public art park. More recently there is the much talked about K11 Art Mall, the Sheung Wan Escalator Art Gallery and the highly anticipated future West Kowloon Art and Culture Cluster. All of these showcase the greater understanding and ambition in Hong Kong with regards cultural innovation and unique art. As for developments in Japan there have been many projects focused on the characteristics of different cities and local culture or customs that have come with impressive marketing and packaging; Examples of locally-oriented major art festivals include those in Roppongi Hills, Yokohama and Echigo-Tsumari. All of these have their own distinctive character and the confidence to make art part of daily life. Moreover, Chinese cities have welcomed greater openness and utilized learned quickly, particularly from crucible of major international fairs. As a result, the search for art and culture in urban areas that has local appeal has become an area that has attracted much attention. Over the last few years South Korea has also made a name in the field of art, Singapore is known for a globally renowned art biennial, not to mention events in Indonesia, Thailand and Vietnam all built on the marketing of local style and flavor. All of these are busy determining the right direction for their cities to uncover their inner nature and cultural appeal, the question is what ambitions Taiwan has accumulated over the last century. When peripheral cities utilize art, design, innovation, local customs and sentiment to attract people on the move and tourists what has been the response? Is there a role for “Very Fun Park” in this process? Has a certain degree of integration and consensus been achieved between the public and private sectors? As we celebrate the passing of 100 years should we not also be reflecting on the changes that are likely to come in the next century?

Regardless of such things, we believe that being self questioning is the best predisposition when it comes to determining the correct direction. This year, “Very Fun Park” will apply the very strictest principles as it seeks a broad discussion and to map out a blueprint for the future on the basis of a motif oriented direction, with particular focus on transforming daily observations into curatorial content and through the experience we have accumulated over the years and our well honed processes so as to achieve our core work objectives as efficiently as possible. Although we are aware that to visitors “Very Fun Park” is “Very Fun Park” – that is a memorable and intriguing display format, this is neither necessary nor important from a critical point of view. What is clear from this is that unlike other any art events held at a fixed time each year in different cities, what is most enchanting about “Very Fun Park” is that visitors do not have to queue or buy tickets, but can instead search for and visit the works whenever they have time. This is also the easiest way to ensure that participants to experience first hand the great effort of the organizers in making all necessary arrangements. As visitors discover the true identity and texture of the Eastern District by wandering the streets, they also come to realize that the true appeal of “Very Fun Park” is to be found in the surrounding life landscape. After six years of organization and accumulating elf confidence, we have learned the importance of trying to: “Create a wall-less art museum and seeking to make it an integral part of the urban living environment and space. In this way, at the same time as visitors view the works of art no tickets are needed to grant access. This approach also imbues the locations in which the art is displayed with a more human feel, enhancing its visibility in what is a mixed environment. In this way we discovered that it is the form of “Very Fun Park” itself that constitutes our curatorial philosophy.”

Ultimately, in terms of display space “Very Fun Park” departs from the essence of what constitutes an art museum, so that when viewing individual works one of the things that viewers need to bear n mind is that is that the spatial situation of each one differs markedly. As such, it is far easier to do away with the set rules to which exhibitions usually adhere. For example, whereas curators usually play a central role in the organization of an exhibition, that role is played by a convener in the framework on which “Very Fun Park” is based whose work includes ensuring things follow a timetable, budgeting, adjustments, realizing goals, locating affiliated teams and Integrade Marketing, planning and promotional work, discussing the central visual approach and leading educational and promotional work. As for the selection of art work and its allocation to a particular space, the team of art administrators put a lot of work to optimizing such choices. In terms of division of labor and the arrangement of appropriate budgetary ratios, the project convener spends most time locating various alliances and resources to ensure the entire event is a success. In contrast, the details of a professional exhibition ensure that each member of the team has more independent work space and is trained in the making of related judgment calls. Through more effective communication, written introductions, elimination of problems, information collection and verifiable data, it is possible to keep strict control of a work timetable and the real-time work situation. However, despite all of these clear strengths, it is impossible to deny that in terms of art education and enhancing aesthetic appreciation “Very Fun Park” has the accumulated influence of over 1 million people. Through this platform it is possible ensure visitors understand what it is the artist is seeking to convey through exhibition introductions. It is precisely because of this that more people are willing to experiment with viewing and experiencing art. This is also the very reason that “Very Fun Park” has been so successful at igniting the flames of popular passion for art.

In conclusion, “Very Fun Park” has adopted a rhythm that is unhurried but brings with it profound implications for art in a number of very similar locations. The measures that have been adopted are the equivalent of viewing the collective memories of the event and we hope that it has a higher vision to encourage such private sector spontaneity and helps to more efficiently integrate policy in a way that optimizes the befits for Taiwan. It is our intention the each and every visitor experiences first hand the true essence of Taiwanese art and innovative culture, so that enterprises that have been so supportive of “Very Fun Park” recognize the influence that comes from participation, so that our belief in dreams can continue.

This year marks the sixth year “Very Fun Park” has been held.

However, the most moving thing of all remains the fact that every time we start to talk about a certain month of a certain year in the Eastern District of Taipei City, “Very Fun Park” still brings joy to countless people in a way that remains leisurely but is not the less profound that.

Curatorial Team,Fubon Art Foundation