契約、關係與文化中介者：基隆潮藝術個案研究

Abstract

當代臺灣各地興辦的藝文展演活動，乃文化政策與地方社會互動的過程，也是推行資源配置以謀求效益的文化治理場域。隨著活動規模和頻次擴增，公部門有限人力難以負擔龐大且複雜的治理工作，加以扶持相關產業、納入民間參與的趨勢，遂開啟依《政府採購法》運行的委外機制，逐步形塑「文化治理標案場域」。標案場域實則受到「機制」與「人」雙重因素的影響。以承辦單位與承攬廠商為文化中介者的角色，成為影響計畫發展的關鍵因素之一。基於此，本研究提出以下核心問題：（一）文化治理標案場域以何種機制運行，進而形成文化中介者參與文化政策的空間？（二）在契約委外機制的運作邏輯下，文化中介者如何回應治理需求，並影響文化計畫的發展？（三）「關係」何以成為文化中介者持續在標案場域中發揮影響力的策略？ 2015年時任基隆市長林右昌以文化治理開展城市發展計畫。同年，甫開館的國立海洋科技博物館啟動「潮藝術」環境藝術駐村計畫，該計畫在2017年走入基隆文化治理視野成為城市文化品牌。為此，本研究聚焦基隆文化治理標案場域及潮藝術計畫，透過次級資料分析、半結構式訪談，探討城市治理與標案場域之間關係；訪談曾經執行潮藝術的文化中介者，分析其參與動機、執行策略與場域關係人的互動以及承接政府計畫的實務經驗等，進一步揭示文化中介者如何影響文化計畫的發展。研究發現，文化中介者發展出一套因應委外機制與行政框架的工作方法，既能服務政策目標，也填補地方田野的斷裂。然而，標案運作邏輯與地方日常生活節奏間存在結構性差異，使依附於文化中介者的地方關係網絡，終究停留在有限的時間與場域中。被標案操演的藝文展演所在地，成為文化中介者營造的標案化地方。 在標案場域中，文化中介者以關係（Guanxi）作為策略展開關係性工作（relational work）。他們從見面三分情累積的地方人情味，到運用人情世故交換資源發展地方關係。進而建立在地協力機制，以及維繫穩定的專案團隊，穩固兼顧理想與營運的夥伴關係，這些關係可分為準關係與關係。然而，無論是計畫的合作關係，還是日常的私人情誼，最終都回到文化中介者的人際關係中，並隨著計畫的結束脫離地方生活網絡。 綜言之，文化治理標案化擴大了施政量能，並滋養仰賴政府採購案維生、累積文化技能並實踐理想的文化中介者，建立契約委外的治理型態。但標案化專案造成期程框架與執行團隊更替的切割效果，導致專案與地方網絡僅停留在準關係階段，造成計畫難以深入日常紋理，滿足積澱厚實地方文化內涵的長遠目標。若臺灣發展藝術季已是地方政府的文化政策，在文化治理標案場域中，須有明確的治理主體性及穩定的關係夥伴，方能孕育耕茁於地方生活脈動的藝術季。

Cultural and artistic events across contemporary Taiwan exemplify the dynamic interplay between cultural policy and local society, as well as a cultural governance field oriented toward efficient resource allocation. As these events increase in scale and frequency, the limited capacity of the public sector struggles to meet increasingly complex governance demands. Concurrently, trends supporting related industries and fostering private participation have led to the adoption of outsourcing mechanisms under the Government Procurement Act, shaping what has come to be known as the “cultural governance bidding field.” This field is influenced by both institutional mechanisms and human actors. Cultural intermediaries—comprising organizing units and contracted vendors—emerge as critical agents in shaping project development. This study thus addresses three core questions: (1) What mechanisms operate within the cultural governance bidding field, and how do they create opportunities for cultural intermediaries to engage in cultural policy? (2) Within the logic of contract-based outsourcing, how do cultural intermediaries respond to governance demands and influence project outcomes? (3) How does guanxi function as a strategy for cultural intermediaries to maintain influence within the bidding field? In 2015, Keelung's Mayor, Lin Yu-chang, introduced cultural governance as a central strategy of the city's urban development agenda. That same year, the newly inaugurated National Museum of Marine Science and Technology launched the NMMST International Environmental Art Project, known as the “CIAO Art Festival.” By 2017, this initiative had been incorporated into Keelung's cultural governance field and had evolved into a well-recognized urban cultural brand. This study examines the cultural governance bidding field in Keelung, specifically focusing on the CIAO Art Festival project. Utilizing secondary data analysis and semi-structured interviews, it investigates the interplay between urban governance and the bidding field. Interviews with cultural intermediaries involved in the implementation of the CIAO Art explore their motivations, operational strategies, interactions with stakeholders, and practical experiences in managing government projects. This analysis further reveals how cultural intermediaries shape the development of cultural programs. Findings indicate that cultural intermediaries have developed adaptive working methods in response to outsourcing mechanisms and administrative frameworks—methods that not only advance policy objectives but also address gaps in local fieldwork. However, structural tensions persist between the operational logic of the bidding system and the everyday rhythms of local life. Consequently, the local networks cultivated by cultural intermediaries often remain confined to limited timeframes and spaces. As a result, the sites of cultural and artistic performances become “tendered places” curated by these intermediaries. In the field of bidding, cultural intermediaries leverage guanxi as a strategic tool for engaging in relational work. They cultivate local warmth (人情味) through repeated face-to-face interactions and employ the ways of the world (人情世故) to exchange resources and build networks of local relationships. They establish mechanisms for local cooperation and maintain stable project teams, thereby consolidating partnerships that balance idealistic aspirations with operational feasibility. These relationships can be categorized into quasi-guanxi and guanxi. However, whether involving institutional collaborations or personal friendships, these connections ultimately rely on cultural intermediaries and tend to become detached from the everyday dynamics of community life once projects are completed. In summary, the tendering process of cultural governance has enhanced administrative capacity while fostering a class of cultural intermediaries who rely on government procurement to sustain their livelihoods, accumulate cultural capital and competencies, and pursue their ideals. This process has also generated various forms of public-private collaborative governance. Nevertheless, the tendering-based project structure—with its temporal constraints and discontinuities caused by shifting timelines and rotating teams—effectively fragments these efforts, leaving local networks in a nascent stage of development. Such fragmentation constrains projects from embedding deeply within community life and achieving the long-term goal of cultivating rich, locally rooted cultural capacities. As art festivals emerge as key instruments of local cultural policy in Taiwan, it is crucial to ensure robust governance agency and stable relational partnerships within the tendering field to support art festivals that grow organically from the rhythms of local life.