超越藝術破壞： A22 網路成立以來的博物館生態活動探討

Abstract

本碩士論文探討了全球博物館中近年來環保行動主義事件的趨勢，特別是自 2022 年 A22 網絡成立以來的情況。在科學文獻、政治、媒體及行動主義領域中，各種概念被動員用來描述這些事件。通過分析“藝術破壞”、“藝術行動主義”和“藝術干擾”等不同概念，本研究檢視這些術語如何形塑大眾對激進環保行動的認知及政治話語。研究結果顯示，主流媒體和文化機構使用的“藝術破壞”一詞是有缺陷的，因為它忽視了這些動員形式的表演性和象徵性維度。“藝術行動主義”呈現了藝術與行動主義的融合，似乎更具相關性，但這個新詞往往會稀釋這些行動的顛覆性特質。最終，本研究引入了“藝術干擾”這一概念，因為它更準確地反映了行動主義在制度化文化空間中的特殊性。分析總結認為，對博物館中的環保行動事件的定性，不僅僅是研究問題，而是對這些事件的政治框架設定。我們接著探討所研究行動的有效性問題。行動者透過向著名藝術作品潑灑湯、油漆或馬鈴薯泥等物質，引發醜聞，藉此吸引媒體關注其社會和環保運動。然而，本論文揭示了這種策略的風險和局限性，如隨著行動的重複，其媒體影響力逐漸下降，或可能疏遠目標受眾。此外，行動者將博物館置於遺產保護與社會政治參與之間的兩難境地。儘管面臨這些挑戰，這些事件仍成功吸引了國際關注，尤其是透過如 A22 網絡組織的跨國運動。

This Master Thesis looks at the recent trend of incidents of environmental activism in museums worldwide, particularly since the formation of the A22 network in 2022. Various concepts are mobilized to name these events in scientific literature and in the political, media and activist spheres. By analyzing various concepts, such as “artistic vandalism”, “artivism”, and the notion of “art disruption”, this study examines how these terms shape public perception and political discourse around radical environmental activism. This characterization proves that the term “art vandalism” used by mainstream media and cultural institutions is flawed, as it neglects the performative and symbolic dimensions of these forms of mobilization. Illustrating a fusion between art and activism, “artivism” seems relevant, but the neologism tends to dilute the subversive nature of these actions. The concept of “artistic disruption” is finally introduced, as it more accurately reflects the specificities of activist actions within institutional cultural spaces. This analysis concludes that the characterization of eco-activist incidents in museums is not just a research question, but an issue of political framing of these events. We then turn to the question of the effectiveness of the actions studied. Activists cause scandals by targeting famous works of art with substances such as soup, paint or mashed potatoes, to draw media attention to their social and environmental campaigns. This thesis, however, brings to light the risks and limits of this tactic, such as declining media impact as actions are repeated, or the possibility of alienating the target audience. Additionally, activists push museums into a dilemma between heritage protection and socio-political engagement. Despite these challenges, these incidents are successfully attracting international attention, notably via cross-border campaigns like the ones organized by the A22 network.