「重回新展望：北美館當代脈絡的開展」乙展是一種回應：對於”建構過去與現在關係”要求的回應。也只有在北美館開館30年後的今天，才得以在更寬廣的時空脈絡重返北美館的起點。本展以「新展望」為參考點，沿著它所刻劃的軌跡，追溯北美館對於當代藝術創作與觀念接納與適應的源頭，藉以探究「新展望」日後轉進「台北雙年展」脈絡的曲折，理解「新展望」被稱為「台北雙年展」前身的緣由。
本展所討論的「新展望」其實是一個泛稱，指的是「1984中國現代繪畫新展望」、「1986中華民國現代繪畫新展望」、「1988中華民國現代美術新展望」 、「1990中華民國現代美術新展望」、「1992台北現代美術雙年展」、「1994台北現代美術雙年展」六項展覽。展名雖經數次更迭，然而這六項展覽都是以「競賽雙年展」展覽機制持續近12年的運作。循此展覽機制進入北美館典藏的33件作品就是「新展望」最具體的傳承(legacy)。
Revisiting New Horizons Exhibition: Origins of TFAM's Contemporary Context responds to the need to link the present with reconstructions of the past. Today, on the occasion of the thirtieth anniversary of the Taipei Fine Arts Museum, we take a more comprehensive look at the circumstances under which the museum began. The exhibition uses New Horizons as its point of departure to trace the trajectory of the museum's assimilation of contemporary art and its concepts. By exploring the transitioning contexts of New Horizons, we hope to understand this predecessor to the Taipei Biennial.
New Horizons is in fact a general term for a series of six exhibitions: Contemporary Trends in Chinese Art 1994, Contemporary Art Trends R.O.C. 1986, Contemporary Art Trends in R.O.C. 1988, Contemporary Art Trends in R.O.C. 1990, The Taipei Biennial of Contemporary Art 1992, and The Taipei Biennial of Contemporary Art 1994. Although the name of the exhibition has changed several times, the same competition format was used for all twelve years of its operation. The thirty three artworks added to the museum's collection through the New Horizons Exhibition constitute its most enduring legacy.
本展所討論的「新展望」其實是一個泛稱，指的是「1984中國現代繪畫新展望」、「1986中華民國現代繪畫新展望」、「1988中華民國現代美術新展望」 、「1990中華民國現代美術新展望」、「1992台北現代美術雙年展」、「1994台北現代美術雙年展」六項展覽。展名雖經數次更迭，然而這六項展覽都是以「競賽雙年展」展覽機制持續近12年的運作。循此展覽機制進入北美館典藏的33件作品就是「新展望」最具體的傳承(legacy)。
Revisiting New Horizons Exhibition: Origins of TFAM's Contemporary Context responds to the need to link the present with reconstructions of the past. Today, on the occasion of the thirtieth anniversary of the Taipei Fine Arts Museum, we take a more comprehensive look at the circumstances under which the museum began. The exhibition uses New Horizons as its point of departure to trace the trajectory of the museum's assimilation of contemporary art and its concepts. By exploring the transitioning contexts of New Horizons, we hope to understand this predecessor to the Taipei Biennial.
New Horizons is in fact a general term for a series of six exhibitions: Contemporary Trends in Chinese Art 1994, Contemporary Art Trends R.O.C. 1986, Contemporary Art Trends in R.O.C. 1988, Contemporary Art Trends in R.O.C. 1990, The Taipei Biennial of Contemporary Art 1992, and The Taipei Biennial of Contemporary Art 1994. Although the name of the exhibition has changed several times, the same competition format was used for all twelve years of its operation. The thirty three artworks added to the museum's collection through the New Horizons Exhibition constitute its most enduring legacy.