Art Bank
The Art Bank Taiwan (2014-;referred as Art Bank below) was one of the cultural policies actively implemented by the Ministry of Culture in 2013, and the National Taiwan Museum of Fine Arts (NTMoFA) was commissioned for the planning and organization of the Art Bank, with the objective of “encouraging the creation of art, supporting contemporary Taiwanese artists, and building an environment for diverse art appreciation.” With a collection of different types of contemporary artworks, in addition to the rental service, the Art Bank also offers the service of licensing digital images of artworks for the purposes of art research, promotion, education, and publication. Before the establishment of the Art Bank, the rental service of artworks in Taiwan was mainly provided by private organizations, such as Lung Men Art Gallery, the “Enterprise Art Logistic Service” project launched by the Association of the Visual Arts in Taiwan (AVAT), and the “Taiwan Cultural and Creative Bank” by Taiwan Artcci Co., Ltd. However, due to limited capital and manpower, the scale of these endeavors has been restrained.
In KAO Tzu-Chin’s article, titled “The Financialization of Art—A Few Concepts about Art Bank,” the author mentions two concepts regarding “art banks”: Mostly affiliated to governments and non-profit organizations, the primary business of art banks is artwork rental. They purchase artworks every year and rent them out with a relatively inexpensive price. Another type of art banks is founded by financial organizations that own art collections and offer art collection consulting service. At the moment, the Art Bank operates in the mode of the former. It is also one of the few art banks in the world that is affiliated to a national institution, after the examples of Canada, Australia and South Korea.
Before the Art Bank started its operation, in the commissioned report, titled “Research Report of the Establishment of the Art Bank Taiwan” conducted by the AVAT, it is mentioned that the appearance of the Art Bank can engender positive influences on the local contemporary art ecology. These influences include building a foundation for young artists to explore freely at an early period of their creative career, increasing the channel of public art education, prospecting for potential collectors, etc. The report also suggests combining the “Plan for the Collection of Works by Young Artists” (implemented since 2003) with the ecology and demands of Taiwan’s art industry to find the Art Bank’s suitable mode of operation, which might differ from that of other countries. Related discussions were continued in the “Art Bank International Trend Forum” hosted by the Ministry of Culture in March 2016.
However, being policy-oriented and to encourage companies and organizations to rent artworks, the rental rates have been relatively low-priced comparing to that of other countries. Consequently, during the initial period of the Art Bank, there were discussions about whether the acquisition of artworks for the Art Bank should be based on the purpose of “renting for display” or the standard of building a “museum collection.” Furthermore, the establishment of the Art Bank increases the possibility for corporations to fulfill their social responsibilities and become collaborating partners. Also, after the president of the National Culture and Art Foundation (NCAF), LIN Man-Li, promoted and transformed the NCFA’s “Friends of Culture and Art” into the “Art & Business” platform – “Friends of NCAF” in 2004, the Art Bank has offered a new channel for the exchange between corporations and the art circle.(Text/Li Kuei-Pi/2021)
Reference
In KAO Tzu-Chin’s article, titled “The Financialization of Art—A Few Concepts about Art Bank,” the author mentions two concepts regarding “art banks”: Mostly affiliated to governments and non-profit organizations, the primary business of art banks is artwork rental. They purchase artworks every year and rent them out with a relatively inexpensive price. Another type of art banks is founded by financial organizations that own art collections and offer art collection consulting service. At the moment, the Art Bank operates in the mode of the former. It is also one of the few art banks in the world that is affiliated to a national institution, after the examples of Canada, Australia and South Korea.
Before the Art Bank started its operation, in the commissioned report, titled “Research Report of the Establishment of the Art Bank Taiwan” conducted by the AVAT, it is mentioned that the appearance of the Art Bank can engender positive influences on the local contemporary art ecology. These influences include building a foundation for young artists to explore freely at an early period of their creative career, increasing the channel of public art education, prospecting for potential collectors, etc. The report also suggests combining the “Plan for the Collection of Works by Young Artists” (implemented since 2003) with the ecology and demands of Taiwan’s art industry to find the Art Bank’s suitable mode of operation, which might differ from that of other countries. Related discussions were continued in the “Art Bank International Trend Forum” hosted by the Ministry of Culture in March 2016.
However, being policy-oriented and to encourage companies and organizations to rent artworks, the rental rates have been relatively low-priced comparing to that of other countries. Consequently, during the initial period of the Art Bank, there were discussions about whether the acquisition of artworks for the Art Bank should be based on the purpose of “renting for display” or the standard of building a “museum collection.” Furthermore, the establishment of the Art Bank increases the possibility for corporations to fulfill their social responsibilities and become collaborating partners. Also, after the president of the National Culture and Art Foundation (NCAF), LIN Man-Li, promoted and transformed the NCFA’s “Friends of Culture and Art” into the “Art & Business” platform – “Friends of NCAF” in 2004, the Art Bank has offered a new channel for the exchange between corporations and the art circle.(Text/Li Kuei-Pi/2021)
Reference
- HU, Yung-Fen. “Fundamental Errors of the Ministry of Culture’s ‘Art Bank.’” Artist, no. 457, 2013.6, pp. 152-4.
- HU, Chao-Sheng, WU Chieh-Hsiang, and LIN Wen-Shan. “Research Report of the Establishment of the Art Bank Taiwan.” AVAT Commissioned Research Project, 2012.
- KAO, Tzu-Chin. “The Financialization of Art—A Few Concepts about Art Bank.” Artco Monthly & Investment, issue no. 4, 2008, pp. 32-33
- WU, Chia-Ying.“The Establishment and Practice of the Relationship between Art and Business: A Case of Art Bank Taiwan.” Master thesis, Department of Art and Design, Yuan Ze University, 2018.
藝術銀行（Art Bank）
藝術銀行為文化部2013年積極籌備的文化政策之一，在2014年時委由國立臺灣美術館負責策畫，其目的在於「鼓勵創作，扶植臺灣當代藝術家，透過藝術品租賃流通，營造多樣的藝術欣賞環境。」，收藏了不同類型的當代藝術作品，除租賃外，另提供藝術品數位圖像授權服務等，作為藝術研究、推廣、教育及出版用途。在此之前，臺灣的藝術品租賃服務以民間團體為主，如龍門畫廊、中華民國視覺藝術協會的「企業藝術物流服務計畫」、臺灣藝術股份有限公司的「臺灣文創銀行」等，但由於資金及人力的限制，規模有限。
在高子衿的＜藝術金融化—關於藝術銀行的幾個概念＞中，談及「藝術銀行」的兩種概念：多半隸屬於政府及非營利組織，以租賃作品作為主要業務，逐年購買藝術作品，並以相對低廉的價格出租；或是同時擁有藝術品收藏的金融機構，並且提供收藏諮詢服務的銀行。目前臺灣的藝術銀行運作模式以前者為主，同時也是繼加拿大、澳洲、南韓後，少數隸屬於國家機構的藝術銀行。
在藝術銀行開始運作之前，委由社團法人中華民國視覺藝術協會進行的《臺灣國家藝術銀行之建置研究成果報告書》中，提到「藝術銀行」在臺灣的出現，可能為當時在地當代藝術生態提供的正面影響，包含了：奠基年輕藝術家在職涯初期探索的能量、提升大眾的藝術教育渠道、接觸潛在藏家客群等等。並提及本土藝術產業的生態與需求，或能夠透過整合當時的「青年藝術家作品購藏徵件計畫」（2003開始實施），尋找出有別於其他國家，在臺灣適切的運作方式，相關探討延續到文化部於2016年三月所舉辦的「藝術銀行國際趨勢論壇」。
但在政策主導，與為了鼓勵企業及團體租賃藝術品所設置的藝術品租借費率相對於其他國家的租借費率來得低廉，藝術銀行在設置初期，便引起了究竟要以「租賃展示」或「博物館收藏」目的做為購藏藝術品依據的討論。此外，藝術銀行也為企業實踐社會企業責任及合作夥伴增添了可能性，也在2004年，由時任董事長林曼麗推動，國家藝術基金會「文藝之友」轉型的藝企平台（Art＆Business）「國藝之友」之後，提供了新的企業及藝文界交流的管道。
參考文獻
在高子衿的＜藝術金融化—關於藝術銀行的幾個概念＞中，談及「藝術銀行」的兩種概念：多半隸屬於政府及非營利組織，以租賃作品作為主要業務，逐年購買藝術作品，並以相對低廉的價格出租；或是同時擁有藝術品收藏的金融機構，並且提供收藏諮詢服務的銀行。目前臺灣的藝術銀行運作模式以前者為主，同時也是繼加拿大、澳洲、南韓後，少數隸屬於國家機構的藝術銀行。
在藝術銀行開始運作之前，委由社團法人中華民國視覺藝術協會進行的《臺灣國家藝術銀行之建置研究成果報告書》中，提到「藝術銀行」在臺灣的出現，可能為當時在地當代藝術生態提供的正面影響，包含了：奠基年輕藝術家在職涯初期探索的能量、提升大眾的藝術教育渠道、接觸潛在藏家客群等等。並提及本土藝術產業的生態與需求，或能夠透過整合當時的「青年藝術家作品購藏徵件計畫」（2003開始實施），尋找出有別於其他國家，在臺灣適切的運作方式，相關探討延續到文化部於2016年三月所舉辦的「藝術銀行國際趨勢論壇」。
但在政策主導，與為了鼓勵企業及團體租賃藝術品所設置的藝術品租借費率相對於其他國家的租借費率來得低廉，藝術銀行在設置初期，便引起了究竟要以「租賃展示」或「博物館收藏」目的做為購藏藝術品依據的討論。此外，藝術銀行也為企業實踐社會企業責任及合作夥伴增添了可能性，也在2004年，由時任董事長林曼麗推動，國家藝術基金會「文藝之友」轉型的藝企平台（Art＆Business）「國藝之友」之後，提供了新的企業及藝文界交流的管道。
參考文獻
- 吳佳穎，《藝企關係之建立與實踐--以藝術銀行企業租賃為例》，元智大學，藝術與設計學系-藝術管理碩士班碩士論文，2018。
- 胡永芬，〈文化部「藝術銀行」的根本謬誤〉，藝術家，457期，頁152-154，2013.6。
- 胡朝聖、吳介祥、林文珊研究，〈台灣國家藝術銀行之建置研究成果報告書〉，社團法人中華民國視覺藝術協會委託研究計畫案，2012。
- 高子衿，＜藝術金融化—關於藝術銀行的幾個概念＞，典藏投資，4期，頁32-33，2008。