黑暗遺產作為與人類悲劇、暴力創傷及威權歷史相關之文化場域，已成為當代社會面對困難歷史的重要媒介。在後威權社會與後記憶世代的脈絡下，如何突破傳統靜態展示與權威敘事的模式，並重新建立公眾對歷史創傷的感知、參與及反思，已成為當代黑暗遺產研究與實踐的重要課題。
本研究探討黑暗遺產場域如何透過藝術介入回應暴力、創傷與威權歷史，並分析藝術在歷史敘事、人權教育與文化記憶建構中的作用。以臺灣白色恐怖相關場域為核心，選取國家人權博物館、鄭南榕紀念館與柯旗化故居作為案例，透過個案研究、深度訪談、現地觀察、文件分析與觀眾研究等方法，分析博物館機構、策展人、受難者、藝術行動者與觀眾之間的互動關係，以及藝術介入於黑暗遺產中的敘事形式與協作模式。
研究發現，藝術介入並非單純的創作行為，而是一種跨越制度權力、歷史詮釋與公共參與的協商過程。在不同機構條件與合作關係下，藝術行動者與黑暗遺產場域形成多元協作結構，並透過展覽、表演、空間裝置、社群參與及公共行動等形式，重新開啟歷史的詮釋框架，使被壓抑或邊緣化的歷史經驗得以重新被理解與討論。進一步而言，藝術介入將歷史記憶轉化為具情感性與參與性的文化體驗，促使觀眾從被動的歷史觀看者轉變為文化記憶的參與者與傳遞者。
在敘事層面，研究歸納藝術介入於黑暗遺產中的多元敘事類型與策略，指出這些敘事形式不僅重構觀眾對歷史創傷的理解，也深化觀眾於身體感知、情感投入與倫理反思中的參與經驗。在觀眾體驗與人權教育層面，研究提出觀眾體驗架構與 Learning/Art Strategy 模型，說明藝術如何將歷史知識由被動傳遞轉化為情感參與及批判反思的學習過程，並透過藝術參與及互動討論，使個體經驗連結至更廣泛的歷史與社會脈絡，進而形成對人權、歷史暴力與民主價值的批判性理解與公民實踐能力。
基於上述成果，本研究進一步提出「藝術倡議博物館」之理論概念，將黑暗遺產場域視為兼具公共參與、對話及人權教育功能的行動型文化平台。透過多元敘事的藝術行動，重新建立以受難者社群與公共對話為核心的文化記憶實踐。同時強調，在後威權社會中，當社會尚未形成對困難歷史的集體認同時，此概念能夠作為連結世代、社群與歷史創傷的重要媒介，促進社會對歷史暴力、人權議題與轉型正義的公共討論。
透過藝術倡議博物館的實踐，黑暗遺產因而由創傷記憶的保存場域，轉化為持續進行文化協商、公共參與及歷史再詮釋的動態文化實踐。本研究除推進黑暗遺產、博物館研究與文化記憶研究中對藝術介入之討論外，也重新定義黑暗遺產於後威權社會中的公共角色與文化實踐形式，並為未來黑暗遺產場域與文化機構之藝術介入與人權教育實踐提供理論與方法論框架。

Dark heritage, as cultural sites associated with human tragedy, traumatic violence, and authoritarian histories, has become an important medium for engaging with difficult pasts in contemporary societies. Within post-authoritarian contexts and post-memory generations, moving beyond static display and authoritative narration to re-establish public perception, participation, and reflection on historical trauma has become a key issue in dark heritage studies and practice.
This study examines how dark heritage sites respond to violence, trauma, and authoritarian histories through art intervention, and analyzes the role of artistic practices in historical narration, human rights education, and cultural memory construction. Focusing on Taiwan’s White Terror-related sites, it investigates three cases: the National Human Rights Museum, the Nylon Cheng Memorial Museum, and Ke Qi-Hua House. Through case studies, in-depth interviews, field observation, document analysis, and audience research, it explores interactions among museum institutions, curators, victims, artists, and the audience, as well as narrative forms and collaborative modes of art intervention.
Findings indicate that art intervention is not merely artistic practice, but a process of negotiation across institutional power, historical interpretation, and public participation. Across varying institutional contexts, diverse collaborative structures emerge between art actors and dark heritage sites. Through exhibitions, performances, installations, community engagement, and public actions, these interventions reopen historical frameworks, enabling suppressed or marginalized experiences to be re-perceived and discussed. Art intervention further transforms historical memory into an affective and participatory cultural experience, shifting audience members from passive observers to active participants in the transmission of cultural memory.
In narrative terms, the study identifies multiple narrative types and strategies in art interventions, which reshape understandings of historical trauma and deepen embodied perception, emotional engagement, and ethical reflection. Regarding visitor experience and human rights education, it proposes the visitor experience framework and the Learning/Art Strategy model, showing how artistic engagement transforms historical knowledge from passive transmission into affective and critical learning. Through participation and dialogue, individual experience is linked to broader historical and social contexts, fostering critical understanding and civic agency on human rights, historical violence, and democratic values.
Based on these findings, the study develops the concept of the “Artivist Museum,” positioning dark heritage sites as action-oriented platforms integrating public participation, dialogue, and human rights education. Through pluralistic narration and artistic action, it re-establishes memory practices centered on victim communities and public discourse. In post-authoritarian contexts where collective recognition of difficult pasts remains incomplete, this concept serves as a mediating framework linking generations, communities, and historical trauma, fostering public discourse on violence, human rights, and transitional justice.
Through the Artivist Museum framework, dark heritage sites are transformed from repositories of traumatic memory into dynamic processes of negotiation, participation, and re-interpretation. This study contributes to dark heritage, museum studies, and cultural memory research by advancing discussions on art intervention, while reconfiguring the role of dark heritage in post-authoritarian societies. It also provides a theoretical and methodological framework for future art intervention and human rights education in heritage and cultural institutions.

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