Author: 黃浩威
Origin: 國際演藝評論家協會；ARTiSM藝評網站2014年3月號
Time: 2014年4月
Keywords: 新加坡, Singapore, Theatre, governmentality
Abstract
近幾年新加坡劇場對政治、性別、宗教和種族課題的藝術再現有增無減，形成看似更為自由而具生命力的蓬勃景象，新加坡社會學家莊慶山卻認為，正如執政黨精英看來，一個更為自由的藝術界與嚴厲的政治監控之間是沒有矛盾的，我們也不應該相信藝術和文化環境的自由化可以促成相等的政治開放（Chong 2011, 137）。社交媒體對政策的討論和針砭，也似乎製造了政府更包容異議的印象，但這也許只不過是治理術（governmentality）的轉變（註1）：異議範圍被重新框定（註2），而藝術家也在新的形式中受規訓。
換言之，新加坡劇場的繁華景觀，不一定意味著藝術工作者的自主性也相應增加，也並不表示藝術工作者和決策者的協商空間必然擴大。藝術工作者與政府之間的關係多重而複雜，甚至是同一個劇團就可能在不同語境中與不同的政府機構，建立不同關係——它可以是對峙、抗衡的，也可以是僱傭、合謀或協商式的（註3）。一方面，新加坡藝術目前的蓬勃——不少資深團體如「必要劇場」、「野米劇團」、「戲劇盒」、Teater Ekamatra、「十指幫劇團」等不斷推陳出新，而新興團體 Panggung Arts、「九年劇場」、Pangdemonium 的實驗亦是精彩豐富——這與政府的資助與宣導是密不可分的。就以硬體設備而言，不少團體都受益於國家藝術理事會（National ArtsCouncil，簡稱 NAC）的「藝術之家」計劃，得以在寸土為金的商業地段，以象徵式的租金價格租用辦公室、排練室等。[......]
穿（景）：亞洲身體的再生產 (Transi(en)t: the Reproduction Process of the Asian Body)
Author: 鄭文琦
Origin: 台灣數位藝術知識與創作流通平台
Time: 2014年四月
Keywords: 亞洲, Asia, 身體藝術, Body art, 聲音, 主體性, subjectivity in Asia
「Project Glocal亞洲城市串流」是菲律賓策展人達鴦‧雅洛拉（Dayang Yraola）與數位荒原在2014年初共同策劃的一項社會實驗。內容是邀請來自菲律賓、馬來西亞與印尼的三位藝術家在台北進駐一個月的時間，並與本地的三位藝術家搭擋創作。在進駐結束之前，三組人將分別生產出三組現場表演，其類型涵蓋了聲音、行為（performance）以及媒體藝術。
在考慮到這種以一對一的交往為基礎而共同創造的「策展」模式時，我們首先發現這作法並不罕見，甚至過去也有標榜是兩岸四地、雙城的策展引起觀眾對於此類展演如同對話功能的聯想。但在2012年前台灣當代藝術圈對於東南亞藝術生態、或社會對該區域的認識或交流往往僅止於個案，再加上策展人找了三種不同語彙和文化的組合，疊置在立方計劃空間與失聲祭這兩個本地的當代藝術／聲音場景上，因此它確實該被視為台灣近期欲透過對等的生產位置，明顯聚焦「亞洲對話」意圖的實驗交流與進駐案例，對象多元屬性也打破藝術、表演或聲音的類型劃分，成為難以被展演場域所框架的狀態。但，這樣不預設差異性的配對策展也帶來一定的批評 [1]。
特別的是，這裡所說的文化生產或行動，因為先決定創作工具與位階再生產論述，某種後設的自述型態，讓共同創作成為這個策展裡最重要的一件事，又或者說，交流的行動內嵌了最終成果的生產，是故參與實驗者以共同創作為決定性的最終原則。它既調整了當代藝術策展人在生產過程中先於藝術家的正常順序，正確地說，策展人的概念也轉化為製作人的實質內容。
Origin: 台灣數位藝術知識與創作流通平台
Time: 2014年四月
Keywords: 亞洲, Asia, 身體藝術, Body art, 聲音, 主體性, subjectivity in Asia
「Project Glocal亞洲城市串流」是菲律賓策展人達鴦‧雅洛拉（Dayang Yraola）與數位荒原在2014年初共同策劃的一項社會實驗。內容是邀請來自菲律賓、馬來西亞與印尼的三位藝術家在台北進駐一個月的時間，並與本地的三位藝術家搭擋創作。在進駐結束之前，三組人將分別生產出三組現場表演，其類型涵蓋了聲音、行為（performance）以及媒體藝術。
在考慮到這種以一對一的交往為基礎而共同創造的「策展」模式時，我們首先發現這作法並不罕見，甚至過去也有標榜是兩岸四地、雙城的策展引起觀眾對於此類展演如同對話功能的聯想。但在2012年前台灣當代藝術圈對於東南亞藝術生態、或社會對該區域的認識或交流往往僅止於個案，再加上策展人找了三種不同語彙和文化的組合，疊置在立方計劃空間與失聲祭這兩個本地的當代藝術／聲音場景上，因此它確實該被視為台灣近期欲透過對等的生產位置，明顯聚焦「亞洲對話」意圖的實驗交流與進駐案例，對象多元屬性也打破藝術、表演或聲音的類型劃分，成為難以被展演場域所框架的狀態。但，這樣不預設差異性的配對策展也帶來一定的批評 [1]。
特別的是，這裡所說的文化生產或行動，因為先決定創作工具與位階再生產論述，某種後設的自述型態，讓共同創作成為這個策展裡最重要的一件事，又或者說，交流的行動內嵌了最終成果的生產，是故參與實驗者以共同創作為決定性的最終原則。它既調整了當代藝術策展人在生產過程中先於藝術家的正常順序，正確地說，策展人的概念也轉化為製作人的實質內容。
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| 圖：Mannet Villariba與李柏廷合作，「TYPE: ZERO」；立方計劃空間。 |
「生產之謎」與「交流之謎」(The Mystery of Production, the Mystery of Exchange)
Author: 郭昭蘭 (GUO Jau-Lan) / Photo: 蔡欣邑
Origin: 台新基金會ARTalks
Time: 2014年4月
Keywords: 藝術交流, Exchange, Production, Project Glocal
Abstract
Origin: 台新基金會ARTalks
Time: 2014年4月
Keywords: 藝術交流, Exchange, Production, Project Glocal
Abstract
In the article “The Mystery of Production, the Mystery of Exchange”, Guo Jau-Lan started her discussion on “Project Glocal亞洲城市串流” by taking examples from 2 previous exhibitions, “The Measure of Understanding: the THAITAI project” by OCAC (with Jiandyin) and “The glimmer that we see/ Vietnam” by Outsiders Factory, two projects initiated by Taiwanese artists attempted to establish connection with Southeast Asia art scene as well as introduced Southeast Asia Art to Taiwanese since 2012.
Instead of taking granted from the idea of “matching (different nationalities)” as the principle of art exchange program, Guo wonders first if, like in Project Glocal", the distinctions of the four Asian cities already presumed under the curatorial concept will be self-erased in the artist "matching" logic of this project. Furthermore, if exhibition is a place attempting to let distinctions be seen, how will the curatorial project transcend the already known differences within diverse cultures? The purposely "matching" team, assuming that both parties has equal rights to speak, all these however direct to a situation of purposeless exchange in order to protect the freedom of creativity. At the same time, the decision sacrificed the opportunity for a curator to propose her view on already existed differences and cross-country practices. Unless this is merely for future in depth collaboration, and treating the artists "encounter" as a mere process, if not, undergoing cross-country exchange curatorial project by presuming a neutral standpoint, and furthermore fasten the speed of erasing the distinctions, falling into the trap of presumed equalization, that will be a pity. However, there are also opposite outcomes of this kind of collaboration to be elaborated in the article, when we compare the performance by Fairuz and Chung-Ying with the one by Duto and Yung-Ta -- both had presented at LSF#81 on Mar, 29…
Project Glocal 2014: Transi(en)t Taipei - Curatorial Notes
(Author: Dayang Yraola; this article is for the panel discussion on Mar 29th in DAC, Taipei)
Introduction
Project Glocal Transi(en)t is first and foremost a circumstance-engineering project to bring creative people together in a committed conversation for the purpose of expounding their relationship or their connections. Residency is the circumstance. And collaborative art production is the conversation.
In this residency, the visiting artists are situated in conditions that are not familiar to them. It was hypothesized that unfamiliarity to the environment, situation and culture, would give them more opportunities to explore or more challenges to conquer.
Introduction
Project Glocal Transi(en)t is first and foremost a circumstance-engineering project to bring creative people together in a committed conversation for the purpose of expounding their relationship or their connections. Residency is the circumstance. And collaborative art production is the conversation.
In this residency, the visiting artists are situated in conditions that are not familiar to them. It was hypothesized that unfamiliarity to the environment, situation and culture, would give them more opportunities to explore or more challenges to conquer.
Project Glocal 2014: Transi(en)t TPE - Artist-in-residency program as conversation
(Author: Dayang Yraola; this article is for the Thematic Colloquy on Mar 17th, 2014 in Taipei)
Artist-in-residency programs are supposed to broaden the artists’ creative horizon in the spirit of immersion. Being with and within an unfamiliar, how does one say “can we talk about us?” This is the gist of my presentation this afternoon. I would like to take-off with three keywords: immersion, unfamiliar and us.
1.
We loosely use the term immersion to generally refer
Artist-in-residency programs are supposed to broaden the artists’ creative horizon in the spirit of immersion. Being with and within an unfamiliar, how does one say “can we talk about us?” This is the gist of my presentation this afternoon. I would like to take-off with three keywords: immersion, unfamiliar and us.
1.
We loosely use the term immersion to generally refer
- to being within a cause, an issue, a culture, a society, a people
- to becoming one of them, sharing their position; which extends to reflecting on your position; or simply having a sufficient grasp of positions in causes, issues, culture, society, people
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