tag:blogger.com,1999:blog-3944732881063279292024-03-22T06:47:32.122+08:00project glocal taipei, a stationary pointProject Glocal was first conceptualized by curator Dayang Yraola. PG TP aims to connect the art scenes in Malaysia, Thailand & the Philippines through decentralized media maneuvers. It invites the audience to take a turn on the monopolized perception of mainstream contemporary art.Anonymoushttp://www.blogger.com/profile/06391026249472871395noreply@blogger.comBlogger64125tag:blogger.com,1999:blog-394473288106327929.post-11763680431761902642017-01-29T18:48:00.001+08:002017-01-29T18:52:08.664+08:00The 365 Days: LIFE MUSE,專訪藝術家周盈貞(Okui Lala)<span style="font-size: x-small;"><span style="font-size: xx-small;">(作者:No Man's Land)</span>
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<span style="font-size: x-small;"><b>遷徙與翻譯的藝術:數位荒原與周盈貞的對話
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<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: xx-small;">Okui Lala; photo courtesy of Baan Noorg</span></td></tr>
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<span style="color: blue; font-size: x-small;"><b>數位荒原(No Man's Land):</b>這次進駐計劃的方法似乎和上次有所不同。你覺得採取何種的創作途徑會是適合的呢?我會這樣問,是因為我記得去年我們臨時起意,決定一起拜訪泰國策展人Jiandyin(Jiradej與Pornpilai Meemalai)。那次旅程可說打開了你和Baan Noorg合作的機會。 </span><br />
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<span style="font-size: x-small;"><b>周盈貞(Okui Lala):「 </b>The 365 Days: Life Muse」是一次成果豐碩的研究,也延續我在檳城的舊作。在2015年的〈Let’s Drink and Eat Tea!〉<span style="font-size: xx-small;">(註1)</span>計劃裡,我觀察檳城的早期緬甸聚落及近期移民文化,通過與緬甸有關的路名和某種名為「Laphet Thoke」(茶沙拉)的緬甸食物。我以前從未去過緬甸,但我在檳城和其他地方遇見許多緬甸人。我懷疑他們(和我們)之間的連結與差別,特別是在東南亞的脈絡裡。當策展人在2015年9月第一次和我談到這個計劃時,我對於叨丕府(Ratchaburi)的地理學與人口學的面向特別感興趣,這個省緊鄰著泰國與緬甸的邊境。
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<a name='more'></a><span style="font-size: x-small;"> 相對於在檳城的計劃裡,緬甸移工和我擁有共同的語言(馬來話、英文或福建話),我在叨丕府期間總是信任那位翻譯,因為我聽不懂泰文或緬甸文,相反的,Chaw Su已經在泰國居留超過13年,可使用流利的泰文,幾乎和當地人一樣!在我進駐的同時間,有另一位緬甸藝術家Ma Ei也和我一起進駐,因此,觀察Chaw Su、Kyaw Moe和他們的朋友如何與她溝通,變得很有意思。
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<tr><td class="tr-caption" style="text-align: center;"><span class="fbPhotosPhotoCaption" data-ft="{"tn":"K"}" id="fbPhotoSnowliftCaption" style="font-size: xx-small;" tabindex="0"><span class="hasCaption">Okui Lala, 2015, Let's Drink and Eat Tea!, Archive photo from performance; image courtesy of Okui Lala</span></span></td></tr>
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<span style="color: blue; font-size: x-small;"><b>NML:</b>可以請你聊聊這次在「365 Days: Life Muse」的進駐計劃嗎?
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<span style="font-size: x-small;"><b>OL:</b>在這次和Chaw Su、Kyaw Moe的錄像裡,他們通過一系列用泰文和緬甸文的訪談提問來談自己。這些問題都很簡單、直接,但在某些部份他們要努力想出如何用緬甸或泰文表達適當的字詞。我自己作為一名多語溝通者,常常發現自己也有相似的情境,也就是在某些時刻,某些表述可能被翻譯所遺漏,或者會用其他意義重新詮釋。對我來說,翻譯不只是用語言(溝通),它還繞過多變的形式與媒介。一種語言只能在相似的環境條件下被翻譯致令一種語言,就算在相同的語言裡,詮釋也可能隨著個體而改變。我好奇的是,我們如何相遇,而我們的相遇又如何可能呢?</span><br />
<span style="font-size: x-small;"> 由於無法在當地用口語溝通,也使我更對於空間的背景更敏感。在Nongpho社區,我理解到那裡光是在拜拜的神壇配置、樣式上就有不同的文化。當我走進Pa Im的雜貨店時,立刻可以辨識出她或許說潮州話或普通話,因為她的家裡有拜「地主爺」,和我阿嬷家裡是一樣的。我猜得沒錯,Pa Im很高興能跟我說上潮州話,而且除了她母親和一些兄弟姊妹會說這種方言以外,就沒人能跟她說了。因此我也幫她拍一支作品,透過這支影片我了解語言透露了諸多關於某人遷徙的歷史背景。我是如何學會六種語言與方言?而我的潮州話或普通話為何聽起來和其他地方的人不同?人們又會因為使用不同的語言而有所差別嗎?
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<span style="color: blue; font-size: x-small;"><b>NML:</b>所以你會說在你的藝術實踐裡要負責任與表達一致,就是學會另一個人的母語嗎?
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<span style="font-size: x-small;"><b>OL:</b>是也不是⋯語言幫助我們更深地理解某人的思想或哲學,特別是在某些方言無法被書寫或紀錄的東南亞社群內部。某些在地的智慧只有透過口述歷史傳承下來。作為一位藝術家在許多城市工作時,我不可能學習這麼多語言,但我一有機會,就儘可能擷取隻字片語。它更多是關於,去理解一個城市及其居民的脈絡、文化常規及行為。
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<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: xx-small;">Okui Lala, How do we meet? How can we meet? (2016) photo courtesy of Rikey Tenn</span></td></tr>
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<span style="color: blue; font-size: x-small;"><b>NML:</b>假如你是這次計劃的泰國策展人,你還想對讀者說些什麼?
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<span style="font-size: x-small;"><b>OL:</b>在2015年,馬來西亞、泰國、印尼、緬甸在羅興亞難民的衝突與危機裡針鋒相對。各國政府反應遲緩,並對彼此不假辭色。隨著難民船在當時非常靠近馬來西亞海岸,大眾也開始關注這個議題。在此同時,也爆發歐洲難民危機。有那一陣子,新聞和報紙頭條持續報導東南亞與歐洲兩地的危機。最後,大眾也隨著新聞題材改變焦點而再度興趣缺缺。</span><br />
<span style="font-size: x-small;"> 這不禁刺激我思考,我們怎樣對待國內在日常生活裡的移民? 東南亞相較於世界上的其他地區,從古代到現代時期歷經了相對不同的發展過程,而我們使用不同的方法面對多元的議題。在本地移民—移民—難民之間的界線,仍然是相當模糊的,特別是在東南亞的所有(11個)國家除了泰國以外都曾被殖民過。而通過對話的交換與人們工作,讓我可以翻譯自身關於認同的觀點,並在更寬廣的社會、文化與政治範疇裡獲得延伸。</span><br />
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<span style="font-size: x-small;">註1:見:<a href="http://cargocollective.com/okuilala/Let-s-Drink-and-Eat-Tea-2015" target="_blank">http://cargocollective.com/okuilala/Let-s-Drink-and-Eat-Tea-2015</a></span>Rikey Chenghttp://www.blogger.com/profile/13543113880875915297noreply@blogger.comtag:blogger.com,1999:blog-394473288106327929.post-49267594950929135762017-01-29T18:32:00.002+08:002017-01-29T18:50:48.455+08:00The 365 Days: LIFE MUSE,專訪藝術家吳其育<b><span style="font-size: xx-small;">(作者:No Man's Land)</span> </b><br />
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<span style="font-size: x-small;"><b>在影像與日常之間:數位荒原與吳其育的對話</b></span><br />
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<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: xx-small;">Photo courtesy of Baan Noorg, The 365 Days: LIFE MUSE Project</span></td></tr>
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<span style="color: blue; font-size: x-small;"><b>數位荒原(No Man's Land):</b>可以介紹一下〈自選片單〉這作品嗎?</span><br />
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<span style="font-size: x-small;"><b>吳其育(Wu, Chi-Yu):</b>我好奇「影像」如何在他們的生活裡發揮影響?雖然他們接觸到的機會有限,他們只有DVD,每週只休一天,所有時間都在工作。我想知道他們在工作之外,這些事物如何影響他們的生活?像這是他們的電腦銀幕,他們會講一些當時翁山蘇姬來訪泰國期間正在進行的活動,例如女方某天在藥局播放的泰國頻道上,看到翁山蘇姬的新聞畫面。剛去泰國時,我也和策展人聊到,他們的佛教觀點和台灣擁有不一樣的生活邏輯。</span><br />
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<a name='more'></a><span style="color: blue; font-size: x-small;"><b>NML:</b>或許是指「上座部」佛教(Theravada;先前翻譯為小乘佛教)。</span><br />
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<span style="font-size: x-small;"><b>W:</b>他們從來不去解讀經文原意,只能唸最早的經文,在那之後都是別人的解讀。就像和尚化緣,無論化到什麼只能「接受」。當我在問他們怎樣挑選DVD時,每張都有六部電影,因為在他們的人生觀裡,當東西進入他們的生活裡就得全盤接受,而不加以揀選。</span><br />
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<span style="color: blue; font-size: x-small;"><b>NML:</b>你是指他們不挑自己喜歡的影片,還是如何反映他們揀選某些事物?</span><br />
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<span style="font-size: x-small;"><b>W:</b>挑選影片的邏輯,也就是這些事物如何進入生活。我會描述他們如何遇見這個影像,在走到藥局要買藥時,電視上正好出現翁山蘇姬的畫面,他們才第一次碰到這件事。又或者如何選擇DVD,其中有些不是他們要的,但是它們也跟著某張DVD一起來到家裡。我會以實際拍攝影像為主。像他們提過的內容不一定出現在影像裡。(畫面)這是他們實際放出來的影像內容,但有一些是受訪時提及的事後影像。</span><br />
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<span style="color: blue; font-size: x-small;"><b>NML:</b>我想問藝術家進駐一個禮拜裡,見到移工的時間只有週日下午。跟想像中藝術家與緬甸人一起工作的狀況不同。假設計劃初衷是讓移工融入社區,但是他們卻天天待在工廠裡。以你來說,選擇這樣拍是因為無法拍攝到工作狀況,或者你要觀眾看的就是工餘時間?</span><br />
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<span style="font-size: x-small;"><b>W:</b>我想拍攝他們工餘的生活,因為他們幾乎沒有休閒,而他們還算有點時間了;因為這計劃要求他們在週日留下來配合。在工廠裡,很多人被要求在週日繼續上班。原本工人都有宿舍,當時發生一個狀況,就是工廠招募新員工,不留宿舍給他們。計劃結束後他們搬不回去了,必須另找地方住。他們也問Jiandyin可不可以繼續留在那,前提是他們必須靠自己的能力融入泰國社群。<span style="color: blue;">(編按:後來他們在離Baan Noorg只有一公里的泰國人社區找到住處。)</span>第一天交談時,他們提到如何猜我們是日本或台灣人。他們放一張DVD給日本藝術家Masaru看,說日本人就是忍者,台灣人就是Jackie Chen。當然我不是成龍,但這就是他們的世界觀,因為他們只生活在工廠和宿舍裡。傍晚,男的帶我們去逛附近緬甸社區,回來看到女生在看那部芭比的電影,邊看邊燙衣服。她說看過好幾遍了,還是覺得很好看。我認為他們離開工廠的生活和影像的關係很有趣。</span><br />
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<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: xx-small;">Wu, Chi-yu, A Private Collection (2016); photo courtesy of Rikey Tenn</span></td></tr>
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<span style="color: blue; font-size: x-small;"><b>NML:</b>如果計劃是要讓外來移工融入泰國的生活,當然不一定要著眼於工廠,因為工廠是一種異化。此外我對於「藝術介入」也很懷疑。我聽到緬甸工人的工作幾乎都是在台商的工廠裡,它暗示緬甸移工與泰國社區的關係,就像台灣的泰國移工與在地的關係。在這樣的關係裡我們發現,即使都是泰國人,在台灣可能是被壓迫者,但在泰國可能排斥緬甸人。</span><br />
<span style="color: blue; font-size: x-small;"> 後殖民理論中有對於「呈現」(representation)邏輯的批判。移工不是只有一種面貌,即使我們認識兩個移工,也不代表所有移工。不過當他們取得發言權了,就無法再代表其他移工。忽略身份或許也可以迴避倫理爭議。但我還是覺得工廠生活還有很多可以著墨。</span><br />
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<span style="font-size: x-small;"><b>W:</b>有個困難是我不懂泰文,都由實習生翻譯。結束時曾有一次訪談,那次我回答得很天真。或許是當時剛聊完,我會講:他們跟我好像沒什麼差異,雖然生活方式、學歷、職業大不相同。我那時很天真,講完幾天之後越來越覺得自己過於樂觀。因為當時情況是我請他們一直談論自己,也擬了一些問題。後來策展人訪問每位藝術家的回饋,我就這樣答。差異或許在於:我請他們主動描述,所以我那時候是一位聆聽者,瞭解他們在思考上的許多層次,好像在跟朋友聊天,而不是聽他們在抱怨。假如你設定的是攸關利益的現實主題,就想像他們如何抱怨體制,因為如果他只是勞工就會想這些事,而我只是藝術家,就只會想(這些事如何變成)作品—這是我希望避免的。</span><br />
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<span style="color: blue; font-size: x-small;"><b>NML:</b>假如你是這次計劃的泰國策展人,你還想說些什麼?</span><br />
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<span style="font-size: x-small;">W:關於國際移工的路徑:沒有未來去另一地工作的目標,就這麼定居下來。有一個可以跟朋友聚會的小客廳,喝酒、吃零食,再多朋友也不擔心杯子不夠,一個杯子傳著大家輪流喝,啤酒或調威士忌,一個傳著一個,像是種人生哲學:接受但不做選擇。最期待的是:下個月還有沒有藝術家要來?
</span>Rikey Chenghttp://www.blogger.com/profile/13543113880875915297noreply@blogger.comtag:blogger.com,1999:blog-394473288106327929.post-15133216324922825492016-01-04T17:05:00.001+08:002016-01-15T14:33:53.748+08:00Pop up Museum (Model study for Nongpo community) contemporary art exhibition 2014, an introduction<blockquote class="tr_bq">
<i><span style="font-size: x-small;"><b>Editor's Note: </b>This documentary created on occasion of the </span></i><span style="font-size: x-small;">Pop up Museum (Model study for Nongpho community)</span><i><span style="font-size: x-small;"> exhibition. The project is part of </span></i><span style="font-size: x-small;">day </span><span style="font-size: x-small;">OFF-LABoratory#1: Pilot</span><i><span style="font-size: x-small;"> project alternative school of interdisciplinary art organized by </span></i><span style="font-size: x-small;">Baan Noorg</span><i><span style="font-size: x-small;"> incorporated with Thammasat University in 2014. It‘s a site specific workshop and exhibition program that gathered students, emerging artists to analyze, discuss and debate in an interdisciplinary mode toward social condition and community as case study for researching and developing community engagement, art, and the work of museums with visiting international artists, activists, curators, educators. The program developed abilities relating to collaboration, social practice, art and cultural practice, as well as community engagement. The outcome is a </span></i><span style="font-size: x-small;">Pop-up Museum</span><i><span style="font-size: x-small;"> Contemporary Art exhibition (25 Apr - 1 Jun, 2014) at Baan Noorg and selected community sites.</span></i></blockquote>
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<a name='more'></a><span style="font-size: x-small;"><u><b>(Pornpilai, Baan Noorg)</b></u></span><br />
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<span style="font-size: x-small;"><b>"Pop Up Museum"</b> is a project that conveys information delivered by college students who participated, interacted and collaborated with community. Therefore, it is not the kind of still museum or delivers static information.
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<span style="font-size: x-small;">We do not operate as conventional museum, which shows ancient artifacts. But it is rather an active than a passive museum where visitors can only view the artifacts without interaction.
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<span style="font-size: x-small;"><u><b>(Jiradej, Baan Noorg) </b></u></span><br />
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<span style="font-size: x-small;"><b>"Day OFF LABoratory program"</b> is part of Nongpho community contemporary art and culture project named <b>“Baan Noorg”</b>. Baan Noorg operates "day OFF LABoratory" by arranging activities during school’s summer break.
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<span style="font-size: x-small;">This time, "day OFF LABoratory" collaborates with college students who are outsiders that access and stay in community, which has community-based connectors who are "NongpoKiDdee" youths. They are children group who participated and created short films (animation) with Baan Noorg for 3~4 years.
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<span style="font-size: x-small;"><b><u>(Pornpilai)</u>
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<span style="font-size: x-small;">The program arranged <b>"Let’s Talk Salon"</b> that provides related and fundamental information for participated college students. It has 8 sessions. We invited speakers and experts in contemporary art, culture and contemporary museum areas to give lectures to 29 students. </span><br />
<span style="font-size: x-small;">Before they set off their work process, the invited speakers included Mark Salvatus + Mayumi Hirano (co-founders of 98B collaborator from Manila, Philippines), and Prof. Surasi Kusolwong, Prof. Suporn Shoosongdej, Prof. Sakarin Krue-On and Prof. Sucha Silpachaisri.
In terms of works by 29 participated students, they are divided into five groups to create 5 projects:
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<span style="font-size: x-small;"><b>- Mobile Museum / We Are the Museum,
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<span style="font-size: x-small;"><b>- The Museum of Voiceover / Where We Were,
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<span style="font-size: x-small;"><b>- The Museum of Simplicity / As Museum As Grocery Store,
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<span style="font-size: x-small;"><b>- Eat Museum / Eat-Ate-Art, and
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<span style="font-size: x-small;"><b>- The Museum of photo / On The Way.
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<span style="font-size: x-small;">The other 5 sub-projects that we invited Thai and foreign artists called<b> "The Museum Now"</b>. This includes 5 projects:
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<span style="font-size: x-small;">- <b>"It’s like you got yesterday, today and tomorrow, all in the same room, there is no telling what can happen"</b> by Lo, Shih-tung + Shih, Pei-chun from Taiwan,
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<span style="font-size: x-small;">- <b>"The Museum Now (Magic Cow)"</b> by Saroot Supasuthivech,
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<span style="font-size: x-small;">- <b>"The Museum Now (Documentary no.3)"</b> by Kaensan Rattanasomrerk + Jiandyin,
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<span style="font-size: x-small;">- <b>"The Museum Now (In General)"</b> by Siwanat Phongbunkumlarp, and
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<span style="font-size: x-small;">- <b>"The Museum Now (Untitled)" </b>by Awika Samukrsaman.
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<span style="font-size: x-small;"><u><b>(Supitchaya, </b></u></span><span style="font-size: x-small;"><u><b><span style="font-size: x-small;"><b>The Museum of Simplicity</b></span>)</b></u></span>
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<span style="font-size: x-small;">Baan Noorg’s main objective of this project is to create "Pop up Museum" exhibition (A Model Study of Nongpho Community). It is a project that two universities met: Thammasart(法政大學) and Silpakorn(泰國藝術大學). We came to research and seek relevant issue from collected information to create artwork for this particular exhibition.
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<span style="font-size: x-small;"><u><b>(Kornchanok, </b></u></span><span style="font-size: x-small;"><u><b><span style="font-size: x-small;"><b>The Museum of Simplicity</b></span>)</b></u></span>
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<span style="font-size: x-small;">We access to the community to collect information for realizing the exhibition for Nongpho community. So today we had a field research to reach out what they have here and feed the information for constructing idea for the exhibition.
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<span style="font-size: x-small;">We interviewed uncle Jai about the history of his grocery store from then to now, where he came from, how the store was originated, how did it happen, was there any difficulties?
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<span style="font-size: x-small;"><u><b>(Songwat, Nanphanit Grocery Owner)</b></u></span>
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<span style="font-size: x-small;">The students came to research about community and shops. Museum is somehow like a place for learning? As the community’s archives for everyone to study… for instance: village’s history, its culture and people’s occupations, isn’t it?
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<u><span style="font-size: x-small;"><b>(Nattawika, </b></span><span style="font-size: x-small;"><b><span style="font-size: x-small;"><b>The Museum of Simplicity</b></span>)</b></span></u>
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<span style="font-size: x-small;">In participating this project, we have chance to do a tangible field study that we could really absorb villagers’ way of living; to achieve the goal that is creating some works of art. I think it’s great that I can learn new ideas. As well as to realize that in making a piece of work we have to study till we reach the core of something that will make the result special.
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<span style="font-size: x-small;">This project also combines community children to join whose parents are willing to allow them to participate. It is a win-win opportunity, I think. I could see that their parents want their child to learn more things by how they said to their children “you have to be attentive so you will grow up and be like them.”
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<span style="font-size: x-small;">Most of students who join the project desire to bring back missing things. Take my group for example, we focus on forgotten language, not just forgotten but somehow shy to speak like Thai-Yuan dialect. I hope I will get some new perspective and inspirations. As I am a first year student, I still have no idea what direction I should go for in the future. I might attain some inspirations from this time.
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<span style="font-size: x-small;"><b><u>(Pichanan, Mobile Museum / We are the Museum)</u>
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<span style="font-size: x-small;">"We Are the Museum" is a mobile museum. We believe that Human is the most perfect museum because human or every community members are substantial resource of certain community. Everybody has his/her own stories that could represent one’s own period perfectly.</span><br />
<span style="font-size: x-small;">We consider that everyone is important like museum, we collect used T-shirts, silk-screen designed texts on them and give everyone to wear to remind that everybody is museum, carries important stories and are part of their community history.
</span>Rikey Chenghttp://www.blogger.com/profile/13543113880875915297noreply@blogger.comtag:blogger.com,1999:blog-394473288106327929.post-52728520147547000002015-07-30T14:45:00.000+08:002016-01-11T12:59:28.518+08:00當代馬來西亞藝術的範式人物與藝術家自主行動 (Paragigmatic Personalities and Aesthetic Autonomy in Contemporary Malaysian Art)<span style="font-size: x-small;"><b>Arthor:</b> 蔡長璜(CHAI Chang Hwang)</span><br />
<span style="font-size: x-small;"><b>Origin:</b> 《現代美術》Modern art No.177</span><br />
<span style="font-size: x-small;"><b>Time: 2015, Jun</b></span><br />
<span style="font-size: x-small;"><b>Keywords</b>: Malaysia Contemporary Art, Artist Initiative, YAP Sau Bin, RAP, Lostgens', 烈火莫熄, Reformasi, Redza Piyadasa</span><br />
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<span style="font-size: small;"><b>Abstract</b></span><br />
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1998年是個轉捩點,這一年,馬來人土著(Malay Bumiputeras)領導暨權貴階層發生內爆,遂使馬來西亞政治版圖出現了結構性的斷裂。自1980年代中期自由主義經濟政策大力推行以來,不同利益集團和統治菁英之間互相競逐、站位,從此分化為一種對立關係。時任首相的政治強人馬哈迪(Mahathir Mohamad)將其副手安華(Anwar Ibrahim)革職。後來,安華與其多位親信在《國內安全法令》(Internal Security Act, ISA)下被捕,前者更在扣留所遭人——最終在輿論壓力下爆出行使暴力者為全國總警長——毆傷,左眼瘀血腫脹,本地中文媒體稱之為「黑眼圈事件」;馬哈迪排除異己之手段,旋即催生一場強烈要求改革的政治抗爭行動,亦即,「烈火莫熄」(Reformasi)社會運動。這場源自此地主導性的人口或族群的二度鬥爭,乃是基於市場調整和資源分配等問題談判不遂的緣故,主要導火線則是亞洲金融危機。<br />
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(多元與歧義的當代藝術徵候)當代馬來西亞的藝術進程真所謂挑戰與機遇並存。處在政治場域邊緣,創意社群與其行動主體長久以來面對的威脅,諸如言論和表達都受到限制等問題,連同因這起事件而引發的後遺症:懼怕文化和自我審查,無疑都需要得到公民社會乃至普羅大眾相等程度的關注。10月27日,就在整個社會陷入一片人人自危的氛圍當中,「Apa? Siapa? Kenapa?:多媒體視覺藝術展」於首都吉隆坡市郊一座閒置的商業空間揭開序幕。這項由藝文界人士自我組織的展演計劃,便是因應「黑眼圈事件」而生:它乃是「Artis Pro Activ」(APA)主辦的「Apa-Apa?:多美體藝術節」的子計劃之一。<br />
[......] <br />
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(強化單一民族文化的領導權)畢雅達薩(<span style="font-size: x-small;">Redza Piyadasa</span>)參加「Apa? Siapa? Kenapa?:多媒體視覺藝術展」的複合沒材作品題為《馬來西亞能!》(Malaysia Boleh!)。藝術家挪用一本英文版《亞洲周刊》——該期封面即刊印了安華因為「黑眼圈事件」出庭供證時,對著法庭外的支持者揮手示意的影像——並將之視同大師經典班用畫框鑲起;下方空白處則以模板繪製了(馬來文)「已經引起世人注目的淤黑的眼!馬來西亞能!」字句,再於這名前副首相淤腫的左眼處畫一個紅圈,借此呼應鮮紅的「MALAYSIA BULEH」字眼,意旨直接了當。<br />
[......]<br />
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(另一類想像馬來西亞的方式)1980年代中期以後,更為具體則始於1991年,國家對社會轉型的介入漸漸地由強轉弱,作為一個相對重要的角色,當局間接地透過親商政策的建制化,驅使經濟領域踏入自由化和私營化的茁壯期。全國上下齊心朝「2020宏願」(Wawasan 2020)邁進,種族關係緊張及不穩定問題也相應減少。此地社會、文化與政治生活出現新的轉向:國家認同出現多元發展的趨勢,造成教育機構日益與時俱進,中產階級和專業人士隊伍也不斷擴大;受過良好教育者對文化、藝術的鑑賞有所要求,更有助於私人資金或企業贊助等資本投入。接踵而至的商業畫廊與替代空間則賦予當代藝術家不少活動的機會和空間;機會、空間都有所增加,在在誘使更多新生代自動自發地投入其中。<br />
[......]Rikey Chenghttp://www.blogger.com/profile/13543113880875915297noreply@blogger.comtag:blogger.com,1999:blog-394473288106327929.post-45859212640740615042015-07-27T20:23:00.002+08:002015-07-27T22:37:24.923+08:00試析英屬馬來亞時期華人畫家的境遇 (The Lives and Works of Chinese Painters in the British Malaya Era)<span style="font-size: x-small;"><b>Arthor:</b> 蔡長璜(CHAI Chang Hwang)</span><br />
<span style="font-size: x-small;"><b>Origin:</b> 《現代美術》Modern art No.177</span><br />
<span style="font-size: x-small;"><b>Time: 2015, Jun</b></span><br />
<span style="font-size: x-small;"><b>Keywords</b>: Malaysia Chinese Painters, British Malaya</span><br />
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<span style="font-size: small;"><b>Abstract</b></span><br />
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(土生馬華畫家)1924年4月2日,印度著名詩人泰戈爾訪華團乘船遊加爾各答途經新加坡,當地一個特別接待團儘地主之誼邀一行人上岸聚餐、雅集;就在這個上午,青年畫家劉溪松代表三州府社群贈送一幅泰氏畫像予這位諾貝爾文學獎得主。過了70年,「Low Kway Song」這個名字與其畫作再度出現於藝術世界,不期而然地觸動馬來西亞藝術史研究者的敏感神經。鍾瑜則在《馬來西亞華人美術史(1900-1965)》(1999) 中把劉氏繪製於1921年的〈山貓圖〉(Lynx) 當成「我國唯一能見到最早的一幅油畫」。在前述著作中,這位又叫「劉開賞」的華人畫家,曾參與1929年由青年勵志社舉行的「新加坡美術展覽會」,同場展出者上有徐悲鴻、張汝器、李家耀、張伯河、謝松安等人。<br />
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(移民中國畫家)結社自由對於激發本地社會的藝文風潮有著積極作用。回顧歷史文獻,最早由移民華人書畫家成立的藝術社團,譬如1927年新加坡的「星洲美術研究社」、1928年新加坡的「青年勵志社」、1929年吉隆坡的「南洋書畫社」,以及1930年新加坡的「南星美術研究社」等,顯然都是當年活躍一時的同人組織,參與其中者大多個有來自,想必也各有所長。這些團體主辦的展覽會擴大化海外華人社群的交流活動和生產空間,說不上能否促進不同族群之間的互動關係,倒是諸多成員自身或共同行動,早已嵌入馬、新兩地的藝術社會演進史中。<br />
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上個世紀初,英屬馬來亞社會政治環境相對穩定,商業也很發達,對於文人、畫家都大有吸引力,其中不乏現代中國藝術的奠基者。另有為數不少則是基於到歐洲深造或學成後回國,而循海洋航線途經此地。眾人以藝術之名結社的目的非常明顯;常設年度會員美展既事發表新作品的平台,彼此互相觀摩、激勵,亦能將擁有不同專長但思想相近者連成一線,進而打造一個跨地方社會網絡,齊心協作推動文化藝術。Rikey Chenghttp://www.blogger.com/profile/13543113880875915297noreply@blogger.comtag:blogger.com,1999:blog-394473288106327929.post-4413710493569736772015-07-25T19:55:00.000+08:002015-07-27T20:24:11.945+08:00DA+C藝術節「歷史上的今天」(Hari Ini Dalam Sejarah) 單元參展藝術家:羅仕東 (LO Shih-tung)<b>Artist</b><br />
<b>LO, Shih-tung | 羅仕東 [Taipei]</b><br />
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Shih-tung Lo focuses on the special textures presented in our daily life, seeing them as in Walter Benjamin’s discourse, fragments and reflection of a complete structure, a whole world. His works are organic documents attempting to inquire and contemplate ever-changing warped messages... Through the process of creating and interacting with spectators and communities, the fragmented, fissured, and forgotten history can be reconstructed or even fictionalized. It is about seeking one’s identity, residence, hometown, and city; those long forgotten, unseen ghosts. He is the Artist-in-residency and will present his new work during DA+C Festival, recommended by No Man's Land.<br />
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羅仕東關注於社會中日常可見的特殊紋理,將其視為如班雅明論述中的碎片,折射、反映一完整的結構、世界。作品作為活的文件,試圖誘發詢問與思考、移動與轉換的特殊訊息。創作不限於特定媒材或方式,從創作與社區、觀眾的交互過程中,將零碎的、間隙的、遺忘的歷史層積和記憶深處重構或甚至虛構;尋訪當代社會中關於身分、家、故鄉、城市——即那些關於我們已經遺忘許久,不可見的幽黯鬼魂。他將由數位荒原推薦參加八月於馬來西亞檳城舉行的DA+C藝術節進駐與創作。Rikey Chenghttp://www.blogger.com/profile/13543113880875915297noreply@blogger.comtag:blogger.com,1999:blog-394473288106327929.post-15076176355991612642015-07-18T17:26:00.004+08:002015-07-18T17:26:49.035+08:00DA+C藝術節「歷史上的今天」(Hari Ini Dalam Sejarah) 單元參展藝術家:吳宜曄 (WU, I-yeh)<b>Artist</b><br />
<b>WU, I-yeh | 吳宜曄 [Taipei]</b><br />
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WU, I-Yeh graduated with a MFA in computational studio arts from Goldsmiths College, University of London. Most of WU’s recent works attempt to capture individual differences in perception, as well as to rethink the possibilities of multifaceted communication between individuals and the Others by means of programming, images, installations and texts. His work has been nominated in 5th Digital Art Festival,Taipei.<br />
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吳宜曄1984年生於台灣台北。畢業於英國倫敦大學⾦匠學院,電腦藝術研究所碩士班。近期作品主要藉由電腦程式、影像、裝置、文字去嘗試碰觸屬於個人的感知狀態以及描繪個人與他著之間溝通的可能。他將由數位荒原推薦,參加八月於馬來西亞檳城舉行的DA+C藝術節進駐與創作。<span style="font-size: x-small;">(以上內容節錄自<a href="http://archive.avat-art.org/mediawiki/index.php/%E5%90%B3%E5%AE%9C%E6%9B%84" target="_blank">台灣當代藝術資料庫</a>)</span>他的作品入選了第五屆臺北數位藝術獎互動類。Rikey Chenghttp://www.blogger.com/profile/13543113880875915297noreply@blogger.comtag:blogger.com,1999:blog-394473288106327929.post-55363796315883578362015-07-18T16:55:00.003+08:002015-07-18T16:55:34.595+08:00DA+C藝術節「歷史上的今天」(Hari Ini Dalam Sejarah) 單元參展藝術家:王鼎曄 (WANG Ding-yeh)<b><span style="font-size: x-small;">Artist</span></b><br />
<b>WANG, Ding-yeh | 王鼎曄<span style="font-size: xx-small;"> [Taipei]</span></b><br />
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WANG, Ding-yeh, born in 1978 in Taipei, has received the degree of Meisterschule from the Dresden Academy of Fine Arts (Hochschule für Bildende Künste Dresden) in 2011. He specializes in video installation and painting. The themes of his works primarily focus on issues concerning his life, the society, and the environment. He firmly believes that people will be able to resist or connect themselves with the external world and meanwhile achieve self-healing through artistic creation. His works have been exhibited in Taiwan, the United States, Israel, France, and Germany. In 2013, he had curated the exhibition <a href="http://www.dac.tw/event/liveliveseafood/index.html" target="_blank">Live Live Seafood</a>, collaborated with CHANG, Hao-shin, in Digital Art Center, Taipei. He is also JUN/JUL's Resident Curator on No Man's Land (ISSUE 2015, JUL: <i><a href="http://etat-heath.blogspot.com/2015/07/issuejul-2015-recalling-islands.html" target="_blank">Recalling Islands</a></i>).<br />
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王鼎曄1978年生於台北,2011年獲得德國德勒斯登高等藝術學院—卓越藝術家文憑。擅長使用錄像裝置與繪畫,作品環繞於自身、社會與環境議題。深信透過創作能與外部社會連結或是對抗,並且同時能自我療癒。作品於台灣、美國、以色列、法國、德國等國展出。<span style="color: blue;"><span style="font-size: x-small;">(以上介紹節錄自<a href="http://archive.avat-art.org/mediawiki/index.php/%E7%8E%8B%E9%BC%8E%E6%9B%84" target="_blank">台灣當代藝術資料庫</a>)</span></span>2013年,他與張顥馨在臺北數位藝術中心合作<a href="http://www.dac.tw/event/liveliveseafood/idea.html" target="_blank">《生猛海鮮店》</a>展覽。他也是「數位荒原」六月/七月的駐站策展人(2015年七月專題:<a href="http://etat-heath.blogspot.com/2015/07/issuejul-2015-recalling-islands.html" target="_blank">「島的回憶」</a>)。Rikey Chenghttp://www.blogger.com/profile/13543113880875915297noreply@blogger.comtag:blogger.com,1999:blog-394473288106327929.post-78724293042198803832015-05-30T15:51:00.004+08:002015-05-30T15:52:04.963+08:00吳宜曄訪談(許峰瑞提供)<span style="font-size: x-small;">Arthor: 許峰瑞(HSU Fong-ray)</span><br />
<span style="font-size: x-small;">Origin: 《迴光線——影像的裂隙》(<i>Re-turning Sight - The Fissures of Moving Image</i>; )展覽手冊</span><br />
<span style="font-size: x-small;">Time: 2015, Feb</span><br />
<span style="font-size: x-small;">Keywords: 許峰瑞, 吳宜曄, 動態影像, HSU Fong-ray, WU I-yeh, Moving Image, Computer Art</span>
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<b><span style="font-size: x-small;">Abstract</span></b><br />
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<span style="font-size: x-small;"><b>許峰瑞(以下簡稱許):你大學是從劇場出身,是甚麼樣的契機讓你會想去Goldsmiths, University of London唸Computer Art?</b></span>
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<span style="font-size: x-small;"><b>吳宜曄(以下簡稱吳):</b>一開始就是有興趣。大學時候唸的舞台設計很重要的一部分是要去處理很實際的文本需求,例如空間走位和佈景的功能性等。後來漸漸地接觸到一些比較實驗的劇場,發現還有很多不同的媒材像是數位影像、機械裝置等等,覺得好像很好玩就想嘗試這類的創作。
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<span style="font-size: x-small;"><b>許:你從2010年的《<i>Machine Whisper</i>》這些作品開始,是比較偏技術性對媒材的嘗試,到近年來開始對影像本身有更多的關注,如《<i>In The Future</i>》、《<i>Falling</i>》這些作品,可以談談在這過程中的轉變嗎?
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<span style="font-size: x-small;"><b>吳:</b>其實我都有在嘗試耶,不單是影像這塊,簡單的程式語言、聲音、裝置等等也都有在接觸 。對於影像這塊,我不會特別去區分動態影像或錄像等等,主要還是從當時想要講的事情,看它可以用甚麼樣的方式去表達。像《<i>In The Future</i>》,它是一個有敘事性的影像,它的觀看方式就比較單純,就是回到影像的內容。但就像你所說,《<i>Machine Whisper</i>》或我的其他一些作品,滿多都和當時所接觸到的媒材和技術有關。滿多時候,我會習慣去思考可以怎麼利用這些媒材特性去表達一種我想表達的狀態。
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<span style="font-size: x-small;"><b>許:可以再描述一下這種狀態嗎?
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<span style="font-size: x-small;"><b>吳:</b>拿這次再製的《<i>Machine Whisper</i>》來說好了,當初在做這件作品時是想透過機器去模擬人與人之間訊息的接收與傳遞。這讓我想到一個古老的傳話遊戲,通常經過不斷的接收與傳遞最後的訊息變得面目全非。
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<span style="font-size: x-small;"> 要讓一個機器去處理一則看似簡單的訊息其實是滿耗時的,儘管很多技術都已經是垂手可得,然而過程還是得經過許多道繁雜的處理程序,想當然訊息在傳遞過程也將充滿很多的不確定性。或許這樣的狀態就很貼近當時我想表達的。
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<span style="font-size: x-small;"><b>許:所以對於在這次版本中所增加的紀錄式影像,你會將它視作為一個檔案嗎?以它去回應你對於兩個影像裝置在無限延宕下的答案或佐證文件?
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<span style="font-size: x-small;"><b>吳:</b>我也在思考這東西。最近我發現有些動態影像的呈現會選擇搭配展示影片中的實體物件、影片中單格的影像輸出甚至也有針對影像去創造另一個符合影像的裝置型空間。這無疑都提供了更多角度和感官的方式去切入作品本身。其實我也沒確定的答案,只是不斷在嘗試,像這次《<i>Machine Whisper</i>》產生出來的影像,它在沒有敘事性的狀態下,不是說它怎樣做才是好的、成立的,而是說為甚麼這麼多創作者會使用這麼多方式去接近、開啟對觀看上更多感官的可能。所以我好像不是要證明一個影像的曾經存在,比較像是把裝置生產出來的影像集合起來,另外單獨觀看,提供從不同的時間經緯去切入觀看這件作品的可能。
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<span style="font-size: x-small;"><b>許:對你而言,這次版本的《<i>Machine Whisper</i>》裡頭的影像中是比較<u>聚焦在運動的方式</u>,還是<u>對時間的運用</u>上?
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<span style="font-size: x-small;"><b>吳:</b>都相互有關聯吧。對我而言影像時間的長短變化就是一種影像運動的方式,甚至最後可能變得好像一種閃爍的頻率。舊版本的頻率比較一致,搭配當時使用電子迴路開關會有 答、答、答,的聲音,給人一種無限循環、或像你說的不斷提問的感覺。這次的重製換掉先前的電子迴路,想嘗試看看可以怎麼做出不同的運動變化。
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<span style="font-size: x-small;"><b>許:這樣聽起來,頻率,從單位時間內影像發生的次數去切入影像的再現,不單單只有生產狀態,反而那段時間內所截取的影像也可能會有不同,那你會怎麼樣去描繪這樣的影像內容和樣貌?
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<span style="font-size: x-small;"><b>吳:</b>這些其實我也得到做出來時才會知道,用想的永遠不會比實際動手來得真實。有趣的是,這件作品它所生產出來的影像當初並不是最主要想被討論的東西,但幾次展覽下來卻發現它是最直接/容易被看見的部分。這也讓我產生想要試試可以創造出什麼樣的影像。
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<span style="font-size: x-small;"><b>許:這讓我也好奇你過去在劇場時對於視覺空間的訓練,先前你有提到過,這部份的訓練漸漸在你近期的創作中發酵,而開始產生一些偏移,朝向展示空間的思考,這中間會是怎麼樣的一種狀態?
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<span style="font-size: x-small;"><b>吳:</b>舉個例子,先前在國美館展時光天井展出的八頻道作品《<i>Falling</i>》,是從2D平面去創造出來的影像空間,跟觀看者所處的現實空間關係中去進行混淆。藉由那一面面影像的滑落,和掉下地面砸碎的聲音,所產生的觀看誤差。這開始成為一個出發點去發想、檢視,但每件作品當然還是有不同的討論面向。
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<span style="font-size: x-small;"><b>許:那這次新版本的《<i>Machine Whisper</i>》呢?
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<span style="font-size: x-small;"><b>吳:</b>我覺得這是很有趣的狀態。在重製作品的時候,有時候會與先前製作時的狀態不同,應該是說關心的事情會改變,所以需要在作品原本的初衷與當下在意的事情之間找到一個平衡點。這次版本的《<i>Machine Whisper</i>》就想要著墨更多在影像觀看上面的細節,就像這次除了裝置之外新加上的紀錄式影像。因此如何能夠傳達出想要表達的狀態之餘,又可以怎麼在展示上豐富觀看作品的角度,這會是我這次重製的課題。
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<span style="font-size: x-small;"><b>許:當然,我覺得你提問的狀態還是存在的,但加上了這個影像後,它反而更堅定了你當初的提問,這變成了一種附加的肯定,對於這狀態你是更有意識的去讓他面對展示機制,諸如前面提到的聲音、影像的再現、觀看的空間等等,我想這是你面對重製時的差異性吧。
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<span style="font-size: x-small;"><b>吳:</b>的確,因為這媒材在重製時其實還是有著很多不一樣的條件在。例如聲音,當初的版本並沒料想到它會這麼有存在感;影像交替的速度,所帶出來的頻率等等。但是面對重製,當這些元素又再一次出現後,我就會開始想可以怎麼比較好的處理它。
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<span style="font-size: x-small;"> 其實影像本身對我是很有吸引力的,它的內容、可被敘事的方式、場面的調度,所生產出來的訊息或感官,比如說電影,最近上映的那部《鳥人》,它就是一個影像阿,但為甚麼會這麼強?所以聊到現在,我比較好奇你從我的影像裡看到了甚麼。
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<span style="font-size: x-small;"><b>許:的確,我們今天要討論的是影像,而你這件作品的出發卻並不是從影像出發。但我們處理一個問題的方式不會只有一種。反而在影像生成的階段,它有不同的路徑,不論是直接面對或繞路去接近,這樣生產的過程,當然不只適用於這次討論的東西之上。就如同最初版本的《<i>Machine Whisper</i>》裡<u>影像是個配角</u>,但就算它是配角,它仍舊牽涉到當代影像生產的方式,以及展示上的問題,這從來不只有單一路徑。這就回到<u>展覽本身所要展現給觀者的佈署</u>上,當你在面對影像生產的時間調度,這樣的無限提問就是在設定裡的一個開場和結尾,就如同一開始我跟你說到,宜曄你的作品會在展場的正中間,而展場空間的流動性安排,會把觀眾從一開始到結尾都帶到這裡,更感官的帶到這提問中,這也是這次展覽所需要的。當初你是從裝置去碰觸到影像,而這次你是從影像回頭去安排裝置,我想這在思考問題上也是一個很大的差異。所以新添加的即時影像所佔的比例,也會更直接的把這提問的精準度提高,而回到展覽上面,這正是我們所需要的。
</b></span>Rikey Chenghttp://www.blogger.com/profile/13543113880875915297noreply@blogger.comtag:blogger.com,1999:blog-394473288106327929.post-60207716417043953752015-05-28T14:55:00.000+08:002015-05-28T14:57:38.966+08:00方彥翔與羅仕東夜談:《年—非常快,或緩慢的改變》 <span style="font-size: x-small;"><b>Arthor:</b> 方彥翔(FANG Yen-hsiang)</span><br />
<span style="font-size: x-small;"><b>Origin:</b> 《GAZE》線上誌(本文由藝術家授權轉載自<a href="http://oscar48-youarenotalone.blogspot.tw/2012/10/night-talks-with.html?m=1" target="_blank">藝術家網站</a>,感謝方彥翔協助校稿)</span><br />
<span style="font-size: x-small;"><b>Time:</b> 2011</span><br />
<span style="font-size: x-small;"><b>Keywords:</b> 羅仕東, 方彥翔, 寶藏巖, Treasure Hill, Residency, ghosts, post production</span><br />
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<span style="font-size: x-small;"><b>Abstract</b></span><br />
<blockquote class="tr_bq">
<span style="color: blue;"><span style="font-size: x-small;">甫於打開—當代藝術工作站結束的《年—非常快,或緩慢的改變》,是羅仕東歷經為期六個月藝術駐村結束,相隔半年後再度對這段寶藏巖經驗回應的個展。這批發表作品全部都是關於寶藏巖的,或者精確地説,都是關於羅仕東這個個體所重疊到的寶藏巖——不管是他對駐村期間的策動、計畫的整理,還是抽取自駐村生活中的經驗碎片,或是那些不只在半年之間所累積的傳說與奇聞軼事。這些影像和物件以獨特的形態混雜著個人記憶與集體記憶的線索,在進入夜色的暗室展場裡,羅仕東試圖引領我們或者透過作品向我們顯像的狀態,是一種從夜晚開始對寶藏巖進行的凝視,所看的不是寶藏巖的物理空間,而是寶藏巖這個「事件–所在」。
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<span style="color: blue;"><span style="font-size: x-small;">主要作品《火之記憶》這部錄像包含了幾個片段的敘事:從警衛口中說出的火災(一則傳說)、天台上觀看不行飛行物的談話(一則軼事)、人形布偶熊與裸體的行人 (一則幻想)、再造的寶藏巖火苗(一則事件)。整部影片採用35釐米焦段的鏡頭拍攝,形成一種有距離感、旁觀的位置。羅仕東將那些寶藏巖的過往事跡與個人經驗形變為某種「記憶–文本」的「微」歷史書寫,同時也是以一種紀念物的方式回應了之於寶藏巖的藝術群體——如同《火的記憶》的英文譯名:「<u>城市旁的鬼(靈)魂(ghosts next to the city)</u>」,覆蓋在商業鬧區旁的山丘上之不可見者,一再更迭但不會死亡。
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<span style="color: blue;"><span style="font-size: x-small;"></span></span></blockquote>
<blockquote class="tr_bq">
<span style="color: blue;"><span style="font-size: x-small;">《年—非常快,或緩慢的改變》許
多部份回應著曾經在寶藏巖長期居住活動的葉偉立,形成一種「之間–影像」或「複視」影像。類同於葉偉立大量拍攝自寶藏巖的攝影作品,與其說是地理學式的地
方經驗紀實,不如説帶著這個危險所描述著同一個處是由想像誕生的「差異的空間」。值得注意的是:如果今日寶藏巖這個被所有文化碎片組成它的「異托邦」
(heterotopia)形象,是一種文化治理下的異托邦「再製造」,羅仕東這批創作則是接近於布希歐(Nicolas
Bourriaud)所談「後製造」(Post production)的方式,對其岩層紋理再次摺皺。</span></span></blockquote>
<a name='more'></a><span style="font-size: x-small;"><span style="font-size: x-small;">(這<u>篇訪談內容節選自《年—非常快,或緩慢的改變》展期間方彥翔對羅仕東的專訪,訪問文本的編寫嘗試朝向讓這些關於火的記憶成為可繼續流傳的文本。</u>)</span><b> </b></span><br />
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<span style="font-size: x-small;"><b>Q、展覽為什麼取名為《年—非常快,或緩慢的改變》?</b></span><br />
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<span style="font-size: x-small;"><b>羅仕東(以下簡稱羅)</b>:自從去年九月到寶藏巖駐村,至今剛好滿一年。我想,講到寶藏巖都會想到葉偉立或是他和劉和讓一起創作的作品,那他是花了很長的時間,經歷兩個月駐村、要求文化局繼續留駐、兩年後和劉和讓將攝影整理成雙年展的作品、接下來又有畫冊整理、溫哥華的展覽各個階段……
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<span style="font-size: x-small;"> 這個名字一方面是駐村至今剛好一年的回顧,但如果跟葉偉立作一個對照,這個標題變成是一個調侃,因為一年實在太短了。和葉偉立那裡所作的事情、拍的照片、創造的故事等等,相較之下是很不對稱的。所以這個題目並不如它看起來的那麼宏大。年,在這裡反倒是一個很短的時間,是一個我們回看自己居住的環境或自己是什麼,是很近的視域。所以其實是兩個狀態攪和在一起,一方面又很短,不管是跟其他人在那裡的創作,或者是跟寶藏嚴的整個歷史相比。但對我來說這裡的經驗是很強烈的,變得很長。展覽裡有一個小標:「<u>你知道,要說藝術進駐,或是什麼藝術介入社區的想法為一種『居住』,肯定是一種妄想的症狀。但問題是,要如何説它不是?</u>」我們住在裡面,也是滿厚重的,而且是過去的事情跟現在的事情混雜在一起。
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<span style="font-size: x-small;"><b>Q、關於陽台上不明飛行物體的對話是</b>……
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<span style="font-size: x-small;"><b>羅:</b>在陽台上看外星人算是剛進去寶藏巖的時候,有幾個晚上在外面看外星人。那個時候同是駐村的曉嵐、阿文、阿鬼、葉育君,有天晚上看到一條綠色的光,看了一個晚上。那 一天我恰巧不在,但隔天我就跟他們一起去看。一開始其他人都看見我卻一直看不見,就覺得好像其他人在騙我。其實我在構思的時候一直覺得這個喬段很有趣。而中間我去金馬影展看阿比査邦的《波米叔叔的前世今生》,裡面有一段是吃飯時媽媽的鬼魂顯影出來,後來阿姨的叔叔變成眼睛發光的黑色猩靈,大家一起坐在餐桌吃飯。當波米叔叔的大伯和阿姨以及猩靈講話很自然,其中在旁邊的年輕人就又狐疑、又生氣:你們講話這麼自然,難道只有我一個人覺得奇怪嗎?我在戲院的時候就覺得好笑又很像在陽台上看外星人的狀況。我就打算要取用這個段落。
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<span style="font-size: x-small;"><b>Q、影片中的火光和警察口述的故事是不一樣的?關於影片中的火,你是如何思考的? </b></span><br />
<span style="font-size: x-small;"><br /></span>
<span style="font-size: x-small;"><b>羅:</b>火災故事是關於第一期駐村的已故藝術家:葉清芳。他也是一個攝影師。因為我所住的那間工作室剛好第一期是葉清芳居住,第二期是葉偉立,剛好兩人都住過那個空間。因為我也只能去想像以前的火災一定很大,也許福和橋那邊都看得到。如果用框去取景,應該是很遠的景,整個寶藏巖幾乎像著火一樣。但我後來決定影片中不要出現寶藏巖的全景,而是去截取小的角落。沒有全景只有片段,跟我裡面的敘事性質是比較接近。再加上這個影片主要的概念是關於「觀看」,所以基於這理由,想要把這些東西藏起來,在原先「看見」與「不被看見」的部份作反轉。後來我決定不去拍那場大火,讓它只在敘事裡面,而拍比較接近日常的火焰。因為寶藏巖以前比較常用有機的方式燒柴來生火。可能是因為那裡是違章建築,水電不是很穩定,需要光源、冬天需要溫暖或驅趕蚊蟲野獸,就像傳統對火的需要。加上寶藏巖巷子窄小又在山坡,如果有一些廢棄物搬出去丟棄很不方便,就乾脆燒掉。我想取下來的是這些比較日常的內容……
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<span style="font-size: x-small;"> 之所以想要拍關於火在寶藏巖的敘事,反倒是因為現在的寶藏巖已經不能燒東西、不能放火。我覺得那就是我進駐時面臨到的現狀,但我並不是要去反制這些規定,我只是想要了解這些規定是為什麼。所以影片裡的那些火,是透過假的、製作出來的光源來產生的,那好像表示寶藏巖經過一個轉變、轉型的過程變成現在的藝術村。我的問題是,假如不能繼續放火了,那該怎麼用什麼方式讓火可以持續在寶藏巖裡面照亮?其實那就是當藝術家,在寶藏巖會面對到最實際的狀況。拍攝《火的記憶》,我考慮的是記憶怎麼被重新書寫和重新延續。拍攝製作是有攝影或工作人員拍片的方式,但其實這個影片概念上我是把他視為是一個事件,思考怎麼讓火重新在寶藏巖發生。
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<span style="font-size: x-small;"><b>Q、影片裡面的熊布偶是怎麼來的?有什麼樣的想法? </b></span><br />
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<span style="font-size: x-small;"><b>羅:</b>我當初駐村的房間門口左右邊各有一個塗鴉,因為在葉偉立駐村的時候,常會有一些年輕學生一起來整理、改造,其中有一位年輕人為了紀念那已經過世的藝術家畫的。一邊是畫葉清芳,是一個比較可愛的塗鴉,戴眼鏡有長頭髮;另一邊應該是畫他自己想畫的,一隻藍色的熊。我把兩個塗鴉的角色抽取出來,只是原來的熊很瘦,我把牠做得肥肥的。我想現在寶藏巖整理後,牠可能吃穿比較好,所以變肥了。而頭上的刀疤是本來就有畫的,我把它製作得比較強調,那個受傷好像是人家問牠:記不記得過去發生什麼事?他會説:我記不太清楚……牠記憶有點喪失。這是我對那個角色的想像。
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<span style="font-size: x-small;"><b>Q、談論其他在駐村時的創作?
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<span style="font-size: x-small;"><br /></span>
<span style="font-size: x-small;"><b>羅:</b>一開始進去是做《寶藏湯》,「寶藏湯」是因為它的網誌叫Soup,申請帳號時使用Treasure hill會被自動被加上Soup,我就把它留下來變成「寶藏湯」。因為原來寶藏巖的住戶居民會有個一家一菜的聚餐傳統,改成藝術村後藝術家也會參與。「寶藏湯」這名字很有趣,因為一家一菜好像很少人會準備湯,好像是一個附屬、最後一道菜。這個網誌後來的想法不是當作主要的論述,但它是在那裡發生的材料,像是大家做菜剩的丟一丟,煮成一個收尾的湯。
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<span style="font-size: x-small;"> 開村的那天我是做海盜的頭帶(《海盜與靈魂》),因為我知道會有很多參觀的民眾,突然想要作抗議的頭帶發給大家。因為我發現只要看報紙上抗議的新聞,如果他不特別寫明,你會不知道他是抗議還是園遊會。可能媽媽會帶著小孩、手上拿著旗子、頭上綁頭帶。當時我覺得如果我發這些頭帶給來參觀的民眾,那他們是不是因為這個物件轉化成抗議的演員?
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<span style="font-size: x-small;"><br /></span>
<span style="font-size: x-small;"><b>Q、如果說是抗議,是在抗議什麼?海盜的用意是什麼?
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<span style="font-size: x-small;"><b>羅:</b>當初是因為傅柯(Michel Foucault)的一段話:「<u>若文明中無船,則夢幻枯絕,間諜活動取代冒險,而警察取代海盜。</u>」當時藝術村的文宣是「<u>大家來尋寶</u>」,但某種程度那邊已經沒有寶藏了……那個抗議是要傳達一個概念是:如果他們來寶藏巖還想要找到一些寶藏,那麼他們可能要像海盜、或鬼魂一樣,穿梭在禁區的地方、管制的地區、不開放的空間,他們將可以找到一些寶藏。
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<span style="font-size: x-small;"><b>Q、作品的內容我會覺得寶藏巖很重要,但在講論這些事情它還像是一個媒介,是這樣嗎?還是說它有一個需要用更特殊看待的位置?
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<span style="font-size: x-small;"><br /></span>
<span style="font-size: x-small;"><b>羅:</b>幾乎我當完兵後所有的作品都是關於寶藏巖,某種程度可以說我是一個「寶藏巖創作藝術家」。其實這很怪異,好像不應該這樣,但好像又沒有問題。這很像是葉偉立的狀況,他從寶藏巖出來以後,大家都在看他寶藏巖的作品,好像他所有的創作都是跟寶藏巖有關。一方面因為那裡有很多內容或是問題,很多東西彼此交叉,需要花一些時間才能理出頭緒。當時我在駐村我就跟偉立說:我覺得壓力很大。那個壓力並不是藝術村要我們作什麼,或村民討厭我們,也不是來了很多遊客所以壓力很大。很莫名的,好像每天都有新的東西住進來,不知道怎麼整理它。那時候偉立就給我看他和和讓一起在台北雙年展展出的作品,那些攝影搭配文字的海報。和後來第五階段在溫哥華展出的系列做比較,第五階段是攝影畫面和12封分別是寫給過世父親和其他人的信件。相較之下第五階段是很清楚的,它的文字、影像和整個作品的方向性其實是很清楚的。雙年展的作品好像是很零碎的東西拼湊在一起,然後很自然的讓他們發生一些交互的閱讀。葉偉立拿這兩個比較跟我說:你需要花一些時間才能够整理出你在這裡面究竟發生了什麼事情,經歷了什麼。
</span><br />
<span style="font-size: x-small;"> 另外,其實我有想過你問幾乎全部作品都是跟寶藏巖有關的問題,但事實上我不會這樣想,反而像是當兵的狀況,裡面是一個小社會的縮影,你在裡面發生的事情在外面也會發生。我覺得寶藏巖也是一樣的,它像是一個模型,或是一個素描的情況。也許因為它是素描所以你在裡面特別覺得浪漫、特別神奇與怪異,但其實它發生在你周遭,一直都是這樣。我是想試著把這些敘事的線頭一個一個慢慢拉到我們所處的環境,那些我在寶藏巖遇到的事情,就像鬼魂或者外星人一樣,那些我們想看卻不敢看,或者會選擇忽視、忽略或遺忘的東西,其實就存在在我們的四周。
</span>Rikey Chenghttp://www.blogger.com/profile/13543113880875915297noreply@blogger.comtag:blogger.com,1999:blog-394473288106327929.post-62357834168971045102015-04-29T12:11:00.001+08:002015-05-27T16:05:43.157+08:00區秀詒/重建的影像:以「棉佳蘭」作為方法<span style="font-size: x-small;"><b>Arthor:</b> 區秀詒(AU Sow Yee)</span><br />
<span style="font-size: x-small;"><b>Origin: </b>《居所與他方:影像測量計劃》區秀詒個展(Habitation and Elsewhere: Image as Instrument -- AU Sow Yee's Solo Exhibition)</span><br />
<span style="font-size: x-small;">EX!T 6第六屆台灣國際實驗媒體藝術展/郭昭蘭策劃</span><br />
<span style="font-size: x-small;">Experimental Media Art Festival in Taiwan 2015 (EX!T 6) curated by GUO Jau-lan</span><br />
<span style="font-size: x-small;">(原發表於<a href="http://www.pfirereview.com/20150407/" target="_blank">燧火評論</a> )</span><br />
<span style="font-size: x-small;"><b>Time:</b> 2015,Apr</span><br />
<span style="font-size: x-small;"><b>Keywords:</b> Malaysia, Contemporary art, 區秀詒, AU Sow Yee, 棉佳蘭, Mengkerang</span><br />
<span style="font-size: x-small;"><br /></span>
<hr />
<span style="font-size: x-small;"><b>Abstract</b></span><br />
<blockquote class="tr_bq">
<span style="font-size: x-small;">當代生活幾乎人手一機,每個人的雙眼已成為自動攝影機和蒙太奇製造機。影像的洪流儼然已無可避免,其所殷切期盼的動能,也因為快速模組化的影像鏡頭語匯、影像奇觀的競逐,甚至是想像,迅速落入過剩與疲乏的危機當中。身處在截然不同的歷史、社會以及政治脈絡下,我們該如何思考或翻轉西方所主導的影像機器(即製造或生產影像的機器,如暗箱、照相機、攝影機、放映機等)和機器影像(由機器所產生的影像)史觀與論述?「重建的影像」為何以及如何重建? </span></blockquote>
<blockquote class="tr_bq">
<span style="font-size: x-small;">我以棉佳蘭(Mengkerang)作為方法,重新思考出生地馬來西亞的歷史、政治脈絡,以及民族、國族國家(nation state)等看似抽象又在日常生活中切身的命題。同時透過重新思考影像和政治、幻象、共同體、歷史以及地理學之間的關係,試圖重建一種超越一般影像,具備既可解放幻影和影像的再現宿命,亦可召喚能動性的影像。「棉佳蘭」既是一個虛構想像的「地方」,也是三件影像裝置作品的核心命題。在這個命名為「棉佳蘭計劃」創作裡,我嘗試以不同的方式重新建構和想像「棉佳蘭」的地理、歷史及精神面貌,藉此回應、辯證種種諸如共同體、國族國家、歷史、流動(mobility)等框架。</span>
</blockquote>
<a name='more'></a><b>一、影像與共同體:《棉佳蘭一日無光(第一章)》
A Day Without Sun in Mengkerang(Chapter One)</b><br />
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東南亞研究學者班納迪克•安德森(Benedict Anderson)在《想像的共同體:民族主義的起源與散布》(Imagined Communities: Reflections on the Origin and Spread of Nationalism)中提出,「想像的共同體」指出「民族」是一個社會觀念:「<u>想像的共同體,不是虛構的共同體,不是政客操弄人民的幻影,而是一種與歷史文化變遷相關,根植於人類深層意識的心理的建構。</u>」透過一段發生於「棉佳蘭」的想像「旅程」,我將在馬來半島日常採集的影像,以及來自不同種族、教育背景、年齡的受訪者以接龍的方式,述說虛實交錯的故事,連同似是而非的文件,共同組成一個悠遊於現實及現實以外的詭異敘事。
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透過某程度作者權的釋放(影片創作者對於故事的話語權被釋放給故事接龍的參與者),影像與文件敘事成為了行動的可能。影片以類紀錄片的方式,由故事接龍的參與者共同建構了想像中的烏托邦。充滿悖論的是,這個想像中的棉佳蘭,卻與國家機器在教育體系、旅遊宣傳等體系所建構的類似,與現實生活無奈相悖。或許正是法國哲學家儂曦 (Jean-Luc Nancy)在《解構共同體》(La Communauté désœuvrée)裡所說的,「<u>作為一個由內在性意志支配的政治或集體事業,共同體的實現亦即是共同體的壓制,其真相亦即死亡的真相……</u>」。
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<b>二、影像與歷史:《鼠鹿、漢都亞、獠牙王、巫師、迷航的飛機與其他》Sang Kancil, Hang Tuah, Raja Bersiong, Bomoh, the Missing Jet and Others
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馬來西亞複雜的文化與信仰體系,鑄造了豐富的民間傳說。這些傳說與故事,有的甚至與現有政治體系建立的信仰的共同體是衝突的,幾乎被指認為一種異質性的他者。《鼠鹿、漢都亞、獠牙王、巫師、迷航的飛機與其他》採集不同年齡的馬來西亞人「記憶中的」民間傳說,再把這些素材解構,結合史料蒐集,重新建構一個看似熟悉卻又陌生,發生在棉佳蘭的「類民間傳說」。再以不同時期述說民間傳說的電影片段,以及英殖民時期Pathe新聞社的資料庫影片,在真實與想像的模糊邊界上,超越時間與國界向度的尋找「幽靈」(無論指是選舉期間的外籍勞工/幽靈投票人口,或深究誰是外來者,甚至外來者問題到底存不存在)的蹤跡。
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留在記憶中的民間故事,塑造了人和時間之間的動能。那些慣常被排除在歷史之外的民間故事,其動能所牽動的,是一種重新洗牌的歷史時間觀與姿態。我試圖以重建失去想像的歷史,進一步衝擊與抵制已然僵化的主流歷史詮釋 。
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<b>三、影像與地理學:《百代照相館》</b><b>Pak Tai Foto</b><br />
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百代照相館是一座實際存在的照相館,在吉隆坡開業超過50年,比「馬來西亞」這個國家還要年長。它位於英殖民時期城市發展的原點,但隨著都市更新的「需要」,週遭英殖民時期留下來的老舊店屋逐一被拆除,唯獨百代照相館的內部像是停滯的時光。週邊隨著經濟的發展與大量的人口遷移,湧進許多無合法身份的外籍勞工。百代照相館是警察總局指定的警察證件照拍攝地點之一,店裡留存了許多警察證件的照片。
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百代照相館那個恍若時間凝止的內部空間,在不斷變化的外在時空當中,實際上是一種不斷流動的,虛構的凝止的時間。於是,照相館內部就好像一個地圖, 亦已不再是一個具實體想像的「地方」,而是不斷變化的「外在」時空,穿梭流動的「外來」人口。
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我採集了外籍勞工的移動經驗與記憶, 結合攝影社在時間流逝當中的許多看似沒有「人」的,卻充滿微弱的生命氣息(仿佛曾經存在過或者超越存在)的「存在」。這些經驗與記憶相互交錯,在可指認個體的缺席下,逐漸變身成為一種想像。
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「棉佳蘭計劃」到最後,其精神與想像的核心「棉佳蘭」,是否就直接指認馬來西亞,還是我們想像以外的地方?這個創作計劃打開的,是全球化與帝國主義與其變種,所啓動的驚人移動的動能,還是更多的想像可能?
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「棉佳蘭計劃」無意提供一個確切的答案,而是在試圖鬆動地方、歷史、地理等政治框架的過程中,開啓更多的思考和討論。Anonymoushttp://www.blogger.com/profile/06391026249472871395noreply@blogger.comtag:blogger.com,1999:blog-394473288106327929.post-81091442079561219612015-04-28T17:45:00.000+08:002015-05-27T16:04:57.976+08:00倘若「語言是民族的靈魂」(If Bahasa Jiwa Bangsa)<b style="font-size: small;">Arthor:</b><span style="font-size: x-small;"> 許芳慈(HSU Fang-tzu)</span><br />
<b style="font-size: small;">Origin:</b><span style="font-size: x-small;"> 《居所與他方:影像測量計劃》區秀詒個展(Habitation and Elsewhere: Image as Instrument -- AU Sow-yee's Solo Exhibition)</span><br />
<span style="font-size: x-small;">EX!T 6第六屆台灣國際實驗媒體藝術展/郭昭蘭策劃</span><br />
<span style="font-size: x-small;">Experimental Media Art Festival in Taiwan 2015 (EX!T 6) curated by GUO Jau-lan</span><br />
<b style="font-size: small;">Time:</b><span style="font-size: x-small;"> 2015,Apr</span><br />
<span style="font-size: x-small;"><b>Keywords:</b> Malaysia, Contemporary art, 區秀詒, AU Sow-yee, 故事接龍, Exquisite Corpse</span><br />
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<blockquote class="tr_bq">
<span style="font-size: x-small;"><b>Abstract</b></span></blockquote>
<blockquote class="tr_bq">
<span style="font-size: x-small;">始於1960年代,<i>Bahasa Jiwa Bangsa</i>作為一個宣傳口號,目的是推廣以馬來語為國語的政令,卻恰好呼應著策展人黄雅君與楊秀明的馬來西亞錄像創作溯源,在東南亞一詞體現的懸置地理政治框架下,當1989年劉康煜在吉隆坡國家藝廊發表複合媒材錄像雕塑《穿越識字之道》(<i>A Passage Through Literacy</i>),而美籍藝術家雷.朗根巴赫則在檳城馬來西亞理科大學展出名為《語文課》(T<i>he Language Lesson</i>)的同步錄像裝置時,這個政令口號竟意外地招喚出動態影像媒材與實踐之間的關鍵母題——語言(Ooi 29; Ooi & Yong 231)。縱使bangsa同時也是種族或人們的泛稱,按照馬華文學研究者黃錦樹的梳理,由於馬來西亞全國作家協會(Persaudaraan Sahabat Pena Malaya [Brotherhood of Pen Friends])在1935年就以仿效19世紀以德國洪堡特提倡的民族國家情操,提出<i>Hidup Bahasai</i>(大致可譯為「<u>活出我族的語言</u>」)的標語,建構了民族與語言的連帶關係,因此,<i>Bahasa Jiwa Bangsa</i>字面上大致可以譯為「語言是民族的靈魂」,然而bangsa游移的多義性彷彿也吸引著影像去回應共同體流動的存在意像,以及運作「人群」、「種裔」、「國族」此類詞彙時的內在緊張感(黃錦樹 56)。
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<a name='more'></a>有豐富劇場工作背景的影像創作者區秀詒,帶著彷彿法國電影理論家巴贊(André Bazin)撰寫其扛鼎之作《電影是什麼?》(<i>What is Cinema?</i>)中,那種劇場與電影交疊之際的身體感,將關懷投向「政治」如何在影像可見、未被看見,和不可見之間的動態拉鋸狀態下的話語,如同賈克・洪席耶(Jacques Rancière)將電影的政治性定位「<u>在觀者眼前所見和其視得影像背後細膩的運作間隙之中</u>」,假使巴贊宣稱「<u>電影也是一種語言</u>」的論述在今日依然成立,區秀詒在是次《居所與他方:影像測量計劃》個展中所處理的「語言」母題就不單單是指稱影像敘述的內容,而是迫切地探究當<i>Bahasa Jiwa Bangsa</i>儼然得以藉音樂錄像發聲,並且透過YOUTUBE此類網路社交平台多方流通之際,其陳述之語法機制又如何改變「人群」、「種裔」、「國族」之相對意義(Rancière 104; Bazin 6)。<br />
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<b>影像的口氣</b><br />
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以「居所與他方:影像測量計劃」為名的實踐如區秀詒在自述所闡示,是某種影像重建的工作,三個看似獨立存在,但卻又在文脈上交互關聯的錄像裝置:《棉佳蘭一日無光(第一章)》、《鼠鹿、漢都亞、獠牙王、巫師、迷航的飛機與其他》以及《百代照相館》,宛若古巴籍第三電影導演耶斯比諾莎(Julio Garcia Espinosa)在1971年許諾的不完美電影(Imperfect Cinema),「<u>既是答案,也是問題,一個透過詢問進而體現自身答案的過程</u>」,特別是當區秀詒以民族誌的工作方法貫串了影像的產出,乃至影像內容採擷的生產過程,不論《棉佳蘭一日無光(第一章)》片頭的數段的自我介紹;《鼠鹿、漢都亞、獠牙王、巫師、迷航的飛機與其他》中馬六甲海邊遠景的畫外音,那配上字幕的電話交談嘎然暴露了拍攝者所座落現實時空坐標;抑或《百代照相館》中襯托訪談的環境音與具有對象性的闡述口吻,都暗示著<b>電影眼</b>(kino eye)的在場進而揭露了某種真實電影(cinéma vérité)的質地。另一方面,棉佳蘭這個既陌生又熟悉的詞彙,又毫不猶疑地以這些透過口述存在的事件為棲地,藉眾人的想像能量滋養並富饒這片紀實空間。藝術史家吉塔・卡普爾(Geeta Kapur)在探討印度紀錄片之政治性動能時便曾提到:「<u>當影像與現實之間的本體/索引鍵結遭受擾動(已不斷裂為前提),便會烘托出某種縈繞的焦慮,似乎撞見了不留足跡的魂魅縱橫往來在客觀的門檻之間</u>」(Geeta 52)。換句話說,影像的實存與言說的虛構互為文本因而無從區分的當下,再現的真實性鬆動之際,辯證思考的渠道便開啟了新可能。
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長期關注東南亞地理政治條件與影像創作的藝術史家鄭大衛(David TEH),曾經就錄像的媒材性與其相應之獨特歷史脈絡提出三個命題:磁帶錄像即是(也不是)膠卷影片、錄像作為一種口述媒材、揮之不去的獨裁主義陰影(Teh 30)。正如泰國導演阿比查邦.韋拉斯塔古(Apichatpong Weerasethakul)的《正午顯影》(<i>Mysterious Object at Noon</i>)的英文片名所暗示,影像是種神秘物體(mysterious object),既體現著權力對人群管理宰制,亦得以像班雅明筆下的新天使般指向一個彌賽亞式的歷史救贖;以阿比查邦的創作實踐為例,《正午顯影》的反敘事恰好是集體<b>故事接龍</b>(Exquisite Corpse)的敘事樣貌,從泰國北部開始一路往南,在現實情境下一個借由說故事發揮想像力串聯而成共同體,編撰了影片中另一段並進的影像時空,紀錄片的真實與劇情片的虛構相互消解下,留下的神秘物體恰好是由各種泰國鄉音的集合,從而得以體現那股主觀情感飽滿的諸眾意識形貌(Quandt 31)。區秀詒以棉佳蘭之名,參照馬來傳統價值<b>協作精神</b>(gotong royong)策動,《棉佳蘭一日無光(第一章)》與阿比查邦同樣關照著巴赫金借由<b>眾聲喧嘩</b>一詞,所欲彰顯內在於人際生活經驗的原動能量,但是與《正午顯影》溢散開放式的海景作為旅途結尾相較,伴隨著反覆鼓擊聲,看似陷入深思的眾多棉佳蘭說書人,是否也在已挪用為官方修辭學的gotong royong旁邊畫上了問號?[......]Anonymoushttp://www.blogger.com/profile/06391026249472871395noreply@blogger.comtag:blogger.com,1999:blog-394473288106327929.post-50111470781223881532015-04-07T00:00:00.000+08:002015-05-27T16:03:53.716+08:00邊陲與主體:馬華當代藝術初探<div class="tr_bq">
<span style="font-size: x-small;"><b>Arthor:</b> 高森信男(TAKAMORI Nobuo)</span></div>
<span style="font-size: x-small;"><b>Origin:</b> 藝術家(ARTIST Magazine)No.479</span><br />
<span style="font-size: x-small;"><b>Time:</b> 2015,Apr</span><br />
<span style="font-size: x-small;"><b>Keywords:</b> Malaysia, Contemporary art</span><br />
<span style="font-size: x-small;"><span style="background-color: white; color: #444444; font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif; line-height: 14px;">(轉載自:</span><a href="http://takamori-nobuo.blogspot.tw/" style="background-color: white; color: #888888; font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif; line-height: 14px; text-decoration: none;" target="_blank">Takamori's Writing / 高森書寫</a><span style="background-color: white; color: #444444; font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif; line-height: 14px;">)</span></span><br />
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<b><span style="font-size: x-small;">Abstract</span></b><br />
<blockquote>
<b><span style="font-size: x-small;">馬華的身世之謎<br />
</span></b><span style="font-size: x-small;"><br /></span><span style="font-size: x-small;">馬來西亞華人,簡稱「馬華」;是個看似明確,實則多元混雜的族群。「馬華」之所以可以被述說為某種主體,其實是來自和馬國其他族群及文化的相對差異,依斯蘭文化、印度教文化和來自歐洲的殖民文化令不同祖籍的南腔北調、峇峇娘惹文化(Baba Nyonya,15世紀起長期世居馬來亞,文化上已和當地文化融合的土生華人)、和躲避戰火的華僑新客之間的差異,顯得微不足道。企圖去定義或尋找何謂、或誰是馬華往往顯得緣木求魚,有的人可能是在19、20世紀時由泰國或印尼遷來、有的人可能是披著頭巾的穆斯林,卻有著華人血緣的祖父或祖母、有的人有強烈的中國認同、但是在90年代之後,卻有更多年輕人早已跨越族群和語言的藩籬,更為自在的建構和保護理想中的社會及本土價值。<br />
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<a name='more'></a></blockquote>
<b><span style="font-size: x-small;">邊陲中的主體性<br />
</span></b><span style="font-size: x-small;"><br /></span><span style="font-size: x-small;">而在國際藝術的領域中,馬華藝術家所遭遇的
挑戰可能遠超過居住於其他國家的「華人」藝術家。隨著中國政經勢力的崛起和中國藝術家開始掌控國際話語權之後,一種夾雜著強烈血緣形式的「華人」交流展在
各地紛紛舉辦。這類展覽在排除掉蒙古、藏族、維吾爾、朝鮮或各地原住民藝術家的參與可能性之後,卻將中國、香港、台灣等地的「華人」藝術家和樂融融的綑綁
在一起,以便符應想像中的「大中華圈」。從頻繁舉辦的大中華圈交流展到歐美各地舉著「Chinese」旗幟攬客的美術館及雙/三年展中,我們往往可以發現
東南亞華人及馬華藝術家的精采作品,常態性的在「Chinese contemporary
art」的範疇中被省略。馬華藝術家除了常常在「華人」體系這個假議題的遊戲系統中被淪為邊陲,在大馬國內的藝術史建構及藝術環境中也常常面臨到嚴峻的挑
戰。</span><span style="font-size: x-small;"><br /></span><span style="font-size: x-small;">看起來,這種雙重邊陲的狀態理應縮限馬華藝術的
發展,然而馬華藝術家除了在馬來亞藝術史中所扮演的重要角色,和國內其他族群相比,馬華族群相對活絡的族群意識、多元的國際聯結脈絡、相對缺乏宗教上的包
袱等助力,替馬華藝術建構了具備藝術史縱深的強烈主體性。關於主體性的探詢,可參考曾於北藝大留學的藝評家蔡長璜(Chai Chang
Hwang)所撰寫的《馬來西亞華人畫家的主體性初探(提綱)》。而筆者接下來,則將試圖以2014年底,於北美館舉辦的講座活動:「新音軌:馬來西亞當
代藝術實踐路徑」的五位馬華創作者為主,並酌量搭配其他藝術家的作品來作為初探馬華當代藝術的例證。[......]</span>Anonymoushttp://www.blogger.com/profile/06391026249472871395noreply@blogger.comtag:blogger.com,1999:blog-394473288106327929.post-91493686571002042352014-10-28T19:04:00.000+08:002014-12-17T16:58:07.583+08:00開箱—重裝:伊斯梅爾.哈辛紀念展 (Unpack-Repack: A Tribute to Ismail Hashim)<span style="font-size: x-small;"><b>Author: </b>許芳慈 (HSU, Fang-Tzu)</span><br />
<span style="font-size: x-small;"><b>Origin: </b>《藝術界LEAP</span><span style="font-size: x-small;">》雜誌2014年十月號No.29</span><br />
<span style="font-size: x-small;"><b>Time: </b>2014, OCT</span><br />
<span style="font-size: x-small;"><b>Keywords:</b> Malaysia, Photography, Ismail Hashim, Wong, Hoy-cheong, secondary orality</span><br />
<br />
<hr />
<blockquote class="tr_bq">
<u>書寫的主體是一個跨越層疊關係的系統,貫串了意識的神秘書寫板、心靈、社會、以及所座落世界。</u></blockquote>
<blockquote class="tr_bq">
(<i>The subject of writing is a system of relations between strata: the Mystic Pad, the psyche, society, the world.)</i> </blockquote>
<blockquote class="tr_bq">
<div style="text-align: right;">
<i>——德理達(Jacques Derrida,),「佛洛伊德和寫作場景」(Freud and the Scene of Writing;1966)
</i></div>
</blockquote>
《開箱-重裝: 伊斯梅爾・哈辛紀念展》(Unpack-Repack: A Tribute to Ismail Hashim)所體現的繁重檔案匯整研究,像是回應著1989年馬來西亞前輩藝術家伊斯梅爾・札英(Ismail Zain, 1930-1991)在第一屆東協美學研討會上,藉著麥克魯漢(Marshal McLuhan)「次生口語」(secondary orality)說法,對馬來西亞藝術殖民現代性所提出的反思,札英指出所謂原生言說傳統的消失與馬來西亞現代美學的動態鏈接,或許如同德希達演繹佛洛伊德對於記憶和心靈空間之於精神分析的闡釋,需要對書寫作出新的理解(graphematic),而非執著於語音中心主義(phonologism)<span style="font-size: x-small;">[1]</span>。藉著《開箱—重裝》整個檔案實踐到展覽的聯動,馬來西亞美學實踐的議題可以是:之於圖像的敘事、之於創作的物件、之於記憶的歷史、之於檔案的策展、 之於日常的藝術、之於信仰的勞動,在這一連串的層遞關係中,觀者如何從伊斯梅爾・哈辛(Ismail Hashim, 1940-2013)的世界觀與關懷,體悟美學的進步意義。<br />
<br />
<a name='more'></a><u>「很可惜無法在展間的出口處,放映伊斯梅爾・哈辛吹奏薩克斯風的影像,」</u><span style="font-size: x-small;">[2]</span>承擔起《開箱—重裝》策展重任的當代藝術家黃海昌在訪談中淡淡的帶出這個未竟之志,面對哈辛因摩托車意外身故後遺留多達18,000枚的物件,包括約200件作品、2500張數位影像、2500張印樣,以及多到無以計數的手稿,這是哈辛由記憶書寫出的遼闊心靈空間。對黃海昌與他的團隊來說,他們必須不斷詢問:「<u>我們應該如何開始,又從何開始?</u>」(<i>How and where does one begin?)</i><span style="font-size: x-small;">[3]</span>也唯有不斷的回到檔案的物質性,才能聽到哈辛迴盪其中的聲音。其中,哈辛憑藉著大量謄寫詩文所進行的實驗性介入,展現著他作為聾啞教師對語言質地的理解,以及對英文與馬來文之敘事運作的熟稔,為整個團隊提供了富有啓發性的參照座標,並得以焠鍊出展示主題。<br />
<br />
展場動線採取單向路徑規劃,觀者首先進入「致敬(Tribute)」展間,牆上懸掛著由哈辛的親友從他創作中,各自出揀選能夠代表哈辛的作品;接著踏入代表著藝術家創作勞動與思考原理的「癲狂(Going Bananas)」展間,除了在博物館等級的展示櫃中,各式型號的相機、底片上色工具、底片與印樣,乃至一間根據實際藝術家暗房等比打造的模型,以藝術家的口頭禪「going Bananas」框範的空間,是創作實踐勞動的思考脈絡與動能;延續著藝術家攝影實踐的動勢,以及受哈辛筆記中深入研讀丁尼生(Alfred Tennyson)詩作「尤里西斯」(Ulysses)的啟發,「展望(Looking Out)」巧妙地轉化狹長的走廊空間來體現哈辛如丁尼生筆下描繪那「無法停止旅行的自我」(I cannot rest from travel),騎著摩托車浸淫在馬來環境中攝影的取材方法。正如W. J. T. Mitchell在《地景與權力》(Landscape and Power)書中指出應當將「地景」的釋義從名詞改為動詞,「地景」不單音譯了哈辛身體力行的創作實踐,也意譯了哈辛對馬來土地上勞動階層的關懷,特別是展間中透過哈辛以平面設計師的專業,為跨越族群對立所成立的Aliran公民組織設計的一系列視覺傳達作品,更將哈辛的政治思辨與創作定位在互為經緯的維度。
<br />
<br />
他曾表達:「<u>藝術是羞澀的,若是想要接近藝術一點,則需要撫慰和耐心的誘勸。</u>」<span style="font-size: x-small;">[4]</span>這恰是平行著「展望(Looking Out)」力行精神的「諦視(Looking In)」展間適切的註腳,對比著外在世界的動盪,是哈辛在鏡頭前透過恬適家庭生活所感悟的反身語彙,或許正是因為他那透過手工著色來傳達的概念喻涵幽微而精妙,縱使他早在1993年第三屆亞太三年展即獲邀參展,那種不宣揚張狂的創作者姿態始終未曾改變,當觀者從「穿越時間:真實與美最後的相遇(Passing Time: True and Beauty Last Engagements)」步出展場時,若是能夠駐足在出口處前,體驗他在過世前利用數位相機發展出尚未完成的新系列創作,就會有機會遇見藝術家的在這整的展覽中唯一的身影,一個映照在牆上的身影。
<br />
<br />
如同黃海昌對哈辛創作中「缺席感」(sense of absence)的脈絡化解讀:「<u>雖然在他的作品中『人』總是不在現場,但這股『缺席感』卻給他的作品帶來某種『當下』的觸覺,是他所捕捉到的環境、物件、光成為那個瞬息的表徵,那個由人類創造的瞬息。</u>」<span style="font-size: x-small;">[5]</span>雖然,哈辛的剎然離席看似為他的知識遺產留了一幅無從解碼記憶的地圖,黃海昌與他的團隊延續著藝術家透過攝影創作履行的聆聽道德,憑藉著檔案研究的勞動,不只為哈辛的視覺敘事邏輯找到了發聲管道,更透過物件與知識系統的檔案化,解放了理解記憶書寫的種種可能。<br />
<br />
<br />
<span style="font-size: xx-small;">1. It is with a graphematics still to come, rather than with a linguistics dominated by an ancient phonologism, that psychoanalysis sees itself as destined to collaborate. From Jacques Derrida, "Freud and the Scene of Writing," first published in <i>Tel Quel</i>, no 26, summer 1966, collected in <i>Writing and Difference</i>. Chicago: Univeristy of Chicago Press, 1978, 196-231. p.220.</span><br />
<span style="font-size: xx-small;">2. 筆者與策展人黃海昌的訪談,參見《典藏今藝術》2014年9月號</span><span style="font-size: xx-small;">。</span><br />
<span style="font-size: xx-small;">3. 正是黃海昌為策展論述所下的標題,該文收錄於畫冊:<i>Unpack-Repack: A Tribute to Ismail Hashim </i>(Penang: Fergann Art Sdn Bhd, 2014) 。</span><br />
<span style="font-size: xx-small;">4. 參見<i>Ismail Hashim: Retrospective </i>(Penang: Penang State Museum& Art Gallery, 2010), P. 79.</span><br />
<span style="font-size: xx-small;">5. 同註2。</span>Rikey Chenghttp://www.blogger.com/profile/13543113880875915297noreply@blogger.comtag:blogger.com,1999:blog-394473288106327929.post-88605868790111792832014-10-22T11:58:00.000+08:002014-10-22T12:03:16.802+08:00Southeast Asia: Art History, Art Today<span style="font-size: x-small;"><b>Author:</b> Patrick D. Flores</span><br />
<span style="font-size: x-small;"><b>Origin:</b> <a href="http://blogs.guggenheim.org/map/southeast-asia-art-history-art-today/" target="_blank">GUGGENHEIM UBS MAPS</a></span><br />
<span style="font-size: x-small;"><b>Time:</b> 2012, OCT</span><br />
<span style="font-size: x-small;"><b>Keywords:</b> Philippines, Southeast Asia art, modernity in Asia</span><br />
<br />
<hr />
<b><span style="font-size: x-small;">Abstract</span></b><br />
<blockquote class="tr_bq">
<span style="font-size: x-small;">Southeast Asia may further be regarded as a geopolitical field, the scene of colonial expansion by the Portuguese in Eastern Timor; the British in Malaya, Burma, and Northern Borneo; the Dutch in Indonesia; the Spanish and Americans in the Philippines; and the French in Indochina (Cambodia, Vietnam, and Laos), with Siam as a buffer state. In an earlier time, the region was vaster, encompassing parts of China, India, and the Pacific. Southeast Asia may also be seen as a place where religions such as Christianity and Islam have undergone localization, exemplified by the only Catholic nation in Asia, the Philippines, and the world's most populous Islamic country, Indonesia. Links may be drawn from this colonial phenomenon to events ranging from the Cold War era that began in the late forties to the post-independence period, which spanned the rise of authoritarian states and the struggle for representation and justice, through the 1990s; the Vietnam War; the Asian financial crisis of 1997; and increasing terror and counter-terror operations after 9/11. The establishment of the Association of Southeast Asian Nations (ASEAN) in 1967 clarified the status of Southeast Asia as a geopolitical, not merely geographical, category—a distinction that remains in place. Finally, Southeast Asia may be traced to a deeper Austronesian history. [<a href="http://blogs.guggenheim.org/map/southeast-asia-art-history-art-today/" target="_blank">......</a>]</span></blockquote>
Anonymoushttp://www.blogger.com/profile/06391026249472871395noreply@blogger.comtag:blogger.com,1999:blog-394473288106327929.post-8666323157806819882014-09-26T00:00:00.000+08:002015-05-27T15:59:41.932+08:00藝術作為歷史的交匯點:馬來西亞當代藝術觀察<span style="font-size: x-small;"><b>Arthor:</b> 高森信男(TAKAMORI Nobuo)</span><br />
<span style="font-size: x-small;"><b>Origin:</b> 藝術家(ARTIST Magazine)No.447</span><br />
<span style="font-size: x-small;"><b>Time:</b> 2012,Aug</span><br />
<span style="font-size: x-small;"><b>Keywords:</b> Malaysia, Contemporary art
</span><br />
<span style="background-color: white; color: #444444; font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif; font-size: x-small; line-height: 14px;">(轉載自:</span><span style="font-size: x-small;"><a href="http://takamori-nobuo.blogspot.tw/2014/09/blog-post_12.html" style="background-color: white; color: #888888; font-family: Arial,Tahoma,Helvetica,FreeSans,sans-serif; line-height: 14px; text-decoration: none;" target="_blank">Takamori's Writing / 高森書寫</a><span style="background-color: white; color: #444444; font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif; line-height: 14px;">)</span></span><br />
<span style="font-size: x-small;"><br /></span>
<hr />
<span style="font-size: x-small;"><b>Abstract</b></span><br />
<blockquote class="tr_bq">
<span style="font-size: x-small;">長期以來,台灣和馬來西亞透過了馬華族群,有了很緊密的關係。除了大批的馬華留學生分散在台灣的各大校園之中,台灣的流行文化也透過了這層臍帶關係散佈到了馬來西亞。在90年代以前,馬華族群及台灣的臍帶,將台灣於90年代以前的文學、藝術觀念源源不絕的輸送到了馬來西亞的土地上滋生。然而隨著近20年來中國影響力的崛起,台灣藝術觀念及訊息的向外輸出已經硬生生的被更為強勢的中國當代藝術所斬斷。時至今日,即便民間的交流如此的密切,台灣觀眾對於馬來西亞藝術仍舊是缺乏接觸的機會,相關的資訊也缺乏完整的引介。</span>
<span style="font-size: x-small;"><br />台灣觀眾上一次對馬來西亞當代藝術較具標竿性的接觸,是來自於2008年的台北雙年展。當年台北雙年展邀請了馬來西亞在國際間最具代表性的當代藝術家:黃海昌(Wong Hoy-Cheong)來參與該次雙年展。並且將他的作品〈馬來西亞女傭〉(Maid in Malaysia Series),安排於台北捷運忠孝新生站月台旁的廣告光箱上展示。該作品描述了印、菲女傭於馬來西亞中產階級家庭中的超現實式處境。然而不應該因為這件作品,就誤以為馬來西亞是由單一、龐大、且同質的亞洲式中產階級所構成的社會實體。事實上,馬來西亞的當代社會是一個高度複雜的結構體。它透過了不同族群的歷史敘述邏輯,以及不同階級的政治訴求,構成了一個充滿熱帶風情的魔術方塊。也因此,如果想要透過藝術品來了解馬來西亞的社會及文化,必須先意識到把玩這個魔術方塊的藝術家,想要給你看到哪些片斷所構成的視角。[<a href="hhttp://takamori-nobuo.blogspot.tw/2014/09/blog-post_12.html" target="_blank">......</a>]</span></blockquote>
Rikey Chenghttp://www.blogger.com/profile/13543113880875915297noreply@blogger.comtag:blogger.com,1999:blog-394473288106327929.post-16286156351140069922014-09-25T00:00:00.000+08:002014-10-22T12:02:38.598+08:00混亂中的新動能:菲律賓當代藝術觀察<span style="font-size: x-small;"><b>Author:</b> 高森信男 (TAKAMORI Nobuo)</span><br />
<span style="font-size: x-small;"><b>Origin:</b> 《藝術家》 (ARTIST magazine) no.443</span><br />
<span style="font-size: x-small;"><b>Time:</b> 2012, APR</span><br />
<span style="font-size: x-small;"><b>Keywords:</b> Philippines, Contemporary art, Manila</span><br />
<span style="font-size: x-small;">(轉載自:<a href="http://takamori-nobuo.blogspot.tw/2014/09/blog-post_6.html" target="_blank">Takamori's Writing / 高森書寫</a>)</span><br />
<br />
<hr />
<b><span style="font-size: x-small;">Abstract</span></b><br />
<blockquote class="tr_bq">
<span style="font-size: x-small;">馬尼拉是個終年高溫高濕度的城市,它同時是東南亞的重要轉運站和菲律賓的首都。然而對於距離馬尼拉只有兩小時航空航程的台灣人而言,馬尼拉似乎僅僅意味著犯罪的代名詞。馬尼拉對於初訪者而言的確是個混亂的集合:它缺乏有效的大眾運輸系統及公共基礎設施,在城市中的某些區域也確實是人人擁槍的犯罪天堂。在這種外在條件下,台灣藝文圈很難會查覺到要去正視菲律賓文化。然而隨著近年來菲律賓政治的開放及資金的湧現,身為未來11國(Next 11,2005年底在投資界所提出的名詞,標示除了金磚四國外,未來全球11個重要新興經濟體)成員的菲律賓,正開始爆發出對亞洲藝壇具有足夠影響力的當代藝術。<br />
</span><span style="font-size: x-small;"><br /></span><span style="font-size: x-small;">位於馬卡迪市(Makati City,馬尼拉都會圈中的其中一個行政區)輕工業區的帕松.塔摩擴增區(Pasong Tamo Extension)2314號是個建築體上方懸掛「白色空間」(White Space)字樣的白色廠房,這座廠房有件事情會讓菲律賓人感到十分的驚訝:在菲律賓,連便利商店門口都會站著配帶散彈槍的警衛,然而駐守這座廠房門口要衝的警衛,不但沒有配帶槍械,甚至任憑外人自由進出,因為這棟廠房所生產的東西是無法被偷竊或搶奪的。白色空間原本是BMW的展示場,如今成了一間西式餐廳、假日有機蔬菜市集及「馬尼拉當代」(Manila Contemporary)畫廊的所在地。帕松.塔摩擴增區位處馬卡迪金融區的邊緣,乍看之下,被平凡無奇的輕工業、加工出口業及汽車展示及維修廠所佔據,然而包括馬尼拉當代畫廊在內,馬尼拉四個具有發展潛力及空間規模的當代藝術商業畫廊都藏身於其中。其他三間畫廊分別為「前衛老套部門」(Department of Avant-Garde Clichés, DAGC,該畫廊專營版畫)、「終曲畫廊」(Finale Art Gallery)以及「銀鏡畫廊」(Silverlens Gallery)。[<a href="http://takamori-nobuo.blogspot.tw/2014/09/blog-post_6.html" target="_blank">......</a>]</span></blockquote>
Rikey Chenghttp://www.blogger.com/profile/13543113880875915297noreply@blogger.comtag:blogger.com,1999:blog-394473288106327929.post-73218876815524579032014-09-05T00:14:00.000+08:002014-10-20T21:36:24.471+08:00Transi(en)t Penang - Facing South: an Art Practice towards Regional Consolidation, presentation by Rikey Cheng<span style="font-size: x-small;">(Author: Rikey Cheng; Proofreading: Bo-shan Wu)
</span><br />
<br />
<b><span style="font-size: x-small;">Note:</span></b><br />
<span style="font-size: x-small;">The slides and article <i>"Facing South: an art practice towards regional consolidation"</i> are made for the Talk (Collaborations with Communities) on August 27, 2014 in Georgetown, MY for Dayang Yraola's Transi(en)t Penang (originally titled <i>"Project Glocal 2014: Transi(en)t Penang"</i>, co-hosted by DA+C collaborating with Georgetown Festival), co-curated by Suzy Sulaiman of DA+C. All content under Creative Commons Attribution, Share-Alike (CC BY-SA)</span><br />
<span style="font-size: x-small;">本篇講稿與相關投影片是作者為策展人雅洛拉 (Dayang Yraola) 策劃的Transi(en)t Penang (原標題為「Project Glocal 2014: Transi(en)t Penang」)於2014s年8月27日晚間在喬治城舉辦的座談 (Collaborations with Communities) 所設計的簡報內容;Transi(en)t Penang是由馬來西亞DA+C藝術節於喬治城藝術節合作舉辦,並由策展人蘇萊曼(Suzy Sulaiman)共同策展。所有圖文為CC創用 (CC BY-SA)。</span><br />
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<b><span style="font-size: x-small;"><br />INTRODUCTION</span></b></div>
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<span style="font-size: x-small;">My name is Rikey Cheng, and I'm here on behalf of Digital Art Foundation. The title is "Collaborations with Communities", which deals with the idea of "community". Since it is important to know with whom and what community you're going to collaborate, I will start from my background, working as the editor of No Man's Land in Digital Art Foundation. However, it's pointless to you unless I stress the regional consolidation as the foreground. Which means, <b>I see communities not only groups of people living in close geographic areas, but also neighboring art circles in our common context, Southeast Asia.
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<span style="font-size: x-small;">Do those active in the region really think that they share the same understanding of "community" with their neighbors? Many will question it, and, no, it's not a conclusion yet. However, since more and more interactions of art workers in the region are happening, they have brought us to a new level of "sense of belonging", at least among Taipei, Penang, Manila, or any other city in<b> Project Glocal,</b> eventually a frame of reference based on this identity of Southeast Asia instead of other regions can be expected.<br /><br />
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<span style="font-size: x-small;">To start over the topic, I've been fascinated by the idea of working with Southeast Asia artists back to <b>2010</b>. That desire has become even clearer when two artist groups in Taiwan, Open-Contemporary Art Center (OCAC)[1] and Outsiders Factory (led by Takamori)[2] have developed their own curatorial strategies to connect Southeast Asia art scenes, and kind of "making their debuts" in <b>Thailand</b> and <b>Vietnam</b> respectively since 2012.
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<span style="font-size: x-small;">For a long time, we have been looking at the West. Now it's time to look back. Of course, there are many reasons to put us back into Asia, especially in Southeast Asia. But if we take the influences from culture study to political economy into consideration, in our society, everything happen in this decade with a hint of "turning southward" shouldn't be so surprising. I list some of the underlying factors for reference only; just want you to have a rough picture.</span><br />
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<b style="font-size: small;">BACKGROUND</b></div>
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<span style="font-size: x-small;">Here is the introduction of No Man's Land and its sponsor, Digital Art Foundation.</span><br />
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<span style="font-size: x-small;">As the founder of No Man's Land (<a href="http://www.heath.tw/">www.heath.tw</a>), which is an online art-writing project sponsored by Digital Art Foundation in Taipei, I maintain the website and work with interesting art workers through the bi-monthly issues. The loosely structured DAF includes different parts like Digital Art Center (DAC), which is headquarter of DAF, the Fablab Dynamic, the café named Noise Kitchen. Among these, the Noise Kitchen is also served as performing venue.</span><br />
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<span style="font-size: x-small;">I will specially mention the board members of DAF from ETAT. ETAT is an artist group that has existed since 1995, from its earliest experimenting web TV to the introduction of technology art by curating large digital art exhibitions after 2000. There are many independent creative projects funded by DAF with other institutions.
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<span style="font-size: x-small;">Some participants in Project Glocal Penang have heard of No Man's Land and been invited in previous issues, like Saubin Yap (in Issue November 2013: Twinning the Wastelands) and Dayang Yraola (in Issue January 2014: The Residency). We also look forward to collaborating with more friends here.
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<span style="font-size: x-small;">Briefly showing you the collaboration with curator Dayang Yraola in Glocal Taipei as my latest accomplishment as art exchange project. By hosting Project Glocal Taipei in March, No Man's Land has turned into a platform, when some of you had been there with us. I truly appreciate it, and it's also why I'm here. The difference is, Project Glocal Penang focuses more on community; the artist from Taipei is asked to work with local people, as Project Glocal Taipei focused on technology. (Will we learn from the wisdom of community?)</span><br />
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<span style="font-size: x-small;">We started to prepare Project Glocal Taipei from last August when I was asked to submit a Southeast Asian Cultural Exchange Program to Ministry of Culture in Taiwan. The detail of the plan had been worked out no more than half month, because Dayang and I only had 3 weeks to decide all. It's a lot of communication. Let's take a look at the artist presentation in Taipei by Mannet Villariba with LEE Bo-ting, Fairuz Sulaiman with HUANG Chung-ying, and Duto Hardono with CHANG Yung-ta. (<b><a href="http://projectglocaltaipei.blogspot.com/2014/07/project-glocal-2014-transient-tpe.html" target="_blank">video here</a></b>)</span><br />
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<span style="font-size: x-small;">Five months after it, it's time to reflect on it, and ask myself what it means by doing an exchange project -- do we go for art exchange because of some guaranteed position, or we just enjoy it even without any media exposure? Why we want to do this, I mean, <b>mentally and how to measure it?</b></span><br />
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<span style="font-size: x-small;"><b><br class="Apple-interchange-newline" />ART EXCHANGE</b></span></div>
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<span style="font-size: x-small;">To compare my experiences with others', I revisit some notes I'd written down after my last visit to OCAC Bangkok, in November 2012. Here you see the notes, and they show us how we see exchange as an art practice.</span><br />
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<span style="font-size: x-small;">You see different motives and criterions, even more than what I listed here. As we know the process of forming a project is complex, it's impossible to conclude all here. Hopefully, if we see exchange as way to connect with other locations, then we can always find the right questions to ask.</span><br />
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<span style="font-size: x-small;">I believe what important here is what derived from the word "location". The verb "locate" means twofold: <b>the imagined and the physical.</b> The true reason for people to choose one location always lies beyond the superficial questions. I make the distinction of two implications of "locate" due to an ambiguous mechanism. Sometimes we think ourselves on either side of exchange, but we've never been in the process. It's because more or less, we haven't really understood our needs to exchange until we are in the place and connected to it.
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<span style="font-size: x-small;">We need to realize our longing for certain places, to imagine the location itself, and make it possible through exchange. Then we can turn the imagined into real. But the process keeps changing. The more we exchange, the less we find we know it, so we have to re-locate ourselves in the right "reference point", and turn the imagined into real again.</span><br />
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<span style="font-size: x-small;">This takes us from "exchange" in this dynamic picture to questions, like, where and how do we locate ourselves? With such understanding, I put myself back to the picture of Southeast Asia, with cases to share.</span><br />
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<span style="font-size: x-small;">In 2012, both artist groups from Taiwan had set up their benchmarks with their exchange projects in the region. As I mentioned above, their destinations of exchanges are Vietnam and Thailand, particularly in Ho Chi Ming city and Bangkok areas. Using questions in my previous notes as the means of evaluation, you see basic facts about the two interesting projects.</span><br />
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<span style="font-size: x-small;">We can see in two slides, both groups and their curators are ambitious. However, projects involving two countries became successful not because of the curator's credits or other big names, such as Bùi Công Khánh from Vietnam and Sakarin Krue-On from Thailand. Perhaps, in Taiwan, we had never seen projects to introduce Vietnamese or Thai artists systematically, nor has there been any exchange to be done profoundly on such a large scale. Though critics might wonder if they have reached same effects in Ho Chi Ming city or Bangkok.
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<span style="font-size: x-small;">Why I say this? We must realize different countries have complex situations and needs. To know one country through exchange has never been easy, it's even more difficult to been interested by them. How to become a "sexy object"? This is not a formal question but it is realistic. From the two cases above, at least one can think about the question of "how to turn an art exchange project into the provocateur to local art community".</span><br />
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<span style="font-size: x-small;">SYNERGY</span></div>
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<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: xx-small;">(A model of how people move via art exchange project of different media and from different locations. The sense of the [glocal] community is only possible after such process of interaction or any exchange project.) </span></td></tr>
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<span style="font-size: x-small;"><i>(The following paragraphs I didn't mention on the talk because the time was limited. I use different color to note it.)</i><span style="color: blue;"> Technology also proves itself worthy of discussion in a topic of collaboration. Since Taiwan is famous for its achievement in electronic consumer productions and the technology, we see technology media as a chance or challenge from pop culture industry to art. </span></span><span style="color: blue; font-size: x-small;">As the possibility to enlighten people, a skill or medium, technology is the tool for artists to create. But when we used the term "technology" in contemporary art, its definition shifts quickly. The theory of new media art excits artists. However, what really matters is the influences </span><b style="color: blue; font-size: small;">on it and of it</b><span style="color: blue; font-size: x-small;">, hence it is the "ideology" that matters. You see the evidence in this sense of in many; in Project Glocal Taipei, ThaiTai or DA+C, technology has been applied differently. It will be interesting to explore the differences.</span><br />
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<span style="color: blue; font-size: x-small;">Although we're here for the celebration of Georgetown, I knew little about the heritage. The UNESCO's definition of "World Cultural Heritage City" offers nothing for us to know it unless we experience by ourselves. If we do share the sense of "community", we'll take more effort to make it happen. Then we have to know more about the legacy of it, as well as the legacy of people from other cities who come here for the project.</span><br />
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<span style="color: blue; font-size: x-small;">On one hand, the heritage has something to do with the locality -- not like the </span><span style="color: blue; font-size: x-small;">global implication of </span><span style="color: blue; font-size: x-small;">technology -- hence heritage has something to do with the formation of the sense of "belonging (to the community)". On another hand, it presented the culture from the past. It must be the </span><span style="color: blue; font-size: x-small;">community</span><span style="color: blue; font-size: x-small;"> </span><span style="color: blue; font-size: x-small;">inhabitants that connect the locality with the heritage (culture).</span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgJ25cRkyf0CWZtt9LXDlvCOmXhxNEEHB-wEpkDVDgQrV5sNDTJ-tjv-acvJy07n9kRWf-Y5FMEgc0UrdyThVjW9TN5OVqOTMn5zbcYMBN2DFWm954jgU0Ye04MpAfxDawKlExkyCsECaQ/s1600/Slide15.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgJ25cRkyf0CWZtt9LXDlvCOmXhxNEEHB-wEpkDVDgQrV5sNDTJ-tjv-acvJy07n9kRWf-Y5FMEgc0UrdyThVjW9TN5OVqOTMn5zbcYMBN2DFWm954jgU0Ye04MpAfxDawKlExkyCsECaQ/s1600/Slide15.jpg" height="300" width="400" /></a></div>
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<span style="font-size: x-small;"><b>CONSOLIDATION</b></span><br />
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<span style="font-size: x-small;">Back to the role of No Man's Land in this map, I want to borrow words from two persons. First is artist <b>HSU Chia-Wei</b>. When he tried to film his artwork for <i>Thaitai Project</i> in BACC in 2012, he had to mobilize the local artist friends and some other inhabitants in the cause of making video. Meanwhile in negotiation with local organizations, He did lots of efforts more than "being an artist". Later he described it as a "<u>self-organized </u></span><span style="font-size: x-small;"><u>temporary </u></span><span style="font-size: x-small;"><u>community"</u> in a forum in Taipei. He used this notion to refer working with both people from Thailand and Taipei. [3]</span><br />
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<span style="font-size: x-small;">So I can respond the idea of connecting Southeast Asia and my work as No Man's Land. It's the way of self-realization, self-organization or medialization with digital or new media; <b>it's consolidation as the community</b>. Here I use the term "consolidation" to replace "collaboration" in many phases. Of course, consolidation means something more active and concrete. Which in dictionary is:<u> combining into a solid mass, or, the act of combining into an integral whole</u>. It's our goal to achieve through the process of repeatedly self-organizations, also by never-ending art exchanges.
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<span style="font-size: x-small;">My presentation will end with the words of another person, professor <b>CHEN, Kuan-hsing</b> in his important work, <i>"Towards De-Imperialization: Asia as Method"</i>[4], after I try to understand the dynamics in the cases of Art Exchange in SEA from the perspective among our friends in Taipei. He suggested kind of "Asian Study in Asia; by the Asians" has inspired many people in Taiwan to turn our faces to Asia from others. So I will use these words as my summary for these three cases, of No Man's Land, OCAC, and Outsiders Factory. Here is what he said:
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<span style="font-size: x-small;"><i>(原文:透過「亞洲」這個想像的停泊點,亞洲內部不同的社會能夠成為彼此之間的參考點,如此才可能改變原有對於自我的理解,在此基礎上向前推一步,亞洲的歷史經驗及實踐也才可能成為一種另類的視野,一種境界,一種方法,對世界史提出不同的理解與問題。)</i></span><br />
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<span style="font-size: x-small;">Thank you!</span><br />
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<span style="font-size: x-small;">1. 打開-當代藝術工作站。</span><br />
<span style="font-size: x-small;">2. 奧賽德工廠。</span><br />
<span style="font-size: x-small;">3. (春之當代夜)「轉移參考點」(2013/12/27);鄭慧華主持,許家維,高森信男與談。</span><br />
<span style="font-size: x-small;">4. 陳光興,《去帝國—亞洲作為方法》。</span></div>
Rikey Chenghttp://www.blogger.com/profile/13543113880875915297noreply@blogger.comtag:blogger.com,1999:blog-394473288106327929.post-5504484921135162232014-09-04T22:22:00.000+08:002014-09-05T12:35:58.436+08:00Transi(en)t Penang - Shih-tung Lo(羅仕東)'s installation for Open Studio (A tour by Rikey Cheng)<span style="font-size: x-small;">(Artist: Shih-tung Lo; Translation: Shih-tung Lo + Rikey Cheng)
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<span style="font-size: x-small;"><b>Title:</b> Even you're rich enough to buy your life (There’s nothing you can help to fix the poor, 2014)</span><br />
<span style="font-size: x-small;"><b>Artist's statement:</b></span><br />
<span style="font-size: x-small;">Transi(en)t Penang invites contemporary artists from different Asian countries to get together in the same room. For the whole two weeks, they are asked to work with local community towards the aim of co-creation. In the beginning, I was curious about how could it be possible to bring together the opposite concepts and time frames in such a short duration for artists collaborating with community. Somehow I find the passers-by from every corners of Asia enjoy finding their lost piece of the puzzle that they belong to from the beautiful old-fashioned houses, and the diversity of lifestyles seemingly reflect on the business-management of varied restaurants from morning to late night. Even in the same restaurant, different combination of the foods and beverages are sold according to the time of a day. Of course, there are always more tourists than the local people. Suddenly I realize the settlement in this town is the conflux of the opposite ideas itself. So I’d like to open up the “transient state” of Georgetown through the on-site installation displayed with found objects in this Open Studio, therefore to go through the decaying memory hidden behind glories of history.</span><br />
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<span style="font-size: x-small;"><b>Title:</b> 縱是有錢能買命,須知無藥可療貧 (2014)</span><br />
<span style="font-size: x-small;"><b>Artist's Statement:</b></span><br />
<span style="font-size: x-small;">「(穿)景-亞洲城市串流:檳城」邀請亞洲的當代藝術創作者共同匯聚於此地,短暫進駐和社區(群)合作為其標向展開兩個星期的旅程。起先我好奇於這短暫的時間條件與社區(群)合作,兩個看似相反的概念與時態將要如何匯聚在一起 ; 但當我來到喬治城這個城市,美麗的舊式房舍讓每個來自亞洲的過客都似乎能拾起一片自身來處的失落,從白晝到夜晚多樣的生態甚至反應在餐廳的經營,即使是在同一間餐廳,不同的時間將販賣不同的餐飲。當然,還有來自世界各地的觀光客,幾乎要較當地人還要多。於是,我驚覺這個城市、聚落本身便是這兩個相反概念的匯流處。因此在這次的開放工作室中,我希望透過現地的物件裝置來展開關於喬治城的瞬態經驗,以及在歷史古蹟的光環背後的頹圮。</span><br />
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Rikey Chenghttp://www.blogger.com/profile/13543113880875915297noreply@blogger.comtag:blogger.com,1999:blog-394473288106327929.post-28837254463901669582014-08-16T22:13:00.001+08:002014-08-16T22:13:07.998+08:00Transi(en)t: the Reproduction Process of the Asian Body<span style="font-size: x-small;"><b>Author:</b> Rikey CHENG</span><br />
<span style="font-size: x-small;"><b>Origin:</b> Taiwan Digital Art and Information Cenger</span><br />
<span style="font-size: x-small;"><b>Time:</b> 2014, APR</span><br />
<span style="font-size: x-small;"><b>Keywords:</b> Asia, Body art, sound, subjectivity in Asia</span><br />
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<span style="font-size: x-small;"><b>Abstract:</b></span><br />
<blockquote class="tr_bq">
<i><span style="font-size: x-small;">As the common framework of understanding shared by the audience and the artists, Asia not only opens up the horizons through which we stretch beyond our status quo, but may also define our dialogue relation in an intangible way. And the materiality demonstrated by individual Asian bodies is reminiscent of the goals of performance art using bodies as the media for creation.</span></i></blockquote>
“Project Glocal: Transi(en)t” is an experimenting project co-organized by the independent curator Dayang Yraola and No Man’s Land in early 2014. This project invites three artists respectively from the Philippines, Malaysia, and Indonesia to reside in Taipei for a month and create works in collaboration with three Taiwanese artists. Before the end of their residency, the three pairs of artists will present their respective live performances that cover the forms of sound art, performance art and media art.<br />
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The curator’s strategy based on the one-to-one interaction is not novel. Previously, there have been exhibitions featuring artists presenting Four Areas around the Strait <span style="font-size: x-small;">(i.e. China, Hong Kong, Macau, and Taiwan)</span> or two specific cities <span style="font-size: x-small;">(Taipei and some foreign city)</span>, which prompted the visitors to associate these exhibitions with dialogues. Prior to 2012, nevertheless, Taiwan’s contemporary art circle in general had only fragmentary understanding of and sporadic exchange with Southeast Asian art circle. In view of this deficiency, Yraola invites three artists from three different cultures and languages and situated them in two contemporary art/sound art scenes in Taiwan, namely TheCube Project Space and Lacking Sound Fest. Such a practice surely can be regarded as the experiment, exchange, and artist-in-residence project through which Taiwan’s contemporary art circle seeks to engage in a “Asian dialogue” on the basis of reciprocal creation. Its diverse attributes blur the boundaries among live performance, performing and sound art, and therefore make this project difficult to be framed by single exhibition venue. Somehow, this strategy without presuming any existed difference inevitably attracts bitter criticism.<span style="font-size: xx-small;">[1]</span><br />
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What is worth noticing is that the cultural production or activism mentioned here refers to that the curator decides the forms and tools for creation before producing discourses, and such a meta-referential statement makes collective production the most significant part in the curating process. In other words, the final results are embedded in the exchange, and the participating artists in this experiment treat co-production as the underlying principle. The practice transforms the conventional relationship between curator and artist in today’s art world. In this project, the concept formulated by the curator is integrated into the actual works completed by the artists.<br />
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<b>Asian Cities in Transi(en)t
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In this project, the curator develops a main theme that runs through and therefore connects Asian cities such as Taipei, Manila, and Penang. The term “transi(en)t” carries two implications. One refers to “transit” and the other “transient.” With the embedded (en), the term “transi(en)t” not only leaves room for the audience’ interpretation, but also encompasses the inconclusive visual variables and actions from one end to the other that implied by the term “transit.” In other words, “transi(en)t” is simultaneously a temporal and spatial term. It keeps reminding us of the following questions when we try to identify the functions of this exchange. What does the exchange run through and from where to where? What is the subject in transit? Or, in the end, how transient is the existence that gets passed through?
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Under the aforementioned signification, the term “Asia” lurks in all themes in a self-evident posture. Here “Asia” serves not only as the common context for Taiwan, Malaysia, the Philippines, and Indonesia but also as the prime intersection of the conditions for artists’ creation in these countries. However, the fact that Taiwan is not acknowledged as a normal state by the international society makes the implicit intersection incomplete. Apart from this, these countries share common geographical and historical trajectories shaped by the ocean, islands, climates, cultures, immigrants & migrants, decolonization & re-colonization (on the border of the empires), as well as the capitalist context. Under these common trajectories is the intricate exoticism with which these countries alienate, bury, or disclose the multiple features reflecting their respective technological development, political agenda, and economic inequality.
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<b>Technology
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In the chapter of “The Disciplining and Domestication of Body,” performance artist Wang Mo-Lin claimed that “when the globalization of capitalism meets the body which is treated as the tool for production, the body’s existence in a consumer society seems to be redundant. The bodies of migrant workers and denizened spouses have nothing to do with exoticism. However, the set of exclusive mechanisms established by the consumer society regards them as heterogeneous groups. That is, the consumer society still oppresses the bodies of “immigrants/migration.” <span style="font-size: xx-small;">[2]</span><br />
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For the Filipino artist who belongs to a labor-exporting country, Taipei as a consumer society exhibits extreme ruthlessness disguised by conservative moralism. Cultural pluralism is reduced either by the beautification-based action of expelling the migrant workers who gather around the Taipei Railway Station on Sunday or by the gentrification process of urban renewal, that eliminates the diversity with bulldozers to create a homogenized space. Mannet Villariba, who collaborates with Li Bo-ting in the project, creates their work performed by his own body. He notices the Filipino economic structure based on long-term exportation of cheap labor, and transforms it into his presentation of bio-politics. For the viewers, however, such a bio-political interpretation does not insinuate how ruthless the migrant workers are exploited in others’ viewpoints, but can be read as an allegory of recapturing their autonomy by reversely appropriating technology. <span style="font-size: x-small;">(Marcin Ramocki: “DIY: The militant embrace of technology”)
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It’s convenient to apply technology to artistic creation in a consumer society such as Taiwan that pursues high-tech products. Nonetheless, people still cannot help but associate this scene with the alienation caused by rapid advances in the modern civilization. As a result, the scene tends to be the target of ideological criticism toward the technology topic addressed in artworks.<span style="font-size: xx-small;">[3]</span> There may be a “digital divide” between Taiwan and many Southeast Asia countries regarding the circulation of technological and electronic products. The reverse engineering adopted by the Filipinos and Indonesians eliminates not only the priority of technological application but also the poverty of creativity in our thinking. In terms of the liberal attitude about emancipation and exploration, Southeast Asian artists show us a practical technique of struggling against exploitation. Such a technique not only helps them resist the alienation of commodities but also invokes the metaphor of resisting the alienation of labor through the artist’s body.<span style="font-size: xx-small;">[4]</span><br />
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<b>Sound
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Auditory perception plays a very important role in the other two collaborative works presented at the “Lacking Sound Fest #81.” The collaborative work by Huang Chung-Ying and Fairus Sulaiman assigns an ideographic function to the sound, while that by Chang Yung-Ta and Duto Hardono is a self-sufficient sound performance. The latter manipulates the dialectical relations between analog and digital materials while projecting the operation of the sound of mono cassette recorders (and the tapes are transferred from Duto’s reel-to-reel tape recorder). Using a graphic tablet connected to his mac, Sulaiman formulates separate but complementary narrative mode to the sound produced by Chung-ying, namely the images produced on-site and the pre-recorded sound, and thereby the duo make sound and image intersubjective. Such a collaborative mode prevents the viewers from probing into the (Asian) modern approach with a biased sense to the audio or visual perception.<br />
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<i>"Visual perception inevitably turns the subject-object antithesis into a world view and makes us lonely individuals on the Earth. The mission of sound in the revolution of modernity is……to bring back the experience of the world of 'One'”</i> <span style="font-size: x-small;">(Anonymous; quoted from Lin, Chi-wei's facebook wall)
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If the modernity formed in Asia could be realized differently from that in the Western world, what kind of imagination can sound art underlain by various positions contribute to the Asian version of modernity through auditory experience? In terms of technology, how can the aforementioned reverse engineering and modulation software signals eliminate (or highlight) the geopolitical differences among Asian countries? In terms of manipulation, the Indonesian artist applies sound archives of Kunqu (崑曲) or Taiwanese opera that he does not understand to his work and Huang collects many interviews footage about the public opinion on “moving to Taipei”. How do they construct (or deconstruct) the interpretation on the meaning of auditory perception? Finally, Lim Giong (林強)’s song “March Forward(向前走)” played by Chung-ying and Fairus as the interpretation on and response to the question. It is a meta-reading which makes people mistakes transiently in a given track of emotion, memory, perception, feeling, alienation, or identity. We cannot help wondering whether the (trans-Asian) modernity points out a way to escape from the collective predicaments or merely a meta-imagination.<br />
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<b>The Asian Body
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As the common framework of understanding shared by the audience and the artists, Asia not only opens up the horizons through which we stretch beyond our status quo, but may also define our dialogue relation in an intangible way. This project intends to create a stretchable subjective dialectic with sound art, visual art, performance art, together with various technologies. However, we are unable to discuss why Taiwan’s visual art community seemingly inclines to bypass the communication with or visit to the heterogeneous adjacent regions but unreservedly accept the “international” <span style="font-size: x-small;">(or De-Southeast Asian)</span> artistic context that deliberately ignores the asymmetrical production relationship in the real world <span style="font-size: x-small;">(formed under the process of Neo-Liberal globalization with incompatible de-colonization of different Asian countries.)</span> <span style="font-size: xx-small;">[5]</span><br />
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The materiality demonstrated by individual Asian bodies is reminiscent of the goals of performance art using bodies as the media for creation. The goal is twofold. The first is to topple the rigid hierarchical regime and agency status of the Western art scene and the second is to challenge the established knowledge <span style="font-size: x-small;">(of art-making)</span> through the connection among people, environment, and media. Nowadays, should we uphold the legitimacy of a “meta-mediated” body as a production tool, whether in terms of the contemporary instrumental rationality seemed progressive but actually regressive, or the manifestation of the “Asian body” in the digital map of the Internet? Besides, who is responsible for this subjectivity redeemed in/for the Asian body, the performers or the viewers? How can the Asian body as the subject resume its “ability of percetion” with(in) new media if its construction is not meant to conjure up people’s memory of history?
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No matter what, the viewers must not reject that the question “why do people move” asked by the artist in this project exactly corresponds to the free trade/market issue in the real world. The Glocal Project also carries the connotation of “glocalization.” Even though the curator of artists cannot directly influence the course of regional free trade or avoid the risk of being incorporated in a larger market, they still can do something to help people revisit the concept of “glocalization” and develop more threads of concerns (particularly about Asia) from the perspective of body as the physical basis of existence when they encounter the bureaucratic machines, market economy, and demographic transition. Perhaps the relationship of artistic collaboration gradually formulated between Taiwan and part of Southeast Asia can be understood within the context of how to respond to the capitalist society, and thereby provides fresh realization for us.<br />
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<b><span style="font-size: xx-small;">Notes:</span></b><br />
<span style="font-size: xx-small;">1. Guo Jau-Lan, “The Mystery of Production, the Mystery of Exchange,” see <a href="http://talks.taishinart.org.tw/juries/kcl/2014041108">http://talks.taishinart.org.tw/juries/kcl/2014041108</a>.</span><br />
<span style="font-size: xx-small;">2. Wang Mo-Lin, 2009, <i>Taiwan Body Theory: Wang Mo-Lin Commentaries 1979-2009 Volume I</i>. Taipei: Zoarbook.</span><br />
<span style="font-size: xx-small;">3. Ramocki, Marchin, <i>“There is no more reverence toward technology: there is a need to question it and make sense of it. Let’s examine some of the most prominent strategies of artists involved in the critique of technology. The clearest and most straightforward are the cases where the artist actually is a hacker in the traditional sense of the word and does break something he or she shouldn’t be breaking.”</i>, ‘DIY: The Militant Embrace of Technology,’ avalaible at: <a href="http://ramocki.net/ramocki-diy.pdf">http://ramocki.net/ramocki-diy.pdf</a>.</span><br />
<span style="font-size: xx-small;">4. As above, R, Marchin, <i>“I believe that what we see happening with the new media art is the expression of the crystallizing interests of this new class: overcoming the alienation of labor (circuit bending, game hardware hacks, custom electronics), overcoming the alienation of commodity (i.e. repurposing, preparing and reverse engineering) and the political-activist attitude related to their inherent conflict with the vectoralist agenda.”</i></span><br />
<span style="font-size: xx-small;">5. Chen Kuan-hsing, <i>Toward De-Imperialization: </i></span><i style="font-size: x-small;">Asia as Method</i><span style="font-size: xx-small;">. (去帝國:亞洲作為方法)</span>Rikey Chenghttp://www.blogger.com/profile/13543113880875915297noreply@blogger.comtag:blogger.com,1999:blog-394473288106327929.post-80176919325338551782014-08-08T17:36:00.001+08:002014-08-08T17:40:59.751+08:00The Body Gesture between 0 and 1—“TYPE: ZERO” by Mannet Villariba and Lee Bo-ting<span style="font-size: x-small;"><b>Author:</b> SHIH, Min-Chieh</span><br />
<span style="font-size: x-small;"><b>Origin:</b> 藝外ARTITUDE Magazine No56</span><br />
<span style="font-size: x-small;"><b>Time:</b> 2014, May</span><br />
<span style="font-size: x-small;"><b>Keywords:</b> Technology Media, Project Glocal, Michio Kaku (加來道雄)</span><br />
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<span style="font-size: x-small;"><b>Abstract</b></span><br />
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<span style="font-size: x-small;"><i>Surrounded by the echoing voice of Michio Kaku(加來道雄)'s speech about human's future, the forms of technology and performer's body kept shifting with each other. It was the projection of the future, and it immediately turned around to highlight his anxiety which came from being unable to describe our social structure. All that forced us to try to reflect this reality.</i></span></blockquote>
“Type: Zero” is a collaborative work by Taiwanese artist Lee Bo-ting and Filipino artist Mannet Villariba who participates in the “Project Glocal.” This project seeks to bring artists from different cities together to create more possibilities for dialogue through their diverse backgrounds and contexts of creation. Instead of producing a grand narrative beyond national borders, this project aims at challenging the boundaries among different issues. Villariba employs the theory of macro-evolution developed by Japanese American scientist Michio Kaku as the context of his performance, namely “Type: Zero.” The theory identifies three types of civilization. The first is a “planetary civilization” that controls the energy of the whole planet. The second is a “stellar civilization” that controls the energy radiated from its own star. The third is a “galactic civilization” that utilizes the energy in its own galaxy. Humanity is currently in a state between type zero and the first type. Michio Kaku claims that there are two divergent attitudes in the transition from type zero to type one. The first is a pluralistic culture that emphasizes the boundlessness brought by technologies. The second is terrorism that underscores the reactions made by technologies. Villariba attempts to symbolize the borderless fluidity through specific objects and unusual body gesture, that is, combining his body with technological objects.<br />
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The whole performance is a series of interactive processes between the artist’s body and technological objects. Performing like an animal in face of a new environment, Villariba interacts with objects and experiences curiosity, trepidation, contact, conquest, control, recognition, purification, and thereby formulates technological objects with his body. An object is by no means something to be identified, but is created through its interaction with actants. According to Latour, objects and actants together weave the social network. At the beginning, Villariba treats common technological objects as ordinary “objects.” Then he makes us feel curious and astonished when we realize that these objects may lead us to a whole new world. We wonder to where we are taken and fear that our own purity may be compromised. In the conquering and accepting processes, we create new perceptive forms and observe a kind of perceptive power generated by technological objects.
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In addition, the discomfort and awkwardness caused by the artist’s performance in which he uses gummed tape to wrap printed circuit boards (mainboard) around his head directly reveal a desire and anxiety for the relationship between technology and body perception. Perhaps the artist derives this idea from Marshall McLuhan’s concept of “the extensions of man.” That is, technologies not only determine the nature of times by transforming the environment, but also change people by shaping their particular perception. When the subject tries to observe its own perception through technologies as the interface, the situation resembles Villariba’s head covered with mainboards, namely a black box. In other words, “if technologies determine our perception, we can no longer observe the medium per se when we observe through the medium.” As a material assumption, the mainboards wrapped around the artist’s head can only veil this paradox temporarily.
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At the turning point from type zero to type one, do we encounter the foregoing dilemma? Or, how do we deal with the invasion of homogeneity as the artist points out? Perhaps we can phrase this question in a different way. How is this presentation form or thinking position possible? In other words, how can we on the one hand imagine the situation of our body in the grand narrative and on the other hand explore our perception through observing others’ bodies?
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The newspapers and mainboards scattered on the floor symbolize the explosion of information in this performance, while the conveyor belt under the performer’s feet implies that we are forced to migrate ceaselessly in this era. Villariba’s performance demonstrates the process of evolution in which animal-like desire evolves into the desire for controlling information, and the interaction between body and media technology offers us perceptive experiences in the technological structure. Rather than inquiring the artist’s standpoint or fighting position from which he chooses this theoretical discourse, we should investigate how the artist “performs” the proposition in the art space. At first, the artist provides the performance with a “soundscape” background through a pre-recorded voice-over. The space contains two rooms. While the artist performs in the left-side room, the voice-over is broadcasted in both rooms by different loudspeakers. Besides, the wall between the two rooms creates surrounding and flowing sound effects. Such an arrangement not only corresponds to the theoretical proposition of flowing modernity and the background connection of this project, but also lays the foundation for the subsequent superimposition of sensory perception.
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If we temporarily concede our own power of discourse to the flowing discourse surrounding us, we can therefore focus on the situation of our body in this discursive context. At the moment, the body becomes a body to be identified by the viewers who can easily typify the state of the body, be it anxious, excited, or oppressed. Perhaps the body represents an accusation of technological oppression, unveiling a cyborg world in which technologies dominates the planet. Michio Kaku abstracts the energy of the whole planet with the very androcentrism. Or, the body symbolizes the transition from the animal-like curiosity demonstrated by the performer at the beginning, the attempts at controlling and recognizing technologies, to the celebration of the cyborg body in the end. The whole process presents two facets of technology. On the one hand, the technological objects, such as conveyor belts, papers, or mainboards that carry flowing information, serve as an interface for body perception. On the other hand, they exist as material instruments that collide with, rub against, penetrate into, and even combine with the body. More importantly, the viewers can connect the meaning of actions with their experiences through the relationship between the performer and the media. However, such a relationship also limits the switch of perceptive power in the field of art.
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Once we recognize technological objects as technological media that are able to signify forms and be present in the form of specific objects, we can therefore determine the position of the performer in the process. In particular, when we observe the fact that “media technology determines sensory experiences,” we simultaneously differentiate between consciousness and perception. For the viewers who are in the space, such an observation implies the differentiation between consciousness and body, because we can observe the body only by specifying it as externalized perception. Based on the very foundation, we can reconstruct the corporeality through observation and determine the position of the artist at the turning point of the grand narrative. The viewers can identify the meaning of actions by observing the interaction between the performer and the media. For example, when the performer keeps piling up the scattered newspapers and risks life and limb for climbing up the top of the piled newspapers, do these actions imply the unpredictable risks we must take when we try to control technological media? It is another story when we shift our focus onto the technological objects by detaching from the performer. At the moment, we do not typify the meaning of body, but allow the body to present itself.
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Accordingly, the meaning of body can only be presented and therefore offer feedback at the present. Rather than being arbitrarily inferred by theorists, the turning point of a civilization can only be grasped when it is embodied in the present situation.
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The multiple shifts between technology and body in the audio narrative represent a projection of the future. It not only highlights the anxiety of unable to correctly describe the contemporary social structure, but also forces us to respond to such kind of reality. The paradoxical forms of contemporary technologies and technological objects have been proposed in the field of art. They entail multiple technologies for observing perception. The artist actively externalizes perceptive narratives and embodies them in his body gesture. He introduces Michio Kaku’s presumptions, produces an excess of symbolic connotations, and erases the perceptive blankness left by the multiple technologies. Our projection of the future in fact complements the present structure that we cannot appropriately describe. Perhaps we must further explore these veiled forms in order to create more possibilities for the future.Rikey Chenghttp://www.blogger.com/profile/13543113880875915297noreply@blogger.comtag:blogger.com,1999:blog-394473288106327929.post-84012806784541216972014-07-24T16:09:00.000+08:002014-07-24T16:15:58.103+08:00Project Glocal 2014: Transi(en)t TPE - Artists' Presentation March 28-29<span style="font-size: x-small;">(<b>Curator:</b> Dayang Yraola;<b>Artists:</b> Mannet Villariba + Lee, Bo-ting, Fairuz Sulaiman + Huang, Chung-ying, Duto Hardono + Chang, Yung-ta)</span><br />
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<iframe allowfullscreen="" frameborder="0" height="270" src="//www.youtube.com/embed/KKnMl85hs_s?rel=0" width="480"></iframe>Rikey Chenghttp://www.blogger.com/profile/13543113880875915297noreply@blogger.comtag:blogger.com,1999:blog-394473288106327929.post-13581065107801028552014-07-01T15:15:00.001+08:002014-07-01T15:17:18.282+08:00開放知識與賦權文化實踐的共時:印尼視覺藝術檔案庫Indonesian Visual Art Archive<span style="font-size: x-small;"><b>Author:</b> 許芳慈 (HSU, Fang-Tzu)</span><br />
<span style="font-size: x-small;"><b>Origin:</b> 《典藏今藝術》 (ARTCO magazine) no.259</span><br />
<span style="font-size: x-small;"><b>Time:</b> 2014, MAY</span><br />
<span style="font-size: x-small;"><b>Keywords:</b> Indonesia, Visual Art Archive, Jorgia</span><br />
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<b>Abstract</b><br />
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<span style="font-family: monospace; white-space: pre-wrap;">因應地方藝術圈缺乏文化基礎建設,以及美術館等學術性相關機構之於知識傳播暨保存的機制,印尼視覺藝術檔案庫(Indonesian Visual Art Archive)成立於2007年,坐落於日惹的檔案庫實體空間不僅是學術工作研究者的重要資料中心,同時透過開放公眾使用以及各類工作坊、演講、放映活動等等,希望能夠提升藝術工作者以及公眾對於檔案建置以及歷史資料保存的關注,憑藉著長期的檔案工作努力,培植對於印尼現代以及當代藝術知識生產上的發展可能,最重要的是在開放知識和資料的同時賦權文化實踐和話語力量,提升有機知識分子以及公眾意識的參與性,形成一股改變印尼公民社會的驅動能量。</span>[<a href="http://artouch.com/m_test/artco/story.aspx?aid=2014041511092" target="_blank">......</a>]Anonymoushttp://www.blogger.com/profile/06391026249472871395noreply@blogger.comtag:blogger.com,1999:blog-394473288106327929.post-15610209553537279912014-06-24T17:57:00.003+08:002014-06-25T15:03:54.603+08:00The stars will align for Maneki Neko (the lucky Cat)<span style="font-size: x-small;"><b>(Author: Marika CONSTANTINO; Project Manager for Project Glocal MNL)
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My art practice, whatever/however the output/mode may be, involves patterns of contemplative inquiries and challenges. The work that we do at <b>98B COLLABoratory</b> is of no exception. Additionally, Project Glocal’s prospects in ensuing meaningful engagements also conform to such pursuits.
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We have been aware of Project Glocal since its inception. A number of artist friends were part of its previous instalment, not to mention the fact that a couple of members of 98B have been part of/are enmeshed with its various instalments as well. We have been curious spectators and interested listeners to its unfolding chapters. At present, we are adding a new layer to the experience — hosting Project Glocal: Transi(en)t Manila.<br />
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<a name='more'></a>In brief, “<i>98B COLLABoratory is a platform for critical discourse, experimentation, exchange, information and presentation of contemporary art in the Philippines. It seeks to establish a convergence with artists, designers, curators, writers, musicians, film makers, activists, educators, researchers, cultural workers, performers, architects and students together with the general public. Deemed as a site for creative sharing, discussion and collaboration, 98B is a community + network + library + kitchen + shop. Through its various programs, projects and research, 98B aims to present local and international contemporary art outside the confines of the white cube format. As such, it presents art in multiple layers and perspectives to a broad and diverse audience while contributing to the contemporary art scene.</i>” This being the case, Project Glocal together with this year’s convergent goals, we are excited to be implicated, entangled and drawn in to the adventures (and misadventures) that it promises to induce.<br />
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98B, established in January 2012 by <b>Mark Salvatus</b> and <b>Mayumi Hirano</b>, as an artist initiative and alternative space has always been interested with collaboration and sharing. We are stimulated with ideas, projects and explorations that ask pertinent questions, stretch boundaries and more importantly provide un-intimidating access to art and creativity. As a work in progress, we as a team allow ourselves elbow room for experimentation and unavoidable missteps from where we gather strength and knowledge. Thankfully, this particular disposition has given us much flexibility and spontaneity to venture into diverse activities to further our vision.
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July of 2012 also provided us with an opportune playground to frolic in – Escolta, Manila. We are currently located at the mezzanine floor of the First United Building (formerly known as the Perez-Samanillo Building which is along Escolta Street in the heart of old Manila and a stone-throw away from the world’s oldest Chinatown. The elegant six-storey art-deco building was built in 1928 and designed by Andres Luna de San Pedro (son of Juan Luna, a world-renowned Filipino painter during the late 1800s). The area in itself is considered a historic site. It was the commercial hub of Manila during the early 1900s and was a witness to many “firsts” in the country: first ice cream parlor, first movie house, first electric tram among others. It is less than a kilometre in length but it is replete of magnificent post-colonial architecture designed by highly respected Filipino architects. Significant businesses, fashionable items and imported merchandise were sourced in the street during that period.
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Since we moved to Escolta, its history and heritage have been part of 98B’s backdrop. We make no claims of being conservationists but we do support built heritage. As creatives and artists, we try to inculcate a sense of place and identity through our programs. Knowing our past is a sensible and inspiring way of enriching our present. We treat heritage and history as active cultural resources that should be impressed within the daily context of the community that we are now part of.
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Art, technology, people and heritage together with the concept of “lightning residencies” are main elements of Project Glocal: Transi(en)t Manila. Therefore, it was both a reasonable and appropriate decision for 98B to align with the undertaking. Since we also have our own artist-in-residency program, we know how important actual immersion (however limited) can be for an artist’s advancement and production. A recent development also gave rise to having Escolta serve as the medium, ground and stimulus for the Manila segment. Most definitely, this endeavour will help in creating more awareness for the street. The planned projects, installations, performances and exhibitions in the various spaces in Escolta are straightforward yet approachable ways to enliven the community, advocate for heritage and welcome new audiences for art. Additionally, it could be a platform to bare pressing and current questions.
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Moreover, we consider the likelihood of connecting the stakeholders of the area together with the artists as positive offshoots. Interdisciplinary and collective actions to help espouse cultural expressions enable a lingering effect for its viewers, participants and creators. We are hopeful that such organic forms of collaboration will continue even when the actual project is over. The various levels and layers of relative and reflective discourses that will emanate from being in transit and a transient are queries that resonate within everyone, however this is posed: within the context of locale, culture, nationality, gender, belonging, art or even love.
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Albert Einstein said, “<i>The important thing is not to stop questioning. Curiosity has its own reason for existing.</i>” We are banking on the veritable curiosity from everyone involved. This sense of wonderment will fuel and energize the desire to make things happen and persist with the examination in the form of other derivatives that could result from this year’s collaborative efforts. Experiences from Project Glocal: Transi(en)t Taipei and anticipating the happenings that will take place in Project Glocal: Transi(en)t Penang are indeed sources of motivation.
Fortunately or unfortunately for Dayang Yraola (Project Glocal’s matriarch and curator) we are hooked and are in for the long haul.
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While it may not be a marriage made in heaven, we are committed to see it through. As with all relationships, there are numerous issues to contend with (and for sure we will have more), however, we take these as trials that will eventually benefit us as a team, as artists and as individuals. The learning and potential for growth outweigh the imminent concerns. The mutual trust that remarkable things will result from this partnership are more than enough to reason to give it our all… if all else fails, Maneki Neko will see us through.
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiUTuK_fnTLK-GdpnTUMwF74_elSPBFj4LaP6Eg-qTCE4Ss5Ee9DNmHxxlvSIK1A1ewVTAFI3J5sQeQ2clDztJZLow-JqZaQs6fkE4XNq8Z-gn43xA40q7Tm7QEhylwEe6vDeUUiqm9iTuB/s1600/marika+profile.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiUTuK_fnTLK-GdpnTUMwF74_elSPBFj4LaP6Eg-qTCE4Ss5Ee9DNmHxxlvSIK1A1ewVTAFI3J5sQeQ2clDztJZLow-JqZaQs6fkE4XNq8Z-gn43xA40q7Tm7QEhylwEe6vDeUUiqm9iTuB/s1600/marika+profile.jpg" width="128" /></a></div>
<span style="font-size: xx-small;">Marika B. Constantino is a visual artist who has participated in significant exhibitions in the Philippines and abroad. As a freelance writer, she contributes to a number of globally distributed publications. She shares her various experiences in the art practice to a wider audience as an educator and an independent curator. Her early exposure to art and her boundless fascination for the creative process resulted with a degree from the UP College of Architecture to further studies at the UP College of Fine Arts, with Art History as her major. Constantino is continually striving to strike the balance between the cerebral, conceptual and experiential aspects of art with life in general, thus, fueling her fervent passion for artistic endeavors. Currently, aside from her individual art practice, she is busy co-directing the programs and activities of 98B COLLABoratory. She is the Project Manager of Project Glocal 2014. </span>Rikey Chenghttp://www.blogger.com/profile/13543113880875915297noreply@blogger.comtag:blogger.com,1999:blog-394473288106327929.post-58820181334275292512014-06-12T14:00:00.000+08:002014-06-12T14:55:19.592+08:00重新想像藝術進駐的創造力:Project Glocal亞洲城市串流策展人主題座談2 (Reconsider the Productivity of Artist-in-Residence: The Curator's Forum 2)<span style="font-size: x-small;"><b>策劃:</b>數位荒原No Man's Land + 藝外ARTITUDE</span><br />
<span style="font-size: x-small;"><b><br /></b></span><span style="font-size: x-small;"><b>Speakers: </b></span><br />
<span style="font-size: x-small;">蕭麗虹 (Margaret SHIU; 竹圍工作室創辦人)</span><br />
<span style="font-size: x-small;">雅洛拉 (Dayang Yraola; Project Global發起人)</span><br />
<span style="font-size: x-small;">高森信男 (Takamori Nobuo; 策展人, 奧賽德工廠廠長)</span><br />
<span style="font-size: x-small;">維拉里巴 (Mannet Villariba; 菲律賓藝術家)</span><br />
<span style="font-size: x-small;">鄭文琦 (Rikey Cheng; 數位荒原線上評論網站主編)</span><br />
<span style="font-size: x-small;">吳嘉瑄 (Chia-Hsuan Wu,</span><span style="font-size: x-small;">《藝外ARTITUDE》雜誌主筆)</span><br />
<span style="font-size: x-small;"><b>Origin:</b> 《藝外</span><span style="font-size: x-small;">ARTITUDE</span><span style="font-size: x-small;">》no.57</span><br />
<span style="font-size: x-small;"><b>Time:</b> 2014年6月</span><br />
<span style="font-size: x-small;"><b>Keywords:</b> Project Glocal Transi(en)t, 藝術進駐, AIR</span><br />
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<u><span style="font-size: x-small;">(接上文)</span></u><b>吳嘉瑄:</b>關於「藝術家進駐」想請問你們有沒有覺得比較好的進駐範例,或者你們認為有理想的處理形式嗎?又因為大家都強調亞洲內部的交流,它怎樣跟西方已經比較體制化的完善機構交流或做區隔?<br />
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<b>維拉里巴:</b>行為藝術比其他形式更需要解放。我2007年到日本作行為展演交流,那次進駐使我更加思考啟發我的媒介,如今證實科技顯然能賦予我更多自由,我用它來表演;從2007年開始研究科技到現在,我更肯定這種行為/表演的啟發性。所以當策展人邀我參與這次進駐時,我非常樂意,因為我認為這是合適的時機。台灣的科技很先進,我認為它應該回應「我的藝術實踐為何」的命題。<br />
<a name='more'></a><b><br /></b><b>高森信男:</b>我覺得藝術家進駐牽涉到很多,例如藝術進駐社區、進駐城市等。我在意的是藝術家的個人經驗,亦即怎樣觸發藝術家能有更多體驗。我相信這個經驗會成為另一種能量,並作為基礎。至於在美術機構來說,藝術怎麼進入城市,或美術館怎麼擴延的問題是比較後端的。我關注比較前端的,至少在台灣的現況,前端的藝術家經驗比較單純,像是學院教育還有機構化的規則(獎項、展覽流程)。對我來說,最完美的駐村就是把藝術家丟到一個甚至沒有藝術機構的地方,他們必須自行在毫無機構協助下設法組織出一個發表的過程。但這是烏托邦,因為只要涉及資金,還是要有對口才能申請補助,而且藝術家到了當地,才可能在完全陌生的狀態下知道怎麼開始做。但為什麼我還是選擇一般人更不熟悉的國家或避開已開發國家呢?因為他們機構化的程度還不算完整,於是跟他們合作是比較折衷的選項。<br />
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<b>吳嘉瑄:</b>當初的操作立意就是讓藝術家暴露在這種環境裡嗎?<br />
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<b>高森信男:</b>最初很單純,就是藝術圈接受到的資訊來源都是歐洲、美國,再來是中國、日本,所以我最早只是想push台灣藝術圈去認識完全不熟的文化所生產出的當代藝術。因此我所說的衝突是文化上的,但後來更關鍵的還有社會結構上的,不同的社會結構會形成完全不同的藝術氛圍或想像,還有機構與文化政策的運作方式。於是我覺得這些層面上的衝突超越了文化衝突,比方說我們到芬蘭會有文化衝突,但可能在社會結構上就沒有那麼大的衝突性,那種迫使你光是製作一件作品就遭遇很大的衝突。<br />
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<b>鄭文琦:</b>高森選擇了一種折衷作法,他理想中的進駐是要將我們拉出我們所習慣的,那種比較安全和機構化的作法。看起來好像要打破我們對於藝術體制的想像,然後讓藝術家的主體性得以凸顯。我想延續這點,雅洛拉提到藝術家來到進駐的地方,關鍵是沉浸在其中,那麼雅洛拉選擇將藝術家送來台北進駐,台北對妳來說,到底是一個讓藝術家充分自主的、還是一個充分機構化的環境呢?再來就是你提到「沉浸」這個字,藝術家要怎麼樣在沉浸當地氛圍的同時,又能維持著主體性?<br />
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<b>高森信男:</b>我想先插個話。2012年我做一個「南國‧國南──台越藝術家交流」,邀請一些越南藝術家來台,故意安排在比較不機構化的單位(齁空間),有些藝術家到這邊時有點失望,因為在他們想像中台灣會安排給他們比較機構化的地方,類似美術館的環境。<br />
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<b>雅洛拉:</b>我們其實是一種開放式的進駐,如我所說,藝術家進駐是建立一種關聯性。無論邀請單位如何,或不管策展人與藝術家的立場如何相對,它都要歸結到藝術家個人特質。所以選擇藝術家時,我會從一長串名單裡挑選最想認識台北的藝術家,這是我的唯一考量。這不是非A即B的問題,這是一個怎樣從A來到B的過程,也就是我對於進駐的定義。像維拉里巴,我們關注發展的科技;他也檢視海外移工議題,我知道台北能提供他創作機會;另外兩位藝術家也一樣。推薦張永達到馬尼拉也是,因為這個城市在聲音、數位與類比發展上面已有規模。我送去越南的馬尼拉藝術家是卡司提羅(Anton del Castillo),因為他和日本塗鴉藝術有連結。最合適的作法是讓一位藝術家搭配一位本地藝術家,讓他們共同創作。當然我不是社會工作者而是創意工作者,所以我的心力直接對應在藝術家如何從經驗獲益。當你談論機構化還是開放性進駐的問題,我感到有點困惑。作為策展人我沒太多駐村經驗,但有一套設計方案的方法。我也和學院工作並交流。我會說:<i>這是我的研究方案,接下來三個月我要做這個;</i>只要他們看過通常都會答應。我到目前沒有直接和藝術村合作過。我通常是藝術引導而非提供方法,挑選合作藝術家的理由也是基於此。<br />
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<b>蕭麗虹:</b>規畫進駐首先是要用網路來進行前置作業,藝術家之間透過網路媒合,這種作法有別於我們目前的方式。台灣藝術家真的需要理解:駐村的目標是行銷自己的藝術能力跟履歷嗎?不是的,應該利用機會培植自己的實力。而不是當你到另一個地方,連亞洲是什麼、優勢是什麼都不清楚。藝術家怎樣加強自己的厚度和論述很重要,若是送藝術家去巴黎或紐約駐村,如果他們不夠爽利,反而會受到打擊。現在歐盟會將35歲以下的年輕藝術家送去邦交國駐村,這些也包括非洲國家,這樣的作法可以激發藝術家的能量。我跟高森在這點比較接近,就是亞洲對亞洲。我還是偏向可以跟文化部申請,然後要提供台灣藝術家到國外和國外藝術家來台的雙向補助,有來有去才算真的朋友。<br />
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配對(matching)很重要,高森信男現在的工作應該要更加推廣。他在橫濱黃金町的進駐,我們推薦名單也要慎選。文化部總是要求藝術家發表成果,但是我主張不要有發表,而是思考什麼才是藝術家拿得出最有效益的?這就需要機構和策展人的溝通。藝術家了解當地環境嗎?他們了解機構能提供什麼資源?所以名單的適合影響很大;有這麼多單位想送藝術家來竹圍,是因為我們有不同想法。我與吳瑪悧邀來十幾位國際藝術家,他們也了解我們的生態環境,才能拿到台新獎。而吳瑪悧的策展包括進駐計畫、種地計畫、有生態的層次,社區也獲益,他們了解自己的環境需要發聲;公部門也知道社區有能力凸顯議題,大家都獲益。很多藝術家告訴我他們喜歡竹圍工作室,因為我們不是那麼官僚;大家想烤肉就烤肉,不是在框架內做事而以有機方式串聯,這才是真正的效益。「南國‧國南」也是如此,這都不是文化部、經濟部能夠衡量的效益。策展人就像媒婆,而最好的進駐計畫就是配對好的,我要求合作單位或策展人一定要來過竹圍,然後我才相信他們推薦來的人;就像我們推薦高森信男去黃金町,也是去過那裡。藝術家跟藝術家、藝術家跟藝術機構及藝術行政人員共創一個東西,最後共創出來一定要藝術性的嗎?總之社會價值一定要有,像是行為藝術節包容的跨文化、跨性別、跨國別是很多藝術家會做的,但不會有單獨掛名,因為這是共創出來的。<br />
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<b>鄭文琦:</b>今天雖然一開始是從比較機構化的預設發問,但過程中也談到這類體制從一個機構轉移到現實條件時所遭遇的限制,於是進駐單位作為一個資訊平台的重要性重新被提出來了。當然我不會說機構化的現象就不存在了,不過雅洛拉和高森提供他們的策展人觀點,也提醒了藝術家進駐不該是種兩難的選項。進駐可以挑戰藝術家、讓他們重拾主體性;更需要放下自我並融入環境。或許打破機構化的進駐不只是種呼籲,更是種現實,因為我們即使在缺乏資源的情況下仍持續透過網路串聯,直到資源足夠再行交流。最後,今天我們看到更多亞洲局部的交流需求,它不只是奠基於彼此認識的需要,更如高森今天所說的、某種恢復主體性的需要使然。我們也將繼續期待更創意的藝術家進駐,以及它們如何發揮作為藝術生產的核心魅力。Anonymoushttp://www.blogger.com/profile/06391026249472871395noreply@blogger.com