Transi(en)t: the Reproduction Process of the Asian Body

Author: Rikey CHENG
Origin: Taiwan Digital Art and Information Cenger
Time: 2014, APR
Keywords: Asia, Body art, sound, subjectivity in Asia

---

Abstract:

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.

“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.

The Body Gesture between 0 and 1—“TYPE: ZERO” by Mannet Villariba and Lee Bo-ting

Author: SHIH, Min-Chieh
Origin: 藝外ARTITUDE Magazine No56
Time: 2014, May
Keywords: Technology Media, Project Glocal, Michio Kaku (加來道雄)

---

Abstract

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.

“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.

Project Glocal 2014: Transi(en)t TPE - Artists' Presentation March 28-29

(Curator: Dayang Yraola;Artists: Mannet Villariba + Lee, Bo-ting, Fairuz Sulaiman + Huang, Chung-ying, Duto Hardono + Chang, Yung-ta)

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

Author: 許芳慈 (HSU, Fang-Tzu)
Origin: 《典藏今藝術》 (ARTCO magazine) no.259
Time: 2014, MAY
Keywords: Indonesia, Visual Art Archive, Jorgia

---

Abstract

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。[......]

The stars will align for Maneki Neko (the lucky Cat)

(Author: Marika CONSTANTINO; Project Manager for Project Glocal MNL)

My art practice, whatever/however the output/mode may be, involves patterns of contemplative inquiries and challenges. The work that we do at 98B COLLABoratory is of no exception. Additionally, Project Glocal’s prospects in ensuing meaningful engagements also conform to such pursuits.

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.

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)

策劃：數位荒原No Man's Land + 藝外ARTITUDE

Speakers: 
蕭麗虹 (Margaret SHIU; 竹圍工作室創辦人)
雅洛拉 (Dayang Yraola; Project Global發起人)
高森信男 (Takamori Nobuo; 策展人, 奧賽德工廠廠長)
維拉里巴 (Mannet Villariba; 菲律賓藝術家)
鄭文琦 (Rikey Cheng; 數位荒原線上評論網站主編)
吳嘉瑄 (Chia-Hsuan Wu,《藝外ARTITUDE》雜誌主筆)
Origin: 《藝外ARTITUDE》no.57
Time: 2014年6月
Keywords: Project Glocal Transi(en)t, 藝術進駐, AIR

（接上文）吳嘉瑄：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？

維拉里巴：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。

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1 (Reconsider the Productivity of Artist-in-Residence: The Curator's Forum 1)

策劃：數位荒原No Man's Land + 藝外ARTITUDE

Speakers: 
蕭麗虹 (Margaret SHIU; 竹圍工作室創辦人)
雅洛拉 (Dayang Yraola; Project Global發起人)
高森信男 (Takamori Nobuo; 策展人, 奧賽德工廠廠長)
維拉里巴 (Mannet Villariba; 菲律賓藝術家)
鄭文琦 (Rikey Cheng; 數位荒原線上評論網站主編)
吳嘉瑄 (Chia-Hsuan Wu,《藝外ARTITUDE》雜誌主筆)
Origin: 《藝外ARTITUDE》no.57
Time: 2014年6月
Keywords: Project Glocal Transi(en)t, 藝術進駐, AIR

鄭文琦：這個論壇是因為數位荒原與策展人雅洛拉（Dayang Yraola）合作的「Project Glocal亞洲城市串流」，在今年3月邀請三位東南亞藝術家到台北進駐一個月。我們過去跟東南亞交流只用很機動的方式動員；2012年起，打開-當代藝術工作站和奧賽德工廠發起跟泰國和越南的交流，數位荒原都有相關採訪或評論。一方面，2014年的藝術家進駐延續了2012年的交流視野，另一方面，台北又是雅洛拉的「Project Glocal」計畫的延展與最新一個節點。不論從藝術家、機構或團體的角度來看藝術家進駐，它都是交流過程中不可缺的一部分。藝術家進駐從上個世紀後半葉開始盛行，雖然沒有特定的模式，卻是很快認識一個地方的最佳方案，同時不可避免地成為機構的一部分，可能是美術館、大學、藝廊、工作室，以及專門提供進駐的藝術村。那麼「Project Glocal」該如何在這種脈絡下被理解？我們又該如何談論藝術家進駐的創造性？本次邀請到竹圍工作室主持人蕭麗虹，2012年進駐竹圍的藝術家有一半來自東南亞，蕭老師更是台灣最早引進藝術家進駐概念的前輩，所以我想請您先談談對藝術家進駐的再詮釋。