記憶邊境：Gallery 101駐村創作 Open Studio
講者：
Marta Trotsiuk
Zirka Savka
Myroslava Bachkur
Veronika Cherednychenko

講者介紹：
Gallery 101 創立於 2017 年，創辦人 Marta Trotsiuk 為藝廊負責人與策展人，她以此計畫探索世界各地藝廊的營運方式及商業模式，獲得開設藝術空間所需的知識並累積經驗，最終目標是探訪100家藝術空間後，在家鄉烏克蘭利沃夫開設自己的藝術空間「Gallery 101」。至今她已拜訪了 33 個國家和 69 個城市，探索了 96 個藝術空間。Gallery 101 計畫的成立宗旨為致力推廣、普及烏克蘭當代藝術，並且促進發展烏克蘭的藝術市場。目前作為一線上藝廊計畫，除規劃快閃活動，也舉辦展覽、漫步藝術計畫、慈善藝術拍賣會、出版書籍、錄製 Podcast 等。
It started in 2017 when Marta Trotsiuk, now a gallerist and art curator, decided to explore algorithms and business models of art galleries all around the world. The aim was to gain all necessary knowledge and experience and open her own art space in native city Lviv, Ukraine. Gallery 101 after 100 visits. Now she explored 96 art spaces in 33 countries and 69 cities. Promoting Ukrainian art abroad, popularizing contemporary art and developing the art market in Ukraine. Now Gallery 101 is an online gallery with pop-up exhibitions, art events, consulting services and series of art educational publications and podcasts.

座談簡介：
2022年台灣當代一年展，視盟秉持國際人道援助精神，邀請Gallery101創辦人Marta Trotsiuk與3名藝術家Myroslava Bachkur、Anna-Zoriana Savka、VeronikaCherednychenko，來台駐地創作。她們於戰爭期間仍持續不斷創作，堅信藝術能成為幫助國家的力量，誠實記錄及傳達在戰地中發生的故事。作為新冠疫情下我國重新開放邊界後，第一組來台交流的烏克蘭藝術團體，Gallery 101創辦人Marta Trotsiuk與三位藝術家於回國前在駐村所在地寶藏巖的工作室開設工作坊，邀請其他駐村藝術家與台灣當地藝術家，共同就世界各地的藝術產業現況、藝術在戰時扮演的角色與肩負之使命等議題進行探討，並以影像紀錄工作坊的談話過程，在9月15日將駐村的寶藏巖工作室化為Open Stuio展間，對一般民眾開放並分享工作坊的點點滴滴。

In the 2022 Taiwan Contemporary Annual Exhibition, Vision Alliance upholds the spirit of international humanitarian assistance and invited Gallery 101 founder Marta Trotsiuk and three artists Myroslava Bachkur, Anna-Zoriana Savka and VeronikaCherednychenko to come to Taiwan to create their works. They continued to create during the war, believing that art could be a force for the nation, honestly recording and communicating the stories that happened on the battlefield. As the first Ukrainian art groups to come to Taiwan for cultural exchange after Taiwan reopens its borders due to the epidemic of COVID-19, Marta Trotsiuk, the founder of Gallery 101, and three artists ffom Ukraine set up a workshop at their studio of residency program in Treasure Hill. They invited other resident artists and local Taiwanese artists to discuss the current situation of the art industry around the world and the role of art in wartime. On September 15, their studio in Treasure Hill will be turned into an Open Stuio exhibition, which was open to the general public to share fruitful outcome of the workshop.

Session 1 藝術在地化—藝術與地方生態永續 Localization of Art and Sustainability of Local Ecology
主持人：策展人葉佳蓉
Curator Zoe Yeh

講者：

國內藝術團體：众藝術、星空間
國外藝術團體：Romooz Foundation、Space A
講者介紹：
众藝術（Zone Art）位於臺灣桃園市藝文特區，桃園長期以來是工業大縣，升格後的桃園市，放眼桃園的藝文前景，企圖引領更多藝術創作者與文化工作者進駐桃園，而成立此空間。此空間的成立將是桃市桃園區第一間支持當代藝術發展的平台。經過兩年的緊密籌劃，終於在 2017 年 8 月成立。展出平面、立體、錄像、裝置、行為等以視覺藝術為基礎的實驗藝術。展覽作品中皆以實驗藝術、具有觀念或結合地方實驗與研究，綜合以上總成成為桃園的藝文研究實驗室。
“Zone Art” is located in the arts & culture district of Taoyuan City. After the promotion of Taoyuan County into a special municipality, with a vision of its future cultural development, Zone Art was founded in an effort to encourage more arts, culture, and creative professionals to work in Taoyuan.

「星空間」成立於 2016 年，由新媒體藝術家鄧雯馨（aka 海星星）發起。 2018 年轉為實體空間營運。不定期舉辦座談、創作工作坊、實驗演出、影像播映，結合各領域創作者的合作模式。空間分為「藝術家進駐區」、「實驗研究室（Wuli Lab）」、「藝術家工作室」。服務範圍為藝術家短期創作空間租借、活動攝錄影紀錄、展場規劃、活動企劃、活動執行、視覺執行與製作等，致力於扶持藝術家創作展演、藝術發展與藝術教育推廣。
“Hsin'Space” was founded in 2016 by new media artist Teng Wen Hsin (aka HsinHsin). In 2018, it was converted into a physical space operation. There are seminars, creative workshops, experimental performances, video screenings and collaborative projects with multi-disciplinary creative minds held here irregularly. The space is divided into “Artist Residency Area”, “Wuli Lab” and “Artist Studio”. The scope of services includes short-term creation space rental for artists, event video recording, exhibition planning, event planning, event execution, visual execution, and production etc. We are committed to supporting artists' creation, performance, art development and art education promotion.

Romooz 基金會位於首都沙那，為一獨立非營利基金會，致力促進和發展葉門藝術和文化。通過各類國內及國際展覽，展出葉門藝術家作品及音樂製作，並開設培訓課程、駐村計畫、研討會、文學活動、會議、電影節、藝術家講座和公共節目等活動，Romooz 旨在為葉門的多元化及民主社會發展作出貢獻。Romooz 期盼藝術能作為化解衝突的手段，建設和平並促進學習和社會發展。
Located in the city of Sana’a, Romooz Foundation is an independent, non-profit foundation dedicated to the promotion and development of Yemeni Art and Culture. Through local and international exhibitions featuring the work of Yemeni artists, music production, training, residencies, workshops, literature events, conferences, film festivals, artists talks, and public programming, the foundation aims to contribute to the development of a pluralistic, democratic society in Yemen. The organization aims to promote art as a means for conflict resolution, peace-building, learning and social development.

Space A 成立於 2008 ，為一跨領域藝術機構，集結視覺藝術家、室內設計師、珠寶設計師、音樂家和作家，以推廣尼泊爾的跨領域藝術創作。這種獨特的多樣性催生了許多傑出的發想。Space A 是獨立運作的非政府組織，也是非營利、非政治性的藝術家倡議組織，其目標是建立一個穩定的批判性分析、反思、公開討論、信息交流、協作和互動交流的平台。 設立研究、討論活動、展覽、教育和駐村計畫等項目，為跨領域的當代藝術實踐做出貢獻。 Space A 是尼泊爾藝術界的先驅組織，協助在尼泊爾當代藝術中建立各種當代藝術媒介，如表演、裝置、視頻和許多實驗媒介。 自 2019 年以來，Space A 一直在規劃駐村計畫「加德滿都國際藝術家駐留項目」（KIAR），該計畫現已成為尼泊爾最重要且最具規模的藝術駐村項目，提供藝術家跨越時空、重溫歷史以及享受自然美景的駐村體驗。
Space A, for interdisciplinary art practice, was formed in 2008 with the involvement of Visual Artist, Interior Designer, Jewelry Designer, Musician, and writer to promote interdisciplinary art practice in Nepal. This unique diversity leads to lots of magnificent ideas. It is a non-governmental autonomous, non-political, and no- profitable Artist Initiative organization with the goal of establishing a stable platform for critical analysis, reflections, open discussions, information exchange, collaboration and interactive communication. It aims at contributing to interdisciplinary contemporary art practices by setting up research, discursive events, exhibitions, educational and residency programs. Space A is one of the leading artist initiatives that contributed to establishing various contemporary mediums of art such as performance, installation, video, and many experimental mediums in Nepali contemporary art. Since 2019, Space A has been organizing residency programs, “Kathmandu International Artist in Residency (KIAR)”, which has now been established as an important and largest art residency program of Nepal. KIAR is an opportunity to travel back in time and relive history as well as experience

座談簡介：
薩伊德（Edward Said）以其著述《東方主義》（Orientalism）帶動後殖民理論思潮，在戰後去帝國、建主體的後殖民語境中，亞洲與台灣當代藝術在面對全球化現象與回應全球化世界藝術舞台同時，如何轉換文化的客體身分建構其主體性，實乃一大課題。自二十世紀九○年代台灣當代藝術中「台灣藝術主體性」的探索，發展至近年本土意識高漲的台灣政治環境，許多在地藝術家以當代藝術為骨幹，填以在地文化之血肉，驅動在地文化生生不息。此現象也在亞洲各地開花結果，各地的藝術團體與機構以藝文創意產業為利器，將在地文化推至世界舞台，確立主體性的同時也達到展現文化軟實力，此藝術外交成果又迴向支持在地文化之保存與發揚。本場次邀請來自葉門的Romooz Foundation以及尼泊爾的Space A，與台灣在地藝術團體針對此主題進行經驗分享與交流，盼能持續以藝術推動及支持在地文化及藝文產業。

Edward Said’s book “Orientalism” led the trend of post-colonial theories. In the post-war post-war post-colonial context of eliminating empires and building subjects, contemporary art in Asia and Taiwan faced the phenomenon of globalization and the In response to the globalized world art stage, how to transform the object identity of culture to construct its subjectivity is a major issue. From the exploration of “Taiwanese art subjectivity” in Taiwanese contemporary art in the 1990s, it has developed into the political environment of Taiwan where local awareness has risen in recent years. Many local artists take contemporary art as the backbone, fill in the flesh and blood of local culture, and drive the local culture to sustain and survive on its own. This phenomenon has also blossomed in various parts of Asia. Art groups and institutions in various places have used the arts, culture and creative industries as a force to promote local cultures to the world stage. While establishing subjectivity, it also showcases its cultural soft power. The achievements of art diplomacy have returned To support the preservation and development of local culture. In this event, Romooz Foundation from Yemen and Space A from Nepal are invited to share and exchange experiences on this topic with local Taiwanese art groups, hoping to continue to promote and support local culture and art industry through art.

Session 2 藝術生活化—藝術教育與環境藝術 Life-Oriented Artistic Education and Environmental Art
主持人：策展人吳瑪俐
Curator Wu Ma Li

講者：

國內藝術團體：去攝影、國際關渡自然藝術季
國外藝術團體：Mahila、Gallery 101

講者介紹：
「去攝影」致力於攝影藝術的教育與研究，以及攝影藝術創作人才的培育。主要工作計畫：教育、策劃、演講、座談、策展、導覽、揪團參觀國內外的展覽。為攝影藝術創作者與學生提供學習、互動交流、創作發表的機會。2010年至今，已經舉辦超過200多場的公益活動。
go/de-photography is dedicated to education and research, as well as the cultivation of creative talents of photographic art. For photography artists and students providing opportunities for learning and creating artwork. Since 2010, more than 200 charity events have been held.

「關渡國際自然藝術季」，原名關渡國際自然裝置藝術季，自2006年起舉行，是臺灣首次有大型自然藝術活動在以保育為出發點的自然公園舉辦。每年邀請多位國際藝術家，利用自然素材現地創作出能展現藝術美感、傳遞環境關懷的戶外裝置作品。創作過程重視公眾參與，透過對話與合作融入在地精神。活動紮根於深具生態保育價值與豐富河口文化的關渡濕地，打造人與藝術、自然的對話空間，探討「人與自然的關係」這門重要課題，期望能為現代社會與自然相處的失衡狀態找回平衡點。這場藝術行動為關渡自然公園描繪了一幅河口文化、濕地保育與環境藝術共生的藍圖。藝術季藉著十五年累積的經驗與感動，下一階段將落實、深化對地方的了解與關懷，期望參與其中的每個人，能更主動積極地去重建自己與環境的關係，受自然啟發，共同為未來生命的永續找到方向。
Guandu International Nature Art Festival (originally entitled Guandu International Outdoor Sculpture Festival), dating back to 2006, was Taiwan’s first large-scale natural art event held in a conservation park. With the experience in the past ten years, this art event has come to a new stage by resetting its title since 2016. The triangle composed of river culture, wetland conservation, and environmental art is still the solid foundation of the curatorial concepts. This event aims to serve as a catalyst to deepen the public’s awareness of our environment, as well as care for local cultures. It is hoped that every single participant of this festival will take the initiative to connect with their surroundings, to get inspired by nature, and to make an effort in finding a way to a sustainable future.

Mahila Zine 創辦人為 Manmeet Sandhu 和 Shrabani Dasgupta，於 2018 年 8 月創刊出版。這是一本女性導向雜誌，每年出版三次。Mahila Zine 集結不同的想法、敘事或綜合性作品，多數來自女性、女性藝術家和／或與女性性別相關的個人。Manmeet 為居住在德里的藝術家，作品關注聚落、城市干預和連續藝術。 她目前正在德里大學攻讀美術博士學位。Shrabani 現居德里，是一位熱愛連續藝術和版畫的藝術家暨平面設計師，目前任教於一知名設計機構。
Mahila Zine was conceptualized by Manmeet Sandhu and Shrabani Dasgupta; the first issue came out in August 2018. It is a women-oriented Zine published thrice a year. The Zine attempts to be a collection of different voices, narratives, montages from amongst women, women artists and/or individuals who associate with the female gender. Manmeet is a Delhi based artist whose interest lies in assemblages, urban interventions and sequential art. She is presently pursuing her PhD in Fine Arts from the University of Delhi. Shrabani is an artist and graphic designer who loves sequential art and printmaking. Based in Delhi, she presently teaches in a reputed design institution.

Gallery 101 創立於 2017 年，創辦人 Marta Trotsiuk 為藝廊負責人與策展人，她以此計畫探索世界各地藝廊的營運方式及商業模式，獲得開設藝術空間所需的知識並累積經驗，最終目標是探訪100家藝術空間後，在家鄉烏克蘭利沃夫開設自己的藝術空間「Gallery 101」。至今她已拜訪了 33 個國家和 69 個城市，探索了 96 個藝術空間。Gallery 101 計畫的成立宗旨為致力推廣、普及烏克蘭當代藝術，並且促進發展烏克蘭的藝術市場。目前作為一線上藝廊計畫，除規劃快閃活動，也舉辦展覽、漫步藝術計畫、慈善藝術拍賣會、出版書籍、錄製 Podcast 等。
It started in 2017 when Marta Trotsiuk, now a gallerist and art curator, decided to explore algorithms and business models of art galleries all around the world. The aim was to gain all necessary knowledge and experience and open her own art space in native city Lviv, Ukraine. Gallery 101 after 100 visits. Now she explored 96 art spaces in 33 countries and 69 cities. Promoting Ukrainian art abroad, popularizing contemporary art and developing the art market in Ukraine. Now Gallery 101 is an online gallery with pop-up exhibitions, art events, consulting services and series of art educational publications and podcasts.

座談簡介：
受工業革命和資本主義影響，人們往往把藝術活動視為孤芳自賞或高不可攀的知識財產，而現今當代藝術企圖打破此傳統思維，許多地區及城市皆透過藝術增加都市的美感體驗，將藝術融入日常生活之中，「藝術」本身不再如此遙不可及。同時也有許多在地藝術家及藝術團體，利用藝術多元、包容及創新的特性，將其作為永續理念的載體，藉由環境藝術的推動，培養民眾的永續意識與創造力。更有甚者，以藝術包裝理念，反映社會現況的同時，也試圖促成正向改變，使藝術在美感教育之餘能夠推動社會改革，達到現實及思維上的永續發展。本場次邀請來自印度的藝術雜誌Mahil與烏克蘭藝術計畫Gallery 101，和台灣藝術推廣團體去攝影以及國際關渡自然藝術節團隊，共同針對藝術教育與環境藝術進行討論與經驗分享，探討如何實踐藝術生活化，發想藝術作為理念及教育載體的更多可能性。

Influenced by the industrial revolution and capitalism, people often regard artistic activities as self-appreciating or unattainable intellectual property, and contemporary art attempts to break this traditional thinking. Many regions and cities use art to enhance the aesthetic experience of the city and integrate art into it. In daily life, ‘art’ itself is no longer so out of reach. At the same time, there are also many local artists and art groups, taking advantage of the diverse, inclusive and innovative characteristics of art as a carrier of sustainable concepts, and through the promotion of environmental art, to cultivate people’s sustainable awareness and creativity. What’s more, while reflecting the current social situation with the concept of art packaging, it also tries to promote positive changes, so that art can promote social reform in addition to aesthetic education, and achieve sustainable development in reality and thinking. In this event, the art magazine Mahil from India, the Ukrainian art project Gallery 101, the Taiwanese art promotion group Go Photography and the International Guandu Nature Art Festival team were invited to discuss and share experiences on art education and environmental art, and to discuss how to practice art. Life-oriented, thinking about more possibilities of art as a carrier of ideas and education.

文獻與紀錄、策展與機構—檔案如何作為行動 Document, Exhibitions, and Institutes—Archive as Action
主持人：
台灣當代藝術資料庫關鍵字研究員陳韋綸
TCAA Keyword Researcher CHEN Wei-Lun

講者：
臺北市立美術館研究發展組 余思穎 組長
謝子龍影像藝術館 董冰峰 學術總監
TFAM Research Department Supervisor YU Si-Yin
DONG Bing-Fong

講者介紹：
余思穎，現任臺北市立美術館研究發展組組長。 2017-2022擔任臺北市立美術館展覽組組長，策展、規劃並協助各項展覽製作。2013-2015曾任《現代美術》季刊與《美術論叢》系列執行編輯 (2013-2015)。策劃的展覽包括：「小中現大：蕭麗虹的臺灣當代藝術收藏」（2022）、「走向世界：臺灣新文化運動中的美術翻轉力」（2022）、「微光闇影」（2017）、「朗誦/文件：台北雙年展1996-2014」（2016）等。

董冰峰 現為謝子龍影像藝術館學術總監，中國美院跨媒體藝術學院研究員。 2005年至今，曾先後擔任廣東美術館與尤倫斯當代藝術中心策展人、伊比利亞當代藝術中心副館長、栗憲庭電影基金藝術總監和北京OCAT研究中心學術總監。 同時他也擔任多個藝術機構、藝術理論叢書和影展的學術委員、主編與國際評委。 董冰峰曾獲「CCAA中國當代藝術評論獎」（2013）、」《YISHU》典藏國際版中國當代藝術評論獎“（2015）和亞洲 藝術文獻庫「何鴻毅家族基金中華研究駐留獎」（2017）。 董冰峰的研究領域包 括影像藝術、獨立電影、中國當代藝術史、展覽史與當代批評理論。

Dong Bingfeng is currently the academic director of Xie Zilong Photography Museum, and a research fellow at the School of Intermedia Art, China Academy of Art (CAA). From 2005 until the present, he has served in various positions, including a curator respectively at the Guangdong Museum of Art and the Ullens Center for Contemporary Art (UCCA), the deputy director of the Iberia Center for Contemporary Art, the artistic director of the Lixianting’s Film Fund, and the academic director of the OCAT Institute in Beijing. He is also an academic council member at various art institutions, chief editor of art theory book series, and international juror in film festivals. Dong is the recipient of the Chinese Contemporary Art Award – Art Critic Award (2013), the Yishu Awards for Critical Writing by Yishu: Journal of Contemporary Chinese Art (2015), and a grantee of the Robert H. N. Ho Family Foundation Greater China Research Programme by the Asian Art Archive (2017). His research interest lies in video art, independent film, Chinese contemporary art history, exhibition history, and contemporary critical theory.

座談簡介：
在當今網路資料庫盛行的年代，檔案的建置不僅是資訊轉譯的過程，透過藝術家、策展人、展覽與機構等不同位置，對過往資料的再使用、重新詮釋與不同路徑的田調，它亦成為檢視過往歷史與書寫歷史的重要媒介。然而，檔案作為一種包含影像紀錄、圖片與文字的視覺形式，在近年成為當代藝術實踐的重要方法，不論是在各個層面的展覽與機構，如美術館、雙年展、藝術資料庫與展覽的出版品中，都經常能看到不同層次的檔案文件，如何透過策展呈現資料、如何檢視這些檔案，怎麼紀錄、要記錄什麼？
本場座談邀請臺北市立美術館研究發展組組長余思穎，以及長沙謝子龍攝影博物館學術總監董冰峰，就各別機構角度與過往經驗進行對談。座談將分別從策展、展覽紀錄與出版，文件集、機構與展覽對於檔案的使用，帶大家了解從檔案與相關計畫延伸出的觀點，檔案怎麼作為一種行動？我們如何藉由檔案來翻攪過往的歷史？它如又呈現出什麼樣的藝術社會與關係網絡呢？

In an era when online databases have become increasingly popular, archiving does not merely denote the process of translating information. Through the varying positions of artists, curators, exhibitions, and institutions, the re-use, re-interpretation, and field research made of different routes regarding historical materials have transformed archive into a crucial medium in terms of examining history and historiography. However, as a visual form comprising image documentation, pictures, and texts, archive has become an important method in many aspects of the contemporary art practice. Whether it is art exhibitions or art institutions, ranging from art museums, biennials, art databases, to exhibition publications, different levels of archives and documents can oftentimes be seen. How are archival materials curatorially presented? How should archives be viewed? How and what do they be document?

This talk invites Sharleen Yu, the chief of the Research Department of the Taipei Fine Arts Museum, and Dong Bingfeng, the academic director of the Xie Zilong Photography Museum in Changsha, China, to respectively share and conduct a dialogue about their experiences from different institutional perspectives. From the angles of curating, exhibition documentation and publication, as well as the use of archives in documentation books, institutions, and exhibition, the talk introduces viewpoints extended from archives and related projects, and explores various relevant questions: How do archives function as actions? How do we review and re-activate past history? What kind of artistic society and relational network will archives reveal?

策展、藝術家與檔案：從亞洲文化研究到展覽製作 Curatorial, Artists, and Archive: From Research of Asia Culture to Exhibition Making
主持人：
台灣當代藝術資料庫關鍵字研究員陳韋綸
TCAA Keyword Researcher CHEN Wei-Lun

講者：
亞洲文化殿堂Asian Culture Complex 研究員Gimo Yi

講者介紹：
Gimo Yi為韓國光州亞洲文化殿堂（Asia Culture Center，以下稱ACC）的首席策展人。曾策畫「水天堂」（Aqua Paradiso，2022）展覽，並於2022年以首席策展人身分主持、督導ACC的其他三檔展覽，包括：「甜蜜悲傷」（Sweet Sorrow）、「邦迪散策：進一步親近地球」（Bandi Walk: One step Closer to our Earth）及「活屍來襲」（Attention! Zombies）等。她同時也策畫了亞洲文化殿堂2021年「媒體牆計劃」（Media Façade Project）展覽—「感官花園：夜幕下，光滿溢」（Sensory Garden: Night Falls, Light Fulls），主持「2020亞洲文化殿堂R駐村計劃：生物傾向」（2020 ACC_R Residency Programs: Biophilia），並策畫ACC週年展「俱樂部怪獸」（Club Monster，2016）。她曾任首爾美術館（Seoul Museum of Art）策展人，期間籌備數屆「首爾媒體城市雙年展」（Media City Seoul Biennale，2011-2013），也是「提姆．波頓」（Tim Burton，2012）和「時尚指標大獎—媒體藝術獎」（SIA Media Art Awards，2013）等展覽策展人。她也曾擔任白方塊藝術中心（Art Center White Block）首席策展人、白南準藝術中心（Nam June Paik Art Center）策展人，和韓國國際藝廊（Kukje Gallery）資深策展人。Gimo Yi擁有伊利諾大學芝加哥分校（University of Illinois Chicago）的藝術史碩士學位。

Gimo Yi is the chief curator of Asia Culture Center(ACC) located in Gwangju, South Korea. She curated ‘Aqua Paradiso’(2022)’; directed and supervised three other exhibitions as the chief curator at ACC in 2022, such exhibitions as ‘Sweet Sorrow’, ‘Bandi Walk: One step Closer to our Earth’, and ‘Attention! Zombies’. She also curated 2021 ACC Media Pacade Project ‘Sensory Garden: Night Falls, Light Fulls’; directed ‘2020 ACC_R Residency Programs: Biophilia’ and ‘ACC Art Space Network Projects’(2017~2018), and curated the First Anniversary Exhibition of Asia Culture Center, ‘Club Monster’(2016). She previously worked as a curator of SeMA(Seoul Museum of Art), organizing ‘Media City Seoul Biennale’(2011~2013); curating ‘Tim Burton’(2012) and ‘SIA Media Art Awards’(2013). She also worked as the chief curator of Art Center White Block; as a curator of NJP(Nam June Paik) Art Center, Korea; and as the senior director of Kukje Gallery. She holds a MA in Art History from University of Illinois at Chicago.

機構簡介：
亞洲文化殿堂（Asia Culture Center，以下簡稱ACC）位於韓國光州。ACC在光州民主化運動之歷史脈絡的藝術性昇華下，其設立宗旨為透過文化的交流、研究、創作和教育，推動亞洲各國間的相互理解與合作成長。尊重文化多元性的同時，以重新發現亞洲文化的真實價值、分享純粹喜悅，和培育創意人才為目標。ACC做為韓國唯一聚焦於亞洲文化及藝術的文化機構，成為「亞洲文化面向世界的窗口」，讓多元觀點在此匯聚發光。

ACC不是文化消費之所，而是創造和生產的平臺，為韓國國內的創作者提供最精良之設備與設施，同時專注於研究和實驗。藝術家、設計師、學者、 研究者、技術人員，和其他亞洲地區及世界各地的創意工作者，都可在ACC分享跨界知識、技術和經歷。其諸多場館有展覽館、音樂廳、圖書館、戶外空間等，提供創意人才展現其努力的成果。除此之外，ACC也藉由各種活動，如「ACT藝術與創意科技藝術節」（Arts and Creative Technology Festival）等，將創意人才的作品推向國際舞台。

ACC以亞洲當代議題、歷史和文化等領域的研究，打造並提供獨特展演活動。藉由相關努力，希翼與廣大觀眾分享與亞洲相關的創新觀點。

Asia Culture Center(ACC) is located in Gwangju, South Korea. Having the context of artistically sublimating the significance of the May 18th Democratic Movement, ACC was established for the advancement of mutual understanding and cooperative growth with Asian countries by carrying out cultural exchanges, research, creation, and education. ACC is a place where cultural diversity is respected, the true values of Asian cultures are rediscovered and pure joy is shared while fostering creative talents. As the only cultural institution dedicated to Asian cultures and arts in Korea, ACC is “A Window of Asian Culture Facing the World” where diverse perspectives come together to shine.

ACC is far more than a place for cultural consumption; it is also a platform for creation and production where creators can access the best equipment and facilities in the country, with a focus on research and experimentation. Here, artists, designers, scholars, researchers, technicians, and other creative minds from Asia and beyond share their knowledge, skills, and experiences across boundaries. ACC has multiple spots, including exhibition halls, concert halls, libraries, and outdoor spaces, where these creative talents can showcase the products of their efforts. In addition, the center introduces their works to the international scene through a range of events including the ACT Festival.

ACC produces and offers distinguished performances and exhibitions informed by interdisciplinary research on contemporary issues, histories, and cultures of Asia. Through these efforts, the center seeks to share new perspectives on Asia with as many people as possible.

座談簡介：
台灣當代藝術資料庫（TCAA）的關鍵字小組（Keywords Project），以臺灣區域作為研究基礎，從藝術實踐、替代空間、藝術團體等路徑，描繪出臺灣當代藝術發展的特殊情境，近年亦試圖透過亞洲各個區域的資料庫串連，連結不同地區對於自身藝術發展的理解，以及在差異種尋找共同語言與對話基礎。資料庫不僅是串連呈現各個時期藝術發展面貌，與透過關鍵字串連與記憶文化的方法，亦期待藝術家與策展人能夠以藝術資料庫，作為未來發展藝術實踐的基礎。

今年國際座談邀請亞洲文化殿堂（ACC）轄下機構亞洲文化研究所（ACI）策展人Gimo Yi，從自身在機構內進行的文化研究與資料庫活用，以及與藝術家合作發展的策展案例，分享亞洲文化殿堂是如何透過跨文化與區域的視野，在不同的藝術媒介與檔案文化中，呈現出亞洲區域在文化基礎上的共通性，他們如何透過檔案與文獻資料來進行亞洲文化的研究？

The “Keywords Project” launched by the Taiwan Contemporary Art Archive (TCAA) has centered on the Taiwan region as its research base, and has addressed different art practices, alternative spaces, and art collectives to formulate routes to approach the unique developmental context of Taiwanese contemporary art. In recent years, the project has always endeavored in building a network of archives in different Asian regions with the objective of linking with respective understanding of the art development in these regions, while searching for a common language and foundation of dialogue beyond existing differences. The TCAA not only connects different periods through delineating the development of art, but also converts the connection of keywords and the culture of memory into a method. Therefore, it is hoped that artists and curators will be able to use the archive as a foundation for developing art practices in the future.

This year, the international forum invites Gimo Yi, the curator of the Asia Culture Institute (ACI) affiliated to the Asia Culture Center (ACC), to share her experience of conducting cultural study and practical use of databases in the ACI, along with curatorial endeavors collaboratively developed with artists. Sharing the trans-cultural and trans-regional vision of the ACC, this talk unveils cultural commonalities shared by different parts of Asia through focusing on art media and the archival culture, as well as how the study of Asian culture is enabled by archives and documents.

亞洲藝術關鍵字系列 海洋與星辰—來自生物遺骸的智慧 Keywords of Asian Contemporary Art Series THE SEA, THE STARS – lessons from biological remains
主持人：藝術家伊瑟．羅德莉格茲
Moderator : Artist, Issay Rodriguez
講者介紹：藝術家伊瑟．羅德莉格茲（1991年出生於菲律賓）於菲律賓大學（University of the Philippines）取得藝術學士學位。她曾是荷西．墨雷諾基金會學者（Jose Moreno Foundation scholar），獲得就讀巴黎國立高等美術學院（École Nationale Supérieure des Beaux-Arts）獎學金，並於2013年以「優秀論文獎」（Outstanding Thesis Award）畢業。其目前的藝術實踐圍繞著人文主義和生態等相關主題的計劃。透過藝術家駐村和跨領域合作所推進的研究及社區參與，羅德莉格茲以其計劃思索如何以藝術和科技表現思想、情感和價值。近期計劃和駐村經歷有：倫敦藝術家駐村（London Artist Residency）的「Gasworks」（2022）、art n/23 AFP培力空間的「DOON AR/VR計劃」（2020）、台北竹圍工作室的「B＋」計劃（2019）、於雅加達LIR Space和馬尼拉98B藝術空間進行的「在過程中消逝：夢境狀態和象徵符號的探索」、於巴丹「美麗藝術計劃」空間進行的駐村（二個計劃皆發生於2017-18），以及第57屆威尼斯雙年展—藝術萬歲中的合作計劃（2017）。羅德莉格茲的作品曾入圍費南多．索培爾視覺藝術獎（Fernando Zobel Visual Arts Prize，2018），也曾獲馬尼拉市頒發的「藝術與文化 – 視覺藝術奬」（Patnubay ng Sining at Kalinangan for Visual Arts，2017），和「作品集藝術獎 | 10位藝術家支持的藝術家」（Portfolio Art Prize | 10 Artists Supporting Artists，2020）。她也是首次獲頒荷蘭STRP媒體藝術節「OYAYI計劃」下之STRT創意科技獎的二位菲律賓裔獲獎人之一（2023）。

Issay Rodriguez, Artist (b. 1991, Philippines) obtained a Bachelor of Fine Arts degree from the University of the Philippines. She was a Jose Moreno Foundation scholar and received a bursary to attend the École Nationale Supérieure des Beaux-Arts, Paris before graduating with the Outstanding Thesis Award in 2013. Rodriguez’ current art practice revolves around projects that deal with themes on humanism and ecology. Through research and community engagements enabled by artist residencies and interdisciplinary collaborations, she works on projects that allow oneself to think about how thoughts, emotions, and values can be explained or expressed through art and technology. Recent projects and residencies include: Gasworks, London Artist Residency (2022); DOON AR/VR Project, art n/23 AFP incubator space, (2020); B+, Bamboo Curtain Studio, Taipei (2019); VANISHING IN THE PROCESS: Exploration of Dream States and Symbolism, between LIR Space, Yogyakarta, and 98B Manila; Bellas Artes Projects in Bataan (both 2017-18); and a collaborative project for Viva Arte Viva 57th Venice Biennale (2017). Her works were shortlisted for Fernando Zobel Visual Arts Prize (2018); awarded Patnubay ng Sining at Kalinangan for Visual Arts (2017); First Grantee: Portfolio Art Prize | 10 Artists Supporting Artists (2020); and is one of the first two Filipinas who received the STRP Award for Creative Technology under Project OYAYI for STRP Festival (2023).

共同主持人：表演詩人查姆絲．媞安松
Co-Moderator : Performance Poet, Charms Tianzon
講者介紹：
表演詩人查姆絲．媞安松（Charms Tianzon，1980年出生於菲律賓）於菲律賓大學就讀創意寫作。目前在菲律賓德拉薩爾聖百尼德學院（De La Salle-College of Saint Benilde）教授文學，並專注於其十四行詩創作計劃：她將手寫的十四行詩編輯成冊，並將這一系列詩作譜寫成歌。在YouTube、Spotify、Deezer、iTunes和其他串流應用程式中搜尋「日落的十四行詩」（Sonnets at Sunsets）中，可閱聽其部份詩作歌曲。媞安松做為一名講述表演詩人，深信藝術是靈魂的語言，也使我們得以變得完整。她是各種藝術形式的狂熱粉絲及支持者。其所創辦的「馬尼拉口說語言」（Spoken Word Manila）是為表演詩人及口說藝術家創立的宣傳社交平臺。其年度計劃活動（自2021年起）包括「誘發改變的十萬名詩人 – 馬尼拉分部」（100 Thousand Poets for Change Manila Chapter，與麥可．羅森柏格[Michael Rothenberg]和泰瑞．卡里昂[Terri Carrion]合作）。在疫情爆發前，媞安松偶爾會在菲律賓（與葛溫．包提絲塔[Gwen Bautista]、A.M.阿札達[A.M. Azada]及古綺．杜婭松[Kooky Tuason]等人合作）和香港（與阿札達和喬爾．托雷多[Joel Toledo]合作）舉辦詩歌工作坊。空閒時，媞安松喜歡逛藝廊，並從概念藝術家及他們的作品中找尋靈感。她熱愛非繁殖的家貓，茶和咖啡是其生存的必要條件。

Charms Tianzon is a performance poet (b. 1980, Philippines) who studied BAES Creative Writing at the University of the Philippines. She is currently teaching literature at the De La Salle-College of Saint Benilde. She is presently working on her sonnet project: a book of handwritten sonnets and a collection of these sonnets set into music. You can read and hear some of them under “Sonnets at Sunsets” released via https://charmstianzon.wordpress.com/blog/ or via YouTube, Spotify, Deezer, iTunes, and other streaming apps.

As a performance poet who believes that art is the language of the soul and that art completes us, Charms is an avid fan and supporter of different art forms. She established Spoken Word Manila, which is a social platform that promotes performance poets and spoken word artists. Her annual activities include organizing (since 2012) the 100 Thousand Poets for Change Manila Chapter (with Michael Rothenberg and Terri Carrion). Before the pandemic, she occasionally holds poetry workshops here in the Philippines (with Gwen Bautista, A.M. Azada, and Kooky Tuason) and abroad in Hong Kong (with Armida Mabitad-Azada and Joel Toledo).

In her free time, she goes to art galleries and finds inspiration from concept artists and their artworks. Lastly, she loves domestic un-bred cats and she cannot live without tea and coffee.

座談簡介：
這個計畫探討了「生與死」這個在藝術創作中經常出現的主題。在新冠疫情期間，封城讓許多舊有的社交體制失靈，卻也讓社會照護系統被檢視並且得以獲得重建的機會。這成為羅德莉格茲的靈感，她從母語菲律賓語中挑選了四個關鍵詞，做為其工作坊的起始點
—
「Tanawin」是名詞也是動詞。做為名詞，「Tanawin」指的是「風景」；而做為動詞，它則有刻意「注視」之意。「Tanawin」在我們的創作中扮演著重要角色，透過有意識地觀察自我外在和內在世界的過程，同時發展心智圖像，進而以視覺化和口語化的方式將其召喚出來。

「Dama」這個詞翻成英文時，指涉著許多相似但又不同的事物。它有「感知到」（sensed）的意思，即透過觸覺或直覺的感知； 它也有「感覺到」（felt）的意涵，指的是某種感受或情緒的連結。

「Aurga」為「pag-aaruga」的字根，指的是滋養或照顧的行為。

「Nilay」則為「magnilay」的字根，這個動詞有省思或反思的意思。

本工作坊將從這四個關鍵字出發，帶領參與者以當代詩歌的寫作方法，以自己的母語寫下他們的「內在風景」。羅德莉格茲與媞安松將與參與者們共同完成「亞洲藝術關鍵字」計畫裡階段性的展演。

註：本計畫討論將以英文為主，備有翻譯人員，未來將在菲律賓與其他國家進行。

The project contemplates on life and death, an enduring theme in the work of poets and artists across time and one that alarmingly became of stark significance and daily recurrence during the Covid-19 pandemic. The lockdowns have induced many forms of loss but also renewed systems of regeneration and care which occasionally translates in recreational activities for wellbeing or the tireless profession of archiving and monitoring.

Issay Rodriguez choses 4 keywords from her mother language, Filipino as the beginning of her workshop-

Tanawin is both a noun and a verb. As a noun, it means “landscape”. As a verb, it means the intentional act of “gazing”. The word plays a significant role in our work through the conscious process of observing the world outside and within oneself while developing mental images thereby evoking them visually and verbally. Dama is one word that can mean similar but different things in english. It means something “sensed” as in with the tactility of touch or intuition. It also means something “felt” as in with feelings or an emotional connection.

Aruga is the root word for pag-aaruga, a noun which means the act of nurturing or caring.

Nilay is the root word for magnilay, a verb which means to contemplate or reflect.

Towards the development of the main project, the workshop was designed to encourage participants to write about their “inner landscapes” or emotions through the strict but rewarding rules of traditional sonnet writing.

As with aquariums, life within visible and invisible walls, being observed while being a distant observer catalyzes unique observations and experiences about freedom and restraint, of life.

In collaboration with artist Issay Rodriguez, who will be setting up a web-based project that streams an underwater aquatic landscape, the poetry workshop will focus on facilitating image making through words.