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一年培力互動
一年聚焦連線
二十週年座談
亞洲關鍵字
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烏克蘭座談
西亞南亞座談
資料庫關鍵字
開閉幕與頒獎
september 2022
(Sunday) 2:00 pm – 4:00 pm
亞洲藝術關鍵字系列 南亞視野 「視覺性」與「後人文主義身體」 Keywords of Asian Contemporary Art Series South Asian Perspective: “Visuality” and “Post-humanist Body
講者:台灣當代藝術資料庫關鍵字研究員李奎壁 TCAA Keyword Researcher LI Kuei-Pi
講者:印度新德里國立伊斯蘭大學藝術學院藝術史及藝術欣賞系助理教授穆莉娜爾.庫兒卡妮
Department of Art History & Art Appreciation, Jamia Millia Islamia
Assistant Professor, Ms. Mrinal Kulkarni
講者介紹:
穆莉娜爾.庫兒卡妮(出生於1972年)是印度新德里國立伊斯蘭大學(Jamia Millia Islamia)藝術學院藝術史及藝術欣賞系助理教授。她擁有巴羅達大學(Maharaja Sayajirao University of Baroda)藝術學院頒發的藝術史及美學學、碩士學位。其研究領域聚焦於當代視覺藝術實踐中的女性主義研究、新媒體藝術及策展實踐,並於過去二十年來持續教授藝術史課程。庫兒卡妮的文章曾發表於諸多期刊及網站,如:《拉莉.卡拉當代雜誌》(Lalit Kala contemporary)、《藝術與交易》(Art & Deal)、「matterofart.com」及「artconcerns.com」等。也曾於許多藝術教育相關國際會議發表論文,主題涵蓋新媒體藝術、文化空間與藝術教育、工作室藝術實踐與藝術教育、校園藝術教育整合、印度及其鄰國藝術中的女性主義議題,和新媒體藝術中的後人類議題。庫兒卡妮也提供發展藝術史及藝術教育線上內容的諮詢,舉辦行為藝術、概念藝術計劃、藝術賞析及博物館研究等主題工作坊。其策劃的展覽有:「微小而重要」(Small But Significant, 2001)、「祕密/衣櫃」(Closet/Closets, 2002)、「熱度」(HEAT, 2002)、「未實現的夢想計劃」(Dreams Projects Unrealised, 2004)、「模糊界域」(Twilight Zone, 2004)、「大學中的大齡女I、II」(Old Girls of Jamia I & II, 2014)等。
Mrinal Kulkarni(born. 1972), Assistant Professor, Department of Art History and Art Appreciation, Faculty of Fine Arts, Jamia Millia Islamia, New Delhi. Studied BFA and MFA in Art History and Aesthetics from Faculty of Fine Arts, M S University, Vadodara. Research interests are in the feminist study of contemporary visual art practices, New media art and curatorial practices. Have been teaching arthistory more then two decades. Contributes articles in journals and websites like Lalit Kala contemporary, Art & Deal, matterofart.com and artconceerns.com. Presented papers in various international conferences on art education, new media art such cultural spaces and art education, studio practice and art education, art integrated learning in school edication feminist concerns in Indian art and art from neighbouring countries and post humanist concerns in new media art. Provided consultancies to develop e-contents on art history and art education. Conducted workshops on performance art, conceptual art projects, art appreciation and museum studies. Curated exhibitions like Small But Significant(2001), The Closet/Closets(2002), HEAT(2002), Dreams Projects Unrealised(2004), Twilight Zone(2004), Old Girls of Jamia I & II(2014) and so on.
座談簡介:
「亞洲當代藝術關鍵字」是始於2021年的關鍵字蒐集計畫,這個計畫邀請了來自亞洲不同區域的藝術家、策展人、小誌團隊提出自己對於今日的社會體制、環境及亞洲的當代藝術現場的觀察,從中找出屬於這個時代的當代藝術關鍵字,並且透過影像、聲音、工作坊與寫作呈現。Mrinal Kulkarni從女性主義、科技技術與社會間的關係出發,提出了「視覺性」與「後人文主義身體」這兩個個關鍵字的南亞視野。
The Keywords of Asian Contemporary Art Series is a keyword-collecting project launched in 2021. The project invites artists, curators, and zine groups from different parts of Asia to find contemporary art keywords from their observation of the social institution, social environment, and the Asian contemporary art scene today. The keywords are then presented by means of films, sounds, workshops, and writings. Starting from the interrelations among feminism, technology, and society, Krinal Kulkarni unveils the South Asian horizon via her two keywords: “visuality” and “post-humanist body.”
(Sunday) 7:30 pm – 9:30 pm
「亞洲觀點」:亞洲當代藝術交流的困境,以台灣及南亞為例 “Asian Perspective”: Predicaments in Asian Contemporary Art Exchange—Taiwan and South Asia as an Example
主持人:
台灣當代藝術資料庫關鍵字研究員李奎壁
TCAA Keyword Researcher LI Kuei-Pi
講者:
國美館展覽組組長黃舒屏
Asia Art Archive in India 專案 Samira Bose
NTMoFA Exhibition Department Supervisor HUANG Su-Pin
AAA in I Project Manager, Samira Bose
講者介紹:
Samira Bose(1993,印度德里)是新德里的策展人和作家。她現在是亞洲藝術典藏Asia Art Archive in India (AAA in I) 的專案管理員,這個機構透過討論、工作坊和展覽等活動,活化 AAA的館藏資料。
Samira Bose (b. 1993, based in Delhi), is a curator and writer based in New Delhi, India. She is the Programme Coordinator at Asia Art Archive in India, where, together with colleagues, she activates AAA’s archival collections through discursive programme, workshops and exhibitions.
黃舒屏1976年生於台灣新竹,畢業於台灣大學外國語文學系,於英國里茲大學取得女性理論與視覺理論碩士。返台後於藝術家出版社擔任編輯,2002年至2008年為台北當代藝術館展覽組助理研究員,曾策劃「梅式解讀玩—梅丁衍個展」(2003)、「漫無目的—王德瑜個展」(2003)、「EX-TT-03:黃世傑個展」(2003)、「複音:李明維,謝素梅雙個展」(2007)。2008年至2010年參與「上海電子藝術節」、「2009亞洲藝術雙年展」、「蔡國強—農民達芬奇」等展覽籌辦及專案統籌工作;2009年於台北市立美術館策畫「當代藝術神話—張宏圖、楊茂林、涂維政」展覽。2010年起開始於國立臺灣美術館展覽組負責展覽策畫及執行:2010年策畫「浮世山水—台灣藝術心貌」、2011-2013年策畫國美館「M型思惟—2011亞洲藝術雙年展」、「返常—2013亞洲藝術雙年展」、「造動—2015亞洲藝術雙年展」;2017-2022年間策畫「危觀風景—原住民族文化與空間部署」、「影像焦慮」、「逐鹿之海—物流、人流、海流」、「暴風之眼—聚焦台灣當代藝術」。現為國立台灣美術館展覽組組長。
座談簡介:
從2007年的「亞洲雙年展」開始,每年都有一定比例的南亞藝術家參與,2010年由台北當代藝術館、Lalit Kala Akademi與Synergy art Foundation等機構共同舉辦的「發現印度」一展中,雖然點明了當時南亞當代藝術的發展面向,但對於彼此間在歷史、地緣政治等的共通點並未有更多著墨;近年來,一些邀請南亞藝術家或機構參與的展覽,如2020年福利社的「方域之外」、2021年鳳甲美術館的「《消逝與過度》-印度當代錄像藝術選集」等,顯示了雖然在亞洲區域的當代藝術交流間,台灣與南亞的交流相對少,但仍嘗試著建立起彼此間對話的渠道。是什麼樣的「亞洲想像」促使我們與南亞的藝術家、策展人及機構產生對話,從中凝聚出什麼樣的觀點?又是什麼樣的因素使得我們難以發展出更具有累積性與長期性的對話關係?
Since 2007, the Asian Art Biennial has featured a certain proportion of South Asian artists. In 2010, the Museum of Contemporary Art, Taipei, the Lalit Kala Akademi, and the Synergy Art Foundation co-organized Finding India. Although the exhibition pointed out the various aspects in the development of South Asian contemporary art at that time, it did not dwell much on the common ground between Taiwanese and South Asian contemporary art in terms of history and geopolitics. In recent years, there have been exhibitions showcasing South Asian artists or institutions, for example, Beyond Territory presented by FreeS Art Space in 2020; Loss and Transience: An Exhibition of Moving Image Artworks and Documentary Films from India presented by Hong-gah Museum in 2021, etc. Clearly, despite relatively limited exchange between Taiwan and South Asia, Taiwanese contemporary art circle has still been making an effort to establish channels of dialogues with its South Asian counterpart. This talk aims to address the following questions: What kind of “Asian imagination” has driven us to engage in dialogues with South Asian artists, curators, and institutions? What perspectives have been engendered therefrom? Moreover, what are the factors that have prevented us from developing a cumulative and long-term relationship of dialogues?
10sep6:00 pm7:00 pm藝術沙龍/李奎壁 X AAA in IndiaArt Salon/LI Kuei-Pi X AAA in India6:00 pm – 7:00 pm
(Saturday) 6:00 pm – 7:00 pm
藝術沙龍 Art Salon/李奎壁 X AAA in India
講者:
李奎壁 LI Kuei-Pi Samira Bose AAA in India
講者介紹:
李奎壁生於臺南現居於臺北,作品關注於跨國移動與勞動經驗,透過改造勞動過程中所產生的物件與介入勞動的過程,轉變商品原所屬的內涵,提出她對於今日物質世界的批判觀點。她善於運用來自於勞動現場的物件,透過仿造、再製與重新編撰,讓觀眾在作品展示現場落入精心策畫的陷阱當中,成為一名演員,與被展示的對象。
LI Kuei-Pi, born in Tainan and living in Taipei, focuses on transnational mobility and labor experience, in which she converts objects created from labor and intervenes in the labor process, transforming the meaning of the products to convey her critical viewpoints about the modern material world. LI specializes in utilizing objects from the site of labor work before employing means of imitation, reproduction and remaking to entrap the audience in her elaborately conceived works, in which the audience become performers as well as part of the exhibited works.
印度亞洲藝術檔案館(AAA in I)成立於 2013 年,旨在建立資源,透過數位化藝術家和學術檔案、開發研究項目和組織相關計畫等方式,協助研究該地區當代藝術場域。AAA in I 將其研究系列論叢展示於新德里的藝術空間,並自2016 年起開放民眾參觀。AAA in I 與個人、組織和機構合作,舉辦研討會、展覽和座談,以進一步豐富館藏,為當代藝術的新興研究和藝術項目作出貢獻。
Asia Art Archive in India (AAA in I) was established in 2013 with the goal of building resources for research on the region’s dynamic contemporary art scene. It accomplishes this mission by digitizing artist and scholarly archives, developing research projects, and organizing programmes. AAA in I’s Research Collection can be accessed from its space in New Delhi, which has been open to the public since 2016. AAA in I partners with individuals, organizations, and institutions on workshops, exhibitions, and talks to further activate the collection and contribute to new research and artistic projects in the field.
座談簡介:
藝術沙龍係由參與本年度台灣當代一年展邀請之國外藝術機構/團體的推薦代表與台灣藝術工作者,共同發表共創或共同展覽計畫。參與者身分包含藝術家、策展人、機構研究員等不同專業領域,他們組成臨時藝術團隊,共同思考及發想在疫情或其他不穩定的條件之下,如何以藝術回應變異的生活狀態,以一年展為樞紐,搭建彼此交流的橋樑,形塑出穩固的「國際夥伴關係網絡」,確實締造臺灣與國際間的連結。本場次藝術沙龍將由李奎壁與Samira Bose共同介紹他們的合作成果。
The Art Salon is a joint presentation of co-creaters or joint exhibition planners, who are recommended representatives from foreign art institutions/groups and Taiwanese art workers invited by this year\’s Taiwan Contemporary Annual Exhibition. The participants include artists, curators, institutional researchers and other professional fields. They united as an art team to jointly brainstormed about how to respond to the changing living conditions with art under the epidemic or other unstable conditions, so as to create a unique environment. The Taiwan ANNUAL serves as a hub to build a bridge for mutual exchange and form a solid \”international partnership network,\” which indeed creates a connection between Taiwan and the world. In this art salon, LI Kuei-Pi and Samira Bose will jointly introduce their creations.
(Saturday) 7:00 pm – 8:00 pm
藝術沙龍 Art Salon/蔡秉儒 X 郭俞平 X Mahila Zine
講者:
蔡秉儒 TSAI Ping-Ju
郭俞平 GUO Yu-Ping
Mahila Zine
講者介紹:
郭俞平於1986 年生於臺灣南投,臺北藝術大學藝術跨領域研究所畢業。作品多以繪畫、錄像、裝置與行為等複合形式,表達自身的生命經驗與大歷史之間一種缺憾或匱乏的關係,如個人記憶與冷戰以及自身處境等問題,以「缺」顯化既定的歷史難題,以創傷與缺憾支撐繁花般的隱喻為其創作特質,試圖把「存有」的概念推往現實與在地的修正,尋思出一種主體的敘事。
KUO Yu-Ping was born in 1986 in Nantou, Taiwan, and she received her master’s degree in trans-disciplinary arts from Taipei National University of Arts. Kuo’s art practice includes a diverse range of genres, including painting, video, installation, and performance. She uses art to express the missing elements or insufficiencies between her own experiences in life and what is considered Big History, including issues involving her personal memories, the Cold War, and the circumstances she encounters. Using the notion of \”missing or lacking\” to bring forth already determined historical predicaments, Kuo uses trauma and disappointments to support a medley of metaphors, which has become a notable feature in her artworks. She seeks to push or correct \”existing\” concepts, in order for them to be more aligned with reality and the local mentality. Through her endeavors, she searches for a subjective narrative.
蔡秉儒目前就讀國立臺北教育大學藝術與造形設計學系碩士班,藝術理論與評論組。大學主修金屬雕塑,研究所則轉向理論,期許自己有著更流動的創作管道與更多重的藝術實踐。當前關注島嶼上的認同議題,試圖在單一正確價值中,參照個體多元生命敘事,於二元分壘的意識型態大道旁,闢掘一條條曲折小徑。
TSAI Ping-Ju is a student of M.F.A Program, Department of Art and Design, National Taipei University of Education. From majoring in metal sculpture during college to now specializing in Art Theory and Critique, the turn implies his expectation to have more flexibility and openness in different forms of creation and multiple art practices. Tsai currently focuses on the subject of identity. He tries to pay close attention to various narratives of individuals’ lives under the single correctness of certain value, in order to dig tortuous paths alongside the Avenue of Ideology.
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。
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.
座談簡介:
藝術沙龍係由參與本年度台灣當代一年展邀請之國外藝術機構/團體的推薦代表與台灣藝術工作者,共同發表共創或共同展覽計畫。參與者身分包含藝術家、策展人、機構研究員等不同專業領域,他們組成臨時藝術團隊,共同思考及發想在疫情或其他不穩定的條件之下,如何以藝術回應變異的生活狀態,以一年展為樞紐,搭建彼此交流的橋樑,形塑出穩固的「國際夥伴關係網絡」,確實締造臺灣與國際間的連結。本場次藝術沙龍將由藝術家郭俞平、策展人蔡秉儒與印度女性雜誌Mahila Zine共同介紹他們的合作成果。
The Art Salon is a joint presentation of co-creaters or joint exhibition planners, who are recommended representatives from foreign art institutions/groups and Taiwanese art workers invited by this year\’s Taiwan Contemporary Annual Exhibition. The participants include artists, curators, institutional researchers and other professional fields. They united as an art team to jointly brainstormed about how to respond to the changing living conditions with art under the epidemic or other unstable conditions, so as to create a unique environment. The Taiwan ANNUAL serves as a hub to build a bridge for mutual exchange and form a solid \”international partnership network,\” which indeed creates a connection between Taiwan and the world. In this art salon, artist GUO Yu-Ping, curator TSAI Ping-Ju and Mahila Zine from India will jointly introduce their creations.
11sep2:00 pm3:30 pm星火燎原:戰火下的藝術產業Single Spark: Art Industry under the War2:00 pm – 3:30 pm
(Sunday) 2:00 pm – 3:30 pm
星火燎原:戰火下的藝術產業 Single Spark: Art Industry under the War
主持人:
財團法人亞洲文化協會台灣基金會執行長 張元茜
Chief Executive Officer of the Asian Cultural Council, Rita Yuan-Chien Chang
講者:
Gallery 101創辦人Marta Trotsiuk
Founder of Gallery 101, Marta Trotsiuk
講者介紹:
Rita Chang
資深策展人及藝術評論人,美國堪薩斯州立大學藝術史碩士畢。現任亞洲文化協會台灣基金會執行長。曾任教於淡江大學、文化大學及日本麗澤大學。1986年後曾任職於台北市立美術館展覽組與帝門藝術教育基金會,分別擔任組長暨研究小組召集人及執行長。1992年後移居紐約和東京,期間對兩大都會與藝術環境觀察,成為日後策展觀點的關鍵。策劃過眾多劃時代指標性展覽,如「粉樂町─台北東區當代藝術展」(2001至今;曾巡迴展至澳洲、香港)、「土地倫理─富邦地景藝術」(1998)、「盆邊主人:自在自為」(1997)、「大隘藝術節」(2007)等。
Graduated from MA in Art History at The University of Kansas MA in Art History, Rita Chang has taught in Tamkang University, Chinese Culture University, and Reitaku University in Japan. She has also worked as the Chief Curator at Taipei Fine Arts Museum and the Director at Dimension Endowment of Art. Her groundbreaking curatorial projects include: “Very Fun Park- An Urban Project in East Taipei” (Fubon Art Foundation, 2001-present), “Treasure Map, Nest-Cave, De-Gardening, Regeneration – Land Ethic Environment Project” (Fubon Art Foundation, 1998), “Lords of the Rim – In Herself / For Herself” (Hsin-Chuang Cultural and Art Center, 1997).
Marta Trotsiuk
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2月24日清晨,克里姆林宮無預警釋出直播,俄羅斯總統普丁發表全國電視演說,宣布以「去軍事化」及「去納粹化」之名對烏克蘭採取「特別軍事行動」。幾分鐘後,飛彈襲擊了包括烏克蘭首都基輔在內的多座城市及防衛設施,戰爭全面爆發。當無情的戰火摧毀熟悉的日常,生存面臨迫切的危機,象徵人類文明與感性結晶的文化藝術產業也遭受威脅。殘酷的殺戮讓我們不禁思考,「藝術」在此生死存亡之際的意義。
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將於本場講座分享烏俄戰爭下的藝術產業現況,及藝術產業在戰火下所扮演的角色與肩負之使命,同時呼籲世界各國及烏克蘭社會重視文化侵略問題。
In the early morning of February 24, 2022, the Kremlin released a live broadcast without warning. Russian President Vladimir Putin delivered a nationally televised speech announcing a “special military operation” against Ukraine in the name of “demilitarization” and “denazification”. Minutes later, missiles and airstrikes hit cities and defenses, including the Ukrainian capital Kyiv. The war officially began. When the ruthless war destroys the familiar daily life, survival faces an urgent crisis, and the cultural and art industry, which symbolizes the crystallization of human civilization and sensibility, is also threatened. The brutal killing makes us think about the meaning of “art” in this life and death situation.
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 will share the current situation of the art industry under the Ukrainian-Russian War and the role and mission of the art industry in the war. She urges countries around the world and Ukrainian society to pay attention to the issue of cultural aggression.
(Sunday) 4:00 pm – 5:00 pm
共享吧 C-LAB Creator's Space R102 Coworking Space
烏克蘭藝術沙龍 Artist Talk/ 記憶邊境:Gallery 101駐村創作分享 Frontier of the Memories: Presentation of the Residency Project
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:
在這次藝術交流計劃中,主要創作靈感來自回憶及其不同面向。作品自個人經驗出發,在創造當代文明及歷史的過程中,探討人類透過地理版圖的擴張與轉移,在衝突中創造出新的規則與秩序。當人們遭受戰爭火海波及,經過不斷地反思過去和未來的許多面向,試圖以自身的回憶作為素材,投射當下的體驗。 透過停留在一個與烏克蘭截然不同且遙遠的國家經歷下,能豐富自身藝術潛力,並從文化經驗中找出看待事物的新視角。本次展覽不僅創造藝術作品,更創造形塑未來的回憶,試圖將自身經驗延伸至整體國家層面,作為正在經歷戰爭的烏克蘭人,分享個人乃至於全國性之經驗與感悟。
On the art exchange program, we work with the topic of memory and its different aspects. Our art research touches our personal experience as individuals who are living and creating in a certain time of the history of our civilization. On the edge of shifting tectonic plates of human evolution and creation of principles through conflicts. We ourselves were dragged into the epicenter of the process, into war. Living through it, we analyze and reconsider many aspects of our past and future, trying to pay special attention to the present, doing this with a tool of our memory. The experience of staying in such a distant and different country from our homeland, enriches our artistic potential and encourages us to look for new perspectives on things through the prism of cultural experience. Here we create not only our artworks but also memories which now influence the future. Potentially we can scale our experience to the level of the nation, as an example to be Ukrainian in a wartime, living through it and pass the personal but somehow nationwide knowledge to others.
(Sunday) 6:00 pm – 7:00 pm
藝術沙龍 Art Salon/林羿綺 X Romooz Foundation
講者:
林羿綺 LIN Yi-Chi
Ibi Ibrahim
Romooz Foundation
講者介紹:
1986 年生,林羿綺畢業於臺北藝術大學美術所碩士,現居於臺灣臺北;受過當代藝術與電影製作訓練,主要創作以錄像、實驗電影和影像裝置為主。創作聚焦於亞洲地緣政治中的族群離散經驗,透過田野踏查進行記憶與夢境的採集,將動態影像轉化成降靈媒介,重新編導出個體生命敘事的復魅樣態,以召喚邊緣敘事,進行關於國族、歷史和群眾記憶間的再生產。
Born in 1986, LIN Yi-Chi now lives and works in Taipei. LIN received her Master’s degree in Fine Arts from the Taipei National University of the Arts. With educational backgrounds in both contemporary art and film production, her works take the form of video art, experimental cinema, and video installation. In recent years, LIN’s practice centers on the diaspora experiences within Asian geopolitics. Memories and dreams are collected through field investigation, and the dynamic images are transformed into her medium of necromancy. Individual life narratives are re-interpreted and re-enacted into a re-enchantment scenario, which she employs to summon the marginal voices and re-produce bonds among nationalities, histories, and collective memories.
Ibi Ibrahim 是一位視覺藝術家、作家、電影製作人和音樂家。 他的作品經常受到周遭環境啟發,他的作品發展反映過去十年的個人經歷和生活階段。 他早期的工作涉及整個中東的性、性別和傳統問題,包括他的家鄉葉門。 隨著葉門內戰爆發和川普政府頒布的旅行禁令,他的個人創作也不斷進化,並對家的概念提出質疑。 為了尋找答案,通過與當地居民對話(經歷旅行禁令影響和本國持續戰爭影響的個人),進行持續的採訪和對話來探索這些問題。
Ibi Ibrahim is a visual artist, writer, filmmaker and musician. His work is often inspired by his immediate surroundings, with an artistic practice that has steadily evolved to reflect his personal experiences and life stages over the past decade. His early work touches upon issues of sexuality, gender and tradition across the Middle East, including in his native Yemen. As the war erupted in Yemen and the Trump administration instituted the travel ban, Ibrahim’s practice evolved and placed the notion of home into question. In his work, Ibrahim explores those questions through ongoing interviews and conversations with individuals experiencing the effects of the travel ban and the ongoing war in their homeland.
座談簡介:
藝術沙龍係由參與本年度台灣當代一年展邀請之國外藝術機構/團體的推薦代表與台灣藝術工作者,共同發表共創或共同展覽計畫。參與者身分包含藝術家、策展人、機構研究員等不同專業領域,他們組成臨時藝術團隊,共同思考及發想在疫情或其他不穩定的條件之下,如何以藝術回應變異的生活狀態,以一年展為樞紐,搭建彼此交流的橋樑,形塑出穩固的「國際夥伴關係網絡」,確實締造臺灣與國際間的連結。本場次藝術沙龍將由林羿綺與Ibi Ibrahim共同介紹他們的合作成果。
The Art Salon is a joint presentation of co-creaters or joint exhibition planners, who are recommended representatives from foreign art institutions/groups and Taiwanese art workers invited by this year’s Taiwan Contemporary Annual Exhibition. The participants include artists, curators, institutional researchers and other professional fields. They united as an art team to jointly brainstormed about how to respond to the changing living conditions with art under the epidemic or other unstable conditions, so as to create a unique environment. The Taiwan ANNUAL serves as a hub to build a bridge for mutual exchange and form a solid “international partnership network,” which indeed creates a connection between Taiwan and the world. In this art salon, LIN Yi-Chi and Ibi Ibrahim will jointly introduce their creations.
11sep7:00 pm8:00 pm藝術沙龍/黃崧菀 X Space A Art Salon/HUANG Sung-Wan X Space A7:00 pm – 8:00 pm
(Sunday) 7:00 pm – 8:00 pm
藝術沙龍 Art Salon/黃崧菀 X Space A
講者:
黃崧菀 HUANG Sung-Wan
Jupiter Pradhan
Space A
講者介紹:
黃崧菀作品關注在人與世界之間流動的關係,近年創作將事件發生的場所、歷史場景或旅行所帶來的感受與部分影像,以拼貼、繪畫的方式重新詮釋,構成模稜兩可的畫面,讓觀者去臆想畫面中依稀可以辨認的物件與人,並透過展呈技術引導觀眾在空間中遊走與臆想,讓圖像與物件互相閱讀和啟發。近年發表個展《視之所繫》於福利社(2021),並參與《開我的車》(2022)、《壹零年代繪畫考 I:眼技、手藝與觸知宇宙》(2021)等展覽。
Born in Changhua, based in Taipei, Sung-Wan’s artworks focus on the flowing relationship between people and the world. In recent years, she has reinterpreted the places where events occurred, historical scenes or the feelings brought by travel and some images in the form of collages and paintings. The audience imagines the vaguely recognizable objects and people in the picture, and guides the audience to wander and imagine in the space through the exhibition technology, so that the images and objects can read and inspire each other. In recent years, she has curated her solo exhibition, ‘In Sight of the Connection (2021)’, at the FreeS Art Space, and participated in exhibitions such as ‘Drive My Car (2022)’, ‘Taiwan Contemporary Painting in 2010s (2021)’.
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 natural beauty.
座談簡介:
藝術沙龍係由參與本年度台灣當代一年展邀請之國外藝術機構/團體的推薦代表與台灣藝術工作者,共同發表共創或共同展覽計畫。參與者身分包含藝術家、策展人、機構研究員等不同專業領域,他們組成臨時藝術團隊,共同思考及發想在疫情或其他不穩定的條件之下,如何以藝術回應變異的生活狀態,以一年展為樞紐,搭建彼此交流的橋樑,形塑出穩固的「國際夥伴關係網絡」,確實締造臺灣與國際間的連結。本場次藝術沙龍將由黃崧菀與Space A的Jupiter Pradhan共同介紹他們的合作成果。
The Art Salon is a joint presentation of co-creaters or joint exhibition planners, who are recommended representatives from foreign art institutions/groups and Taiwanese art workers invited by this year’s Taiwan Contemporary Annual Exhibition. The participants include artists, curators, institutional researchers and other professional fields. They united as an art team to jointly brainstormed about how to respond to the changing living conditions with art under the epidemic or other unstable conditions, so as to create a unique environment. The Taiwan ANNUAL serves as a hub to build a bridge for mutual exchange and form a solid ‘international partnership network,’ which indeed creates a connection between Taiwan and the world. In this art salon, HUANG Sung-Wan and Jupiter Pradhan from Space A will jointly introduce their creations.
12sep3:00 pm3:30 pm評審團獎入圍特展 創意連線:謝佩庭3:00 pm – 3:30 pm
(Monday) 3:00 pm – 3:30 pm
評審團獎入圍特展 創意連線:謝佩庭
作品中的影像皆是在Google Earth實景地圖上作螢幕截取,於全球各地被Google所覆蓋的地區一一蒐集,並加以去背、聚焦為主觀的觀看方式。在Google Earth的實景瀏覽中,攝影機並無意凝視任何人,僅僅是途經、紀錄下一切——而這無意識的觀點往往以破碎、缺殘、錯位等影像示現。模糊的人之面孔,為Google為回應隱私規約而賦予AI智能系統自動偵查、抹除人臉的功能;這些失卻其所標註身分的佚名者,卻又被鑿鑿定位於衛星系統與網際網絡聯手校準的經緯中——它們能否視為一種映現當代人生存處境的「肖像」?
15sep11:00 am8:00 pm記憶邊境:Gallery 101駐村創作 Open Studio11:00 am – 8:00 pm 寶藏巖國際藝術村 Treasure Hill
(Thursday) 11:00 am – 8:00 pm
寶藏巖國際藝術村 Treasure Hill
臺北市中正區汀州路三段230巷59號 No. 59, Ln. 230, Sec. 3, Tingzhou Rd., Zhongzheng Dist., Taipei City
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.
17sep2:00 pm3:00 pm年度工作坊 : 因為您,成就更好的我2:00 pm – 3:00 pm C-LAB空總西服務中心2F West i-CENTER, 2F
(Saturday) 2:00 pm – 3:00 pm
C-LAB空總西服務中心2F West i-CENTER, 2F
年度工作坊 : 因為您,成就更好的我
講者:曹育維
講者介紹:
3歲便常雙盤趺坐,小一愛讀神仙列傳,國一學立禪,高一亂讀老莊與禪宗。1984年夏考上國立藝術學院美術學系,隨後因探詢美術史Performance Art而跨入街頭表演、小劇場;大三主修理論,非正式副修劇本創作、舞蹈即興等。讀完大四上學期休學半年後復學,總在搭車前往打工途中,看著窗外街景構思畢業論文。大五僅以最低要求一萬字書就評價兩極的畢業論文《複數論》。畢業後曾任職於視覺藝術相關行業,亦曾跨足資訊界乃至殯葬業。2008年因公接觸曼陀羅(Mandala,梵語:圓形)而探索圓形圖像創作迄今。2013年捲入莫名事件,於2015年入監8個月,其間展讀《一個瑜伽行者的自傳》二回,立志追尋真瑜伽;2016年末於Ánanda Márga(喜悅之路)學習靜坐,自此明白的成為一名靈性藝術創作者。
座談簡介:
一個藝術創作者的瑜伽生活經驗分享
夏日熱辣辣,一起做瑜珈放鬆一夏~
什麼是Yoga?(What is Yoga)(15分鐘)
舒恰長伸操(Sucá yoga asana)(20分鐘)
靜坐(Meditation)(10分鐘)
問答(Q&A)(10~15分鐘)
17sep3:30 pm5:30 pm年度工作坊 : 可攜式遊戲單位3:30 pm – 5:30 pm C-LAB空總西服務中心2F West i-CENTER, 2F
(Saturday) 3:30 pm – 5:30 pm
C-LAB空總西服務中心2F West i-CENTER, 2F
年度工作坊 : 可攜式遊戲單位
講者:陳瑞錦
講者介紹:淡水人,國立臺北藝術大學美術系碩士班,國立台灣藝術大學美術系學士班,曾參與「2018基隆港口藝術雙年展-問津」等。榮格說:一個人必須付出巨大的代價,才配得上創作的激情。創作脈絡來自血脈跳動的基因,因家族從事傳統漁業間接醞釀成創作感知來源,透過創作的激情表達對物件的觸感、視覺感知、物件語彙與它們的對應產生物化的迷戀。
座談介紹:遊戲的本能是藝術起源之一,透過遊戲心情輕鬆地玩,在享受過程中發展成藝術製造品。
#超級變變變「觀察、體驗、想像、選擇、組合、表現」是創作的過程階段,藝術作品是藝術家內心靈動力的傳達體現。立體綜合藝術作品是物件(現成物)和非物件(影音)的組合,現成物的物件語言/象徵含意,物件語言具有有物件延展的故事性,創作過程亦是一種美好的藝術記憶。
參加對象:想創作、可獨立作業者,報名者請攜帶一件自己的現成物前來,平面或立體皆可(10*10公分以內)
主辦單位提供:工具/畫具/用具
*工作坊完成作品可攜回
17sep7:00 pm8:00 pm一年培力座談7:00 pm – 8:00 pm
(Saturday) 7:00 pm – 8:00 pm
一年培力座談
講者:一年培力顧問莊偉慈
莊偉慈 : 《藝術家》雜誌「藝點觀察」、「當代藝術現象」單元專欄作者,C-LAB策展人
曾在網路媒體尚未普及前從事新聞工作,於《台灣日報》、《中國時報》(娛樂周報)撰寫樂評與音樂文化評論。其後綜合新聞訓練與對藝術的評析專業,投入藝文新聞報導與藝術評論領域。主要關注領域為藝術觀念及其展演技術的變貌,以及藝術史中的性別議題。近年策劃之展覽:「Re:Play 操/演現場」(「展演現場」策展人)、「勒法利計畫」、「背陽——情慾伏流及其隱現」等。
講者:一年培力策展人梁予瀞
梁予瀞 : 2002年出生於甜甜的台南,就讀臺北藝術大學美術學系,喜歡看一些字、寫一些字。
2022一年培力計畫「愛在上線時,失連即失戀」是獲選者梁予瀞的首次策展提案,本座談將透過策展人、策展顧問、藝術家三方對談,首先以初次策展經驗切入此次展覽的合作過程,同時也延伸針對展覽概念交流彼此對線上情感交流的經驗與想法,探討這些經驗與作品之間的連結。
(Sunday) 4:00 pm – 6:00 pm
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.
(Sunday) 7:00 pm – 9:00 pm
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.
(Saturday) 2:00 pm – 4:00 pm
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?
25sep1:00 pm2:00 pm年度主題座談: 未來連連看1:00 pm – 2:00 pm
(Sunday) 1:00 pm – 2:00 pm
年度主題座談: 未來連連看
講者:吳柏蒼
講者介紹:
回聲樂團(echo)主唱,臺灣第一個DRM Free MP3線上音樂商店iNDIEVOX創辦人、前執行長,NFT交易平台 OurSong TW 共同創辦人, 本屆一年展評審團獎評審(藝術收藏代表) OurSong 希望用最好懂、最簡單的方式,來讓大家進入NFT世界。各種創作者在NFT獲得新舞台的無限可能「實踐創作正義, 友善數位收藏」
講者:蘇瑤華
講者介紹:
國立臺灣師範大學美術館籌備處副主任暨策展人,藝術經理人、策畫人、教育者。學術與實務資歷俱豐 : 文化政策的觀察與參與,公私單位的場館與運營,展覽策劃,國際交流合作,策劃主持多場國際研討會與公共藝術案等。現任視盟理事長,曾任文化部長辦公室專門委員、亞洲現代美術館副館長、寶藏巖國際藝術村總監、台北國際藝術村總監、富邦藝術基金會總幹事等。
座談簡介:
「幣圈一天,人間一年」NFT與相關科技發展, 在過去這兩三年各種討論與資訊繁多,跨界議題與各種商業合作都是火熱的進行式。本展座談希望拓展雙方目前主要的資訊受眾以外的那一塊交集,讓平常各有所長、但難得同台的兩位不同專業代表,以web 3.0精神為引碰撞不同的腦洞- – -跨世代,跨門檻,共創連連看 !
成立於2019年的OurSong與成立於2002年的台灣當代一年展,雙方有三項共同點 :「藝術平權」精神的重視與實踐、開放且多元的平台性質、與各路創作者肩併肩走在一起。NFT除了常見的「創作者發表面」,盼藉此次一年展搓合不同世代、不同工作需求觀點的藝術產業代表,一起捏塑討論NFT未來可能更深合作的場景與方式 : 「藝術單位結構面」虛實整合的交織 &「ESG永續發展面」綠色畫廊的共創,實踐從Web 2.0點對點之間的資訊交換,過渡到Web 3.0價值與價值的交換。
(Sunday) 2:00 pm – 4:00 pm
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.
(Sunday) 5:00 pm – 7:00 am
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
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「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.
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