目錄 Contents
展覽簡介 About Taiwan Annual
台灣當代一年展 「TAIWAN ANNUAL」（簡稱一年展）多年來聚焦於藝術平權、多樣開放及國際交流，致力於提供一般以畫廊為單位的藝術博覽會機制之外，另一種開放的當代藝術展覽平台，展現台灣當代藝術界的多元可能性。2002 年以「台灣藝術家博覽會」為名創立，2016 年更名為「台灣當代一年展」，去年2021年二十週年紀念，配合新冠疫情全球爆發的世界局勢「虛實整合、數位轉型」，作為承先啟後的契機，努力為策展人與藝術家開創不同以往的表現可能，也為觀眾帶來更多全時性觀展機會。
過去三年，疫情不分國界、跨領域、跨產業地影響了全人類的生活方式與發展，不論是食衣住行，或是創作與展覽的舉辦方式，整體世界趨勢顯現了網路科技與人類生活的連結，各方面都變得更深、更廣。
若將前兩年（2019～2020）看作衝擊的過渡期，如今進入「後疫情時代」，世界趨勢也變得較為積極，從原本的緊急因應，轉為多加思考如何於後疫情時代當中，與病毒、與科技帶來的生活改變，共存共融 ; 除了科技，對於生態與環境與人類文明發展的關係，不論是生活或是各個產業，也多所重新省視與各種議題討論，當代藝術界也積極參與其中，包含展覽的作法等等, 都產生了更多綠能、環保之倡議與實踐。
多元變化的可能性、以及包容的精神，一直是當代藝術之所以迷人的原因之一。今年2022台灣當代一年展 「TAIWAN ANNUAL」做為下一個二十年的開端，誠摯地邀請各位共同打開心胸、迎接更多跨界與科技合作的「New Normal新常態未來」，積極面對人文藝術在21世紀新一波數位衝擊下，更多的發展可能。
TAIWAN ANNUAL, was founded in 2002 under the name of “Taiwan Artists Fair”, renamed ” TAIWAN ANNUAL ” in 2016, and celebrated its 20th anniversary last year, has focused on art equality, diversity and international exchanges, and is committed to creating different art presentation possibilities for the curators, artists and audiences. Last year, as a symboliazation link between the past and the future, we integrated the real and the virtual art world via digital transformation including the fisrt virtual TAIWAN ANNUAL exhibition, the first official exhibition website, and lots of streamed forums and activities.
In the past three years, the COVID-19 has affected the way of life and development of all human beings regardless of national borders, fields and industries. Whether it is food, clothing, housing and transportation, or the way in which creations and exhibitions are held, the overall world trend has shown that network technology and its connection with human life has become deeper and wider in all aspects.
If the first two years (2019~2020) are regarded as a transition period of the impact, now that we have entered the “post-epidemic era”, the world trend has become more positive, instead of merely emergency response, nowadays we are thinking more about how to coexist with the viruses and rapid technology evolution; apart from technology issues, the relationship between ecology and the environment and the development of human civilization, whether in life or in various industries, has also been re-examined and discussed. Contemporary art industry has also actively participated in it via the artwork and the practices of exhibitions, which have brought about more green energy and environmental protection initiatives and practices.
The possibility of diversity, and the spirit of inclusiveness, has always been one of the reasons why contemporary art is fascinating. As 2022 TAIWAN ANNUAL is the beginning of the next 20 years of itself, We sincerely invite everyone to open the heart, embracing the “New Normal ” future which has more interdisciplinary and technological cooperation, and actively create more art possibilities with us!
一年聚焦 Focal ANNUAL
2022延續2020展區轉型能量，「一年聚焦」展區沒有作品類型分類限制，藝術家得以運用更為多元的形式、場地展現創作內涵，增進作品與觀眾現場對話的可能性，同時邀請藝術產業業界各項專業人士組成評審團，含藝術家、策展人、學者、藝評、機構單位、媒體、收藏、製作與跨界合作等領域，與評審團獎入圍者一同進行「一年一會」面對面交流活動，共同討論思考藝術的各個面向，並且對於參與此計畫的作品評選出評審團獎一名，予以下一年度福利社FreeS Art Space展覽機會，促進藝術創作者未來的發展機會。
2022 TAIWAN ANNUAL continues the transformation energy of 2020, without categorizing genres of artworks, artists can employ forms and spaces more diversely to address their creativity and generate communication between the artworks as well as the audiences. Concurrently, to facilitate the artists’ future development, TAIWAN ANNUAL converges the professionals as a jury, including the artisits, curators, scholars, art critics, art institutions, press, collectors, technicians and interdisciplinary collaboration. The nominees of the Jury Prize will have the ANNUAL Convo with the professionals, discussing art issues face-to face, and the winner of the Jury Prize will be provided with a next-year exhibition schedule in the FrreS Art Space .
藝術家 Artists
六樓鐵皮(張恆銘)、王心妍、王雅慕、末生學(康郁達)、石孟鑫、朱凌萱、何宇森、余永明、吳心荷、吳宇軒、吳奕蓁、吳權恩、呂迦諾、李沛芸、李俐燕、李進能、杜浩恩、林宏政、林沛瑤、林幸珍、林振宏、林淑娟、洪伊又、胡筱霓、徐莘、高婕綾、高錫麟、張子恩、張伯豪、張家寧、張善學、張菀玲、曹育維、許逸芸、連瑞芬、郭佳蓁、陳文祥、陳怡安、陳芝宇、陳冠瑋+何晉倫、陳柏源、陳省聿、陳美珍、陳羿叡、陳瑞錦、陳歡、黃元煜、黃品瑄、黃美珍、黃莉莉、黃紫瑜、黃新庭、黃德馨、楊芝涵、楊景堯、楊駿偉、董籬、熊妤、蔡瑛瑾、鄭雅璇、盧姝妤、盧國聰、蕭玉琴、賴久紅、戴嫻真、謝佩庭、謝佳瑜（本名單按姓名筆畫排列）
一年培力 Foster ANNUAL
「主題策展區」歷經五屆，共邀請 22 位策展人籌辦 10 檔主題策展、12檔影展策展，為延續台灣當代一年展歷年累積的充沛藝術能量，並傳承專業實務經驗予各方人才，2020 年特將「主題策展區」轉型為「一年培力」展區，公開徵求策展好手的創意提案，並邀請策展人擔任獲選提案之顧問，經由面試審核、定期會議等共同討論並執行本年度「一年培力」展出之計畫。藉由策展人過往豐富實務經驗，扶植青年策展人在不同場域的實踐可能，並延續世代之間資源的流動與發掘各方藝術的潛能。今年之培力顧問為莊偉慈，入選之計畫為梁予瀞「愛在上線時，失連即失戀」。
Curatorial Projects has been held for 5 years with 10 curatorial projects and 12 film festivals overseen by 22 curators. Built on the previous experiences and the artistic vitality of the TAIWAN ANNUAL, as well as to pass on professional and practical experiences to varied talents, in 2020 the Curatorial Projects is transformed into the Foster ANNUAL, which has announced open calls for creative curatorial proposals. The Foster ANNUAL invites the curator(s) as adviser(s) to conduct interviews and regular meetings, and collectively execute the selected proposal this year. Through the experienced curatorial practices of the curator(s), the Foster ANNUAL aims to facilitate young curators’ practices in various context, extend the resources transmission between generations, and explore manifold artistic potentialities.The adviser and the selected proposal of 2022 Foster ANNUAL are CHUANG Wei-Tzu and LIANG Yu-Jing’s Out of service, out of love.
2022一年培力顧問莊偉慈
《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。
2022一年培力入選者梁予瀞
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。
藝術機構／團體展區
「藝術機構／團體」展區籌辦以來，邀請國內外逾65個機構及團體，每年皆為一年展帶來豐碩且新穎的藝術體驗，展現各國與各城市文化的藝術能量，提供一個多元、跨國際的藝術交流空間。在經過這兩年疫情的肆虐，藝術機構與團體紛紛開啟跨域連結的思維，在變化中尋求創意的無限可能，體現視覺藝術發展的能動性。本次特別展出四組國外藝術機構／團體的推薦代表與台灣藝術工作者的共創展覽計畫，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，組成臨時藝術團隊，思考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。
2022第十七屆臺北數位藝術節－「真相碎片」
The 17th Digital Art Festival Taipei 2022-“Fake it Real”
官方網站Official Website：http://festival.dac.taipei/
展期Date：2022/09/30-10/10
地點Venue：國立臺灣科學教育館National Taiwan Science Education Center 、臺北數位藝術中心Digital Art Center, Taipei
臺北數位藝術中心（DAC）成立於 2009 年，由台北市政府文化局委託「數位藝術基金會」開始營運，成立之初以數位藝術的研發實驗作為宗旨。2018 年起，由「社團法人台灣視覺藝術協會」（簡稱視盟）承接營運，以其豐富的藝術資源與實務經驗推廣展演活動、加強在地連結。 DAC 提供藝術家工作和展示空間、媒合技術專業人才，以促進優秀數位藝術計畫的實現與展呈。DAC 以推廣數位藝術為目標，每年舉辦六檔展演活動與臺北數位藝術節，規劃 20 場以上之論壇與工作坊，致力於開拓數位藝術研究與創作資源，以多元型態推動數位藝術發展，為台灣數位藝術重要的國際交流窗口。
2022 第十七屆臺北數位藝術節「真相碎片」以網絡資本主義、數據／演算法資訊控制、假新聞傳播與製造扣合「後真相」主題，引領觀眾反思那些可見與不可見的「後端」真相為何。主題展由客座策展人黃祥昀策劃，邀請具豐富參展經歷的國內外藝術家展出，並透過主題徵件、「越域自造」青年創作計畫匯聚台灣青年創作能量。今年更有臺北數位藝術中心亦與韓國 ARKO 藝術中心跨機構連結 DAFT 及 A&T 雙藝術節，推出線上線下／台北首爾同步放映的「台韓錄像交流展」。
The 17th Digital Arts Festival Taipei (DAFT) 2022 titled “Fake it Real ” is curated in the theme of “post-truth”. By revealing the phenomenon related to network capitalism, data/algorithmic information control, fake news dissemination and manufacturing in the art works, the audience will have chance to reflect on the visible and invisible truth behind the “back-end”. The theme exhibition in which Taiwan and international artists are both invited is planned by guest curator Hsiang-Yun Huang. In additional, Taiwan young artists and inter-disciplinary collaborators are encouraged to present their works through open calls. This year, Digital Art Center Taipei and ARKO Art Center from Korea also work as international partners in connecting two art festivals, DAFT and A&T (Art & Tech Festival). By launching the “Taiwan-Korea Video Exchange Program”, Korean and Taiwan artists’ video art works are screened online and offline simultaneously in Taipei and Seoul.
卦山力藝術祭回顧展
Baguashan Power Art Festival Retrospective Exhibition
2022策展團隊：instant42、盜火劇團、宋錫安、林達佑、莊柏彥、謝玉琦、林玉雯、張語彤、吳樂培、陳亭宇、盧育萱。
2019-2022帶領藝術家：盜火劇團、葉育君、王秀茹、余嘉榮、林依萱、吳柏賢、姜鴻逸、黃筱雅、林達祐、陳育萱、林建呈、吳政樺、莊柏彥、林玉雯、施岱伶、黃彥超、楊詠宜、詹凱晞、鄧雯馨、李蕢至、Karla Kracht、Bauer Dorian 繁不及備載
「Instant 42（Art Residency/Studio/Gallery）」成立於 2013 年，為藝術家葉育君與法國藝術 Alexis Maille 共同創辦，是一個結合居住空間、創作空間、展演空間的複合式空間。
42 是原本蘆洲空間的原地址，靈感來自於道格拉斯孷亞當斯的小說《銀河便車指南》， 42 是「生命、宇宙以及任何事情的終極答案」。
希望建立藝術家們如同兄弟姊妹的情誼，將藝術打進一般市井小民的生活圈。自從 2017 年搬到故鄉彰化。以當代藝術展演的實驗精神、深耕藝術教育，並搭起生活與藝術的橋樑。 2019 年與彰化在地夥伴，共同創立卦山力藝術祭。以藝術祭為號召，邀請民眾參與、關心自己的生活場域，共同發掘土地故事，以卦山呼應土地之力，以藝術召喚行動精神。2020 年，以「未來冒險王」為題，一同創造對未來的奇異幻想，一個彰化夢的前進築夢之旅。2021 年，用七種方式「前進幸福」，邀請大家體驗與創造幸福。2022 年，卦山力藝術祭將以卦山力前傳為命名，從 20 組家族故事，尋找代表彰化的 DNA ，轉變成裝置藝術與攝影展，並於 2022 年 11 月 12 日於彰化展出。
“Instant 42”, founded in 2013.Founded by artist Ye Yujun and French artist Alexis Maille. It is a compound space that combines living space, creative space, and exhibition space.42 is the street address. In “The Hitchhiker’s Guide To The Galaxy”, Douglas Adams cites this number as “the answer to life, the universe and everything.” She is committed to creating a family-like friendship among artists and bringing art into the lives of ordinary people.
With the experimental spirit of contemporary art performances, she deeply into the education of cultivates art to builds a bridge between life and art. In 2019, she co-founded the Baguashan Power Art Festival with her local partners in Changhua.
對向間隙穿越
Opposite gap crossing
去攝影 go/de-photography
郭慧禪，張美陵，魏歆曄，黃迦
KUO Hui-Chan, CHANG May-Ling, WEI Xin-Yeh, HUANG Chia
「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.
郭慧禪的〈魚罐廠〉在數日沒有魚獲的的工廠，擬態行為試圖反映人與環境的交互關係以及環境對人的影響。張美陵的〈「你們家有什麼東西可以拿到美術館展覽」系列—台東新化計畫〉，反映了新化部落的過去與當今生活文化的變化。魏歆曄的〈幕後場景〉拍攝的場景來自台灣的製片片廠，從幕後場景裡許多不同的角落，試圖提供另一個的角度來觀看這個造夢工廠。黃迦的〈沒有紙的畫〉以半年的時間與孩子們進行遊戲式的合作，邀請他們用彩色筆述說生命的故事，尋找與被攝影者間平等的關係。
這些作品就像是朝向某地的移動，在創造的概念空間裡，持續地覺察可能產生之碰撞，並維持行動範圍的過程。
KUO Hui-Chan’s “Fish Canning Factory” locates in a factory that has not caught fish for several days, the mimic behavior attempts to reflect the interaction between people and the environment and the impact of the environment on people.
Chang May-Ling’s “Is there anything in your family that can be exhibited in the art museum? series-Taitung Xinhua Project” reflects the past of the Xinhua tribe and the changes in today’s life and culture.
WEI Xin-Yeh’s “Behind the Scenes” are taken from Taiwanese studios, trying to provide another perspective on this dream factory from many different corners of the behind-the-scenes’ scenes.
HUANG Chia’s “Painting Without Paper” has been a playful collaboration with children for half a year, inviting them to use colored pens to tell their story of life and find an equal relationship with the photographed.
These works are like moving towards a certain place, in the conceptual space created, constantly aware of possible collisions and maintaining the range of action.
众藝術駐村計畫：「被襲奪的記憶」 Raped Memories
翁榛羚 WENG Jhen-Ling
众藝術（Zone Art）位於台灣桃園市藝文特區，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.
「被襲奪的記憶」來源自地理學中「河川襲奪」，透過文獻資料的調查，襲奪高位河的低位河稱為「襲奪河」，被襲奪的高位河上游稱為「改向河」，剩餘失去源水的高位河河段則稱為「斷頭河」。此次展覽透過下埔仔溪下游及菜堂排水區域的踏查，以河川襲奪及土地歷史變遷的過程，探討在地居民對於此兩河域情感記憶之外，同時以第三人稱視角去觀看家族史，曾在這片土地所經歷的歷史事件，當自我跳脫時，記憶，是否還存有溫度？ 展覽簡介（英）
“Raped Memories” comes from “River Capture” in geography. Through the investigation of documents, the lower rivers that seized high-level rivers are called “Capturing Rivers”, and the upper reaches of the high-level rivers that have been seized are called “Diverted Rivers”. “Capturing River”, and the remaining high-level river section that has lost its source water is called “Beheaded River”. Through the investigation of the lower reaches of Xiapuzai River and the drainage area of Caitang, this exhibition explores the process of river conquest and historical changes of land to explore the emotional memory of local residents in these two river areas, and at the same time from a third-person perspective. Watching the family history, the historical events experienced in this land, when the self-escapes, does the memory still have temperature?
世界又平又熱又擠
Flat, Hot and Crowded
星空間 Hsin’Space
林子荃, 周明誼, 陳毅哲, 奈奈祐介
LIN Tzu-Chuan, CHOU Ming-YI, CHEN Yi-Che, Animated Someone
「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.
全球化讓世界變成平的，美國著名的評論家弗里德曼提出，當今世界有三大力量以前所未見的方式影響世界，一是市場、二是自然、三是摩爾定律。摩爾定律造成科技飛快發展，影響了市場大數據，而爆發式的市場造成自然的迫害、企業的扁平化。藝術家透過創作關注地球上所面臨的各種危機，在所關注的不同面向下，對世界議題給出質疑、回應或者迎合？
Why the World Needs a Green Revolution: and How We Can Renew Our Global Future.
往昔之地
Erstwhile Land
窯座 Yao Alternative Space
林耕舞 Kengwu Yerlikaya
「窯」表示燒製瓦器的地方，本義：燒磚瓦陶瓷器的灶，我們取其燒製含義，在此處作為醞釀和創造的過程，希望創作者以及觀眾在經歷此地的淬煉後能以嶄新的姿態離開。「座」在詞語解釋上有「托底」之意，為器物的基礎部分，我們希望能成為創作者的基底，成為支撐的那一方。窄巷內，黃色外觀，公寓門前還有著像鳥居的建築標的。窯座位於一棟 1962 年完工的步登公寓，三層六戶半，窯座這戶原已荒廢五年，目前替代空間執行中，聚落集散中，祭典籌備中。想要辦有趣的展覽，讓台中較為弱勢的藝術環境也能百花齊放，利用台中圈子較為小眾的氣質轉化成為一個讓藝術家不受限的搖籃。
想法很簡單，就是當一個底座，給創作者展示自己的意念、支撐他們的信仰。
“Yao” means kiln in Mandarin, it generally implies an oven for processing a substance by burning, firing, or drying. We take the meaning of firing as a process of brewing and creating. Hoping the artist and visitors can come to experience in Yao and leave as the brand-new version of themselves. “Zuò” in Mandarin means base, the basic foundation of the artifact. We hope this space can serve as the creator’s foundation to support them.
在「以島為家—失敗藝術家回顧巡展」順利落幕的將近一年後，我們再也沒有聽聞過藝術家的動態，沒有真正成為藝術家的他，他還好嗎？他現在從事著什麼職業？居住在那個城市？又或著，飄移在那個國界？是否和自己失落的夢，和解了？
2022 年 9 月，在台灣當代一年展的線上展間，我們邀請了一年前， 2021 年曾在窯座，實體舉辦了環島回顧巡展，第二章「兩者之間」的失敗藝術家，來與我們在一年後，一同回看他當時的 這段線上、北、中、南環島旅程。塵埃終究會落定，但此時此刻你是否依舊無鄉？窯座想邀請觀眾們一起踏入虛擬的展場空間，沒有溫度的展場，悠遊於他對於往昔的反思、感慨、懺悔、迂迴，亦或者是笑看的邁向下一步。
Nearly a year after the closure of “Home Land Is Land-Retrospective Tour of the Failure Artist”, we have never heard of the artist’s latest update.
The man who has not really become an artist, how is he? What occupation is he current in? In which city? Or drifting in which Continent? Has he reconciled with his lost dream?
In September 2022, in the online exhibition room of TAIWAN ANNUAL, we invited Kengwu Yerlikaya who a year ago, in October 2021, held a retrospective tour at Yao Alternative Space.
Chapter 2: “Between the Two” The namely failure artist, to come and look back with us on his journey around the island of Taiwan.
The dust will eventually settle, but do you maybe still not know where home is? This time, Yao would like to invite the audience to step into the virtual exhibition space together. In this desolate exhibition space, wandering freely in artist’s reflections, emotions, repentance, detours or even that smilingly new step.
Yao alternative space is sitting in an old yellow apartment that was built in 1962, in a tiny ally with a torii (a traditional Japanese gate). As of now, Yao functions as an alternative space and a settlement that hopes to gather creators and is in the process of creating an art festival.
The core idea of Yao is very simple, it will become a “Zuo” that offers creators a place to showcase their works and supports their beliefs.
記憶邊境
Frontier of the Memory
恐懼與希望 – 烏克蘭來台駐村交流計畫
Mira Bachkur
Zirka Savka
Veronika Cherednychenko
Denys Metelin
Taras Haida
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。
透過停留在一個與我國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.
李奎壁 X AAA in India
李奎壁 LI Kuei-Pi
Samira Bose
本計畫從台灣當代藝術資料庫（Taiwan Contemporary Art Archive , TCAA）研究員李奎壁與亞洲藝術文獻庫─印度（Asia Art Archive in India, AAA in I）研究員 Samira 的討論出發，試圖從整理過去臺灣與南亞間的交流經驗開始，一探雙方在當代藝術發展上的差異性，與藝術檔案的建置與蒐集上所面對的問題，從中尋找雙方未來可供彼此參考、共同工作的路徑。
本計畫自 2022 年 6 月開始，在「台灣當代一年展」中展示部份討論過程，預計在明年初以線上討論會的形式展示成果。
Starting from the discussion between LI Kuei-Pi, researcher of Taiwan Contemporary Art Archive (TCAA), and Samira Bose, researcher of Asia Art Archive in India (AAA in I), this project attempts to sort out the relationship between Taiwan and South Asia in the past. Beginning with the exchange of experience, two researchers explored the differences between the two sides in the development of contemporary art, and the problems faced in the establishment and collection of art archives, and tried to find a way for the two sides to refer to each other and work together in the future.
This project started from June 2022, and parts of the discussion process will be showcased in the 2022 TAIWAN ANNUAL. The result of this co-research project is expected to be presented in the form of an online discussion at the beginning of 2023.
黃崧菀 X SPACE A
黃崧菀 HUANG Sung-Wan
Jupiter Pradhan
臺灣藝術家黃崧菀與尼泊爾藝術組織 Space A 藝術家 Jupiter Pradham 合作，從飲食著手，描述著兩地彼此未見未聞過的食材，形構在對方國家生活的情景，一道菜餚彰顯了節令、氣候、文化與人對食物的慾望。在異地找尋食材和替代性材料，去想像和製作一道未曾嘗過的甜蜜食物，在這搜索和替代性材料以及補充描述的過程中，已開始品嚐其中滋味。
Inspired by the food culture of one another’s country, Taiwanese artist Huang Sung-Wan collaborated with Jupiter Pradham, an artist from Nepalese art organization Space A, described the unseen and unheard ingredients of the two places, forming the scene of life in each other’s country. A dish is able to highlight the seasons, climate, culture and human desire for food. Looking for ingredients and alternative materials in their respective countries, to imagine and make the food that has never been tasted, in the process of searching and alternative materials and supplementary description, artists have begun to taste the essence.
郭俞平 X 蔡秉儒 X Mahila Zine
策展人Curator：蔡秉儒 TSAI Ping-Ju
藝術家 Artists：郭俞平 KUO Yu-Ping, Mahila Zine
本次展覽為「國際FreeS社–亞洲當代藝術進行式」之四項子計畫之一，由印度女性藝術家團體「發酵點子」（Vichar K Achaar」所創辦之小誌《Mahila》與台灣藝術家郭俞平進行創作對話，並於一年展期間共同展出。
「Mahila」在印地語中，可譯為女人、女士或成年女子等。《Mahila》試圖在印度社會框架中，探討女性在南亞社會中所面臨的種種問題，與其背後對應的傳統價值體系，諸如貧困、性別歧視、家庭壓力等。而各期小誌透過邀稿，邀集各地藝術家書寫自身或觀察而來的大小故事。
在閱讀這些刊載的多樣作品時，總不難發現一張張個人風格鮮明的圖像裡，隱約透露著某種蒼白的創傷。這些創傷正是來自當地社會背後，父權體系所擴展出的結構性暴力。透過女性創作者的書寫，指向壓抑卻又難以名狀的欲望——在直視那些根源性的陷構間，展現另一種抵抗的姿態。
藝術家郭俞平在《Daughter》系列繪畫中，透過小幅尺寸，寓以宏大敘事般的企圖，描繪了史詩般非單一性別視角的想像可能。這些色彩豔麗卻顯得曖昧而幽微的圖像，正如同構成我們今日生活樣貌的一部分，在抑制某種感受的同時，卻仍試圖以另一種隱晦的語言——屬於另一種性別主體的語言——述說著跨主體邊界的生命經驗。
也因此，我們在兩位創作者的作品中得以看見一種嘗試言說的動能：美學實踐橋接了性別身分與社會話語的複數詰問，讓各個群體的敘述得以在主流體系之外，持續被書寫或言說，甚至延續與聆聽，展現更為細緻的生命差異；同時也為她們創造新的溝通及自我言說方式，凝聚起得以傳達並且激起回聲的網絡，逐漸將自己的聲音滲透到其他場域中。
Being one of the four sub-projects of the “International FreeS Art Space – The Evolving of Asian Contemporary Art” exhibition, this sector showcases the artistic dialogue between Taiwanese artist KUO Yu-Ping, and Mahila, a zine published by the Indian female art group, Vichar K Achaar.
The word Mahila in Hindi can be translated into various meanings such as a woman, a mame, or a lady. Under the Indian social framework, Mahila tries to discuss a variety of questions faced by the Indian women, and the system of traditional value behind the status quo, such as poverty, gender discrimination, and family pressure. Each issue of Mahila invites artists from different places to write about their stories from their personal experience or observation.
While reading the various stories published in these issues, it is not difficult to find that a certain pale trauma that is vaguely revealed in the images with distinct personal styles. The trauma comes from the structural violence extended by the patriarchal system behind the local society. Through the writings of the female creators, it points to the suppressed but indescribable desires, which shows another gesture of resistance while looking into the fundamentally collapsed structure.
In her Daughter series, artist KUO Yu-Ping depicts the epic imaginary possibility of non-binary-gender perspectives through a small size of frames, but with a grand narrative attempt. These colorful but ambiguous and subtle images are like parts of our life today. While suppressing a certain feeling, she still tries to express a life experience that crosses subject boundaries in another more obscure language, a language belonging to another gender subject.
We can see a dynamic of trying to speak in the works of the two creators, bridging the plural interrogation of gender identity and social discourse in aesthetic practice, so that the narratives of various groups can continue to be written outside the mainstream system. They continue to be written, described, or spoken, and even listened to, retaining the ideas of the minority who are not as dazzling, but still shining in their own unique ways.
Sanaa Taipei 沙那臺北
林羿綺 LIN Yi-Chi
Ibi Ibrahim
臺灣與葉門，地理位置上遙遠的兩端，卻同樣籠罩在不安定的政治環境中。沙那為葉門最飽受戰火摧殘的首都，和平成為最遙不可及的微小願望，葉門藝術家 Ibi Ibrahim 於 2020 年訪問 100 位葉門公民，詢問他們戰爭結束後最想做的事是什麼？這些回應讓我們得以窺見葉門人民在戰火之下的日常需求與祈願。反視臺灣，與中國間的政治拉扯從未間斷，2022 年 8 月緊張的局勢更加升溫，於是臺灣藝術家林羿綺以此為發想，訪問 100 位臺灣民眾，在戰爭開始前最想做的事是什麼？兩位藝術家共同創作出名為 Sanaa Taipei 沙那臺北的錄像作品，藉由對於面臨戰爭前/後的提問，開啟兩國間更多的交流討論。
Taiwan and Yemen, two geographically distant spots, are both overcast with a cloud of political unrest. In Sanaa, the Yemeni capital most destroyed by the war, peace has become the most unreachable wish. In 2020, Yemeni artist Ibi Ibrahim interviewed 100 Yemeni citizens about the thing they want to do the most after the war ends. Their responses provide us a glimpse on Yemeni people’s everyday needs and hopes in wartime. Taiwan, by contrast, has been in a constant political rivalry with China. As the conflict drastically intensified in August 2022, Taiwanese artist LIN Yi-Chi is prompted to also interview 100 Taiwanese citizens about what they want to do the most before the war begins. By asking the post-war/pre-war questions, the two artists co-create the video artwork, “Sanaa Taipei”, to inspire more discussion and exchange between the two countries.
2022台灣當代一年展團隊 2022 TAIWAN ANNUAL Team
理事長Chairperson
蘇瑤華SU Yao-Hua
專案統籌Project Director
鄭琬儒ZHENG Wan-Ru
一年培力Foster ANNUAL
展務執行Exhibition Executive｜鄭琬儒ZHENG Wan-Ru
一年聚焦Focal ANNUAL
展務執行Exhibition Executive｜鄭琬儒ZHENG Wan-Ru、王宥云WANG You-Yun
評審聯繫Jury contact｜鄭琬儒ZHENG Wan-Ru
展間規劃Exhibition Plan｜王宥云WANG You-Yun
前期協助 Early Processing｜王渝賢WANG Yu-Sian
機構合作Institution and Group Collaboration
展務執行Exhibition Executive｜范宇晴FAN Yu-Ching、徐梅軒HSU Mei-Hsuan
活動推廣Promotion
執行Executive｜鄭琬儒ZHENG Wan-Ru、范宇晴FAN Yu-Ching、王宥云WANG You-Yun、徐梅軒HSU Mei-Hsuan
實習生事務Intern Coordinator｜王宥云WANG You-Yun
公關行銷PR and Marketing
媒體宣傳Press and Social Media｜鄭琬儒ZHENG Wan-Ru、吳宜臻WU Yi-Jen、王渝賢WANG Yu-Sian
異業合作Cross-field Cooperation｜鄭琬儒ZHENG Wan-Ru
視覺統籌Graphic Design | 陳彥如CHEN Yan-Ru、魏妏如WEI Wen-Ru
網站設計Website Design | 0gram零克有限公司
虛擬大廳設計Virtual Lobby Design | 郭政賢GUO Zheng-Xian、李易玲LI Yi-Ling
燈光設計 Lighting Design | 何仲昌 HE Zhong-Chang
佈展合作Installation Services | 三空泉工作室Sankongguan Studio、吳瑋庭WU Wei-Ting
實習生Intern | 林韋伶LIN Wei-Ling、吳宇璇WU Yu-Hsuan、陳羿含CHEN Yi-Han、塗謹謙TU Chin-chien、傅曦儀FU Si-Yi
視盟第十三屆理監事AVAT 13th Board Members(2022)
理事長Chairperson
蘇瑤華SU Yao-Hua
副理事長Vice Chairperson
吳垠慧WU Yin-Hui、郭奕臣KUO I-Chen
常務理事Executive Director
陳擎耀CHEN Ching-Yao、賴香伶LAI Hsiang-Lin
理事Director
王鼎曄WANG Ding-Yeh、吳尚邕WU Shang-Yung、李明學LEE Ming-Hsueh、彼勇．依斯瑪哈單Biung Ismahasan、林裕軒LIN Yu-Hsuan、胡欣妤HU Shin-Yu、常陵CHANG Ling、張暉明CHANG Huei-Ming、黃志偉 Huang Chih-Wei、黃琬玲HUANG Wan-Ling
常務監事Executive Supervisor
楊茂林YANG Mao-Lin
監事Supervisor
何孟娟HO Meng-Juan、陸先銘LU Hsien-Ming、張美陵CHANG May-Ling、蘇匯宇SU Hui-Yu
視盟第十三屆秘書處AVAT 13th Secretariat (2022)
秘書長Secretary-General
范宇晴FAN Yu-Ching
專案經理Project Manager
鄭琬儒ZHENG Wan-Ru
展覽經理FreeS Art Space Manager
王宥云WANG You-Yun
助理Assistant
梁予瀞 LIANG Yu-Jing、吳宜臻WU Yi-Jen
