台北當代藝術館 官方網站 Museum of Contemporary Art, Taipei

首頁 展覽資訊

【羅莎的傷口】Rosa’s Wound

展覽名稱 Exhibit

【羅莎的傷口】Rosa’s Wound

展覽時間 Date

2017/02/18-2017/04/09

展覽地點 Venue

台北當代藝術館 MOCA Taipei 1F

門票 Admission

NT50

策展人 Curator

黃香凝 Hsiang Ning Huang

參展藝術家 Artists

陳界仁 Chen Chieh-jen 

百武轍吾Tetsugo Hyakutake

蓓里莎格 belit sağ

胡丰文 Fx Harsono

基瑞達蕾娜Kiri Dalena

黎光頂 Dinh Q. Lê

孫遜 Sun Xun

聞海 Huang Wenhai

策展論述 Curatorial Statement

【羅莎的傷口】Rosa’s Wound 

 

還有妳的

傷,羅莎。

妳的羅馬尼亞野牛的

犄角的光

替代了那星星於

沙床之上,在

兀自言說的,紅色

灰燼般強悍的槍托中。

_ <凝結Coagula> 保羅‧策蘭

 

Your wound
too, Rosa
And the hornslight of your
Romanian buffaloes
in star's stead above the
sandbed, in the
talking red-
ember-mighty
alembic

—"Coagula," Paul Celan

 

保羅‧策蘭為猶太裔詩人,為納粹集中營的倖存者及流亡者。在〈凝結〉這首詩中,策蘭將羅莎‧盧森堡、卡夫卡短篇小說《鄉村醫生》中的羅莎與他的早年女友羅莎‧萊柏維茲相互連結,讓「羅莎」不再意指單一個體,而是藉由這個名字、水牛與奧斯維辛倖存者間的象徵意義,將所有被迫害的受難者凝聚在一起,形成一個感性團塊,將碎散的與集體的創傷收束其中。用「傷」這個符號,「凝結」遙遠的時間、空間、與記憶,讓個人記憶穿越了時代,有了歷史縱深,不再是「羅莎」的傷口,而是「我們」共同的傷口。

Jewish poet, Paul Celan, was a survivor of concentration camp and an expatriate. In Goagula, Celan connected Rosa Luxemburg, the character Rosa in Kafka's short story, A Country Doctor, and his former girlfriend, Rosa Leibovici Therefore, "Rosa" is no longer just referred to an individual but acquired a symbolic meaning associated with buffalos and the survivors of Auschwitz, uniting all the oppressed victims of unique sensibility in the poem while enveloping all the personal and collective wounds. The poet used "wound" as a symbol to "coagulate" the remote time, space, and memory; and by doing so, personal memory travelled through time and revealed a profound historical dimension. Thus, the wound is not Rosa's anymore, but a shared, common, collective wound of us all.

 

「羅莎的傷口」展覽借用〈凝結〉這首詩的意象,將「傷口」成為一個連結「時間—空間」和「個體—集體」的裂口,讓我們得以窺見暴力與創傷如何以不同的面貌延續,並揭示脆弱性如何反應人類彼此的共存現實與需求,以喚起承擔他人苦痛的社會責任,思考「我」如何在變動的「時間—空間」與差異的「個體—集體」之間,層層疊套,成為「我們」。此次參展的八位藝術家,著眼於二戰以來關於殖民、冷戰、極權、乃至於新自由主義之下的倖存者及其後代,以不同視角反覆琢磨不可見與無法言說的歷史與記憶,並重探美學的情動效應如何觸發我們重新思考彼此的共存現實,以回應他者創傷與現今層出不窮的暴力事件,不讓漠視和偏見,進一步強化暴力與創傷的結構。

Rosa's Wound adopts the imagery in Goagula, and transforms the "wound" into a Split that connects "time - space" as well as "individual - collective," allowing audience to glimpse into how violence and trauma have transfigured and persisted in our society. The "wound" reveals how human vulnerability has reflected our co-existence and need for one another, invoking our social responsibility to shoulder one another's pain. It invites us to contemplate on the idea of how "I" could become "we" in a changing "time - space" and between the differentiated "individual - collective." The exhibition pays attention to survivors of colonization, the Cold War, authoritarian regimes, and neoliberalism and their offspring, and revisits the invisible and indescribable history and memory from a different perspective, exploring how affective aesthetics triggers our reflection about our co-existence. It allows us to respond to other's traumas and cope with increasing violence today without letting indifference and prejudice reinforce the structure of violence and trauma.

 

然而,如蘇珊‧桑塔格提醒的,「我們」是一個必須隨時檢驗的指稱。在不同的條件與情況之下,「我們」被召喚成一個想像的共同體,服務於不同的意識形態。如同「人權」這個絕對正義的名詞,在不同的立場主張之下,成為偏見得以再次加深的最堅實難破之後盾。如何避免輕率的憐憫和認同,是本展在思考記憶及情感政治時嘗試探討的另一種面向。

Nevertheless, as Susan Sontag has reminded us, "we" is a pronoun that requires to be constantly examined. Under different conditions and circumstances, "we" is often evoked as an imaginary collective to serve dissimilar ideologies. It is similar that, with different stances and arguments, the term "human rights," which denotes absolute justice, might give strength to strong prejudice and make it even more unbreakable in certain circumstances. How we could sidestep the trap of unmindful sympathy and identification is another aspect that this exhibition intends to explore when thinking about memory and the politics of emotion.

 

本次展覽「羅莎的傷口」希冀透過藝術之名,在紛雜的亞洲歷史與現況中,以回音捕捉邊界,以想像提供路徑,讓我們從個人主義式的身體,過渡為社會性及歷史性的身體,乘載著彼此的以及歷史的傷痛,同時進而以記憶作為一種抵抗的政治,嘗試超越事件的偶然性,將創傷解構,以美學昇華。

In the name of art, Rosa's Wound expects to discuss the complex Asian historical context and status quo, echolocating its evasive boundary and discovering a path with imagination. It is a way that enables us to transit from an individualistic body to a social and historic one, which carries our shared sorrow and suffering in history. It uses memory as the politics of resistance and transcends the contingency of incidents, deconstructing traumas and sublimating them through aesthetics.

參展藝術家 About the Artists

策展人簡介 Curator

黃香凝 Hsiang Ning Huang

藝術家介紹 Artist Introduction

陳界仁 Chen Chieh-jen

(Chen Chieh-jen,1960-),生於臺灣桃園,目前生活和工作於臺北。在冷戰/反共/戒嚴時期,陳界仁曾以游擊式的行為藝術干擾當時的戒嚴體制(1950-1987),1987年解除戒嚴後,曾停止創作八年。1996年重新恢復創作後,開始和失業勞工、臨時工、移工、外籍配偶、無業青年、社會運動者等進行合作,並通過佔據資方廠房、潛入法律禁區、運用廢棄物搭建虛構場景等行動,對已被新自由主義層層遮蔽的人民歷史與當代現實,提出另一種「再—想像」、「再—敘事」、「再—書寫」與「再—連結」的拍攝計畫。

Chen Chieh-jen (1960-) was born in Taoyuan, Taiwan, Chen Chieh-jen currently lives and works in Taipei, Taiwan. Chen employed extra-institutional underground exhibitions and guerrilla-style art actions to challenge Taiwan's dominant political mechanisms during a period marked by the Cold War, anti-communist propaganda and martial law (1950 – 1987). After martial law ended, Chen ceased art activity for eight years. Returning to art in 1996, Chen started collaborating with local residents, unemployed laborers, temporary workers, migrant workers, foreign spouses, unemployed youths and social activists. They occupied factories owned by capitalists, slipped into areas cordoned off by the law and utilized discarded materials to build sets for his video productions. In order to visualize contemporary reality and a people’s history that has been obscured by neo-liberalism, Chen embarked on a series of video projects in which he used strategies he calls “re-imagining”, “re-narrating”, “re-writing” and “re-connecting.”

百武轍吾 Tetsugo Hyakutake

(Tetsugo Hyakutake,1975-),生於日本東京,目前生活及工作於紐約。2006年藝術大學攝影美術學士畢業,並獲得藝術家獎和攝影教育中大西洋地區獎學金獎。2009年自賓夕法尼亞大學美術碩士畢業,獲得Toby Devan Lewis Fellowship獎學金,此後成為國際攝影獎比賽的贏家,作品以「後工業化」的基調,融入百武轍吾這一代人的聲音以及個人經驗,凸顯戰後日本的歷史、經濟與社會等問題。

Tetsugo Hyakutake (1975-) was born in Tokyo, Japan, and now lives and works in New York. He received his BFA in Photography from the University of the Arts and was awarded Promising Artist Award and the scholarship award of Society for Photographic Education, Mid-Atlantic Region. In 2009, he received his MFA from the University of Pennsylvania, USA, and won the Toby Devan Lewis Fellowship. He has won various international photographic awards since, and is known for his work that carries "post-industrial" colors mixed with the voice and personal experience of his generation that unfolds historical, economic and social issues in post-war Japan.

蓓里莎格 belit sağ

(belit sağ,1980-),生於土耳其,目前生活及工作於阿姆斯特丹。她的作品長期關注「影像的暴力」與「暴力的影像」,抱持著「質疑操弄者」的視角,將個體的觀點切入政治議題,探討做為傳遞載具的媒體,其再現與可見性的「影像權力」,是如何體現出某種視覺恐懼的意象和觀念,揭示視覺政體所隱含的社會階序與感知之間的多重關係。

belit sağ (1980-) was born in Turkey, and currently lives and works in Amsterdam. Her work investigates "the violence of image" and "the image of violence." With a perspective of "questioning the manipulator," she delves into political issues from individual points of view and explores "the power of image" represented and visible in media as well as how the media portrays visually terrifying images and concepts. By doing so, she exposes the multiple relations between social order and perception embedded in the scopic regimes.

胡丰文 Fx Harsono

 (Fx Harsono,1949—)是印尼最重要的當代藝術家之一,40多年來一直是印尼藝術界的中心人物。於1975年成為印尼Gerakan Seni Rupa Baru新藝術運動的創始人之一,強調以日常媒材做實驗性創作來傳遞概念思維,同時,積極參與並反映政治社會問題。為了表彰他數十年來的藝術成就,與在印尼當代藝術界的重要地位,胡丰文分別在2015、2014年被授予「藝術自由的約瑟夫·馬里士他獎」與「克勞斯王子獎」,其作品在世界各地雙年展與美術館展出。

Fx Harsono (1949-) is one of the most important contemporary artists in Indonesia, and has remained a central figure in the Indonesian art scene over the past four decades. He was one of the founders of Indonesia's Gerakan Seni Rupa Baru (New Art Movement) that emphasizes on experimental, conceptual approaches and active engagement with social and political issues. In recognition of his artistic achievements over the decades, Harsono was awarded the Joseph Balestier Award for the Freedom of Art in 2015. He was also given the Prince Claus Award, honoring his crucial role in Indonesia's contemporary art scene for forty years. His work has been shown in international biennials and museums worldwide.

基瑞達蕾娜 Kiri Dalena

 (Kiri Dalena, 1975—),生於菲律賓馬尼拉。目前工作於馬尼拉與棉蘭。基瑞達蕾娜畢業於菲律賓洛斯巴諾斯大學,獲人類生態學本科學位,並在Mowelfund電影學院進行16mm紀錄片製作的研究。

基瑞達蕾娜是一位視覺藝術家和電影製片人,她的作品以反映社會不平等與不公義為特色,尤其是菲律賓,她積極參與維護人權的大規模鬥爭,並以此做為她藝術實踐的基礎,強調了「抗議」與「公民不服從」在當代社會的相關性。

Kiri Dalena (1975-) was born in Manila, the Philippines, and now lives and works in Manila and Mindanao. She graduated from the University of the Philippines Los Banos with a BA in Human Ecology, and pursued further studies in 16mm documentary filmmaking at the Mowelfund Film Institute.

A visual artist and filmmaker, Dalena's work reflects social inequalities and injustices that still persist today, particularly in the Philippines. Her active involvement in the mass struggle to uphold human rights amidst state persecution is the foundation for her art practice that underscores the relevance of protest and civil disobedience in contemporary society.

黎光頂 Dinh Q. Lê

(Dinh Q. Lê,1968—),生於越南,十歲時移居美國,目前工作及居住於越南胡志明市。他在加州大學學習攝影與媒體藝術,並利用越南傳統的蓆草編織術,發展出獨特的藝術語言,其代表作《照片編織》(1989)系列作品,就是將旅客親切的笑臉、多幅越戰士兵作戰慘況的黑白照片,以及越南熱帶雨林的景象,這三類照片以多層次的草蓆編織術,織就了一幅既密不可分又互相割裂的畫面。其藝術創作多以越戰為主題,既是表達自己的民族情懷,更對現今越南的發展提出觀察與質疑。

Dinh Q. Lê (1968-) was born in Vietnam and immigrated to the United States at the age of ten. He currently works and lives in Ho Chi Minh City, Vietnam. He studied photography and media art at the University of California, and uses traditional Vietnamese grass weaving techniques to develop his unique artistic language. His well-known photo weaving series created in 1989 employs smiling faces of travelers, black-and-white war-time photos of Vietnamese soldiers, and Vietnamese tropical forest, and integrates these three visual elements into inseparable yet divisive images with techniques making multi-layered woven mats. His work mostly adopts the theme of the Vietnam War, simultaneously expressing his sentiments for his country as well as proposing his observation and questions about modern Vietnam's development.

孫遜 Sun Xun 

(Sun Xun,1980—),生於中國遼寧省阜新,現生活並工作於北京。2005年畢業於中國美術學院版畫系。次年成立π格動畫工作室。是中國青年藝術家中活躍於國際的一位,多次獲得藝術界大獎,其動畫作品參與國際具指標性的柏林電影節和威尼斯電影節,創作體裁多樣,包括:動畫、錄像、繪畫、版畫、木刻、裝置等。

Sun Xun (1980-) was born in Fuxin, Liaoning Province, China, and lives and works in Beijing now. He graduated from the Department of Printmaking, China Academy of Art in 2005, and founded πAnimation Studio the next year. He is one of the young Chinese artists active among the international art scene today, and has won various art awards. His animation works have been shown in renowned film festivals, such as Berlin International Film Festival and Venice International Film Festival. He has created a wide range of works, including animation, video, painting, woodcut, wood sculpture, and installation.

聞海(黃文海Huang Wenhai 

(Huang Wenhai,1971—),生於湖南寧鄉,紀錄片導演,自2000年開始獨立電影創作。作品包括:《軍訓營記事》、《喧嘩的塵土》、《夢遊》、《我們》、《殼》、《西方去此不遠》等。多次獲得國際電影節獎,包括:2005年獲馬賽國際電影節紀錄片競賽單元「喬治斯‧德‧博勒加德」獎;2006年獲28屆法國真實電影節最高獎;2008年獲第65屆威尼斯電影節「地平線」單元評委會特別獎。

Huang Wenhai (1971-) was born in Ningxiang, Hunan Province, China. Huang is a documentary director, and has been making independent films since 2000. His works include Military CampsFloating DustDream WalkingWeCrust, and Reconstructing Faith. He has won awards in various international film festivals, including Prix Georges de Beauregard at the Festival International du Documentaire in Marseille in 2005, Grand Prize of the 28th Cinéma du Réel Film Festival in Paris in 2006, and Jury Special Prize at the Horizons Section of the 65th Venice International Film Festival in 2008.

作品介紹 About the Artworks

入口形象區 Entrance Hall

陳界仁 Chen Chieh-jen

(Chen Chieh-jen,1960-),生於臺灣桃園,目前生活和工作於臺北。在冷戰/反共/戒嚴時期,陳界仁曾以游擊式的行為藝術干擾當時的戒嚴體制(1950-1987),1987年解除戒嚴後,曾停止創作八年。1996年重新恢復創作後,開始和失業勞工、臨時工、移工、外籍配偶、無業青年、社會運動者等進行合作,並通過佔據資方廠房、潛入法律禁區、運用廢棄物搭建虛構場景等行動,對已被新自由主義層層遮蔽的人民歷史與當代現實,提出另一種「再—想像」、「再—敘事」、「再—書寫」與「再—連結」的拍攝計畫。

Chen Chieh-jen (1960-) was born in Taoyuan, Taiwan, Chen Chieh-jen currently lives and works in Taipei, Taiwan. Chen employed extra-institutional underground exhibitions and guerrilla-style art actions to challenge Taiwan's dominant political mechanisms during a period marked by the Cold War, anti-communist propaganda and martial law (1950 – 1987). After martial law ended, Chen ceased art activity for eight years. Returning to art in 1996, Chen started collaborating with local residents, unemployed laborers, temporary workers, migrant workers, foreign spouses, unemployed youths and social activists. They occupied factories owned by capitalists, slipped into areas cordoned off by the law and utilized discarded materials to build sets for his video productions. In order to visualize contemporary reality and a people’s history that has been obscured by neo-liberalism, Chen embarked on a series of video projects in which he used strategies he calls “re-imagining”, “re-narrating”, “re-writing” and “re-connecting.”

 

單頻道錄像作品《推移者》為《軍法局》影片中的剪輯片段,影像中在恍如監控探照燈忽明忽暗地來回照射下,埋首蹣跚的群眾背影(註1),像是戮力齊心推移鐵皮圍牆不斷向前行走;也像是在現有分配機制進行對抗中,一再被擠壓的無名群眾。進入鐵皮屋內的觀眾,則彷彿是接續在無名眾數隊伍後的新加入者;影片中持續發出的重低頻聲,沉重地震動著鐵皮屋,使鐵皮屋在身體勞形的不察中,緩緩偏移其原有位置,由「內部聲響」改變鐵皮屋的方向。

People Pushing, a single-channel video, stems from Chen's video work, Military Court and Prison. The image reveals a group of staggering people with their back facing the audience in a space of glistening light that reminds viewers of the prison spotlights (Note 1). These people seem to be working together to push a metal-sheet wall as they march forward; however, they are also reminiscent of the nameless crowd being crushed in the fight against the present distributive mechanism. Audience who walk into the metal-sheet hut are like newcomers who follow the group of unknown people. The consistent low-frequency sound in the video vibrates the hut with its power.It causes the structure to slowly shift from its spot in an unnoticeable way, altering the direction of the metal hut with the "sound from within."

 

藝術家透過鐵皮圍牆的隱喻性符碼,指涉臺灣的工廠、違章建築、工寮等,反映了臺灣社會中介於合法╱非法、公共╱私有、居住╱移動、封閉╱開放、可視╱不可視之間,各種權力與欲望相互拉扯下的不確定邊界,以此探討威權時代對人民思想的內化與禁錮;並將視域擴延至戒嚴時期國民黨與美國霸權的共謀,反思冷戰結構下蓬勃興起的資本主義,如何造成另一種「無牆監獄」的戒嚴型態,從中理解當今社會弱勢者的生存處境,並透過異見者的視角,再次思考自身的處境與社會現實。

Using the wall of metal sheets to refer to factories, illegal buildings, and block-houses in Taiwan, the artist employs this symbolic sign to reflect upon the undefined boundaries resulting from the struggles of power and desire between all the legal/illegal, the public/private, the inhabiting/moving, the closed/open, and the visible/invisible in Taiwanese society. Through this work, Chen discusses the internalization and imprisonment of people's mind during the time of authoritarian regimes. He further expands the discussion to the conspiracy between Kuomintang (KMT)and the American hegemony in the period of martial law, and re-examines how capitalism that has spread during the Cold War creates a "prison without walls." From This work, the artist attempts to understand the living circumstances of the disadvantaged people in the society, and through the perspective of dissidents, rethinks his own situation and social reality.

註1:錄像中無名群眾的真實身分為失業勞工、遊民與社會運動者。

Note 1: The nameless people in the video are unemployed workers, vagrants, and participants of social movements in reality.

 

推移者People Pushing

單頻道錄像、鐵皮屋 Single Channel Video, sheet-metal structure

5 min.19 sec.

2007-2008


105展間 / R105

百武轍吾 Tetsugo Hyakutake

(Tetsugo Hyakutake,1975-),生於日本東京,目前生活及工作於紐約。2006年藝術大學攝影美術學士畢業,並獲得藝術家獎和攝影教育中大西洋地區獎學金獎。2009年自賓夕法尼亞大學美術碩士畢業,獲得Toby Devan Lewis Fellowship獎學金,此後成為國際攝影獎比賽的贏家,作品以「後工業化」的基調,融入百武轍吾這一代人的聲音以及個人經驗,凸顯戰後日本的歷史、經濟與社會等問題。

Tetsugo Hyakutake (1975-) was born in Tokyo, Japan, and now lives and works in New York. He received his BFA in Photography from the University of the Arts and was awarded Promising Artist Award and the scholarship award of Society for Photographic Education, Mid-Atlantic Region. In 2009, he received his MFA from the University of Pennsylvania, USA, and won the Toby Devan Lewis Fellowship. He has won various international photographic awards since, and is known for his work that carries "post-industrial" colors mixed with the voice and personal experience of his generation that unfolds historical, economic and social issues in post-war Japan.

 

單頻道錄像作品《Hirohito》,百武轍吾將一張終戰後,裕仁天皇拜會美國軍事將領—道格拉斯.麥克阿瑟將軍的著名合照,裁切並後製成動畫,在靜態照片中換上軍服的裕仁天皇,蘊藉動畫的特效,彷彿再次被賦予了生命,其呼吸起伏的胸膛、眨動的眼睛,在愈見清晰的影片氛圍中,顯現出渺小、脆弱沒有了榮光與尊崇的身影;以此暗喻裕仁在二戰時依其憲法所掌有的軍閥管制全權,受到美國人的庇護下,至今從未對日本軍國主義負起任何責任。

The single-channel video, Hirohito, shows a well-known photograph of Emperor Hirohito meeting with General Douglas MacArthur after Japan's surrender. The artist edited the photo and turned it into an animated video. Emperor Hirohito, who wears a military uniform, seems to come to life through animation effects. His heaving chest and blinking eyes reveal an insignificant, fragile figure who has lost his glory and people's respect. Through Hirohito, the artist implies that the emperor's power over the military given by the constitution during WWII has been protected by the American, and the emperor himself was never blamed for Japan's militarism.

Hirohito》與《記憶的傷痕》系列 Hirohito and scars of Memory Series

單頻道錄像 Single Channel Video

2 min. 31 sec.

2017

 

與之呼應的是日治時期在臺灣統治最嚴厲的皇民化運動,日方試圖全面日本化,而泯滅所有的臺灣文化,然而,當時臺灣人對日軍的仇視亦或是認同,在文獻檔案照中再也無法被辨讀,歷史的真實性與檔案的可被詮釋性開始被質疑,這經由後製的照片裝置,在漫漶難辨、模糊斑駁的時間軸裡,於湮痕中敘事著回視今昔歷史的脈絡與面貌。

The work also examines the "Kominka Movement" (Japanization), which was forcefully implemented in Taiwan during the period of the Japanese rule as the Japanese government attempted to eliminate Taiwanese culture through the movement. However, from the archive photos, it remains indeterminate whether the Taiwanese people were hostile to or identified with the Japanese army at that time. The truthfulness of history becomes questionable and the historical documents become open for interpretation. Looking into the past filled with blurry, illegible events, this installation based on retouched photos re-examines the historical contexts of the present and past.

《記憶的傷痕》系列 Scars of Memory Series




《教室》Classroom

數位輸出 Archival Pigment Print

27.54 x 35.56 cm

2017

 

蓓里莎格 belit sağ

(belit sağ,1980-),生於土耳其,目前生活及工作於阿姆斯特丹。她的作品長期關注「影像的暴力」與「暴力的影像」,抱持著「質疑操弄者」的視角,將個體的觀點切入政治議題,探討做為傳遞載具的媒體,其再現與可見性的「影像權力」,是如何體現出某種視覺恐懼的意象和觀念,揭示視覺政體所隱含的社會階序與感知之間的多重關係。

belit sağ (1980-) was born in Turkey, and currently lives and works in Amsterdam. Her work investigates "the violence of image" and "the image of violence." With a perspective of "questioning the manipulator," she delves into political issues from individual points of view and explores "the power of image" represented and visible in media as well as how the media portrays visually terrifying images and concepts. By doing so, she exposes the multiple relations between social order and perception embedded in the scopic regimes.

 

《艾漢和我》的影片開頭,蓓里莎格以象徵純真的天使相續捶打著舌頭的暴力畫面,充滿了極端矛盾的意象,指涉了深層的道德觀意涵。錄像中蓓里莎格運借殺害千名庫德民眾的土耳其特警艾漢的照片,與被警察虐殺的Hacı Lokman Birlik等檔案照片,尖銳地檢視了「影像的權力」,連結出媒體的再現系統是如何操弄與被操弄著人們的感知。

同時,蓓里莎格將創作這件作品時,自身所遭受的壓制與審查經歷連結交錯在一起,延伸探討暴力與恐懼,是如何互相組織成迫害的共謀結構,而無形地將創傷、仇恨、與禁錮擴散出去。

At the beginning of Ayhan and Me, belit sağ shows a violent image of innocent looking "putti" (a figure in an artwork depicted as a baby angel) beating a tongue, using this contradictory but symbolic image to point out a deep moral meaning. In the video, the artist adopts a photo of Ayhan, a Turkish secret agent that killed around a thousand Kurds, and the archive photos of Hacı Lokman Birlik, who was brutally murdered by the police, and penetratingly examines "the power of image" while revealing how the representation system of the media manipulates and is manipulated by people's perception.

Meanwhile, the artist also weaves her experience of suppression and censorship imposed upon her during the creation of this work into the narrative, further investigating how violence and terror are combined to oppress and invisibly disseminate traumas, hatred, and restraint.

《艾漢和我》Ayhan and Me

單頻道錄像 Single Channel Video

13 min.49 sec.

2016

 

《粒子》使用土耳其極左恐怖組織「革命人民解放黨—陣線」的宣傳影片,該影片是2000年土耳其監獄,政治犯為抗議監禁制度的改變而絕食抗議的影像,以及土耳其政府將抗議犯人活活焚燒後的屍體畫面。蓓里莎格於作品中,將這段影片放大模糊至無法辨識,透過旁白思索「影片觀者」與「被攝者」之間,如何透過影像這個介質相遇並建立起關係,探討暴力的複雜性,從而產生共感並喚起道德責任。

Grain transforms a propaganda video from the Turkish extreme left-wing terrorist organization. "The Front (DHKP-C) ". The video uses images of a political prisoners' hunger strike against the imprisonment system in a Turkish jail in 2000 and the images of the prisoners' corpses after they were burned alive by the Turkish government. In the video, the artist magnifies the pixel to the point that the images become unrecognizable, and through the narrator, discusses how the viewers and the filmed subjects encounter each other through the medium of video and how their relationship is constructed. The work explores the complication of violence and creates resonance within the mind of the viewers to awaken their sense of moral responsibility.

粒子Grain

單頻道錄像 Single Channel Video

4 min.37 sec.

2016


106展間 / R106

胡丰文 Fx Harsono

 (Fx Harsono,1949—)是印尼最重要的當代藝術家之一,40多年來一直是印尼藝術界的中心人物。於1975年成為印尼Gerakan Seni Rupa Baru新藝術運動的創始人之一,強調以日常媒材做實驗性創作來傳遞概念思維,同時,積極參與並反映政治社會問題。為了表彰他數十年來的藝術成就,與在印尼當代藝術界的重要地位,胡丰文分別在2015、2014年被授予「藝術自由的約瑟夫·馬里士他獎」與「克勞斯王子獎」,其作品在世界各地雙年展與美術館展出。

Fx Harsono (1949-) is one of the most important contemporary artists in Indonesia, and has remained a central figure in the Indonesian art scene over the past four decades. He was one of the founders of Indonesia's Gerakan Seni Rupa Baru (New Art Movement) that emphasizes on experimental, conceptual approaches and active engagement with social and political issues. In recognition of his artistic achievements over the decades, Harsono was awarded the Joseph Balestier Award for the Freedom of Art in 2015. He was also given the Prince Claus Award, honoring his crucial role in Indonesia's contemporary art scene for forty years. His work has been shown in international biennials and museums worldwide.

 

二戰後荷蘭不願放棄對印尼的管制權與經濟利益,企圖再次殖民,華裔族群被謠言散播為荷蘭支持者,因而慘遭殺害與虐待。這些未被妥善安置的記憶與不被允許的紀念,讓創傷及暴力不斷發酵,蔓延至今。

After WWII, Holland was reluctant to give up its control over Indonesia and the profits reaped from the country's economy, and attempted to re-colonize Indonesia. The Chinese people there were killed and tortured because rumors spread it that they were supporters of the colonizer. The unsettling and unsettled memory as well as disallowed memorials of this past have kept the wound fresh and fueled violence until today.

 

胡丰文2010年起開始尋找當時受難者的墳墓。在作品《數位靈魂》中,觀眾可進入GOOGLE MAP的建置連結,看到墓園位置,以及胡丰文所攝之當地照片。《靈魂之光》則是以數百支蠟燭造型吊燈,象徵受難者飄散的靈魂,呈現濃厚的哀悼氣息。

In 2010, Harsono began searching the Chinese victims' tombs. In Digital Soul, audience could find the locations of these tombs and see their photographs taken by the artist through links marked on Google Map. The Light of Spirit is an installation consisted of hundreds of candles that symbolize the diasporic souls of the victims, immersing visitors in a strong atmosphere of mourning.

數位靈魂Digital Soul

裝置 Installation

尺寸因場地而異 Dimensions Variable

2016

 

靈魂之光The Light of Spirit

電子蠟燭、LED燈、沙、水泥石碑、木頭

Plastic electric candles, LED bulbs, sand, cast cement, wood

尺寸因場地而異 Dimensions Variable

2016

 

《不人道行為備忘錄 No 3》使用荷蘭國家檔案局找到的文獻資料,記載了1947年荷警事件前後華人被迫害的歷史。受難者的幽魂於此歷史檔案之上繪製顯影。

Memorandum of Inhumane Acts No 3 utilizes information found in Holland's national archive, which documented the history of oppression suffered by the Chinese people before and after the Dutch police action in 1947. Souls of the victims are represented on the archive documents.

不人道行為備忘錄 No 3Memorandum of Inhumane Acts No 3

無酸數位輸出、石墨、木炭、水彩

Pigment based digital print on acid free paper, charcoal

尺寸因場地而異 Dimensions Variable

2017

 

《倖存者記憶》乍看像是舊時客廳的形象重建,帶領觀者走入過往的時空,但也指涉著至今依舊徘迴不去的創傷記憶。老式收音機播放著:「宣布印尼獨立」的廣播;牆上寓示了脫離荷蘭獨立的印尼大鵬鳥國徽;褪了色的照片,載記著華人受難者的移墓過程、櫥櫃中有如珍寶收藏展示的,是華人受難者的墳墓。一把輪椅的正央,投影著大屠殺倖存者的受訪影像,試圖用身體感知記憶書寫逃逸於威權統治之外的集體歷史。

At first glance, Memory of the Survivor looks like a reconstruction of an old living room that transports visitors to the past. However, it also beckons at lingering traumatic memories. An old radio keeps playing words about Indonesia's declaration of independence. Indonesian national emblem, the Garuda, is hung on the wall, symbolizing the independent country is no longer a colony of Holland. Faded photos reveal how the Chinese victims' tombs have been moved, and displayed in the cabinet are graves of the Chinese victims. Interviews of the massacre survivors are projected onto a wheelchair, telling the collective history woven with perceptual memory of individuals who have escaped the authoritarian regime.

倖存者記憶Memory of The Survivor

複合媒材 Mixed Media

尺寸因場地而異 Dimensions Variable

2016


107走廊 107 Hallway

基瑞達蕾娜 Kiri Dalena

 (Kiri Dalena, 1975—),生於菲律賓馬尼拉。目前工作於馬尼拉與棉蘭。基瑞達蕾娜畢業於菲律賓洛斯巴諾斯大學,獲人類生態學本科學位,並在Mowelfund電影學院進行16mm紀錄片製作的研究。

基瑞達蕾娜是一位視覺藝術家和電影製片人,她的作品以反映社會不平等與不公義為特色,尤其是菲律賓,她積極參與維護人權的大規模鬥爭,並以此做為她藝術實踐的基礎,強調了「抗議」與「公民不服從」在當代社會的相關性。

Kiri Dalena (1975-) was born in Manila, the Philippines, and now lives and works in Manila and Mindanao. She graduated from the University of the Philippines Los Banos with a BA in Human Ecology, and pursued further studies in 16mm documentary filmmaking at the Mowelfund Film Institute.

A visual artist and filmmaker, Dalena's work reflects social inequalities and injustices that still persist today, particularly in the Philippines. Her active involvement in the mass struggle to uphold human rights amidst state persecution is the foundation for her art practice that underscores the relevance of protest and civil disobedience in contemporary society.

 

這次展出的作品中,蒐集了臺菲的爭議事件:在臺菲律賓移工抗議遊行、臺灣漁民廣大興28號事件等,在臺菲律賓移工因上述兩件情事遭受到民族仇視,以及南海主權爭議、其他關於兩地國際關係的抗議標語等,如「我們的國土不是你的遊樂園」、「人民利益高於財團利益」、「美帝閉嘴」、「海上奴工」…,並將這些標語銘刻在有如墓碑的大理石板上,混合排列之後,難以再次辨認出處,如同錯綜複雜的國際情勢,被犧牲的永遠是處於政經的弱勢者。

For the work on view in the exhibition, Kiri Dalena collected demonstration slogans used by Filipino workers in Taiwan,and Taiwanese fishermen's protesting words against the Guang Da Xing No. 28 event, watchwords used by Filipino workers in Taiwan to fight against xenophobia, and catchphrases used in demonstrations about the issue of sovereignty of the South China Sea and the international relation between Taiwan and the Philippines. These slogans include "Our country is not your playground," "People before profit," "Shut up! American Empire," "Slaves at Sea," etc. She inscribes these words on tombstone-like marble slabs. After being mixed and re-arranged, it becomes difficult to tell where the words are from, a metaphor for the complicated international affairs, in which the socio-political disadvantaged group is always sacrificed.

無題UNTITLED

陶土 Terra Cotta

尺寸因場地而異 Dimensions Variable

2009-至今

 

廊道上散落一地彷彿仍在抵抗暴力的肢體殘塊,是基瑞達蕾娜以自己的身形作為模型,經陶土窯燒的過程中自然斷裂而成。她並不特別指涉單一暴力事件,而是借用了自己的身體和受壓迫者的形象,讓該形體所影射的過去到現在,乃至所有受壓迫者的生命與自身連結在一起;對應牆上的標語,則像是壓迫歷史的證詞,至今仍聲聲呼喊,喚起在場者的同情、辯證與行動。而《擦去的標語》則是以一張臺灣過去抗議行動的檔案照片(照片來源:中央社),將其標語抹去,引發觀者思考那些已被消音及遺忘的信息。

Scattered on the floor, the body parts still seem to be resisting violence. The artist has cast her own body and made two ceramic bodies, which broke into various pieces in the kiln. Through this work, Dalena does not refer to any specific incident of violence. Instead, she uses her own body and the image of the suppressed individuals to bring together the broken bodies of all the oppressed people from the past until today, a way of connecting their lives with her own. The slogans on the wall serve as testimonies to the oppression, voicing people's indictment and awakening the audience's sympathy, mind, and action. The Erased Slogan presents an erased slogan from a past demonstration in Taiwan(Original Image Credit/ Central News Agency), encouraging the audience to think about those silenced and forgotten messages.

原始照片來源為中央社 Original Image Credit/ Central News Agency

擦去的標語Erased Slogans

數位輸出 Archival Pigment Print

2017


107展間 / R107

黎光頂 Dinh Q. Lê

(Dinh Q. Lê,1968—),生於越南,十歲時移居美國,目前工作及居住於越南胡志明市。他在加州大學學習攝影與媒體藝術,並利用越南傳統的蓆草編織術,發展出獨特的藝術語言,其代表作《照片編織》(1989)系列作品,就是將旅客親切的笑臉、多幅越戰士兵作戰慘況的黑白照片,以及越南熱帶雨林的景象,這三類照片以多層次的草蓆編織術,織就了一幅既密不可分又互相割裂的畫面。其藝術創作多以越戰為主題,既是表達自己的民族情懷,更對現今越南的發展提出觀察與質疑。

Dinh Q. Lê (1968-) was born in Vietnam and immigrated to the United States at the age of ten. He currently works and lives in Ho Chi Minh City, Vietnam. He studied photography and media art at the University of California, and uses traditional Vietnamese grass weaving techniques to develop his unique artistic language. His well-known photo weaving series created in 1989 employs smiling faces of travelers, black-and-white war-time photos of Vietnamese soldiers, and Vietnamese tropical forest, and integrates these three visual elements into inseparable yet divisive images with techniques making multi-layered woven mats. His work mostly adopts the theme of the Vietnam War, simultaneously expressing his sentiments for his country as well as proposing his observation and questions about modern Vietnam's development.

 

《光與信仰》創作於2012年,緣自黎光頂追溯自身歷史的流源,對這些經歷炮火薰染而留存至今的越戰時期繪畫充滿興趣,遂於收集戰時繪畫的過程中,萌生讓藝術家們以訪談的方式,闡釋畫作背後的故事。此次,展出黎光頂收集越戰時期北越畫家70張畫作,而錄像中訪問了其中11位藝術家。越戰在越南稱作「抵美救國抗戰」,然而,這也是一場冷戰時期,由美國為首支持的南越,對抗蘇聯為首支持的北越之內戰。北越在胡志明的領導之下,藝術家加入前線以筆進行「意識形態與文化的戰爭」,他們描繪戰時生活與同袍肖像,一方面提供官方宣傳,另一方面則見證戰爭歷史與命在旦夕的戰友生命。這些畫作鮮見戰爭的暴力與殘酷,反而呈現一種恬靜與犧牲奉獻之美。

Light and Belief was created in 2012. It originated from the artist's pursuit of his country's history and his interest in the wartime drawings and paintings that have been kept until today. While collecting these wartime artworks, he came up with an idea to interview those artists and let them tell the stories behind the artworks. In this exhibition, seventy drawings and paintings collected by the artist are on view. They were painted by Northern Vietnamese artists during the Vietnam War. Lê interviewed eleven artists in the video. In Vietnam, the war was called "a fight to resist America and save the country." However, it was also a civil war between Southern Vietnam supported by the US and Northern Vietnam backed by the Soviet Union during the time of the Cold War. Under the leadership of Ho Chi Minh, artists of Northern Vietnam went to the frontline and carried out "an ideological and cultural war" with their pens and brushes. They portrayed the life during the war and their comrades, providing propaganda materials while recording the wartime history and the dangerous life of their comrades. Although these artworks serve as a testimony to the violent and cruel war, they also reveal a beauty of tranquility and self-sacrifice.

 

訪談中大家不約而同地提到藝術家Le Duy Ung,以眼中流出的鮮血為顏料,借著微弱視力創作了胡志明像,命名為「光與信仰」。難辨真偽的傳奇故事交錯在講述的藝術家記憶之中,成為每個人心中的信仰,也是看待越戰的另一個鏡像,同時,更是另外一種藝術史的書寫。

In the interview, various artists mentioned the artist, Le Duy Ung, who used blood from his injured eyes as paint, and painted a portrait of Ho Chi Minh while suffering from impaired vision, which he entitled Light and Belief. It is impossible to tell the validity of this story; nonetheless, the story has become all the artists' belief and memory. It serves as a mirror, through which one could re-examine the Vietnam War, and at the same time, it becomes a different type of art history.



光與信仰Light and Belief

繪畫、單頻道錄像 Painting, Single Channel Video

尺寸因場地而異 Dimensions Variable

2012


108展間、西側樓梯 / R108, Western Stairway

孫遜 Sun Xun 

(Sun Xun,1980—),生於中國遼寧省阜新,現生活並工作於北京。2005年畢業於中國美術學院版畫系。次年成立π格動畫工作室。是中國青年藝術家中活躍於國際的一位,多次獲得藝術界大獎,其動畫作品參與國際具指標性的柏林電影節和威尼斯電影節,創作體裁多樣,包括:動畫、錄像、繪畫、版畫、木刻、裝置等。

Sun Xun (1980-) was born in Fuxin, Liaoning Province, China, and lives and works in Beijing now. He graduated from the Department of Printmaking, China Academy of Art in 2005, and founded πAnimation Studio the next year. He is one of the young Chinese artists active among the international art scene today, and has won various art awards. His animation works have been shown in renowned film festivals, such as Berlin International Film Festival and Venice International Film Festival. He has created a wide range of works, including animation, video, painting, woodcut, wood sculpture, and installation.

 

「人們無不亢奮地嘶吼,任何人都互相向周圍的每一個人證明著自己對於革命的忠誠,同時又對身邊的任何人充滿懷疑,懷疑別人是否也在懷疑著自己,人與人之間靠一種恐怖的力量維繫著同樣恐怖的平衡,每個人都成了二手政治家,每個人都成了業餘間諜,每個人都成了獨角戲演員,每個人都成了蹩腳的魔術師。」——孫遜

"People are shouting excitingly, trying to prove their loyalty to the revolution to everyone around them. Meanwhile, they are also suspicious of everybody, and suspect that others might be suspicious of them. The power of horror has created a terrible equilibrium among all, making everyone a secondary politician, an amateur spy, a one-man show performer, and a lousy magician." --Sun Xun

 

《時間公園》一作以孫遜的手繪動畫及現場裝置組成,創作靈感來自於藝術家拜訪紐約自然歷史博物館的經驗。他認為中國官方歷史的紀錄歸檔,與紐約自然博物館中的標本櫥窗,陳列擺放方式十分相近,看似客觀、科學,卻是非常政治性的。《時間公園》動畫作品開端四幀如樣板戲的畫像,有著騰空飛躍的祥龍、手持猛蛇的戰鬥男子、豹面人身的士兵,隨著急急落下的鼓聲,有如準備揭露一段國族神話與寓言的序曲。然而影片卻無清晰的敘事,僅見鮮豔乖張、躁動不安的超現實場景,擬人化的動物與昆蟲及動物性的身體,銘刻了非理性及緊繃壓抑的反烏托邦情感,潛意識的暗流於不可信的記憶與歷史夾縫之中湧現。

The Time Vivarium is consisted of Sun Xun's elaborate and exquisite hand-drawn animation and installation, inspired by his visiting to American Museum of Natural History in New York. In his opinion, the arrangement and display of the records in China's official historical archive and the specimens in American Museum of Natural History are very similar. They both appear to be objective and scientific, but are extremely political in truth. The four portraits at the beginning of The Time Vivarium are reminiscent of the Chinese model plays, and show a flying dragon that symbolizes auspice, a warrior holding a fierce snake, and a soldier with the face of a panther. Accompanied by the sound of drums, they seem to usher in an allegorical mythology of the nation. However, the animation does not follow a clear narrative but is filled with colorful, restless surreal scenes. Personified animals and insects, along with their animal bodies, inscribe the anti-utopian sentiments that are irrational and tense, revealing the unreliable memory and history through the materialization of the subconscious.

時間公園The Time Vivarium



單頻道錄像 Single Channel Video

8min.38 sec.

2015


現場裝置 Installation

尺寸因場地而異 Dimensions Variable

2017


特別放映》活動大廳 Special Screening / Activity Hall

聞海(黃文海Huang Wenhai 

(Huang Wenhai,1971—),生於湖南寧鄉,紀錄片導演,自2000年開始獨立電影創作。作品包括:《軍訓營記事》、《喧嘩的塵土》、《夢遊》、《我們》、《殼》、《西方去此不遠》等。多次獲得國際電影節獎,包括:2005年獲馬賽國際電影節紀錄片競賽單元「喬治斯‧德‧博勒加德」獎;2006年獲28屆法國真實電影節最高獎;2008年獲第65屆威尼斯電影節「地平線」單元評委會特別獎。

Huang Wenhai (1971-) was born in Ningxiang, Hunan Province, China. Huang is a documentary director, and has been making independent films since 2000. His works include Military Camps, Floating Dust, Dream Walking, We, Crust, and Reconstructing Faith. He has won awards in various international film festivals, including Prix Georges de Beauregard at the Festival International du Documentaire in Marseille in 2005, Grand Prize of the 28th Cinéma du Réel Film Festival in Paris in 2006, and Jury Special Prize at the Horizons Section of the 65th Venice International Film Festival in 2008.

 

《我們》開始於中國居士生活的描繪,最終卻讓我們看到了更多更有力的東西:一言以蔽之,是那些「異見者」,並非蘇聯意義下的異見者,而是一些堅持從政治層面(不只是經濟層面)考慮國家未來的公民,無論他們是否為共產黨員。所有人都曾有被迫害,被監禁、被警方侵擾,寫的書被查禁的經歷。所有人都學會了在這個國家如何生存,如何繼續。

With an initial revelation of the life of Chinese hermit, We eventually unfolds more powerful content: In short, it is about the "dissidents," which are not the ones defined by the Soviet Union, but people who insist on considering the country's future from the political aspect (not just from the economic aspect) whether they are members of the communist party or not. All of them have been persecuted, imprisoned, harassed by the police, or have their books banned before, and all of them have learned how to survive and carry on in this country.

 

影片原名《他們》,但聞海清楚地明白,導演在拍攝別人的同時也在拍攝自己。若稱之為「他們」,則是把影片裡的人物歸於一個謹慎的陌生群體。最終的剪輯版本選擇了立場:他們即「我們」。

The documentary was originally titled They. However, Huang knew that when a director was filming others, he was also filming himself. If he called them "they," he would be treating the people in the film like a group of cautious strangers. Therefore, he has chosen his stance in the final version of the film: They are "we."

(摘引自L’independence Personnelle de Huang Wenhai, by Marie-Pierre Duhamel Muller)

《我們》WE

紀錄片 Documentary

102 min.

2008

 

中國,30多年來權貴資本主義飛速發展。兩代幾億工人的血汗,鑄就了「中國奇蹟」。「世界工廠」裡,有人在工傷後爭取到賠償,有人因組織罷工被判刑,有人因代表工人與僱主談判而被解僱,有人為工人提供法律諮詢而幾乎被剝奪律師執業資格。這群來自不同省份、跨越兩代的工人在抗爭行動中改變了自身的命運。

In China, capitalism informed by influential and powerful individuals has grown exponentially in the past three decades. Hundreds of millions of workers from two generations shed their blood and sweat to create "China's miracles." In the "world factory," some workers received compensation after work injuries; some workers were sentenced because they organized strikes; some people were fired because they negotiated with employers on behalf of the workers; and some people were almost stripped of their license to practice law because they offered legal counsel to laborers. These workers from different provinces and of two generations have changed their fate with their resistance.

 

此兩部紀錄片為限定之特別放映,放映日期為2017年2月19日。

These two documenta are Special Screening exclusively, and the screening date is February 19, 2017.

凶年之畔

We the Workers

紀錄片

Documentary

173 min.

2017

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