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

《亞洲。策展/史》   週五19:00-21:00

講座策劃人:呂佩怡 (國立台北教育大學當代藝術評論與策展全英文碩士學程主任)

 

《亞洲。策展/史》系列講座著眼於如何在檔案闕如、變動劇烈的亞洲地區,以當代策展的視角與方法來探詢策展與歷史的關係與可能。

《亞洲。策展/史》將從兩個路線出發: Curating History,透過策展行動給予歷史一個新的切入點; Histories of Curating,針對策展史進行自身的梳理、書寫與研究。在此「歷史」以多重殊異形態的複數histories出現。理解歷史常伴隨著偶然、機遇,也總有被遮蔽之處,多以潛藏伏流狀態存在,或在事件間交織纏繞,難以分辦,遂變成複數、多重、晦暗不明的狀態。透過策展作為方法可重新檢視既定的歷史敘述,以批判、質疑、戲弄或假說等,試著迫近那個時刻。另一方面,策展自身的歷史急需要被整理、書寫與討論,策展史不僅是以展覽最後呈現之面貌為決定標準,而將圍繞著此策展概念、方法、過程以及事後的反省批判作為一個整體來考量,且展覽正是映照著政治-經濟-社會-文化結構與現實的明鏡,複數的策展史也成為更廣闊的公共文化史。

此系列講座第二集將聚焦於機構與機制。第一場日本森美術館資深策展人暨國際策展人片岡真實探討戰後在藝術機構興起氛圍下的日本展覽史。第二場講者Sophie McIntyre為長期研究台灣當代藝術的學者與策展人,她從外部觀點來看台灣當代藝術與展覽,將藝術視為一種文化翻譯,聚焦於文化認同如何影響國際想像台灣以及台灣如何自我展示。第三場為牛津大學羅學院羅斯金學院主任Anthony Gardner,他同時也是雙年展研究學者,提出「向南方學習」,認為全球南方之雙年展可為疲憊的雙年展型態注入活力。相對於日本完善的藝術機制,策展在東南亞的現狀為何?第四場新加坡當代藝術中心創辦館長Ute Meta Bauer,將探討這些正在進行中別樣的東南亞策展空間,以及東南亞區域不均發展所面臨的問題。本系列講座同時邀請台灣學者與策展人針對演講內容進行在地現狀之回應,期待以不同支線串聯與描繪亞洲策展史可能的當代形貌,持續為亞洲策展實踐儲備未來的材料。

 

<Curating History/ Histories of Curating in Asia>

Planer: Lu, Pei-yi (Program Leader, International Graduate Program,Critical and Curatorial Studies of Contemporary Art, National Taipei University of Education)

 

This lecture series investigates the relationships and possibilities of curating and history through the perspectives of contemporary curating and the methods of curatorial practice within the Asia region, a region undergoing dramatic and rapid change as well as lacking archives.

The series will proceed from two trajectories: the first is “Curating History”, a new entry point into historical issues through curatorial action; the second is “Histories of Curating”, which focuses on writing and researching the history of curating itself. “History” here is not the singular, but appears as a multiplicity of pluralistic “histories”. Understanding history often accompanies chance and coincidence. Histories are sometimes hidden and exist in a state of uncertainty or revolve around several incidents, and become multiple, layered and hardly distinguishable. Hence, through criticism, interrogation, mockery or fictionalization, curatorial practice also becomes a method to re-investigate the written historical narration.

The histories of curating urgently need to be sorted out, written and discussed. The physical appearance of an exhibition itself should not be the only factor to consider; the concept, method, process and ex post facto criticism should all be taken into consideration. It is the exhibition that mirrors the complex socio-economic-political-cultural structures and realities of its time. This multiplicity of curating histories, in a sense becomes a broader public culture.

The second part of this series will focus on institutions and mechanisms. The series will begin with Mami Kataoka, the Chief Curator of Mori Art Museum, Japan. She will address the histories on landmark exhibitions in the post-war period which parallel the emergence of contemporary art institutions. This will be followed by international art researcher, Sophie McIntyre. She will discuss, from the perspective of a long-term international observer of Taiwanese art, art as a way of cultural translation, focusing on how identity politics has impacted the global imagines Taiwan, and how Taiwan presents itself. The third session will proceed with Anthony Gardner, the Head of the Ruskin School of Art at the University of Oxford, England and a researcher of biennials. Responding to the topic “learning from the south”, he considers how biennials from the global south can activate the exhausted biennial format. Compared with Japan’s complete system of art institutions, what is the curatorial situation in Southeast Asia? Ute Meta Bauer, the Founding Director of the NTU Centre for Contemporary Art Singapore, will end this series with her insight on curatorial spaces and the problems caused by the unbalanced regional development in Southeast Asia. Meanwhile, this series invites art researchers and curators from Taiwan to provide local responses to each session, hoping to link and illustrate the possible contemporary topography of curatorial histories in Asia through various traces and prepare future materials for curatorial practice in Asia. 

5/25(五)

19:00

日本當代藝術策展史與藝術機構發展歷程

主講人:片岡真實(日本森美術館 首席策展人)

回應人:李玉玲 (高雄市立美術館長)

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6/8(五)

19:00

藝術語境的文化轉譯:從國際視角書寫與展示臺灣藝術的可能

主講人:Sophie McIntyre (澳洲昆士蘭大學講師台灣當代藝術研究者)

回應人:高千惠(國立臺灣藝術大學客座教授)

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6/22(五)

19:00

向南方學習?雙年展的過去、現在與未來

主講人:Anthony Gardner(英國牛津大學拉斯金美術學院主任)

回應人:徐文瑞 (獨立策展人)

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6/29(五)

19:00

東南亞當代藝術的策展空間

主講人:Ute Meta Bauer

(新加坡南洋理工大學當代藝術中心創館館長)

回應人:高森信男(臺灣當代文化實驗場研究組策展人)

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5/25 
講題:日本當代藝術策展史與藝術機構發展歷程

主講人:片岡真實(日本森美術館 首席策展人)

回應人:李玉玲 (高雄市立美術館長)

在日本,當代藝術的策展史是在戰後藝術機構興起氛圍下興起的。整段歷史的展開,可從1930年代說起;但事實上,戰後的經濟起飛以及日本與各國的互動關係才是真正促成這段歷史繁榮的主因。本次講座將從日本社會政經脈絡與公私立博物館二十世紀後半大量出現的背景出發,回顧1950年代以降日本境內具指標性的當代藝術展覽。

片岡真實

現任日本東京森美術館首席策展人,策劃:Roppongi Crossing (2004)、 Ozawa Tsuyoshi (2004)、 All About Laughter: Humor in Contemporary Art (2007)、 Ai Weiwei:According to What? (2009)、 Sensing Nature: Perception of Nature in Japan (2010)、 Lee Bul: From Me, Belongs to You Only (2012) 等多檔展覽。國際策展經歷豐富,擔任2018年第21屆雪梨雙年展藝術總監,為該雙年展首位亞裔策展人。過去曾任第九屆光州雙年展聯合藝術總監,舊金山亞洲藝術博物館 Phantoms of Asia: Contemporary Awakens the Past (2012) 客座策展人、美國華盛頓赫須巨集博物館 Ai Weiwei:According to What? (2012)策展人、倫敦海沃德美術館國際策展人(2007-2009),策劃 Laughing in the Foreign Language (2008)及共同策劃 Walking in My Mind (2009)。

Topic: History of Curating Contemporary Art and Institutional Development in Japan

Speaker: Mami Kataoka ( Chief Curator of Mori Museum, Japan)

Respondent: Lee, Yu-Ling (Director of Kaohsiung Museum of Fine Art)

History of curating contemporary art can be observed in parallel with the development of art institutions in Japan, which sees its starting point in 1930s but became lively with post-war economic growth and relationship with the rest of the world. This lecture will introduce some of the key contemporary art exhibitions from 1950s onwards and investigate them with socio-economic development of the country as well as the emergence of museums both public and private through second half of the 20th century.

Mami Kataoka

Mami Kataoka has been the Chief Curator at the Mori Art Museum (MAM) in Tokyo since 2003, where she curated Roppongi Crossing (2004), Ozawa Tsuyoshi (2004), All About Laughter: Humor in Contemporary Art (2007), Ai Weiwei: According to What? (2009), Sensing Nature: Perception of Nature in Japan (2010), and Lee Bul: From Me, Belongs to You Only (2012). Meanwhile she is extending her curatorial practice in many international projects includes the 21st Biennale of Sydney as the Artistic Director, 9th Gwangju Biennale (2012) in South Korea as the Joint Artistic Director, Phantoms of Asia: Contemporary Awakens the Past (2012) at Asian Art Museum in San Francisco as the Guest Curator, and Ai Weiwei: According to What? (2012) at Hirshhorn Museum and Sculpture Garden in Washington DC, which will tour other North American venues. She was the International Curator at the Hayward Gallery in London between 2007 and 2009, and curated Laughing in the Foreign Language (2008) and co-curated Walking in My Mind (2009). She was Chief Curator at Tokyo Opera City Art Gallery from 1998 to 2002. Kataoka also frequently writes and gives lectures on contemporary art in Asia.

 
6/8 
講題:藝術語境的文化轉譯:從國際視角書寫與展示臺灣藝術的可能

主講人:Sophie McIntyre (台灣當代藝術研究者)

回應人:高千惠(國立臺灣藝術大學客座教授)

作為一位長期由外部觀察的學者,講者Sophie McIntyre將以「接觸地帶」(contact zones) 與文化轉譯為立論基礎,提出在跨文化脈絡之下,研究、書寫與展示台灣藝術的重要性與面臨的嚴峻挑戰。從今年出版新書:Imagining Taiwan: the role of art in Taiwan’s quest for identity (Brill, 2018)出發,分別以藝術的生產、展示與接收等面向切入主題核心,探討近二十年台灣學術與策展研究領域最重要的命題:身分(認同)政治(identity politics)在台灣的發展及其深刻影響。第二部分將回到講者的策展實踐,分別為: Face to Face: contemporary art from Taiwan (1999-2000); Islanded: contemporary art from New Zealand, Singapore and Taiwan (2005-06); Ink Remix: contemporary art from mainland China, Taiwan and Hong Kong (2015-17)。講者將細部分析三檔展覽如何透過策展與展覽的框架串連,並且檢視展覽巡迴澳洲與亞太地區時,來自國際的觀眾對展出內容的反應與回饋。

Sophie McIntyre

策展人、講者、藝術寫作者與顧問,現任職於澳洲昆士蘭大學,研究領域為亞太地區與澳洲藝術。策展相關經歷豐富,於澳洲、紐西蘭、中國與台灣等地之藝術機構內任職超過二十年,策劃超過三十場展覽。其文章散見於國際各大藝術雜誌媒體: Asian Diasporic Visual Cultures and the Americas Journal of Curatorial Studies Art AsiaPacific Art Monthly Yishu: Journal of Contemporary Asian Art Flash Art International and The Australian Book Review。擔任第34屆世界藝術史大會(2016年,北京)國際共同主席。近期出版新書 Imagining Taiwan: the role of art in Taiwan’s quest for identity,探討台灣與中國兩地,藝術和身份認同之間的關係。

 

Topic: The Art of Cultural Translation: Writing and Exhibiting Art from Taiwan from the Outside Looking In

Speaker: Sophie McIntyre ( Lecturer of University of Queensland, Australia)

Respondent: Kao, Chien-Hui (Visiting Professor of National University of Arts)

Drawing on theories of ‘contact zones’ and cultural translation, this talk will critically reflect on the significance and challenges involved in researching, writing and curating Taiwan art in an intercultural context, and from the perspective of a long-term international observer. I first discuss issues explored in my new book, Imagining Taiwan: the role of art in Taiwan’s quest for identity (Brill, 2018). The book examines the development and impact of identity politics in Taiwan through the production, display and reception of art, and it is the culmination of more than two decades of academic and curatorial research in Taiwan. In the second part of the talk I examine a selection of exhibitions I curated during this period including: Face to Face: contemporary art from Taiwan (1999-2000); Islanded: contemporary art from New Zealand, Singapore and Taiwan (2005-06); and Ink Remix: contemporary art from mainland China, Taiwan and Hong Kong (2015-17). These exhibitions will be examined in relation to the curatorial and exhibition frameworks, and the international reception to these exhibitions which toured Australia and the Asia-Pacific.

Sophie McIntyre

Sophie McIntyre is the Curator, lecturer, art writer and consultant specialising in art from Asia-Pacific and Australia. Holds a PhD from the Australian National University (ANU) and a Masters of Arts Management and Curatorial Studies (UNSW). She has more than 20 years experience working in art museums (as a director, curator and educator) in Australia, New Zealand, mainland China, and Taiwan, and has curated more than 30 exhibitions, several of which have toured nationally and internationally.

Her essays and reviews have been published in international and national journals including: Asian Diasporic Visual Cultures and the Americas; Journal of Curatorial Studies; Art AsiaPacific; Art Monthly; Yishu: Journal of Contemporary Asian Art; Flash Art International; and The Australian Book Review. She has delivered papers at numerous conferences and seminars, and was selected as an International Co-Chair at the 34th World Congress of Art History (CIHA) in Beijing in 2016. She is completing a book that explores the relationship between art and identity in Taiwan and China (published by Brill in 2017-18).

 
 
6/22 
講題:向南方學習?雙年展的過去、現在與未來

主講人:Anthony Gardner(英國牛津大學拉斯金美術學院主任)

回應人:徐文瑞 (獨立策展人)

2017年,第十四屆卡賽爾文件展聲稱要「向雅典學習」,更廣義來說,是向南方學習:從南方的經濟危機與地緣政治的不確定性到社會正義及對全球廣泛的理解。如果卡賽爾文件展未完成這項宣言,那麼恰好點出了重新思考「展覽」與「何謂南方?」這兩方關係的急迫性。藉著觀看近期的展覽史,尤其是位在地理南方的雙年展,講者企圖呈現另外一種展覽與「南方」的關係;更進一步地去探討這些雙年展如何在過去十年的重大轉變中及今日雙年展型態的過度耗竭之下,給雙年展的未來一個新想像。

Anthony Gardner

現任英國牛津大學拉斯金美術學院主任,教授當代藝術史與理論,同時擔任MIT Press 期刊 ARTMargins 編輯一職。其著作等身,主題多元,包括:後殖民主義、後社會主義以及策展史;出版著作包括: Mapping South: Journeys in South-South Cultural Relations (Melbourne, 2013)、 Politically Unbecoming: Postsocialist Art against Democracy (MIT Press, 2015) 。其中,Neue Slowenische Kunst: From Kapital to Capital (與Zdenka Badovinac and Eda Čufer共同編輯) 更入圍2017年 Alfred H Barr 全球最佳展覽目錄獎項最後決選名單。近期與來自墨爾本大學的Charles Green 共同著作:Biennials, Triennials and documenta: The exhibitions that created contemporary art,於2016年夏天出版。

Topic: ”Learning from the South? Biennials Past, Present and Future”

Speaker: Anthony Gardner (Head of the Ruskin School of Art, University of Oxford)

Respondent: Manray Hsu (Independent Curator)

In 2017, the curators of documenta 14 claimed that they would be “learning from Athens” and, more broadly, learning from the south and all that it has to offer us today, from financial insecurity and geopolitical uncertainty to social justice and an expansive understanding of the global. If the documenta didn’t quite succeed in fulfilling its claims, it did point to the need to reconsider the relationships between exhibitions and our understanding of “the south”. In this talk, I want to present a different set of relationships by looking at the recent histories of exhibitions, and particularly biennials, in the south. Moreover, I want to look at what those histories propose for the future of biennials, given the significant transformations of biennials in the last decade and the possible exhaustion of the biennial format today.

Anthony Gardner

Anthony Gardner is Head of the Ruskin School of Art at the University of Oxford, England, where he is an Associate Professor of Contemporary Art History and Theory and a Fellow of The Queen’s College. He has published widely on subjects including postcolonialism, postsocialism and curatorial histories, and is an editor of the MIT Press journal ARTMargins. Among his books are Mapping South: Journeys in South-South Cultural Relations (Melbourne, 2013), Politically Unbecoming: Postsocialist Art against Democracy (MIT Press, 2015) and, also through MIT Press in 2015, the anthology Neue Slowenische Kunst: From Kapital to Capital (with Zdenka Badovinac and Eda Čufer), which was a finalist for the 2017 Alfred H Barr Award for best exhibition catalogue worldwide. His latest book, co-authored with Charles Green (University of Melbourne), is Biennials, Triennials and documenta: The exhibitions that created contemporary art, published by Wiley-Blackwell in summer 2016.


 
6/29 
講題:東南亞當代藝術的策展空間

主講人:Ute Meta Bauer

(新加坡南洋理工大學當代藝術中心創館館長)

回應人:高森信男(臺灣當代文化實驗場研究組策展人)

新加坡南洋理工大學藝術中心館長暨策展人,Ute Meta Bauer 在本次演講中,將深入探討:隨著國際能見度的提升、國家與藝術機構雨後春筍般的林立,策展人一職在東南亞地區的發展近況。細數東南亞各國:菲律賓、印尼、泰國以及新加坡,眾多優秀的博物館與優質的館藏選擇面對公眾以及向國際開放;其他地區如:緬甸、柬埔寨、寮國,所擁有的策展彈性空間在於:藝術生產於藝術家的工作室,或是由藝術家規劃給藝術家的駐村計畫,抑或是藝術家們因缺乏展演與討論空間而創造的小規模空間。因此,策展人是相當新興的角色且大多數都是藝術家展出自己或同儕的作品。身處在如此複雜異質的區域中,藝術家、策展人以及藝術史學者該如何互動?他們如何在國際的眾所期盼下,回應當地的特殊性。承認複數聲音存在於盤根錯節的歷史脈絡中,對東南亞地區來說至關重要。因此,高度多元化的藝術系統相應而生,從傳統的形式轉而接受其他更為新穎的替代平台,從專業的學術研討轉向進入扎實的田野工作,目的都是為了強調(藝術)生產和策展不僅只是呈現與再現藝術的用途,更是具備批判性思考的過程。

Ute Meta Bauer (德國/新加坡)

現任新加坡南洋理工大學當代藝術中心創館館長,並任教於新加坡南洋理工學院藝術設計與媒體學院 。曾出任倫敦皇家藝術學院美術學院院長,麻省理工藝術、文化與科技學系 (ACT) 創系主任,挪威奧斯陸當代藝術中心 (OCA)創館館長。其策展經驗豐富,曾任第三屆柏林當代藝術雙年展藝術總監,第十一屆卡塞爾文件展共同策展人,同時與Paul C Ha 共同策劃第六屆威尼斯雙年展美國館,展出藝術家Joan Jonas的作品 (2015).

Topic: The Spaces of the Curatorial in Southeast Asia

Speaker: Ute Meta Bauer (Founding Director of NTU CCA Singapore)

Respondent: Nobuo Takamori (Researching Curator of Taiwan Contemporary Culture Lab)

Ute Meta Bauer, curator and director of the NTU CCA Singapore, investigates the profession of the curator in Southeast Asia, a region experiencing a time of increased global visibility as well as nation- and institution-building. Across Southeast Asia including in Philippines, Indonesia, Thailand and Singapore, a wide range of excellent museums and collections are now open to the public and function like similar infrastructure globally. At other locations such as Myanmar, Cambodia and Laos, the space of the curatorial is where art gets produced in studios, in artist residency programmes—often run by artists for artists—or in smaller organisations, most often also created by artists due to the lack of spaces to meet, show, and discuss art. The profession of the curator is fairly new, and time and again it is artists that present their own work and those of their peers. How do artists, curators, and art historians engage with the intricacies of a particular place? How do they respond to the specificities of the local under the expectations of the international? It is crucial to acknowledge the multitude of voices in this complex history of the region. What emerges is a highly diverse art system that shifts away from traditional formats to embrace new or alternative platforms—from symposia to fieldwork—with the aim of emphasizing producing and curating as a process of critical thinking that goes beyond presentations and representations.

Ute Meta Bauer (/Singapore)

The Founding Director of the NTU Centre for Contemporary Art Singapore and a Professor at the School of Art, Design and Media, Nanyang Technological University, Singapore. Prior to this, she was Dean of Fine Art at the Royal College of Art, London; Associate Professor and Founding Director of MIT’s Program in Art, Culture, and Technology (ACT) at MIT, Cambridge. She also served as Founding Director of the Office for Contemporary Art (OCA), Oslo; was Artistic Director of the 3rd Berlin Biennale for Contemporary Art; a co-curator of Documenta11, Kassel, Germany; and co-curated with Paul C Ha the US Pavilion for the 6th Venice Biennale, featuring the artist Joan Jonas (2015).


 
 
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