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

藝術史劇場：全球藝術史的參照與對話 文│高森信男 《藝術史劇場》國際論壇 藝術史是門嚴肅的專業學科，然而在面對後冷戰的全球化藝術時，我們卻缺乏相對應的藝術史敘述及工具來處理當代的全球藝術。這現象一方面造成全球化藝術的淺薄化：透過議題的設定，快速於全球多個都會節點中去進行創作上的操作；另一方面則造成了全球化下的當代藝術難以在各地區內部的藝術體系中，尋求較為平衡的對話介面。近二十年來，許多非西方的當代藝術工作者意識到在全球化的藝術展演平台之外，若不設法建構出本土的藝術史敘述，則難以在理論上去停止不斷借用外來敘事結構的窘境。這些藝術工作者或許並非藝術史學門出身，但卻透過檔案蒐集、歷史研究、藝術創作及空間經營等手法，逐步建構出各地區自身的歷史敘述。然而在各地區的藝術史敘述建構漸趨完善之後，我們是否有可能透過借用「比較文學」的方法學，來進一步開創出一種可稱作「比較藝術史」的方法學機制和敘事手法，除了藉此打破各地方間的侷限外，並能同時討論出一種更適合二十一世紀的全球藝術史敘述邏輯。本論壇即希望透過邀請以台灣鄰近區域為主的策展人、藝術家、研究員及檔案蒐藏家，透過與台灣自身的藝術史敘述進行比較和討論之後，逐步為亞洲區域的「比較藝術史」奠定基礎。 本次論壇邀請的四位國際講者，分別為新加坡國家畫廊資源中心助理總監、印尼視覺藝術檔案庫顧問Farah Wardani；泰國藝術史學者Thanavi Chotpradit；新加坡藝術檔案計畫創辦人許元豪（Koh Nguang How）及科索沃普利希納當代藝術中心創辦人Albert Heta。Farah Wardani將透過藝術檔案來回溯1940至1960年代間，現代藝術發展與印尼及東南亞國族建構之間的關係。Thanavi Chotpradit則將討論泰國當代藝術家如何於1990年代後，透過回溯泰國的社會及政治記憶，來建構出屬於泰國當代藝術獨有的歷史敘述。許元豪本次則將分享他如何建構龐大的藝術史檔案收藏，並藉此討論從戰後初期的留台生至1990年代台新藝術交流基礎。最後，來自科索沃的Albert Heta則將透過自身經營當代藝術中心的經驗，來論述經歷了獨立前後的歷史進程，科索沃如何在塑造自身新興國族文化的同時，找尋到與國際當代藝術對話的空間。本論壇將於每個場次同時邀請台灣講者，針對相對應的台灣藝術史年代及本土議題進行回應，期望藉此創造出比較和對話的機制；除了讓台灣的本土藝術史得以融入全球的對話之中，同時也期望藉此引入觀看自身的異質觀點。 Theatre of Art Histories: Dialogues and Comparisons of Art Histories in the Global Context Written by Nobuo TAKAMORI International Forum on Theatre of Art Histories Art history is a somber, specialized discipline, but faced with the globalized art of the post-Cold War era, corresponding art history narratives and tools are inadequate in coping with contemporary art from around the world. On the one hand, this phenomenon has resulted in the trivialization of globalized art: by establishing themes, the progression of creativity in numerous urban locations operates rapidly throughout the globe; on the other hand, it has caused difficulties for globalized contemporary art in seeking out a comparatively balanced interface for dialogue within the internal art systems in various regions. Over the past two decades, a number of non-Western contemporary arts workers have become conscious of the difficulty in resolving the predicament of continuously borrowing foreign art history narrative structures on a theoretical level, if no attempt is made to construct a local art history narrative beyond the globalized exhibition platform. These arts workers may not come from art history pedigrees, but through their work in archive collection, historic research, arts creation, and space management, they have gradually constructed historical self-narratives for each region. However, as the construction of art history in each region gradually reaches completion, do possibilities exist to further establish methodological mechanisms and narrative techniques for what could be termed a “comparative art history,” by applying methodologies from “comparative literature”? In addition to breaking through barriers between the regions, a narrative logic better suited to global art history in the 21st century may emerge through this discussion. By inviting curators, artists, researchers and archivists from Taiwan’s neighboring regions, and through comparisons and discussions of Taiwanese art history narratives, this forum hopes to gradually establish a foundation for a “comparative art history” for the Asian region. The four international speakers invited to this forum are Assistant Director Farah Wardani of the Resource Centre at the National Gallery Singapore; Indonesian Visual Art Archive founder Farah Wardani; Thai Art Archives co-founder Thanavi Chotpradit; Singapore Art Archive Project founder Koh Nguang How; and founder Albert Heta from the Center for Contemporary Art Prishtina in Kosovo. Through art archives, Farah Wardani will retrospect the relationship between the development of modern art from 1940 to 1960, and the construction of nationhood in Indonesia and other Southeast Asian nations. Thanavi Chotpradit will discuss how contemporary Thai artists after the 1990s constructed a historical narrative unique to Thai contemporary art by revisiting Thailand’s social and political memories. Koh Nguang How will share his experiences of building up an enormous collection of art history archives as a springboard for a discussion on the foundations of artistic exchange between Taiwan and Singapore beginning from the first group of post-War exchange students to Taiwan to the 1990s. Lastly, Albert Heta from Kosovo will discuss the historical progression leading up to and post-independence through his experiences of running a contemporary arts center, and ways in which Kosovo found a space for dialog with international contemporary art while simultaneously shaping its new national identity and culture. For each of the sessions at the forum, a speaker from Taiwan will be invited to present a response from a corresponding period in Taiwanese art history and the perspective of local issues with hopes to create a mechanism for comparison and for dialogue. In addition to enabling the integration of Taiwanese art history into the global dialogue, it is hoped that this will introduce a heterogeneous perspective for self-observation. 主辦單位：財團法人春之文化基金會、台北當代藝術館 協辦單位：奧賽德工廠、典藏ARTouch