Part One: The Principles
第一 部分：策 展 原 則
“I don’t think it’s about finding a new approach, but about finding a voice as a
“藝 術家 策 展 人尋求的不是一種新的方式，而是自己
it’s important to define what that is and how it can be developed as a curatorial
重要的是如何去定義這種視角並把帶到自己的策展實
curator. If you’re a practising artist you bring a unique perspective as a maker, so skill, in other words - how do you convey what your ethos / passion / line of enquiry is in your practice through your curatorial work.
的聲音。每個 從 業藝 術家都 有獨 特的創作 視角，因而
踐去。換句話說，就 是如何通 過 策 展的方式 來傳達 你 的理念、熱情和探索精神。
As a curator my multiple role is as an impresario, a producer and an editor
我 作 為策 展 人，同 時 也 是 經 理 、制 作人和 編 輯，需 要
experience as an artist. My skill is to bring together the right voices (be they
的信念。我必須利用我的策展技巧在特定的時刻將不
- an individual with a vision and a conviction to match, shaped by my own
academic, sonic or visual) at a given moment and shape them into a coherent conversation. I must finely balance my hunger and excitement to create this
dialogue with others, with the patience and sensitivity to let ideas ferment and mature.” ──Alex Julyan
有基於自身藝 術 經 驗而形成的一種視角，以 及實現它 同 觀 點（理 論 也 好，聲 音 藝 術或 或 視 覺 藝 術 也 好）集 合起來組成連貫的對話。我擁有創作的渴望和激情， 也 具備讓 思 想發酵 、沈 澱的耐心 和敏 感 性，但二者必 須達到完美平衡。”─亞歷克斯·朱利安
“It starts with either a unifying theme (such as danger) or a particular medium
“通常由 某個 統 一 的主 題（ 比 如“ 危 險 ”）作 為出發
needs to be international, however, all of the artists do not already need to
盡管作品必須符合國際化的標準，但藝 術家無需已達
(such as a survey exhibition of contemporary collage). The standard of work
be established to that level, it is more about the quality and freshness of the work and how the pieces by each artist will play with each other, both on
a conceptual level and through the visual language. The exhibition should be challenging and approach the subject matter with as many different
perspectives as possible, therefore the pool of artists will be as diverse as
possible to cross-pollinate various social, political and cultural backgrounds” ──Brendan Jamison
點，又或是特定的媒介（例如當代拼貼的主題研究）。 到那 樣的程 度，更 重 要的是作品的水準 和新意，以 及
不同藝 術家的作品之間，在藝 術概念和視覺表現形式
上如何產 生互 動。展 覽 應當具有挑 戰 性，並 盡可能多 角度 來 呈現 主 題 。因 此，參展 藝 術 家也 應 多樣 化，從
而彼此傳遞不同社會、政治和文化背景知識。”－布蘭 登·傑米森
“The over-arching principle for me is quality of work and how much the work
“ 對 我 來 說，首要原則就 是作品質量，以 及作品對展
number of artists, there has to be a certain cohesion to the overall look of the
覽，不同藝 術家的作品會同時展出，因而要求 整體 效
has answered the brief. Having curated group shows which could involve a large exhibition. This would be nearly impossible (and uninteresting) to do in terms
of materiality and execution. Having a theme/text/aim for artists to respond to makes both the selection of work an easier process and creates linkages and
relationships between the exhibited works. Otherwise the exhibition can end up being a mish-mash of work which has nothing to say in terms of conversations between the artwork and the audience.” ──Gail Ritchie
覽概要的闡釋是否到位。我曾策劃過幾次大型集體展
果的統一。這 點 對於材質和表現 形式 來說，簡直 是不 可能的，而且 還 會 導致 展 覽 變 得乏味 。但 如果能為每
位藝 術家設 定 某個主 題、文本或者目標，策 展 人 挑 選 作品就容易很多，參展作品之間也 相應有了呼應和關
聯。否則整 個展 覽 就 是各式不同作品的大雜 燴，無法 激發觀者與藝術作品之間的交流。”－蓋爾·裏奇