What to Let Go? 何以放手 ?
Para Site International Conference 2018 Para Site 2018 國際研討會
Para Site
Para Site is Hong Kong’s leading contemporary art centre and one of the oldest and most active independent art institutions in Asia. It produces exhibitions, publications, discursive, and educational projects aimed at forging a critical understanding of local and international phenomena in art and society. Founded in early 1996 as an artist run space, Para Site was Hong Kong’s first exhibition-making institution of contemporary art and a crucial self-organised structure within the city’s civil society, during the uncertain period preceding its handover to Mainland China. Throughout the years, Para Site has grown into a contemporary art centre, engaged in a wide array of activities and collaborations with other art institutions, museums, and academic structures in Hong Kong and the international landscape. In early 2015, Para Site moved to its greatly increased premises, in North Point/Quarry Bay. Throughout its history, Para Site’s activities have included a range of different formats, among which P/S magazine (1997–2006), a bilingual publication, which was Hong Kong’s first visual arts magazine and a central platform for the development of art writing and of a discursive scene in the city and the Curatorial Training Programme (2007–10). Since 2012, Para Site has been running an International Art Residency Programme and has been organizing an annual international conference. This is accompanied, starting from 2015, by a new educational format aimed at training young curators and other art professionals. Para Site’s activities are made possible by the generous support of its patrons, and grants from foundations and the Government of the HKSAR.
Para Site 藝術空間為香港首屈一指的當代藝術中心, 亦是亞 洲歷史最悠久、最活躍的獨立藝術機構之一。成立宗旨在透 過展覽、出版刊物及教育項目等活動, 促進在地與國際間的
對話, 希冀打造一個對當代藝術、社會現象提出批判性論述 及理解的平台。
Para Site 藝術空間1996年由一群香港藝術家成立, 時值香
港回歸之際, 空間的創立成了第一個展覽策劃的當代藝術機
構。隨著時代變遷, Para Site 藝術空間晉身為一當代藝術中 心, 透過各種活動和合作, 連結香港與其他國際藝術機構、美
術館、雙年展及學術單位間的交流。2015年初, Para Site 遷 至目前活躍發展的北角／鰂魚涌一帶。歷年來 Para Site 策 劃了各式活動, 包括出版香港首本雙語視覺藝術雜誌《P/S
magazine》 （1997-2006）, 為發展本土藝術寫作及論述氛圍
提供重要平台, 以及2007至2010年舉辦的「策展工作培訓計
劃」。2012年起, Para Site 舉辦國際藝術駐留計劃以及年度 國際研討會, 而於2015年, 成立連同國際研討會為新銳藝術
工作者開放的培訓教育項目。本機構活動經費來自機構贊助, 基金與香港特別行政區政府的慷慨捐獻。
@parasite.hk
wechat:
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What to let go? | Para Site International Conference 2018
Workshops for Emerging Art Professionals
22–24 November, 2018
17–25 November, 2018
JC Cube Auditorium Tai Kwun–Centre for Heritage and Arts 10 Hollywood Road, Central, Hong Kong This year’s edition of Para Site’s International conference is interested in the renewed discussion throughout the world, often marked by symbolic actions if not yet by government policy, affecting what gets counted within the category of heritage, and who gets to do the counting: from the increasing debate around repatriation of looted artefacts by colonial powers to the varied and dissimilar processes of renaming and removing symbols of past eras, from India and Myanmar to Confederate America and Apartheid South Africa. China’s resurgent nationalism is also placing a (still developing) version of its imperial heritage at the core of its twenty-first century self-image. As these processes appear to occupy an increasingly prominent segment of the political discourse, with history seemingly becoming the major battlefield both for the left and for the right, we ask ourselves how can art reconfigure our collective foundational myths? The 2018 edition of International Conference is conceived by Cosmin Costinas and Inti Guerrero.
For the fourth year in a row, Para Site is working with a group of emerging art professionals from across the region and the world, running a series of free-of-charge workshops for 9 days, alongside the International Conference. This unique program for the region includes a group of participants selected from an outstanding international pool of over 50 applicants this year. The program is designed to provide learning opportunities that are mediated by speakers from Para Site’s conference as well as by art practitioners from across Hong Kong’s diverse institutional landscape. Working with topics covered in the conference, the program provides a laboratory for experimentation, posing fundamental questions and ideas that challenge various models of curatorial practice. Para Site is also offering a number of scholarships to cover the flights and accommodation for selected participants, generously made possible by workshop supporters: Nicola Chu, James Lie, Elaine W. Ng & Fabio Rossi, Heidi & James Paradise, Stefan Rihs, Katherine Schaefer, Andres Vejarano & Kee Foong, SAM Fund for Arts and Ecology, Leslie Van Eyck & Tom Meganck. The participants are Bob Edrian Triadi (Indonesia), Vennes Cheng (Hong Kong), Sophie Davis (New Zealand), Yuan Fuca (China), Sean Gaffney (USA/Taiwan), Eric Goh(Malaysia), Abhijan Toto (India/Thailand), Saba Khan (Pakistan), Leung Hoyin (Hong Kong), Taddeo Reinhardt (France), Valerie-Ann Tan (Singapore), Rui Tang (China/ USA), Takuya Tsutsumi (Japan/Poland), Mihaela Varzari (Romania/UK), and Zeng Hong (China/Hong Kong).
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何以放手 ? |
新銳藝術人才工作坊
2018年11月22–24日
2018年11月17–25日
Para Site 2018 國際研討會
賽馬會立方演藝廳
大館——古蹟及藝術館 中環荷李活道10號
現時無論是出於象徵性的行動還是政府政策, 世界各地都重
延續過去的教育培訓計畫, Para Site 將配合本屆國際研討會
甸、美利堅邦聯, 或種族隔離的南非, 都共同關心著何以歸還
出十五位優秀的藝術工作者參與此次活動。活動宗旨在提供
起對「文化遺產」涉及的範疇為何進行討論, 不論是在印度、緬 被殖民者掠奪的工藝品、對歷史符號不同程度和方式的移除
與重新命名, 以及誰擁有話語權等; 與此同時, 中國的民族主
義復甦亦開始將一種帝國傳承的敘述置入其二十一世紀形象 的核心。隨著這些討論與進程愈趨明顯地介入政治討論, 歷
史似乎成為左翼與右翼的核心戰場。此次 Para Site 國際研
討會循序上述背景並嘗試進一步提問:「藝術將如何重審我們 的集體神話?」
本年度國際研討會由康喆明與 Inti Guerrero 共同策劃。
同時舉辦為期九天工作坊, 從來自世界各地的申請者中遴選
多元的學習機會, 成員更能進一步與研討會的講者及香港本
地的藝術家、策展人及其他文化人士交流, 就研討會上延伸的 議題深入探討、思辨不同模式的策展實踐。
而今年 Para Site 也提供獎助金補助住宿及旅費以鼓勵傑 出藝術人才, 培力專業實作機會。工作坊獎助金由 Nicola
Chu、James Lie、Elaine W. Ng and Fabio Rossi、Heidi & James Paradise、Stefan Rihs、Katherine Schaefer、 Andres Vejarano & Kee Foong、SAM Fund for Arts and Ecology, Leslie Van Eyck 及 Tom Meganck 慷慨贊助。
本屆參與新銳藝術人才的參與者包括: Bob Adrian Triadi (印尼)、鄭秀慧 (香港)、Sophie Davis (紐西蘭)、富源
(中國)、高博修 (美國/臺灣)、吳家仲 (馬來西亞)、Abhijan
Toto (印度／泰國), Saba Khan (巴基斯坦)、梁皓然 (香港)、 Taddeo Reinhardt (法國)、Valerie-Ann Tan (新加坡)、 唐芮 (中國／美國)、堤拓也 (日本)、Mihaela Varzari (羅馬尼亞), 以及曾泓 (中國／香港) 。
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Schedule 研討會日程 page
Thursday 22 Nov
14.00
Introduction by Cosmin Costinas and Inti Guerrero
14.20
Vivian Ziherl
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15.00
Jalal Toufic
10
15.40
15.50
Riksa Afiaty
12
16.30
Lía Colombino
14
17.10
Naman P. Ahuja
16
17.50
18.00
Panel Discussion, moderated by Özge Ersoy
引言 (由康喆明與 Inti Guerrero 主持)
page
Friday 23 Nov
Break 休息
Break 休息
對談討論 (由 Özge Ersoy 主持)
14.00
Tina Pang 彭綺雲 20
14.40
Pablo José Ramírez
22
15.20
Marian Pastor Roces
24
16.00
Break 休息
16.20
Mélanie Bouteloup
26
17.00
Éric de Chassey
28
17.40
Break 休息
18.00
Bonaventure Soh Bejeng Ndikung
30
19.30
Panel Discussion, moderated by Yeewan Koon
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14.00
Pio Abad
34
14.40
Vali Mahlouji
36
15.20
15.30
Lawrence Abu Hamdan
38
16.10
Xiaoxuan Lu and Bo Wang 陸小璇與王博
40
16.50
17.00
Natasha Ginwala
44
17.40
Plenary Discussion,
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Saturday 24 Nov
對談討論 (由官綺雲主持)
Break 休息
Break 休息
moderated by Cosmin Costinas and Inti Guerrero 綜合討論 (由康喆明與 Inti Guerrero 主持)
What to Let Go? Para Site International Conference 2018
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何以放手 ? Para Site 2018 國際研討會
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麥卡托人類 : 全球文化遺產 及自然美學
Vivian Ziherl
Vivian Ziherl is Director of Frontier Imaginaries, an art and research foundation that has staged large-scale projects with partners including Columbia University, e-flux, and the Van Abbemuseum. She was curator of Jerusalem Show VIII (2016), was nominated for the ICI Independent Vision Curatorial Award (2016), and received curatorial fellowships from the IMA Brisbane (2015-16) and the Witte de With Center for Contemporary Art, together with Natasha Ginwala (2013). In 2017, Ziherl co-initiated Humans of the Institution with Anne Szefer Karlsen, a project dedicated to mobilising international action to address freelancer conditions. Ziherl is a PhD candidate in Curatorial Practice at Monash University, Melbourne. Vivian Ziherl 為藝術與研究基金會 Frontier Imaginaries 的總監, 該基金會曾與哥倫比亞大學、e-flux 和 Van
Abbemuseum 美術館等機構巡迴展出。她為「耶路撒
冷展覽 VIII」 （2016）的策展人, 並曾獲ICI獨立視覺策展獎
（2016）提名。她亦與 Natasha Ginwala 一同獲得 IMA
Brisbane（2015–16）的策展研究員獎助、當代藝術中心
Witte de With（2013）的策展獎助。2017年, 她與 Anne
Szefer Karlsen 共同發起了 Humans of the Institution
計劃, 該項目致力於動員國際社會對自由職業者的生存狀況
採取行動。Ziherl 目前是墨爾本莫納什大學策展實踐的博士
是次講座以三個荷蘭的歷史背景
為場景, 探索博物館建構、自然、和現時 陷入困境的「市場-民族-國家」的全球 管制。首先探討的是關於「Mercator sapiens」——荷蘭博學家 Caspar
Barlaeus 於1632年所稱頌的「睿智
的商人」, 該形象為歐洲長途貿易的成 果, 亦可算是博物館的早期形態和策 展原型。第二是探討荷蘭學者 Hugo
Grotius 於1609年汲取各家思想所創立
的《自然法》與新加坡海峽荷蘭海盜的關 係、以及16世紀西班牙美洲對自然法的
展望。第三是荷蘭凡艾伯當代美術館的 兩件常設展品, 一尊石獅子和海中風暴
的雕刻壁畫——這兩件作品分別展示了
兩種自然力量的原型。這些案例所展露 出的貿易世界, 由今日後工業時代的視 點看起來尤其重要; 同時它們也代表介
於獅子和深海之間所展現的一種美學與 創作上不可能的縫隙。
候選人。
What to Let Go? Para Site International Conference 2018
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何以放手 ? Para Site 2018 國際研討會
Mercator Sapiens: A Global Heritage and Aesthetics of the Natural
This lecture moves between three Dutch scenes in an attempt to understand the perplexing relationship between the institution of the museum, the category of the natural, and the currently troubled global governance of the market and nation-state. Its reflections are based upon the Frontier Imaginaries fifth edition ‘Trade Markings’ that was presented with the Van Abbemuseum in Eindhoven earlier this year, and co-curated with Annie Fletcher and Charles Esche. The first featured scene depicts the figure of the ‘Mercator sapiens’ or the ‘wise merchant’, first hailed by Caspar Barlaeus in 1632 and perhaps a curatorial archetype and primeval harbinger of the museum as a fruit of European long-distance trade. The second scene is Hugo Grotius’ earlier 1609 introduction of ‘Natural Law’, its relation to Dutch piracy in the Singapore Strait, and the 1500s-era anticipation of Natural Law in the Spanish Americas. The third scene is a pair of permanent works in the entrance-foyer of Eindhoven’s Van Abbemuseum that offer two archetypes of the forces of nature: a stone-masonry lion and an engraved fresco of a stormy sea. While these scenes offer insight into a mercantile world that appears all the more significant from the viewpoint of the contemporary post-industrial era, they also represent an aesthetic and a series of artworks based in the impossible interval that lies between a lion and the deep blue sea.
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被釘死在 十字架上的
Jalal Toufic
Jalal Toufic is a thinker and a mortal to death. He was born in 1962 in Beirut or Baghdad and died before dying in 1989 in Evanston, Illinois. His most recent book is What Was I Thinking? (e-flux journal-Sternberg Press, 2017). His other books are available for download at www.jalaltoufic. com. Most of his videos are available on Vimeo. He was a guest of the Artists-in-Berlin Program of the DAAD in 2011. He, along with artists and pretend artists, was a participant in the Sharjah Biennials 6, 10, and 11, the 9T H Shanghai Biennale, the 5T H Guangzhou Triennial, the 7T H Bi-City Biennale of Urbanism\Architecture (Shenzhen), the 3RD Athens Biennale, A History: Art, Architecture, and Design, from the 1980s Until Today (Centre Pompidou), etc. He served as Director of the School of Visual Arts at the Lebanese Academy of Fine Arts (Alba) from September 2015 to August 2018, and is currently a Professor at the Department of Humanities and Creative Writing at Hong Kong Baptist University.
是次研討會介紹論述中提及:「藝
術如何能夠重設我們基礎性的迷思?」
Toufic 的演講,「被釘死在十字架上的」 提供了一個答案: 藝術或／和思想能達 成此目的乃藉由思忖一個社群的基礎 活動、文字等的深奧或想像的版本。
故此, 我們可以設想, 尼采是否參與了 巴勒斯坦和以色列人民的歷史? 即使
The Crucified
One of the questions posed in the conference’s statement is: ‘How can art reconfigure our collective foundational myths?’ Toufic’s contribution, ‘The Crucified’, provides one answer to this question: art and/or thought can do this by taking into consideration the esoteric or imaginal version of a community’s foundational events, texts, etc. And so, is Nietzsche part of the heritage of the inhabitants of Palestine and Israel, including those of them who have never come across his name, let alone read his works?
那些人從未聽過他的名字? 甚至未曾 讀過其著作?
Jalal Toufic 是一位思想家, 也是位終有一死的凡人。1962
年生於黎巴嫩的貝魯特市或伊拉克的巴格達市, 1989年逝世
於美國伊利諾伊州埃文斯頓, 而其魂魄早在此之前便已滅亡。 最新著作包括《我在想什麼?》(e-flux journal、Sternberg出
版社, 2017), 讀者可以在 www.jalaltoufic.com 下載他的其 它書籍, 並透過 Vimeo 觀看其錄像作品。他曾參與2011年
DAAD柏林藝術家駐留項目, 他與所謂的藝術家及宣稱為藝術 家的藝術家共同參與了第六、第十及第十一屆沙迦雙年展、 第九屆上海雙年展、第五屆廣州三年展、第7屆城市建築雙
城雙年展(深圳)、第3屆雅典雙年展及龐畢度中心的「一段歷
史: 藝術, 建築和設計, 從1980年代至今」等。他於2015年9月
至2018年8月期間於黎巴嫩美術學院視覺藝術學院擔任院長, 現為香港浸會大學人文及創作學系教授。
What to Let Go? Para Site International Conference 2018
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何以放手 ? Para Site 2018 國際研討會
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展開其他
Riksa Afiaty
Riksa Afiaty is an Indonesian independent curator. Together with Charles Esche, Afiaty recently co-curated the exhibition Power and Other Things: Indonesia & Art (1835–now) at Bozar–Palais des Beaux Arts in Brussels for the 2017 Europalia Art Festival. She was part of the collective ruangrupa Jakarta from 2011 through 2016 and worked on the curatorial team of Jakarta Biennale 2015 #16, Neither Forward nor Back: Acting in the Present. In 2016, the Foundation for Arts Initiatives awarded Afiaty a grant to conduct research on non-Western models for art institutions. She was recently selected as a 2018–19 participant in the Jan Van Eyck Academie. Riksa Afiaty 是一位印度尼西亞的策展人。近期聯合策劃
了展覽「權力與其他: 印尼與藝術（1835年至今）」, 該展覽為 布魯塞爾法國美術宮2017年歐羅巴利亞藝術節的一部分。
2011至2016年, 她為雅加達藝術小組 ruangrupa 的一員, 並 參與2015年雅加達雙年展「不進亦不退: 行動當下」的策展團 隊工作。2016年, 她獲得 Art Initiatives 基金會的非西方藝
術機構研究獎。她目前為凡艾克學院 2018–19 學年的學員。
以2017年布魯塞爾的展覽「權力與
其他」作為反思的起點, 是次講座將重新 審視藝術家的立場、機構建制與歷史的 相互作用、殖民主義的遺產, 並以去殖
民思想批判性地思考該展覽在全球語境 下對地域性的呈現, 以及當中的機遇和 挑戰。
講座將圍繞對印尼複雜性的重新思
考, 包括它與荷蘭的關係、在群島以外
的殖民性、以及參展藝術家如何在使用
博物館館藏的同時重新思考和比較於建 制以外的論述。參展的藝術家對博物館
所收藏的殖民時期文物背後的政治與道 德討論進行探究, 並透過多重的視角重 新審視當時的歷史語境。
回應去收藏化的最新論述、以及
（殖民）博物館現狀何以與其產生連接, 並透過當下重審殖民歷史的種種問題,
我們需要提問的是:「什麼需要改變? 藝 術工作、研究、在建構與民眾之間的各
種知識時, 又該如何推動零散的對話?」
What to Let Go? Para Site International Conference 2018
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何以放手 ? Para Site 2018 國際研討會
Unfolding the Other Things
Reflecting on the 2017 Power and Other Things exhibition in Brussels, this talk examines, contests and experiments with the roles of artist and institution, and the ability of these roles to interplay between history, colonial legacy, and the interpretation of our present era, through decolonial thinking, to critically contemplate the exhibition itself as encapsulating the opportunities and challenges of staging regionality on a global scale. The talk will focus on rethinking not only the complexities of the Indonesian–Dutch relationship but also the ideas of colonialism beyond the archipelago and the personal experience of the artists involved in the exhibition, who worked with museum’s collections to reinterpret and make comparisons with other narratives outside the institution. The collection was explored through artistic research illustrating the politics / ethics of collecting objects during the colonial period, and re-investigated the historical context by considering the overlapping perspectives of the time. In response to the latest discourse on de-collecting and several questions addressing the ability of (colonial) museums to connect with and address issues of colonial history in relation to the current constituency: What needs to change? How can artistic practice, research, and the varied knowledge between institutions and the public support these fragmented conversations?
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Lía Colombino is Director of the Indigenous Art Museum in the Museo del Barro, a complex of three museums that gathers together the diverse arts of Paraguay. Since 2009, Colombino has coordinated the Espacio/Crítica Seminar, an educational program carried out by the same institution. From 2010 to 2012, Colombino served as Chief coordinator of the Desalmidonar los párpados (To un-stiffen the eyelids) project, which was responsible for rescuing the archive of Cira Moscarda, Asunción.
Lía Colombino
Colombino has been Professor at Instituto Superior de Arte (Art Institute, National University of Asuncion) since 2010, and she is currently the director of the Art Institute. She recently curated Paragua’u: Ficciones y Contraficciones (with Claudia Casarino) at Museo de Arte Contemporáneo de Salta, Museo MACRO, Rosario and Migliorisi Foundation, Asunción (2011 – 2014), Territorio Acotado/Expandido for the Chaco Ra’anga Project (Centro Cultural de España Juan de Salazar, Asunción; España/ Córdoba, Parque España de Rosario and Casa del Bicentenario de Buenos Ares, Argentina; Centro Cultural de España en La Paz y Casa de América en Madrid, 2016–17). She was part of the investigation that ended in the exhibition Losing Human Form: A Seismic Image of the 1980s in Latin America at the Museo Nacional Centro de Arte Reina Sofía, in Madrid, MALI, in La Paz and MUNTREF, in Buenos Aires (with Red Conceptualismos del Sur, 2012 –13). Colombino has been part of Red Conceptualismos del Sur since 2009. Lía Colombino 是巴羅博物館原民藝術館的總監。巴羅博 物館為一座由三個分館組成的博物館綜合體, 匯集了巴拉
圭各樣型態的藝術創作。自2009年以來, 她策劃巴羅博物
館的教育項目, 包括2010至2012年的「Espacio/Critica 研
討會」, 她同時擔任「放鬆視線」的首席統籌, 致力保存 Cira Moscarda 在亞森松的檔案。
自2010年, Colombino 任亞松森國立大學藝術學院教授,
現為該校藝術學院院長。近期, 她與 Claudia Casarino 合 作策劃了「巴拉圭: 虛構和矛盾」 （2011–14）, 分別展出於 薩爾塔當代藝術博物館、羅馬當代藝術博物館和亞松森
Rosario/Migliorisi 基金會。她還策劃了「有界／擴張的領土」
（2016–17）, 展出於亞松森西班牙文化中心、阿根廷羅薩里 奧市的西班牙公園和布宜諾斯艾利斯市的國家兩百年紀念
館、利馬西班牙文化中心和馬德里美國文化中心。她參與的
研究小組與「南方概念主義網絡」共同完成了展覽「失去人形: 20世紀80年代拉丁美洲的震顫圖像」 （2012–13）, 分別展於
巴羅博物館 : 另一種理解文 化遺產的方法
巴羅博物館俗稱巴羅視覺藝術中
心, 藏品可分為大眾藝術（收於巴羅博物 館）、民俗藝術（收於原住民博物館）, 以 及巴拉圭和伊比利美洲的街頭藝術（收 於巴拉圭當代藝術博物館）。
觀眾除了可在博物館中可看到面
具、方濟會和耶穌會的畫像、節慶服
飾、伊比利美洲的藝術家（如 Ricardo Migliorisi、Carlos Colombino 和
Osvaldo Salerno）的藝術作品外, 臨時 館藏的品類也頗具多樣化, 包括新興藝
術家創作以及大型研究展覽, 呈現從19 世紀巴拉圭肖像的紀錄到一種名為 ao
poi 紡織產品。 （ao poi 為一種原住民布 料, 其刺繡圖案挪用了殖民者襯衣上常 見的圖形的原住民布料）。
博物館旨在消除大眾藝術、民俗藝
術和街頭藝術之間的隔閡, 因此, 巴羅博
物館在保留博物館的模糊身份同時, 並 未徹底完全地成為常規意義上的博物
館。它一方面迴避著「博物館」概念所設 下的邊界, 另一方面又服膺博物館所具 有的傳統意義, 並同時探索著這一概念 的不合時宜和可變性。
作為一個博物館, 它與「藝術」一樣,
擁有著流動的定義。借用巴拉圭藝術學
The Museo del Barro. Another Way of Understanding Heritage
The Museo del Barro, as the Center for Visual Arts is commonly known, houses collections of popular art (the Museo del Barro) and ethnic art (Museum of Indigenous Art), as well as several expressions of the urban art of Paraguay and Ibero-America (the Paraguayan Museum of Contemporary Art). Visitors may encounter a collection of popular masks, an ample assortment of Franciscan and Jesuit images, striking ceremonial costumes, or the impressive selection of Iberoamerican art, including works by Ricardo Migliorisi, Carlos Colombino, and Osvaldo Salerno. The temporary exhibitions are widely varied, from showcasing emerging artists to large survey exhibitions that bring together different works, from a documentation of 19th century portraiture in Paraguay to a collection of the recent production weavers making ao poi, an indigenous cloth that takes its embroidery style from that of colonial shirts. The museum seeks to erase distinct ways of classifying art—doing away with boundaries separating the popular, the indigenous, and the urban in Paraguay. Thus, the Museo del Barro preserves the ambiguity of being a museum without totally being a museum. It attempts to skirt the boundaries of the museum concept while simultaneously rendering said concept ill-fitting and permeable. It is an art museum as fluid as the definition of art itself, which here has tried to include, in the words of Paraguayan art scholar Ticio Escobar, ‘the beauty of the other.’
者 Ticio Escobar 所言: 它嘗試包含「他
者的美」。
馬德里索菲婭王后國家藝術中心博物館、利馬藝術博物館和 在布宜諾斯艾利斯國家藝術博物館。2009年起, Colombino What to Let Go? Para Site International Conference 2018
為「南方概念主義網絡」小組的成員之一。
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將色情作品、性別 和性取向的歷史納 入公共話語體系
Naman P. Ahuja
Naman P. Ahuja is a curator of Indian art, Professor at Jawaharlal Nehru University and Co-Editor of Marg Publications. Ahuja served as a curator of Indian sculpture at the British Museum in 2001, and contributed to the 2003 exhibition and catalogue of Divine Presence: The Arts of India and the Himalayas at Casa Asia in Barcelona. He has curated a number of exhibitions on classical and contemporary art and is most noted for his critically acclaimed exhibition on The Body in Indian Art and Thought (2013). He recently co-curated India and the World: A History in Nine Stories at the National Museum and CSMVS. his studies on terracottas, ivories and small finds have drawn attention to the foundations of Indian iconography and transcultural exchanges at an everyday, quotidian level. His latest book, The Art and Archaeology of Ancient India, Earliest times to the sixth century (2018), presents a catalogue raisonné of the Ashmolean Museum, where he was a Fellow from 2002–04. Naman P. Ahuja 是專注印度藝術的策展人、尼赫魯大學的
教授以及 Marg 雜誌的合作主編。他曾於2001年擔任大英博 物館印度雕塑部門策展人, 策劃了2003年展出於巴塞羅那亞 洲中心的「神聖的存在: 印度藝術與喜馬拉雅」以及編寫了該
展覽的同名出版物。他曾策劃過許多關注古典與當代藝術的 展覽, 其中最著名的當屬廣受好評的「印度藝術及思想中的
身體」 （2013）。他近期合作策劃了展出於印度國家博物館及
CSMVS的展覽「印度與世界: 九個故事中的歷史」。他對於陶 瓦、象牙及其他小型物件的研究將學術關注引向了對於印度
肖像歷史的探索以及日常生活中跨文化交流的討論。他最新
出版的書籍《古印度的藝術考古: 遠古至六世紀》 （2018）展現
了阿什莫林博物館完整的藏品注釋, 而他於2002至2004年曾 是該博物館的一員。
文化遺產如何加深我們對身份認同
的理解? 博物館中重要出土文物和藝術 品乏人問津的原因在於它們缺乏與時
俱進的理解框架、難以滿足時代的要求
並準確反映過去五十年來的研究成果。 Naman P. Ahuja 近期的兩個主要展覽
便企圖在塑造世界歷史的過程中納入更 多有關性別和性取向的視角。
在展覽「印度與世界」中, 廣為人知
的文物（如在摩亨佐達羅出土的《舞女》
塑像）被注入了一種全新的、更有力的解 讀。另一展覽「印度藝術中的身體」中以
一座獻給一位女士兵的十三世紀紀念雕 塑開場。中世紀修道士的經文和肖像則 呈現了他們反對種姓制度、追求性別平
等的政治立場。不論是巴克提教還是怛 特羅教, 印度宗教為性表達提供合法空
間的傳統由來已久。記錄宗教儀式的錄
像表明了同性戀一直是印度傳統的重要 組成部分, 而傳統教學法中的教學視頻
也打破了我們對性別規範的種種限制。 有關像神、黑天神、卡爾凱蒂耶戰神等
神靈和英雄誕生故事的繪畫和雕塑被用 來探討代孕、收養、單親和非常規家庭
的問題。 《兩個女孩》是 Amrita Shergill 十分重要的一件作品, 在反猶太主義和
婦女參政運動興起的背景下關注性別自 由、移民和身份認同／種族問題。該展
覽將討論延伸至現代流行文化領域, 並 同時吸收古代和中世紀藝術的文化歷
Bringing a History of Erotica, Gender and Sexuality into a Public Discourse
How can heritage empower our narrative of identity? Critically important archaeological evidence and artworks lie neglected in museums for want of a more updated interpretative framing, commensurate with the needs of our times and reflecting a more accurate picture of the research that has been done in the past fifty years. The curation of Naman P. Ahuja’s last two major exhibitions reflect a conscious effort to include more perspectives on the role of gender and sexuality in shaping the history of the world. Old chestnuts like the so-called ‘Dancing Girl’ of Mohenjodaro were given an entirely new—and hopefully more empowering—interpretation in the recent exhibition India and the World. The Body in Indian Art, which opened with a powerful 13T H century memorial sculpture dedicated to a female soldier. The verses of medieval ascetics and their portraits were used to communicate their politics against the caste hierarchy and to seek gender equality. Whether in ‘bhakti’ or in ‘tantra’, religion in India has often been used as the space to legitimize sexual expression. An attempt was made to try and prove that same sex love has been very much a part of Indian tradition through video documentation of rituals and other films of traditional pedagogy education, which disturbed our constraints of gender normativity. Paintings and sculptures depicting the birth stories of deities and heroes such as Ganesha, Krishna and Kartikeya, etc., were used to highlight issues around surrogacy, adoption, single-parenthood, and non-traditional families. Two Girls, an extremely important work by Amrita Shergill, was used to highlight themes of sexual freedom, migration, and issues of identity/ race in the context of anti-Semitism and the rise of the Suffragette movement. The exhibition extended to modern popular culture, which has absorbed the history of ancient and medieval art to make powerful political works through prints and comic books.
史, 通過版畫和漫畫書等創作媒介生成 What to Let Go? Para Site International Conference 2018
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出有力的政治作品。
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Özge Ersoy
Özge Ersoy is Public Programmes Lead at Asia Art Archive in Hong Kong. She is also Managing Editor of m-est. org, an online publishing initiative. Ersoy contributed to Curating Under Pressure (Routledge, 2019, forthcoming), Constituent Museum (L’Internationale and Valiz, 2018), Sarkis: Respiro (Istanbul Foundation for Culture and Arts, 2016), Speculation, Now (Duke University Press and the Vera List Center for Art and Politics, The New School, 2014), and Rethinking Contemporary Art and Multicultural Education (New Museum, 2010). She is Editor of Fatma Bucak: I must say a word about fear (2014), Telegenic (with Ekberzade, SPOT, 2014), and How to Begin? Envisioning the Impact of Guggenheim Abu Dhabi (CCS Bard, 2010). Her writings have been included in ArtAsiaPacific, Bidoun, Domus, Modern Painters, and The Journal of the Society of Architectural Historians, among others. Ersoy holds an MA from the Center for Curatorial Studies at Bard College. Özge Ersoy 是香港亞洲藝術文獻庫的公共項目負責人, 她
同時也是線上出版項目 m-est.org 的執行編輯。Ersoy曾參 與多個出版物的寫作和生產, 包括《臨壓策展》 （Routledge 出版社, 2019, 即將發行）、 《構成博物館》 （Valiz 國際出版
社, 2018）、 《Sarkis: Respiro》(伊斯坦堡文化藝術基金會,
2016)、 《揣測, 當下》 （杜克大學出版社及新學院 Vera List 藝
術與政治中心出版, 2014）以及《反思當代藝術與多元文化教
育》 （新當代藝術博物館出版, 2010）。她還是《Fatma Bucak: 我必須講講恐懼》 （2014）、 《上鏡》 （與 Ekberzade 共同編輯, SPOT 出版社, 2014）與《如何開始? 展望古根漢阿布達比分 館的影響》 （巴德學院策展研究中心, 2010）的編輯。她的文
章曾被發表於 ArtAsiaPacific、Bidoun、Domus、Modern Painters、 「建築歷史學家協會期刊」及許多報刊雜誌上。 Ersoy 於巴德學院策展研究中心修得文學碩士學位。
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機構、流行文化 及身份
Tina Pang 彭綺雲
Tina Pang is Curator of Hong Kong Visual Culture at M+, part of the West Kowloon Cultural District. Prior to joining M+ in 2014, Pang served as a curator at the University Museum and Art Gallery, The University of Hong Kong, and was honorary assistant professor in the Department of Fine Arts, where she taught museum studies and Chinese material culture. In 2010, Pang received the Lee Hysan Foundation Fellowship from the Asian Cultural Council to research curatorial practices in the United States. Recent curatorial projects have included the M+ Pavilion exhibition Ambiguously Yours: Gender in Hong Kong Popular Culture (2017). Tina is a graduate of the School of Oriental and African Studies, University of London (BA Hons Chinese and Art & Archaeology), and St. Hilda’s College, University of Oxford, (MPhil Ethnology and Museum Ethnography). 彭綺雲自2014年起於西九文化區M+視覺文化博物館擔任香
權力系統時常定義著文化遺產, 像
是政府或宗教紀念碑, 和受皇家資助的 藝術創作。另一方面, 流行文化則呈現
出獨特的民主性, 它的受眾跨越經濟、
政治及社會界別, 而電影可算是香港對 全球的視覺文化最重要的貢獻。
流行文化, 作為獨特的文化遺產，是
不少視覺藝術家的靈感來源, 亦是不同 藝術如平面設計、插圖、藝術指導、和
攝影的交匯處。2017年由M+視覺文化
博物館舉辦的展覽「曖昧: 香港流行文化 中的性別演繹」展示了跨界別的策展方
式, 同時審視香港八十及九十年代時期, 性別定型是如何被挑戰的。
是次講座將延續此策展實踐, 探討
文化物件, 而此閱讀又能如何挑戰粉絲
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機構能夠如何將流行文化的閱讀呈現為
洲文化協會的利希慎基金的贊助, 前往美國研究當地策展實
文化所擁護的詮釋。
踐。她近年的策展項目包括於M+展亭舉辦的「曖昧: 香港流
Cultural heritage is often defined through instruments of power, for example government or religious monuments, or art forms produced through royal patronage. Popular culture on the other hand is uniquely democratic, reaching audiences across economic, political, and social divides. Hong Kong’s most significant contribution to world visual culture is undoubtedly cinema. Furthermore, popular culture has been a rich source of inspiration for visual artists, as well as a platform for diverse practices across different creative fields, including graphic design, illustration, art direction, and photography. Through a 2017 exhibition titled Ambiguously Yours: Gender in Hong Kong Popular Culture, M+ Museum presented an interdisciplinary approach to popular culture through its collections, while examining the popular culture of 1980s and 90s Hong Kong as a space wherein gender stereotypes were challenged. This talk will discuss this curatorial exercise while asking, what role institutions can play in presenting readings of popular culture as cultural artefacts? and what are the implications of these readings and their ability to challenge accepted interpretations espoused in fan culture?
港視覺文化策展人。她曾擔任香港大學美術博物館館長及其
藝術系的名譽副教授（中國藝術史及博物館學）。2010年獲亞
Institutions, Popular Culture, and Identity
行文化中的性別演繹」 （2017）。
彭綺雲於倫敦大學亞非學院獲得中國藝術與考古學學士學
位, 並於牛津大學聖希爾達學院獲得民族誌與博物館民族學 研究碩士學位。
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Pablo José Ramírez
Pablo José Ramírez is a cultural theorist and curator living between Guatemala and London. He holds an MA in Contemporary Art Theory from Goldsmiths, University of London and has published extensively, including works for Coleccion Patricia Phelps de Cisneros, Re-Visiones, Miami Rail, Atlantica, and Harvard University. His work explores visual and aural cultures as potentialities in postcolonial contexts, understanding them through manifestations of material culture, time, and linguistic operations such as translation and silence. Ramirez served as Director at Ciudad de la Imaginación in Guatemala from 2010 to 2014. Following that, he has been working internationally as an independent curator, developing exhibitions and projects for institutions such as the CCA (Center for Contemporary Arts) in Glasgow, the New School & Parsons in New York, and the Jindřich Chalupecký Society and Display in Prague. He was Co-Curator of the 19T H Bienal de Arte Paiz and was Co-Curator of the long-term research project Guatemala Después, which concluded with a publication, a digital collection, and an exhibition at The Sheila C. Johnson Design Center in New York. Currently, Ramirez and an interdisciplinary team are working on an experimental web journal discussing sonic and visual cultures with a focus on post-colonial regions, to be launched by 2019. Pablo José Ramírez 目前生活於瓜地馬拉與英國倫敦, 為
一名文化理論家和策展人。他於倫敦大學金匠學院獲得當代 藝術理論碩士學位, 他為多間出版單位寫作, 包括 Patricia
Phelps de Cisneros 的收藏、 《Re-Visiones》、 《邁阿密鐵路 報》、 《Atlantica》及哈佛大學出版社等。他的策展實踐在探
索視覺及聽覺文化在後殖民語境下可能的發展空間, 並透過 物質文化、時間及語言操作（例如翻譯和沈默）來理解此一
範疇。Ramírez曾於2010–14年擔任瓜地馬拉 Ciudad de la
Imaginacion 公司的董事。其後, 從事獨立策展, 他曾為多家
機構策劃展覽及文化項目, 包括格拉斯哥當代藝術中心、紐約 新學院與帕森斯設計學院及布拉格 Jindřich Chalupecký協 會。他是第19屆瓜地馬拉藝術雙年展的聯合策展人, 也是長
期研究項目「Guatemala Después」的聯合策展人, 該項目後
續出版了專書、成立線上數位典藏並於紐約 The Sheila C.
Johnson 設計中心舉辦展覽。目前, Ramírez 正與一個跨學
宇宙世界主義 : 多語言翻譯及諷刺 的異國風情主義
如果我們放棄西方世界主義下失
敗的單一普世意識, 而重新想像一個互 相盤繞又多孔的宇宙世界主義, 結果會 如何? 如果說在一個世紀前, 工業資本 主義系統設定出種族和社會階級以配
合國家管治下殖民剝削的秩序, 那麼今
日全球化的技術/語言系統則似乎將「他 者」溶解為抽象、認知的全球資本運作: 種族成為後政治, 並被掩飾在新自由多 元文化主義之下, 而極端民族主義者則 堅持進行極端化的政治反動並主張關
閉疆界。日本文化理論家酒井直樹提議 以多語言翻譯作為一種理解不同文化
之間的存在性纏結的方法, 透過共通的
潛能達成共識而非知識上的暴力。是次 演講旨在從後身份政治的視角探索「宇 宙世界主義」的概念, 並以沉默與諷刺 作為核心。Ramirez 將根據一些當代
藝術家的創作展開這一探索, 如 Terike Haapoja 和她對非人思考的跨學科探
索、Postcommodity 小組研究原住民 文化知識的議題的作品, 以及 Pamela
Cosmoplanetarisms: Plurilingual Translation and Ironical Exoticism
What if instead the failed aspiration of a singular universal consciousness, as imagined by Western cosmopolitanism, we could think on entangled and porous cosmoplanetarisms? If the machine of industrial capitalism configured ethnicities and social classes to fit the order of colonial exploitation under the regime of nation-states more than a century ago, today the technolinguistic global machine seems to dissolve alterity into an abstract cognitive global capitalization of work — ethnicity becomes post-political and cosmetic under neoliberal multiculturalism while ultra-nationalists, on the other hand, insist on the reactionary racialization of politics and the closing of borders. Japanese cultural theorist Naoki Sakai has proposed plurilingual translation as an alternative means of understanding an ontological entanglement between cultures, not based on epistemic violence but on a common ground of shared potencies. This talk aims to speculate around the notion of cosmoplanterisms from a post-identarian angle, where silence and irony are central for such a task. We will do this by examining several contemporary artists, such as Terike Haapoja and her interdisciplinary approach to non-human thinking, Postcommodity’s work on issues of indigeneity and knowledge, and Pamela Cevallos’s projects focusing on heritage and material culture in Andean communities.
Cevallos 關於安第斯社群內的傳統和 物質文化的項目。
科團隊合作, 致力發展一實驗性網絡期刊平台, 聚焦後殖民地 區的聽覺及視覺文化, 該平台計劃於2019年推出。
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Marian Pastor Roces
Marian Pastor Roces is an independent curator and critic working across subjects including contemporary art, museums, the politics of identity (particularly in relation to urban studies), clothing and related sign systems, and the failures of the democratic project in many parts of the world. Aside from her policy work as a partner of the think tank Brain Trust Inc. she heads TAO INC, a Philippinebased corporation that develops and implements museum-building and exhibition projects, and provides cultural analysis for urban development projects. Her current projects include the reconceptualization of the museums of the Cultural Center of the Philippines; and overseeing the establishment of a Museum of Indigenous Knowledge, working with the architect Kengo Kuma to design the building. Theoretical and political struggles encountered during curatorial work inform Roces’ theoretical writing, which is published internationally. Roces is currently preparing a finished manuscript for publication on a little-remembered ethnocidal campaign against Muslims, enacted by Christian settlers to the island of Mindanao, immediately before and during the Martial Law Period of the 1970s. The book, Wounded Wa-O, has remained deliberately unpublished in anticipation of an appropriate time for release. It has been circulated with the members of the Peace Panel between the Moro National Liberation Front and Government of the Philippines; and has assisted in the efforts of the multi-nation Transitional Justice Committee looking into historical injustice and the possibilities of systematic truth-seeking for a Mindanao riven by violent conflict for centuries. Marian Pastor Roces 是一位獨立策展人和評論家, 她的工 作範疇橫跨當代藝術、博物館、身份政治 (特別是與城市研
究、服裝和其相關標誌系統), 並關注目前民主項目在世界各 地的失敗。她除了從事 Brain Trust Inc. 智囊團合夥人的政 策工作外, 也是菲律賓公司 TAO INC 的負責人, 該公司正在
發展博物館建設和推行展覽項目, 並為城市發展進行文化分 析。她目前協助菲律賓文化中心博物館重新定位, 該機構策 劃設立一間由建築師隈研吾負責該建築設計的原著民知識 博物館。Roces 的寫作積極回應她在策展工作中所遇到理 論上和政治上的困境。她目前正籌備出版一本著作, 講述
一場鮮為人知的種族清洗事件。她已完成的手稿中記述了
1970年代戒嚴之前和期間由棉蘭老島定居的基督徒所策動
的一場對穆斯林的種族清洗。目前尚正等待適當時機出版的
《Wounded Wa-O》, 早已經被 Moro 民族解放前線及菲律
賓政府組成的和平委員會成員廣泛傳閱。該書亦協助跨國界 的「過渡時期司法委員會」研究過往的不公義, 並為數個世紀
What to Let Go? Para Site International Conference 2018
以來因暴力衝突而四分五裂的棉蘭老島尋求真相。
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當代本土性
Contemporary Indigeneity
截然不同的知識系統塑造了不同的 This talk proposes an ethical practice for crafting complex 藝術傳統, 是次演講提出一套道德實踐， points of interface between art traditions shaped by vastly different knowledge systems. Roces contends that 以連接這些傳統之間的交匯點。Roces the design of such interface points cannot be templated, 認為這些交匯點的設計並不能模式化, even if effective designs can and should inform design 即使它們是極為有效的設計, 亦難以逾 for traversing the other, often insurmountable, spaces between systems—especially when some of these 越系統和空間的鴻溝（尤其是許多系 systems are in flux and overlap wildly with other systems. 統都在不斷變動, 並與其它系統不斷重 This talk commences with anatomies (but not case 疊）。演講首先嘗試剖析菲律賓三個將 studies) of three recent issues that raised attention 原住民藝術用作商業目的的案例（並非 about appropriating indigenous art for commercial 案例研究）, 其後, 將藉此進入理論範疇, enterprises in the Philippines. Moving quickly to theory from these three points of departure, Roces draws on Roces 借助本土性這個概念在長時間 a long-standing arc of observations on the concepts of 下的演化, 指出阻礙原住民自我賦權的 indigeneity themselves, fraught with slippage zones that 一些危險區域。 are—at the very least—strategically adverse to the self 對於當下交匯點的隨意分佈、以及 empowerment agenda of indigenous peoples. 背後本土性概念的建立, Roces 基於實
Roces’s critique of the casual arrangements that presently suffice as interface points between systems, as well as the underlying constructions of notions of indigeneity, is 聚焦策略性的思考: 邊緣化的社區必然 developed along pragmatic, material registers. Hence the 地被捲入由外顯或隱匿的暴力身份政治 focus on strategic considerations: marginalized societies 所製造的漩渦, 因此, 理論家們必須回應 are inevitably swept up in the maelstroms produced by 這些日常且赤裸的生活細節。同樣需要 the both overtly and invisibly violent politics of identity, and oblige theorists to address quotidian, naked life. 處理的是, 為主流和邊緣群體勾勒一個 There is, in Roces’s view, a further obligation: to illuminate 文化的交匯處。由於現時不斷變化的歷 the shape of an ethics of interface design for cultural 史和物質語境, 這一個道德實踐亦需要 work between and among dominant and marginalized 以同等的嚴謹和速度去彌補常見的複雜 social groups. Because of the volatility of most historical 性和變化的速度, 繼而尋找一個後人道、 and material contexts at present, such ethical practice will have to respond with rigor and a speed matching the 富同情心的行動方式。這一道德實踐的 speed of change and the complexity of most situations, 理論架構必需建立在對複雜性的討論 to find a post humanistic but always compassionate 之上。 register for action. The theoretical infrastructure for such ethical practice will have to be located in discourses of complexity. 際性和物質性發展出她的批評理論, 並
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自歷史
Mélanie Bouteloup
Mélanie Bouteloup is Director of Bétonsalon—Center for Art and Research and Villa Vassilieff. Over the past fifteen years, Bouteloup has directed a number of projects that aim to root art in society, in partnership with many local, national, and international organizations. In 2012, alongside artistic director Okwui Enwezor, Bouteloup served as associate curator of La Triennale, an event initiated by the Ministry of Culture and Communication and organized by the Centre national des arts plastiques and the Palais de Tokyo. In 2014, Bouteloup was named Knight of the Order of Arts and Letters by the French government. In 2016, with the support of Pernod Ricard, she inaugurated the Villa Vassilieff–Pernod Ricard Fellowship. In 2018, she curated We are not the number we think we are, a project of the Daniel & Nina Carasso Foundation in Cité internationale des arts, Paris. Mélanie Bouteloup 為法國 Bétonsalon 藝術研究中心及
Villa Vassilieff 獨立藝術空間的總監。在過去的十五年裡,
Mélanie Bouteloup 與國內及海外的眾多機構合作許多將 藝術植根社會的創作項目。2012年, Bouteloup 與藝術總
監 Okwui Enwezor 共同策劃了由法國文化交流部發起、巴
黎東京宮與法國國家視覺藝術中心策劃的三年展, 並擔任副
策展人。2014年, Mélanie Bouteloup 被法國政府授勛為文 學與藝術騎士。2016年, 她與 Pernod Ricard 一同發起了
Villa Vassilieff 獨立藝術空間的 Pernod Ricard 獎金項目。 2018年, 她策劃了隸屬於巴黎國際藝術城 Daniel & Nina
Carasso 基金會的展覽項目「我們並非我們所想的數字」。
個人經驗, 被修改與否, 都可以
成為重新閱讀和編寫我們身邊的文化
故事的渠道。 （摘自 Gloria Anzaldúa,
《Now Let Us Shift...The Path
Of Conocimiento…Inner Work,
Public Acts》及《In This Bridge We
Autohistorias
Personal experiences—revised and in other ways redrawn—become a lens with which to reread and rewrite the cultural stories into which we are born. Gloria Anzaldúa, Now Let Us Shift...The Path of Conocimiento…Inner Work, Public Acts, In This Bridge We Call Home: Radical Visions for Transformation (2002)
Call Home: Radical Visions For Transformation》, 2002）
世界正經歷動亂時期, 民族主義和
分離主義在國內造成兩極分化, 關於身
分認同的辯論亦撕碎著社會關係。在法 國, 對於難民和伊斯蘭教的道德危機一 再動搖已然脆弱的社會; 歐洲的失職令
社會無法抵達任何形式的正義和開放。 好幾代的難民和他們的子孫像是永遠停
留在時間中, 恍如他們才剛抵達歐洲; 國 家論述無法幫助他們認清自己的歷史角 色, 無助的年輕一代感覺離建制越來越 遠。理論家 Fatima El-Tayeb 指出, 教
育及建制對部分歷史的抹除應被看做是 顛覆的機遇。現在是時候奪回我們不安 的生命, 承認和接納我們複雜的社會身 份, 反思過去各種觀點是如何失實地被 呈現, 又如何重設被聽到的聲音。太多
為了混淆、消除歐洲難民問題的論述不 停將我們包圍, 建制無法將我們團結於
The world is going through a period of turmoil, as nations experience nationalist and separatist polarization and debates on identity shatter social relations. In France, moral panic over refugees and Islam shake our fragile social fabric. Europe’s dereliction prevents the realization of any vision for a just and open society. Several generations of migrants and their descendants feel forever suspended in time, as if they had just arrived. As national narratives fail to acknowledge their historical role, a hopeless youth feel increasingly estranged from its institutions. As stated by theorist Fatima El-Tayeb, their omission from historical accounts within educational and institutional curricula should be taken as a possibility to organize subversion. It is now time that we reclaim our precarious lives. We must acknowledge and embrace the complexity of our social identities. We must look back critically at the misrepresentation of diverse perspectives and reconfigure who is being heard. All-encompassing narratives are used to obfuscate problems bred by the obliteration of migrants from European narratives. Our institutions now fail to keep us together, and now is the time to reclaim them.
一體, 而今, 我們要重奪話語權。
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象徵 vs 抽象 : 錯置的藝術品
Éric de Chassey
Éric de Chassey is Director of the French National Institute of Art History (INHA) and Professor of Modern and Contemporary Art History at the École Normale Supérieure in Lyon, France. Between 2009 and 2015, de Chassey served as Director of the French Academy in Rome–Villa Medici. He has published extensively on the arts and visual culture from the 20T H and 21ST centuries and has curated numerous exhibitions, both in France and abroad. Éric de Chassey 是法國國家藝術史研究所(INHA)的總監和
法國里昂高等師範學院現當代藝術史教授。2009–15年期間, 他曾擔任羅馬法蘭西學院 Villa Medici 的院長, 發表大量關
作為重要的現代殖民國家之一, 以
及今日的多文化國家代表, 法國承擔著
歸還世界各地文物的特殊責任。然而法
國政府卻僅在2017年法國總統 Macron 於瓦加杜古進行演講後, 才正式成立專 責小組, 研究解決問題的實質方案。是
次演講將為現時的情況提供歷史背景,
談及當年法國的博物館是如何被視為是
「普世」的場所, 又是如何建立起法國的 民族身份。
Representation vs Abstraction: On the Status of Dis-placed Artworks
As one of the major colonial countries of the modern era, and as a multicultural country today, France has had a special duty in terms of the repatriation of stolen or looted artefacts from around the globe. French authorities have only recently seized upon this problem, following the 2017 speech of President Macron in Ouagadougou, which was followed by the creation of a committee of experts charged with presenting concrete solutions for Africa. This presentation will put the current situation into perspective in relation to this long tradition which presents French museums as ‘universal’ places, while fostering a national identity.
於20及21世紀藝術和視覺文化的文章, 並在法國及世界各地
策劃過多次展覽。
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Dr. Bonaventure Soh Bejeng Ndikung is an independent curator, art critic, author and biotechnologist. He is Founder and Artistic Director of SAVVY Contemporary Berlin, and served as curator-at-large for documenta 14 in Athens and Kassel, and as guest curator of the 2018 Dak’Art Biennale in Senegal. Together with the Miracle Workers Collective, he will curate the Finland Pavilion at the Venice Biennale in 2019. He is currently guest professor in curatorial studies and sound art and theory at the Städelschule in Frankfurt.
Bonaventure Soh Bejeng Ndikung
Recent curatorial projects include: Geographies of Imagination, SAVVY Contemporary (2018); Whose Land have I Lit on Now? Contemplations on the Notions of Hospitality, SAVVY Contemporary (2018); We have Delivered Ourselves from the Tonal—of, with, towards, on Julius Eastman, SAVVY Contemporary (2018); Every Time A Ear di Soun—a documenta 14 Radio Program, SAVVY Contemporary (2017); The Conundrum of Imagination, Leopold Museum Vienna / Wienerfestwochen (2017); An Age of our Own Making in Holbæk, MCA Roskilde and Kunsthal Charlottenborg Copenhagen (2016-17). Bonaventure Soh Bejeng Ndikung 博士是一位獨立策展
人、藝術評論家、作家以及生化學家。他為柏林SAVVY當代
藝術中心的創始人和藝術總監。他曾擔任於雅典和卡塞爾舉 辦的第14屆卡塞爾文獻展的榮譽策展人以及2018年塞內加
爾達卡藝術雙年展的客座策展人。他將與 Miracle Workers Collective 合作參與2019年威尼斯雙年展芬蘭國家館的策
展團隊。他目前為法蘭克福 Städelschule 大學策展研究、 聲音藝術與理論的客座教授。
Ndikung 近期的策展項目包括:「想像的地域」 （2018年,
逝者仍在
哽噎這一反應的奇怪之處在於, 當
你享用最美味的食物之時, 你仍舊有機 會被食物哽噎。或許, 正是精美食物所
引發的吞食慾望使人狼吞虎咽, 而非細
嚼慢咽, 以致食物由食道改道至氣管。 民俗博物館及或世界博物館的建制似
乎正在經歷嚴重的哽噎危機。這些博物
館所收集／增補／吞食的精美文物似乎
共同地錯失了食道而停留在氣管之中。 停留時間之久, 正是整個大型收集、收 購、掠奪的歷史, 亦是殖民力量無情地
在歐洲以外的前殖民地開採文化產物的 歷史時期。這是一個分為十二章節的演
講, 討論霸權的維繫、民俗博物館, 以及
Humboldt 論壇的細節。
Those Who Are Dead Are Not Ever Gone
The very strange thing about choking is that one can choke even while eating the most delicious of foods. Perhaps, especially with such foods, the greed to quickly devour the delicacy—with little focus on mastication, more on consuming—might lead to the piece of food being diverted from its track towards the oesophagus and instead into the trachea. The institution of the ethnological or world museum seems to be in the midst of a serious choking crisis. The delicacies that most of these museums have acquired, which is to say co-opted (read: ingested), seem to have collectively missed the track to the oesophagus and got stuck in the respiratory tract. They have been stuck there for as long as the history of mass collections, acquisitions, and looting, for as long as the ruthless and ongoing extraction of cultural property has occurred in the former colonies outside of Europe. This is a twelve-act essay on the maintenance of supremacy, the ethnological Museum, and the intricacies of the Humboldt Forum.
SAVVY當代藝術中心） 「我點燃了誰的土地? ; 對『友誼』概念的 沈思」 （2018, SAVVY當代藝術中心） 「我們已表達自己——運 ; 用、一同、面對、評判 Julius Eastman 的音調」 （2018,
SAVVY當代藝術中心） 「每當耳畔響起」 ; ——第十四屆卡塞爾
文獻展電台項目（2017, SAVVY當代藝術中心） 「想像的謎題」 ;
（2017, 維也納利奧波德博物館/維也納音樂節） 「一個我們 ;
自己的時代」 （2016–17, 分別展於霍爾拜克、羅斯基勒音樂節 及哥本哈根 Kunsthal Charlottenborg 畫廊）。
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Yeewan Koon 官綺雲
Yeewan Koon is Associate Professor and Head of the Fine Arts Department at the University of Hong Kong. Koon has produced a broad range of research, including a book on the Cantonese artist Su Renshan which also examines the way in which artists responded to war and violence as China moved into the modern era. Koon is the recipient of numerous international research fellowships and, most recently, a Fulbright Senior Scholar Award. Koon also works in the contemporary art field and was selected as a Curator for the 12TH Gwangju Biennale in 2018. 官綺雲為香港大學藝術系的副教授兼系主任。她參與多項研
究項目, 包括一本關於廣東藝術家蘇仁山的出版物, 並探討中 國進入現代社會後, 藝術家們對戰爭和暴力的思考與行動。 她獲得多個國際研究項目獎助金, 包括近期 Fulbright 資深
學者獎助金。官綺雲同時也從事策展, 為2018年第十二屆光 州藝術雙年展策展人之一。
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Pio Abad
Pio Abad is a transdisciplinary artist. Abad began his art studies at the University of the Philippines before receiving a BA from the Glasgow School of Art and an MA from the Royal Academy Schools, London. He was recently exhibited at the 12TH Gwangju Biennial: Imagined Borders (2018); Moscow Museum of Modern Art, Moscow (2018); Kadist, Paris (2017); Para Site, Hong Kong (2017); Centre for Contemporary Arts, Glasgow (2016); 4A Centre for Contemporary Asian Art, Sydney (2016); EVA International Biennial, Limerick (2016); e-flux, New York City (2015); Asia Art Archive, Hong Kong (2015); Museum of Contemporary Art and Design Manila (2015); Gasworks, London (2014), and Jorge B. Vargas Museum, Manila (2014). Forthcoming projects include solo exhibitions at Kadist, San Francisco (2019) and Oakville Galleries, Ontario (2019).
Jane Ryan The Collection of 與 William Jane Ryan & Saunders 的收藏 : William Saunders: 重構民主姿態 Reconstruction as Democratic Gesture
Abad’s practice is concerned with the social and political signification of things. His work, in a range of media including textiles, drawing, installation, and photography, uses strategies of appropriation to mine alternative or repressed historical events, unravel official accounts, and draw out threads of complicity between incidents, ideologies, and people. Often taking on the form of domestic accessories, Abad’s artworks glide seamlessly between these histories, enacting quasi-fictional combinations with their leftovers.
Saunders 的收藏」, 討論收藏品在揭
Pio Abad 是一位跨媒介藝術家。他的藝術學習生涯起始於菲 律賓大學, 而隨後獲格拉斯哥藝術學院的學士學位及倫敦皇 家藝術學院的碩士學位。近期展覽包括第12屆光州雙年展
「想像的邊界」 （2018）、莫斯科現代藝術博物館 (2018)、
巴黎 Kadist 藝術基金會（2017）、香港 Para Site 藝術空間
（2017）、格拉斯哥當代藝術中心（2016）、悉尼4A亞洲當代 藝術中心（2016）、利默里克EVA國際雙年展(2016)、
紐約 e-flux（2015）、香港亞洲藝術文獻庫（2015）、馬尼拉 當代藝術與設計博物館（2015）、倫敦 Gasworks 藝術空間
（2014）以及馬尼拉 Jorge B. Vargas 博物館（2014）。即將
進行的項目包括於舊金山 Kadist 藝術基金會（2019）和安大 略省 Oakville 畫廊（2019）的個展。
Abad 的藝術實踐時常反映事物的社會和政治意義。他的作
品涉及紡織、繪畫、裝置藝術和攝影等一系列媒介, 運用挪用
的策略來挖掘另類的或被壓抑的歷史事件, 拆解官方說詞, 尋 覓串連起事件、意識形態和大眾之間線索。Abad 的藝術作
品經常以家庭裝飾品的形式出現, 滑行於歷史的縫隙之間, 用 多餘的物品製定準虛構的组合。
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是次講座圍繞藝術家進行中的
創作計劃「Jane Ryan 與 William
示菲律賓的歷史中扮演重要的角色, 尤
其是 Ferdinand 和 Imelda Marcos 伉 儷的獨裁統治。Abad 聚焦一批形塑
Marcos 夫婦文化遺產的物件, 指出它
們與其歷史的矛盾之處: 從西方民主國
家支持下的後殖民意識形態建立, 到現
時為重獲政權的修正主義。講座題目指
涉 Marcos 夫婦在西方銀行體制的協助 下對菲律賓文物珍寶的搜刮。透過假名
「Jane Ryan」和「William Saunders」 於1968年在蘇黎世瑞士信貸銀行開設 了四個戶口。
藝術歷史學家 Patrick Flores 將
Marcos 夫婦贊助前衛藝術的行為稱為
「民主姿態」, 他們利用前衛的美學來宣 傳種族現代主義和發展觀, 以蓋過背後
的暴力和貪污。 「Jane Ryan 與 William Saunders 的收藏」旨在延續並顛覆這
一手段。從拍賣目錄、博物館資料庫、 和政府記錄中取材, Abad 將 Marcos
夫婦奢華的收藏品重現, 包括委約創作 的肖像、珠寶和大師的油畫, 從而將過
This talk focuses on the artist’s ongoing project entitled The Collection of Jane Ryan & William Saunders, which draws attention to the roles that certain artefacts have played in the unfolding history of the Philippines; specifically, the conjugal dictatorship of Ferdinand and Imelda Marcos. In focusing on objects that shaped the couple’s cultural legacy, Abad points to the inconsistencies and incongruities inherent to their history, from the postcolonial ideology they enforced under the auspices of Western democracies to the ongoing revisionist attempts to rehabilitate their regime. The title is a reference to the Marcoses’ looting of the Philippine treasury—aided by the Western banking system. ‘Jane Ryan’ and ‘William Saunders’ were the false identities the couple used to open four bank accounts at Credit Suisse Zurich in 1968. The art historian Patrick Flores uses the term ‘democratic gesture’ in relation to the Marcoses’ patronage of the avant-garde, weaponizing its progressive aesthetics to promote ideas of ethno-modernity and development amidst a background of brutality and corruption. The Collection of Jane Ryan & William Saunders seeks to subvert and sustain this gesture. Sourcing from auction catalogues, museum archives, and government records, Abad has reproduced objects from the Marcoses’ lavish collection of commissioned portraits, jewellery, and Old Master paintings—allowing access to an inventory that has remained invisible, and performing an act of historical accountability that has stayed elusive.
往隱藏的收藏品曝光, 並將始終處於逃 逸狀態的歷史責任帶回現場。
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Vali Mahlouji
Vali Mahlouji is a curator and advisor to the British Museum, the Bahman Mohassess Estate, and Director of the Kaveh Golestan Estate. In 2010, Mahlouji founded Archaeology of the Final Decade (AOTFD), a non-profit curatorial platform excavating accounts of culture, which have remained obscure, banned, or lost through material destruction, acts of censorship, political, economic, or human contingencies. AOTFD has placed artworks in international collections including Tate Modern, Musée d’Art Moderne de la Ville de Paris, British Museum, and Los Angeles County Museum of Art. AOTFD’s exhibition A Utopian Stage at Whitechapel Gallery received the Global Fine Arts Awards’ nomination for Best Exhibition (Alternative category) in 2015.
從物件到感覺 : 設拉子 -波斯波利斯 藝術節作為盼望和 創傷的文獻
以1967–77年舉辦的「設拉子—波
「烏托邦舞台」雖然收集此藝術節
From Object to Feeling: The Festival of Arts, Shiraz-Persepolis as an Archive of Aspirations and Traumas
Vali Mahlouji 是大英博物館和 Bahman Mohassess 遺產
What does it mean to inherit an aspiration? This presentation attempts an answer, taking the Festival of Arts, Shiraz-Persepolis (1967–77) as a point of departure. 嘗試回答「繼承盼望」的背後意義。此藝 It is offered as one of the many iterations of “Utopian 術節為「烏托邦舞台」的一次呈現, 該展 Stage”, a multipartite and multi-dimensional project 覽為一多元計劃, 它綜合著多個知識和 that maps the intersecting intellectual and geopolitical trajectories leading to the inception, consolidation, and 地理軌跡的交匯, 旨在梳理這個前衞但 demise of this radical, yet virtually forgotten, cultural 又被後人遺忘的藝術節的誕生、鞏固和 event. Introducing distant voices from Asia and Africa into 結束。此藝術節將亞洲和非洲的遙遠聲 the international cultural discourse—and juxtaposing 音帶進國際文化討論之中, 並將它們和 them alongside neo-avant-garde expressions in the 去殖民前衞藝術並置, 從而令不同地域、 immediate aftermath of decolonisation—the festival allowed for fluid exchanges across geographies, histories, 歷史、形式和種類的藝術與文化得以流 forms, and genres, and questioned linear and evolutionist 動、交換, 並且在一個前所未見的規模 conceptions of culture in ways and on a scale that had 之下, 質問單一、線性的文化概念的合 never been possible before. 理性。 Assembling together the festival’s remaining and
理機構的總監。2010年, 他創辦了非營利策展平台AOTFD,
的剩餘資料, 但其動機並非純粹百科全
Mahlouji’s recent curatorial work includes exhibitions at the 2018 Dhaka Art Summit, Foam Fotografiemuseum Amsterdam, Musée d’Art Moderne de la Ville de Paris, MAXXI Museo nazionale delle arti del XXI secolo, and the Bergen Triennial. Mahlouji’s forthcoming exhibition will be at Sursock Museum, Beirut in 2019. He is a frequent lecturer at international institutions, including Stanford University, Yale University, Aalto University, Goldsmiths University, and Kultuforum Berlin. His texts have been published by various institutions, including the Neue Nationalgalerie and Guggenheim Museum. His upcoming titles Prostitute 1975-77 and Perspectives on the Festival of Arts, Shiraz-Persepolis are due to be published in 2019. 管理機構的策展人及顧問、以及 Kaveh Golestan 遺產管
旨在發掘那些因物質破壞、審查制度、政治、經濟或人類突 發事件而變得晦澀、被禁或丟失的文化。AOTFD推動許多 藝術作品列為國際館藏, 包括泰特現代美術館、巴黎現代
藝術博物館、大英博物館以及洛杉磯郡美術館。AOTFD在
Whitechapel 畫廊舉辦的展覽「烏托邦舞台」獲得了2015年
全球美術獎最佳展覽提名。Mahlouji 近期策劃的展覽曾展出 於2018達卡藝術峰會、阿姆斯特丹FOAM攝影博物館、巴黎
現代藝術博物館、羅馬國立當代藝術博物館以及卑爾根三年 展。即將開幕的展覽將於2019年在貝魯特的 Sursock 博物
館展出。Mahlouji 是斯坦福大學、耶魯大學、阿爾托大學、
斯波利斯藝術節」作為切入點, 是此演講
書式的收藏, 或出於對某一物件的癖好, 而是將這些物件視為六十至七十年代
時, 跨界別藝術和反殖民主義之下, 對烏 托邦的憧憬和對歷史張力的物質記載。 是次講座將藝術節安放在一個不斷轉變 的地緣政治和意識形態的脈絡之中, 提 出一種對文化遺產的另類理解: 不是基
於文物, 而是如藝術節所証明, 基於未能 實現的盼望和被壓抑的創傷。
side-lined material, “Utopian Stage” is neither driven by merely archival and encyclopaedic motivations, nor does it espouse a fetishist admiration of a singular object. Instead, it treats and reconsiders them as material reminders of the euphoric, utopian impulses and historical tensions that marked the cross-cultural histories of art and anti-colonial struggle in the 1960s and 1970s. Situating the festival within a network of shifting geopolitical and ideological alliances, this presentation calls for a differential understanding of heritage, one that does not hinge upon cultural artefacts, but instead upon the unrealized aspirations and repressed traumas to which the festival attests.
金斯密斯大學和柏林文化論壇等國際院校的客座講師。他的 著作曾被許多機構出版, 包括柏林國家美術館新館和古根漢 博物館。他的新作《娼妓, 1975–77年》和《設拉子–波斯波利 斯藝術節透視》將於2019年出版。 What to Let Go? Para Site International Conference 2018
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Lawrence Abu Hamdan
Lawrence Abu Hamdan is an artist and ‘private ear’— an independent audio investigator. The artist’s audio investigations have been used as evidence at the UK Asylum and Immigration Tribunal and as advocacy for organizations such as Amnesty International and Defence for Children International. The artist’s forensic audio investigations are conducted as part of his research for Forensic Architecture at Goldsmiths College London, where he received his PhD in 2017. Abu Hamdan is the author of [inaudible]: A Politics of Listening in 4 Acts. In 2018, Abu Hamdan received both the Abraaj Group Art Prize and the Baloise Art Prize. His film Rubber Coated Steel won the Tiger short film award at the Rotterdam International Film festival in 2017, and his exhibition Earshot at Portikus Frankfurt won him the Nam June Paik Award for new media in 2016. Abu Hamdan was a 2017–18 guest of the DAAD Kunstler Program in Berlin and the 2015–17 fellow at the Vera List Centre for Art and Politics at the New School in New York. He has had solo exhibitions at Chisenhale Gallery, London (2018); Hammer Museum, L.A. (2018); Portikus, Frankfurt (2016); Kunsthalle, St Gallen (2015); Beirut, Cairo (2013); The Showroom, London (2012) and Casco, Utrecht (2012). His works are part of many international museum collections, including MoMA, Guggenheim, Van Abbe Museum, Centre Pompidou, and Tate Modern. Lawrence Abu Hamdan 是一位藝術家和一名私家偵「聽」,
以及獨立音頻調查員。這位藝術家的音頻調查已被移民法庭 及英國庇護所作為證據, 並被國際特赦組織和國際兒童保護 組織等機構用作宣導材料。Abu Hamdan 於2017年在倫敦
金史密斯學院獲得了博士學位, 他的法醫音頻調查是他在該
校進行「法醫建築學」研究的一部分。Abu Hamdan 是《不可 聞: 四章節的聽覺政治》的作者。2018年, 他獲得了 Abraaj
group 藝術獎項與 Baloise 藝術獎項; 2017年, 他的電影《橡
立牆 , 破牆
2000年, 世上所有主權國之間總共
有15道圍牆和圍欄。時至今天, 有63個
國家的邊界上設有實質屏障。搭建這些 圍牆時, 有成千上萬不可見的宇宙粒子
「緲子」進入大氣層, 穿入數米深的層層 水泥、泥土和岩石。科學家發現這些粒
子可以被收集, 並以其奇特的性質穿越
X光不能穿透的表面。緲子讓我們能首
次看見貨櫃的鉛板後隱藏的走私品以及 金字塔內石牆後的秘密房間。今天, 世
上再無不能穿透的牆壁; 今天, 我們都成 為牆壁, 又同時毫無掩蔽。
「立牆, 破牆」為20分鐘的表演錄
像, 由一系列隔牆旁聽或經驗的司法案 件證詞為敍事組成, 結合再現表演和在
冷戰時期東柏林的三間聲效工作室內演 出的一段獨白。
膠塗層鋼》在鹿德丹國際電影節上獲得了 Tiger 短片獎; 2016
Walled Unwalled
In the year 2000, there were a total of fifteen fortified border walls and fences between sovereign nations. Today, physical barriers at sixty-three borders divide nations across four continents. As these walls were being constructed, millions and millions of invisible cosmic particles called muons descended into the earth’s atmosphere and penetrated metres deep, through layers of concrete, soil, and rock. Scientists realised that these deep penetrating particles could be harvested, and a technology could be developed to use their peculiar physical capacities to pass through surfaces previously impervious to x-rays. Muons allowed us to see for the first time the contraband hidden in lead lined shipping containers and secret chambers buried inside the stone walls of the pyramids. Now, no wall on earth is impermeable. Today, we’re all wall, and no wall at all. Walled Unwalled is a 20 minute film performance-video comprised of an interlinking series of narratives derived from legal cases that revolve around evidence heard or experienced through walls. It consists of a series of performances, re-enactments, and a monologue staged inside a trio of sound effect studios in the East Berlin’s Cold War Era.
年, 他在法蘭克福 Portikus 畫廊展出的「聽力範圍」獲得了新 媒體藝術白南准獎。Abu Hamdan 是柏林 DAAD 藝術家項
目 2017–18 年度的嘉賓, 也是紐約新學院 Vera List 藝術與 政治中心 2015–17 年度的研究員。他的個人展覽曾於倫敦
希森黑爾畫廊（2018）、洛杉磯 Hammer 美術館（2018）, 法蘭 克福 Portikus 畫廊（2016）、聖加倫 Kunsthalle（2015）、開 羅 Beirut（2013）、倫敦 The Showroom（2012）、烏特勒支 Casco（2012）展出過。他的作品被多個國際博物館收藏, 包 括現代藝術博物館、古根漢博物館、埃因霍溫博物館、龐畢 度中心和泰特現代美術館。
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Xiaoxuan Lu 陸小璇
Xiaoxuan Lu, PhD, is Assistant Professor at the University of Hong Kong Division of Landscape Architecture, where she teaches landscape history and theory, and design studios. Before joining the Division of Landscape Architecture, Lu practiced in the fields of architecture and landscape architecture at Turenscape in Beijing, West 8 in Rotterdam, Bjarke Ingels Group in Copenhagen, and SWA in Los Angeles. Her research focuses on the cultural landscape and geography of conflict, particularly in transboundary regions. Applying analytical cartography, photography, and videography in her research, Lu aims to reveal the hidden layers of landscape wherein multiple tensions converge. Her articles have been published in LEAP, Calvert Journal, ON SITE Review, Journal of Natural Resources, Human Geography, and Acta Ecologica Sinica. She received her Bachelor of Architecture from the Southern California Institute of Architecture, and a Master of Landscape Architecture degree from Harvard University. She was a PhD Fellow at Harvard University during the 2014–16 academic years and received her PhD in Human Geography from Peking University in early 2017.
Bo Wang 王博
陸小璇博士是香港大學園境建築學部的助理教授, 教授景觀 歷史與理論, 以及設計工作。在加入園境建築學部之前, 她
Bo Wang is an artist and filmmaker living between USA and China. He studied physics at Tsinghua University for his undergraduate and received a Master’s in Theoretical Physics before moving to New York to pursue a Master in Fine Arts degree at the School of Visual Arts. Bo’s works have been exhibited internationally, including at the Guggenheim Museum and MoMA, New York; the Garage Museum of Contemporary Art in Moscow; CPH:DOX in Copenhagen; DMZ Docs in South Korea; UABB in Shenzhen/Hong Kong; the BOZAR Center for Fine Arts in Brussels; and the Image Forum Festival in Tokyo, among many others. Bo was previously an artist-in-residence at ACC-Rijksakademie (Gwangju & Amsterdam, 2018) and NTU CCA (Singapore, 2016); a Oberhausen Seminar fellow at the Oberhausen Short Film Festival (2016); a member of Berlinale Talents at the Berlin Film Festival (2014); and a fellow at the Robert Flaherty Film Seminar (2013). As a curator, he has curated exhibition and film programs including: Ode to Infrastructure (META Project Space, Shanghai, 2016) and We Landed/I Was Born/Passing by (Anthology Film Archives, New York, 2014). He is a faculty member of the Visual and Critical Studies Department at the School of Visual Arts. 王博是一個生活在中美兩地的藝術家與導演。他曾於清華大
曾在建築及景觀建築領域擁有多年工作經歷, 包括北京土人
學修得物理學士及理論物理碩士學位, 隨後於紐約視覺藝術
景觀規劃設計研究所、鹿特丹西八景觀設計與城市規劃事務
學院修得藝術碩士學位。他的作品參與多個國際展覽, 包括
所、哥本哈根BIG建築事務所以及洛杉磯SWA設計與城市規
紐約古根漢美術館及現代藝術博物館、莫斯科 Garage 當代
劃事務所。她的研究方向主要集中在文化景觀與衝突性地貌
藝術博物館、哥本哈根國際紀錄片電影節、韓國DMZ國際紀
上, 尤其關注衝突地區。她在研究中運用分析製圖學、攝影
錄片影展、深圳城市建築雙城雙年展、布魯塞爾BOZAR藝術
學和攝像學, 旨在揭示多重張力匯聚的景觀隱匿層。她的文
中心、東京影像論壇電影節等。他是亞洲文化協會–荷蘭皇
章見於《藝術界》、 《卡爾弗特雜誌》、 《現場評論》、 《自然資源
家藝術學院於光州及阿姆斯特丹的駐留藝術家(2017–18),
雜誌》、 《人文地理學》和《生態學報》等報刊雜誌上。她於南加
新加坡南洋理工大學當代藝術中心的駐留藝術家(2016),
州建築學院獲得建築學學士學位, 並於哈佛大學獲得景觀建
Oberhausen 短片電影節研討會的講者(2016), 柏林電影節
築學碩士學位。她在2014–16學年於哈佛大學攻讀博士學位,
Talents 項目的成員(2014), 以及 Robert Flaherty 電影研討
在2017年初於北京大學獲得人文地理學博士學位。
會的講者(2013)。他策劃的展覽／電影項目包括:「基建禮贊」
（上海META項目空間, 2016）和《落地／出生／經過》 （紐約
電影文集檔案館, 2014）。他目前是紐約視覺藝術學院視覺與 批評研究系的講師。
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圖們山水的 記憶分歧
Divergent Memories of Tumen Shan-shui
鴨綠江和圖們江——兩條源於長白
Mount Changbai (Baekdu), together with the two rivers that originate from it, the Yalu and the Tumen, separate the Korean peninsula from Northeast China. Arguably one of the oldest state boundaries in the world, the mountain is considered the ancestral home of both the Manchu and Korean peoples. Over the past three centuries, the territorial ambiguity, especially along Mount Changbai and the Tumen River, has led to a physical and conceptual transformation of the region, which saw unprecedented complexities arise in the two decades after WWII, culminating in the 1945 division of Korea and the demarcation of the Sino–North Korean border in 1962. The cultural significance of this mountain and river to the region stems from the ruling classes of the Qing and Choson kingdoms; beginning in the late 19T H century, the region was inherited by nationalists, and it is now utilized by Chinese and Korean corporations in order to capitalize on the resources found in this landscape. This talk will provide reflections and historical frameworks based on the artist’s on-going project focused on the notions of border, mountain, and water throughout this region.
山（朝鮮稱之為白頭山）的河流——與長 白山一起分隔了朝鮮半島及中國東北, 是世上歷史最悠久的疆界之一。故此,
長白山／白頭山被認為是滿人和韓國人 祖先的起源。過去的三個世紀, 疆界的
爭議, 尤其是在長白山／白頭山和圖們
江的附近, 為該區域帶來實質及觀念上
的變化。這變化在二戰後的二十年越趨
複雜, 尤其影響1945年韓國南北分裂以
及1962年的中朝邊界條約。此山河的文 化地位, 早在清朝和朝鮮王朝時期便在
管治階級中形成, 並由19世紀晚期的民 族主義者繼承, 如今則由中、韓企業從
當地自然資源進行資本轉化中獲利。是
次講座基於藝術家對該區域的邊界及山 水的研究, 繼而提出反思與歷史框架的 討論。
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Natasha Ginwala
Natasha Ginwala is a curator and writer. Ginwala is Associate Curator at Gropius Bau, Berlin and Festival Curator, COLOMBOSCOPE (2019), Colombo. Ginwala has curated Contour Biennale 8, Polyphonic Worlds: Justice as Medium, and was Curatorial Advisor for documenta 14 (2017). Other recent projects include: Arrival, Incision. Indian Modernism as Peripatetic Itinerary in the framework of ‘Hello World; Revising a Collection’ at Hamburger Bahnhof—Museum für Gegenwart, Berlin (2018); Riots: Slow Cancellation of the Future at ifa-Galerie Berlin and Stuttgart (2018); My East is Your West at the 56TH Venice Biennale (2015); and Corruption: Everybody Knows… with e-flux, New York (2015). Ginwala was a member of the artistic team for the 8T H Berlin Biennale for Contemporary Art (2014), and has co-curated the Museum of Rhythm at the Taipei Biennial (2012) and at Muzeum Sztuki, Łódź (2016–17). From 2013 through 2015, Ginwala led the multi-part curatorial project Landings, in collaboration with Vivian Ziherl, and presented at various partner organizations. Ginwala writes on contemporary art and visual culture in various periodicals and has contributed to numerous publications. She is a recipient of the 2018 visual arts research grant from the Berlin Senate Department for Culture and Europe.
暴亂 : 未來的緩慢消失
Riots: Slow Cancellation of the Future
暴亂是一個非日常的情景, 它在反
屆威尼斯雙年展展出的「我的東方是你的西方」; 以及2015年
The riot is an extraordinary setting that has played a pivotal role in the permanent confrontation between dissent and power over the centuries. The deeper crises 的角色。當下, 資本主義的深層危機、種 of capitalism, racial violence, and communal tensions 族暴力、和社區中的張力把我們帶到一 have convulsed into an ‘age of riots’ (Joshua Clover). As 個「暴亂的時代」 （Joshua Clover）。隨 foundational myths of the sovereign nation-state implode 著民族國家奠基神話的坍塌、霸權對弱 and hegemonic silencing of the dispossessed only serves to reveal cracks in governability, this lecture focuses 勢群體的禁聲, 管治上的裂痕亦愈加明 on the long-term project Riots: Slow Cancellation of the 顯。是次講座圍繞長期計劃「暴亂: 未來 Future, which attempts to ‘sense’ and chronicle recent 的緩慢消失」去嘗試「感受」及記錄近來 riots and uprisings to evoke a ‘phenomenology of the multitude.’ In 1960, Elias Canetti wrote, ‘One of the most 的騷亂, 進而召喚一種關於諸眾的現象 striking traits of the inner life of a crowd is the feeling 學。Elias Canetti 在1960年寫到:「群 of being persecuted.’ What happens when state forces 體內在生命最鮮明的特徵, 就是被迫害 instigate persecution from within the crowd, however? 的感覺。 」然而, 當國家力量開始從群眾 The riot is a transformative ground that often becomes a decisive sequence within prolonged conflict—in 內部煽動迫害時, 又會如何? 騷亂是一 個變化發生的場所, 在長久的鬥爭中, 它 the form of mass rebellions, anti-colonial struggles, civil war, and genocide. And yet, the riot has tended to 常常會成為一系列決定性的事件, 如群 remain an unresolved chapter, strategically buried in the 眾叛亂、反殖民鬥爭、內戰和種族清洗。 subconsciousness of divided cities. 然而, 在被分裂的城市中, 暴亂常常保留
年第八屆柏林當代藝術雙年展藝術團隊的一員, 她策劃了巡
地埋藏於無意識的地底。
Natasha Ginwala 是一位策展人和作家。她現為柏林
Gropius Bau 博物館的副策展人, 也是2019年科倫坡劇院藝
術節的策展人。Ginwala 曾策劃第八屆 Contour 雙年展:「多
聲世界: 正義作為媒介」, 並於2017年第14屆卡塞爾文獻展任 策展顧問。其他近期項目包括: 2018年的「到達, 切口: 印度
現代主義」 （該展為柏林漢堡車站美術館的「你好世界: 重訪漢 堡車站美術館藏品」中的項目之一）; 2018年於柏林和斯圖加 特 ifa 畫廊展出的「暴亂: 未来的緩慢消失」; 2015年於第56
於紐約 e-flux 展出的「腐敗: 眾人皆知…」。Ginwala 為2014
迴展覽「節奏博物館」, 分別於台北雙年展(2012) 及波蘭羅茲
對者和權力之間的恆久鬥爭中扮演重要
著它懸而未決的篇章, 並將其飽含深意
Sztuki 美術館(2016–17)展出。2013–15年度, 她與 Vivian
Ziherl 合作策劃了與多個機構合作的多元策展項目「著陸」。 Ginwala 為多個期刊撰寫圍繞當代藝術和視覺文化的文章,
並為許多出版物撰稿。Ginwala 是柏林參議院文化部2018年 度視覺藝術研究基金的獲得者。
What to Let Go? Para Site International Conference 2018
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何以放手 ? Para Site 2018 國際研討會
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Cosmin Costinas 康喆明
Cosmin Costinas is the Executive Director/Curator of Para Site, Hong Kong since 2011. He was a Guest Curator of Dakar Biennale 2018, La Biennale de l’Art africain contemporain, DAK’ART (2018), a Guest Curator at the Dhaka Art Summit ’18 (2018), Co-curator of the 10T H Shanghai Biennale (2014), Curator of BAK-basis voor actuele kunst, Utrecht (2008-2011), Co-curator of the 1st Ural Industrial Biennial, Ekaterinburg (2010), and Editor of documenta 12 Magazines, documenta 12 Kassel (2005–2007).
Inti Guerrero
During his tenure at Para Site, he has organised several exhibitions of contemporary global art, including A beast, a god, and a line (toured to Dhaka Art Summit ’18, Yangon and Warsaw, 2018); Movements at an Exhibition, Manuel Pelmuş (2017–18); Soil and Stones, Souls and Songs (with Inti Guerrero, toured to Manila and Bangkok, 2016–17); Creative Operational Solutions (with Prem Krishnamurthy, 2016–17); and Afterwork (with Freya Chou, Inti Guerrero, and Qinyi Lim, toured to Kuala Lumpur, 2016–17).
Inti Guerrero is the Estrellita B. Brodsky Adjunct Curator of Latin American Art for the Tate in London and Artistic Director of Bellas Artes Projects in Manila, Philippines. He was recently Curator of the 38T H EVA International— Ireland’s Biennial, and Associate Artistic Director and Curator of TEOR/ética, Costa Rica from 2011 through 2014. Guerrero has curated exhibitions in museums and institutions in Asia, Latin America, Europe, and Africa. He is currently working on an exhibition at the Museum– House of Luís Barragán in Mexico City, schedule to open in February 2019. Inti Guerrero 是倫敦泰特美術館拉丁美洲藝術部門的客座
策展人, 及菲律賓馬尼拉 Bellas Artes 項目的藝術總監。他 近期策劃了第38屆愛爾蘭EVA國際雙年展, 並於2011年至
2014年擔任哥斯達黎加 TEOR/ética 空間的藝術總監和策
展人。Guerrero 曾於多個亞洲、拉丁美洲、歐洲和非洲的博 物館和機構策劃展覽。目前他正在策劃將於墨西哥城 Luís Barragán 博物館的展覽, 預計2019年2月開幕。
康喆明自2011年起任 Para Site 藝術空間執行總監及策 展人。2018年間曾任塞內加爾達卡當代非洲藝術雙年展
DAK’ART 2018與達卡藝術峰會’18客座策展人。此前, 他曾 擔任第十屆上海雙年展聯合策展人(2014)、荷蘭烏得勒支
當代藝術基地策展人(2008–11)、首屆烏拉爾當代藝術工業
雙年展聯合策展人(2010), 及第12屆卡塞爾文獻展雜誌編輯 (2005–07)。
他在 Para Site 任期間策劃了多項國際展覽, 當中包括「一
獸、一神、一線」 （2018年於達卡藝術峰會’18、緬甸仰光及波 蘭華沙巡展） 「Manuel ; Pelmuş: 展覽會之動」(2017–18) ;
「土與石, 靈與歌」 （與 Inti Guerrero 共同策劃, 2016至2017 年於馬尼拉及曼谷巡展） 「創意運營方案」 ; （2016–17,
與 Prem Krishnamurthy 共同策劃） 「工餘」 ; （與周安曼、 Inti Guerrero 及林沁怡共同策劃, 2016至2017年巡展至 What to Let Go? Para Site International Conference 2018
吉隆坡）。
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何以放手 ? Para Site 2018 國際研討會
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Para Site 藝術空間
If you would like more information on Para Site’s patron programme, please contact: 欲了解 Para Site 贊助人計劃詳情 , 請聯繫 :
Claire Shea 謝 清 claire@para-site.art Para Site Art Space is financially supported by the Art Development Matching Grants Scheme of the Government of the Hong Kong Special Administrative Region Para Site 藝術空間獲香港特別行政區政府
「藝術發展配對資助計劃」的資助
team
board
founding friends
friends
Shane Akeroyd
Nick and Cordula Adamus-Voegtle
Mimi Brown and Alp Ercil
Christine and James Boyle
Burger Collection, Hong Kong
Jonathan Cheung
Stephen Cheng
Lawrence Chu
CMBB Cultural Organization
Andrew L. Cohen
David Zwirner Gallery
Jane DeBevoise
Sara Wong Chi Hang 黃志恆 secretary
Mimi and Chris Gradel
Faux
Inna and Tucker Highfield
Amandine and Edouard Hervey
Shane Akeroyd
IEs Collection
William Lim, CL3
Kurt Chan Yuk Keung 陳育強
K11 Art Foundation
Lisson Gallery
Alan Lau
Elaine W. Ng and Fabio Rossi
Mina Park
Wendy Lee
Joe Pang
Yana Peel
Edouard and Lorraine Malingue
Esther Schipper
Heidi & James Paradise
Bonnie & Darrin Woo
Yana and Stephen Peel
Andres Vejarano & Kee Foong
康喆明 Alan Lau Ka Ming 劉家明 Cosmin Costinas executive director / chair curator Jehan Pei Chung Chu 朱沛宗 執行總監 / 策展人 co-vice chair Claire Shea 謝 清 Mimi Chun Mei-Lor 秦美娜 deputy director co-vice chair 副總監
Freya Chou 周安曼 curator 策展人
Qu Chang 瞿 暢 associate curator 副策展人
Fanny Chan 陳趣源 project manager / assistant curator 項目經理 / 助理策展人 Celia Ho 何思穎 project coordinator / assistant curator 項目統籌 / 助理策展人 Apoorva Rajagopal development and communications coordinator 發展及傳訊統籌
Jenny Tam 譚蔚廷 gallery manager 畫廊經理
Bonnie Chan Woo Tak Chi 胡陳德姿 treasurer
Alan Y Lo 羅揚傑
Stefan Rihs SUNPRIDE FOUNDATION Honus Tandijono Susanne and Gregor Theisen Virginia Yee Communications Partner
Para Site 22/F, Wing Wah Industrial Building 677 King’s Road, Quarry Bay Hong Kong 星期三至日 Wed–Sun, 12–7 pm 香港鰂魚涌英皇道 677號 榮華工業大廈 22樓
+852 2517 4620 info@para-site.art
Conference Venue JC Cube Auditorium Tai Kwun–Centre for Heritage and Arts 10 Hollywood Road, Central Hong Kong
The 2018 International Conference and Workshops for Emerging Art Professionals are generously supported by Headline Partner, the S. H. Ho Foundation Limited. 2018 國際研討會暨新銳藝術人才工作坊由頂級合作夥伴
何善衡慈善基金會有限公司慷慨贊助
研討會地點
賽馬會立方演藝廳 大館——古蹟及藝術館 香港中環荷李活道10 號
The content of this activity does not reflect the views of the Government of the Hong Kong Special Administrative Region 活動內容並不反映香港特別行政區政府的意見