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透過每個參與者/藝術團體以及策展人等的工作報告,認識彼此團隊、 空間等在過去幾年於台北、曼谷、仰光、雅加達、泗水的工作發展歷史 、過程與內容,以及相應的文化脈絡與藝術語彙。在觀點的交叉疊置中 ,地理空間、歷史文化、政治局勢、經濟系統的多元與差異性將立體浮 現, 引 介 彼此 的 工 作 方 式 , 並 作為後續討論與交流的基礎認知環節。 Through the presentation of each group’s representative, we will acquire a basic understanding of the each group’s previous activities, experiences and their corresponding art development and cultural contexts in Taipei, Bangkok, Yangon, Jakarta and Surabaya. Our diversity and differences will be underlined through such juxtaposition of our views from different geographies, histories, political climates and economic systems. With this introduction, we shall establish a foundation for further exchanges and discussions.


陳嘉壬 打開-當代藝術工作站

陳嘉壬1976年生於台灣雲林縣,國立台灣藝術大學造形藝術研究所碩士畢業,後任教於國立台 灣藝術大學美術學系,巴黎聖得尼大學藝術與影像科技所博士肄,現工作與創作於台灣台北, 擔任打開-當代藝術工作站的站長。近年創作以當代攝影為主,作品曾於2012年利物浦雙年展 (城市聯盟單元)展出,亦曾受邀於巴黎、里昂、羅馬、布達佩斯等地展出。他的攝影創作多 與城市生活相關,透過直接攝影或是數位後製的方式來揭露現代都市人的生活處境。 Chia-Jen Chen, born 1976 in Yunlin, Taiwan, graduated from National Taiwan University of Arts, M.F.A. He also taught at the College of Fine Art in NTUA, and attended the doctoral program of Arts & Technologies de l’image , universite Paris 8. He currently works and lives in Taipei as the director of Open-Contemporary Art Center, specializing in contemporary photography. His works have been exhibited in Liverpool Biennial (City States) 2012, and also Paris, Lyon, Rome, Budapest etc.. His work reveals the situations which contemporary urban dwellers may face by directly photographing or digital processing. 打開-當代藝術工作站(OCAC)是由一群藝術家共同合作組織的藝術團體,成立於2001年, 歷經三次空間的搬遷(包含2012年進駐泰國曼谷),目前現址位於台北市士林區,成員有十 五人。成員除了各自的藝術創作發展外,OCAC主要以展覽策劃、座談、講堂、出版、跨域 合作交流等的運作方式活躍於台灣當代藝術圈,藉由反思創作與當代社會的接合,我們試著 提出原創並可供討論的觀點。我們所關注的是,在全球化的藝術情境下,台灣(的藝術)如 何反饋與再生產,進而在此過程中審視自己的「當代」;通過對工作空間的開拓,討論一種 扺禦資本掛帥的當代生存提案;主動參與多樣的文化實踐,製造思想交流的場景,探戡藝術 在現實世界中的作為與它對人們的驅動力。2010年起,他們與泰國藝術家共同發展出的台泰 計畫,藉由友誼的串聯,為台灣與東南亞國家間的當代藝術交流模式開啟了一個新的面向。 Open-Contemporary Art Center is an artist initiative collective established since 2001. After three physical moves of space (including the six-month period in Bangkok, Thailand in 2012), it is currently located in Shilin, Taipei, and features fifteen members who all have their own independent art practices. As a collective, OCAC is active in the Taiwan’s contemporary art community with its diverse activities of curating exhibition, seminar and talk, publishing and other interdisciplinary collaboration. Through offering original discursive debates, we attempt to reflect the connection between artistic practice and contemporary society. Our works focus on: exploring our definition of “contemporary” through the artistic production process conditioned in the globalized art context; initiating new space for work as a discussion on a contemporary survival strategy to resist capitalism; participating in diverse cultural practices to create situations of idea exchange and investigating how art effects and affects reality and people. Since 2010, they have been collaborating with Thai artists on the ThaiTai project to create a new exchange mode and possibility between Taiwan and Southeast Asian art scenes via the network of their friendship.


Ji於泰國Silpakorn大學雕塑碩士畢業,Yin於英國皇家藝術學院金工碩士畢業。自2002年起, Jiandyin開始合作成為跨領域的藝術團體,目前在Thammasat大學擔任客座講師。Jiandyin在 2009年獲得紐約亞洲文化協會補助前往舊金山Headlands Center for the Arts駐村,2010年赴紐 約ISCP駐村,2012年台北寶藏巖駐村,2013年赴義大利Cicitella Ranieri Center與柏林 Lichtenberg Studios駐村。在2011年,他們設立NongpoKIDdee工作團隊在他們的家鄉組織社 區藝術計畫與節目。他們的策展計畫包含2011-2013年策劃Nongpo短片影展,2012-2014年在曼 谷與台北協同策劃理解的尺度-台泰當代藝術交流展,2013年協同策劃Metro Sapiens: Dialogue in the Cave。他們的國際參展經驗包括:第九屆上海雙年展Reactivation,柏林、曼谷的2013 Exotika,在曼谷的第十四屆Asiatopia國際表演藝術節,在雅加達的第五屆印尼國際錄像節OK Video Flesh。他們目前居住在泰國Ratchaburi。 Ji, obtained an MFA degree in sculpture from Silpakorn University thailand. Yin, obtained an MA degree in Metalwork from Royal College of Art, UK. Since 2002, Jiandyin have been collaborating as interdisciplinary artist duo, and currently are visiting lecturers at Thammasat University, etc. In 2009, they were awarded a fellowship grant from the Asian Cultural Council, NY, and took residencies at Headlands Center for the Arts, San Francisco, International Studio and Curatorial Program (ISCP), New York, in 2010, Treasure Hill Artist Village, Taipei, in 2012, Civitella Ranieri center, Umbria Italy, in 2013, etc. In 2011, they founded NongpoKIDdee work group in their hometown. In their curatorial practice, they curated Nongpo Short Film Festival 2011-2013, co-curated THAITAI: A Measure of Understanding project, Bangkok-Taipei from 2012 to 2014 and the METRO SAPIENS: Dialogue in the Cave in 2013. They have exhibited internationally including REACTIVATION, the 9th Shanghai Biennale, the Exotika 2013, Bangkok-Berlin, the 14th Asiatopia International Performance Art Festival, Bangkok, and the 5th OK Video FLESH Indonesia International Video Festival, Jakarta. They currently live and work in Ratchaburi, Thailand. 泰國跨領域藝術家雙人組jianyin從2002年開始合作,作品主要關注在創造情境以建立人與其社會 脈絡的關係。在2010年,他們獲得紐約亞洲文化協會的贊助,開始了仍在持續進行中的藝術計畫 《Dialogue: Seeing and Being》,以跨領域的藝術工作過程解放陌生人之間的隔閡距離。此計 畫以及他們在美國所遇見的亞洲藝術家們,讓他們開始發展實踐一個區域性藝術連結的可能性。 一年後,他們在家鄉成立一個非營利的工作站nongpoKiDdee,組織社群性的藝術計畫、節目和 影展。從2009年起,他們每年協同策劃Ratchaburi地區的藝術活動,如We Are the City、The Metro-Sapiens: A Dialogue in the Cave等計畫。這些平台與節目提供了當地與國際藝術家交流 和社區網絡在不同條件下合作的機會。透過台泰計畫,他們成為打開-當代藝術工作站曼谷空間 的在地伙伴與協同策展人,在六個月的時間裡,結合不同機構、當地媒體等一起組織駐村、展覽 、教育等活動。 自2011年起,從兩地藝術家在國外的會面開始,台泰計畫透過實際上的友誼關係慢慢達成目標。 最早的時候,計畫的關注重心在於藝術家之間的交流活動,而策展方向則是在過程之中逐漸發展 成型。三年以來,藉由機構和個人聯繫間的合作駐村計畫,相互學習兩方的在地性策略,語言、 地理、政治、經濟背景與兩地文化政策的差異在這個跨文化情境裡對雙方都成為複雜的挑戰,然 而在兩邊努力融合資源的發展過程裡,也達到了一種巧妙的平衡狀態,並激發台泰網絡更積極理 解對方的熱情。在種種條件性的程序裡,我們還是不經探問在東南亞的跨文化理解發展過程中, 是否有更為實際的操作方法?還是,根本沒有容納這個觀念的特別向度?


Interdisciplinary artist duo Jiandyin has been working together since 2002. Their art focuses on creating situations to construct relationships between human and human in relation to his/her social context. In 2010, they received fellowship grant award from the ACC (Asian Cultural Council, NY), and initiated the ongoing art project Dialogue: Seeing and Being to conduct multidisciplinary art process that breaks down the wall between strangers. The experience they gained from their art project and the Asian artists they met in United States have encouraged them to realize the possibility to develop a regional initiative. A year later, nongpoKiDdee, a not-for-profit workstation that generates platform for community based art project/program and film festival for local community in their hometown was founded. They also co-curated and co-organized annually art projects in Ratchaburi province since 2009, such as We Are the City project, The Metro-Sapiens: A Dialogue in the Cave project, etc. The platforms and programs have created the opportunity for local/international artists and community network to exchange and collaborate together under different limitations. Through the ThaiTai project, they became local partners and co-curators of OCAC Bangkok space to organize residency program, exhibitions and education programs in associate with institutions, local media, etc. for 6 months. Since 2011, the ThaiTai project has been achieving the objective through an actual relationship process stemmed from a meeting of a small group of artists from the two countries outside their homeland. At the early stage, the exchange between artists was its major concern while the curatorial direction was gradually developed along the entire process. Over a period of three years of learning toward the project’s localization strategy through residency programs in collaboration with institutions as well as individual connections, the cross-cultural situation between the two countries that engaged with divergence of language, geographical, political, economical backgrounds and each country’s culture policies has been a complex confrontation for both sides. However, a particular balance was refined organically among the effort to intermingle each other’s resources throughout the project’s development. Moreover, the complexity also delivers an impact to increase and stimulate ThaiTai network’s interest and eagerness to discover each other actively. Nevertheless, under such conditional procedure, it is still in doubt what the practical approach is to develop the cross-cultural understanding in this region. Or is there no specific dimension for such term?


M o e S a t t 出 生於1983年,在緬甸仰光生活與工作,從事視覺與行為藝術。他在2 0 0 5 年 從 動 物 學 系畢業後開始進行藝術創作,屬於千禧年後發跡的年輕一代藝術家, 有 著 與 前 輩 不 同 的藝術觀念和實踐方式。在2008年時,他創立了Beyond Pressure 這 個 在 緬 甸 的 國 際行為表演節。身為一位行為藝術家,他在畫廊和仰光街頭創作。他 也 積 極 參 與 東 南 亞與南亞區域的各項藝術節活動,偶爾參與西方藝術世界的活動,在 這 些 遊 歷 中 體 會 到來自開放與封閉社會藝術家的許多相異之處,讓他得以在凝視區域 性 的 行 為 藝 術 風 景和藝術創作心態時,同時對自己身為一位藝術家和個人的身份都有 了 深 刻的體認。 Moe Satt (b. 1983) lives and works as a visual and performance artist in Yangon, Myanmar. Moe started creating art after graduating in zoology in 2005 and is part of a new generation of Burmese artists to emerge after year 2000, with a different approach to conception and embodiment. In 2008, he founded and organized Beyond Pressure, an international festival of performance art in Myanmar. As a performance artist, Moe has performed in galleries and also on the streets of Yangon. He has actively participated in live arts festivals in Southeast Asia and South Asia, and occasionally in the West. Through his travel encounters, Moe sees the differences between performance artists from open and those from more restricted societies. While contemplating the regional landscape of performance art and the artistic mindset, he has developed a greater understanding of his own identity as an artist and as a person. Beyond Pressure(意指超越迫害)成立於2008年,當時緬甸的政治局勢受到非常嚴厲的壓迫 管束,我們希望能夠建立一個讓在地藝術家在政治轉變期之後能夠創造另類藝術形式的組織 。它的運作靈活,根據需求來運用和形成網絡,也因此它是一個在緬甸社會脈絡下一個十分 草根、高度機動且具有適應性、連動性、有效性的組織。Beyond Pressure也嘗試於東南亞區 域間拓展活動,2010年在越南策劃了《On/Off緬甸當代藝術》活動,邀請九位緬甸藝術家參 展。展覽名稱聚焦在開關之間的時刻,其既非永久性,也不是可以系統性準備回應的時間。 在2011年展出《Forward/Backward》,作為在商業藝術市場以外,於仰光工作的新一代年 輕藝術家的介紹平台。緬甸目前的政治局勢讓我們無法確定我們的國家正在進步還是後退。 Beyond Pressure, (which means going beyond the oppression) began in 2008, and has been held annually for five consecutive years. When the organization was founded however, the country was under severe oppression from within. We intended to set up the organization in the hope that local artists will create alternative art forms after the transition period. As an organization, it operates fluidly, utilizing and forming networks according to necessity. It is therefore an organization close to the ground, highly adaptable, connected and efficient in the restrictive social context of Myanmar. Beyond Pressure extend our domain in region and first time we curated “On/Off” Myanmar Contemporary art event_2010in Vietnam, showcase by 9 Myanmar artists. “On / Off” is meant to focus on the exact moment between when something is switched on and switched off. It is not a permanent, nor a period of time we can prepare systematically. In 2011, Beyond Pressure displayed the “Forward / Backward” is an introduction to a subsequent generation of artists from Yangon who typically work outside the commercial art market/scene. The politics of Myanmar are such that we are unsure if our country is improving or degenerating.


Leonhard Bartolomeus生於1987 年印尼西爪哇的戴朴克,2012年畢業於雅加 達 藝 術學院,同年加入ruangrupa的藝術評論寫作工作坊,並開始和ruangrupa展開多項 計畫。不久他成為KarbonJornal.net的編輯之一。在他加強他的寫作技巧的同時, 他 另 外 在 一 個青年賦權組織Pamflet Generasi擔任藝術行政工作。 Leonhard Bartolomeus, born 1987 in Depok, West Java, Indonesia. He graduates from Jakarta Institute of Arts in 2012. At the same year, he followed ruangrupa’s art critique writing workshop, and then began to involved in many projects with them. Not long after that, he’s join as one of the editor of KarbonJournal.net. While working and sharpening his writing skill, he also works as artistic coordinator at PAMFLET GENERASI, an organization of youth empowerment. R u a n g r u p a 的故事得從90年代末講起,當時Ade Darmawan遇上Hafiz Rancaja l e , 一起合作了幾個展覽和音樂會。在2000年時,他們與其他四個成員決定組成一個藝 術家團體,為雅加達的年輕藝術家提供空間,也因此ruangrupa成立,致力於三個發 展重心:空間、跨領域藝術、都市文化。由此基礎工作發展而出的節目包括像是: R A I N N e t w o r k (2001)、OK. Vide o (2003)、Jakarta 32°C (2004)。2008 年 時 ,組織有了大幅度的變動,他們決定成立一個新的組織架構去涵納四個新部門: A r t L a b 、 支 援與推廣、研究與發展、OK. Video。問題是:他們如何保持生存戰 力 呢 ? 他 們 應 用了什麼策略?在「藝術組織工作報告」這節討論中,他們將深入介 紹 組 織 內 部 的 過 程、部門分工情形、工作目標等,並說明為何音樂成了他們之間最重 要 的 事 情 。 他 們 也將介紹他們同時作為藝術家團體這幾年來所創作的藝術計畫。 The story about ruangrupa began in the late 90’s when Ade Darmawan and Hafiz Rancajale, two of the co-founders, met up and arranged some exhibitions and music concerts. With four other members, they later tried to form an initiatives group that provides a space for young artists in Jakarta, so ruangrupa was founded in 2000. In the beginning, they had three major focus of work: space, interdisciplinary work of art, and the culture of the city. Their fundamental focus was then manifested into programs like: RAIN Network (2001), OK. Video (2003), and Jakarta 32°C (2004). The biggest change came in 2008, when they decided to form a new structure for the organization, including four new divisions: ArtLab, Support and Promote, Research and Development, and OK. Video. The question is how they keep surviving after all this long. What kind of strategy have they been employing? In ‘This Is What We Do’ session, they will talk more deeply about the process inside the organization, divisional works, and their objectives and why music is becoming one of the main important thing inside them. Moreover, they will present the projects that has been developed for all of the years along with their works as an artist collective.


Helmi Hardian與Debrina Tedja是Waft Lab的成員,創立了藝術團體H/A/D (Hack and Destroy)。他們有不同的背景:Helmi的藝術養成是在雅加達藝術學院的美術系,而Debrina 在Airlangga大學的傳媒系畢業後熱愛寫作工作。他們主要發展Waft Lab組織裡的No:Work (National Observation Work)部門,負責研究和開發工作坊、講座、展示的材料。儘管他們 有不同的見解與興趣,他們的合作仰賴他們所居住的城市泗水來展開,這裡沒有公立大學設 有美術或表演藝術科系,然而這個城市在印尼以科技大學和與工業、電子組件市場所聞名。 他們的工作因此與科技發展有著很大的關係,他們相信科技是日常生活裡的一部分,也是一 種面臨挑戰的生活方式。他們見到很多人利用科技來突破原有的限制,這些深深地影響著他 們。 他們的任務是散播Do it Yourself與Do it with Others的精神,在藝術、科學與科技領域裡耕 耘創意和靈感。No:Work中大多數的材料強調正面的技術與科技發展。 Helmi Hardian and Debrina Tedja are part of Waft Lab and created H/A/D (stands for Hack and Destroy) as collaboration initiatives. Both of them has different background, Helmi got his artistic taste by majoring fine arts in Jakarta Art Institute, while Debrina having love for writing since majoring communication studies in Airlangga University. They focus to develop No:Work (National Observation Work) Division and playing their role to researching and developing material for some workshop, lecturing, and presentation. Though they have different perspective and interest, one thing makes this collaboration work. They lived and grow in Surabaya, a city with no public universities focusing on fine art/performing art/ etc. On the other hand, this city is known for its technology university and become one of the biggest industrial and electronic component markets in Indonesia. It therefore their work is influenced by and related to technology development. Because they believe technology is part of daily life and way of life to deal with challenges. They see many people who deal with their limitations and manipulated technology - all of these things was inspired and influenced them. Their mission is spreading the spirit of Do It Yourself and Do It With Others, cultivate inspiration and creativity in field of Art, science, and technology. Most of No:Work material emphasis in development of relevant skill and admitted technology in positive way.


Waft Lab是印尼泗水一個關注跨領域藝術發展的非營利藝術機構,由一群擁有不同活動組織 與藝術運動背景的實踐者所組成。2008年起Waft Lab開始策劃幾個創意運動,並正式成立於 2011年。作為許多不同興趣的容體,Waft Lab鼓勵創意的活動,探索新想法,同時建立多元 永續藝術發展的穩固網絡。為了達到這樣的目標,Waft Lab設計了許多週期性的活動,像是 工作坊、討論會、藝術展覽、錄像藝術節、電子音樂節等。Waft Lab有四個主要節目: 1) Video Work專注在以錄像作為創意媒材的創作,其工作議程包括:video:work、VJ文化 、個人創作計畫。 2) Electro Work專注在電子音樂的發展。主要有三種工作議程類型,Electro:work!、New Breed Attack與Akhir Episode Pop是常規性活動,獨立性活動有Fun with Knobs、Ex Machina。個人性計畫有Soundhack等等。 3) Urban Work專注於泗水都會藝術,多半以視覺藝術展覽為活動,其中一個是Abandoned。 4) No:Work屬於全國性觀察工作,發展創意教育的功能,舉辦工作坊、講座、討論會等,所 有教育相關性質的工作都包含在內。 Waft Lab is a non-profit institution focuses on interdisciplinary art practices in Surabaya, Indonesia. It was established in 2011, but since 2008 Waft Lab has already initiated several creative movements. As a vessel of various interests, Waft Lab encourages creative activities and strives to explore new ideas while building solid networks for a dynamic and sustainable art development. To that end, Waft Lab designs various periodical events e.g. workshop, discussion, art exhibition, video festival, electronic music festival, etc. Waft Lab has four main programs: 1. Video Work is a program focusing on video as a medium of creativity. It has some agendas, they are: video:work, VJ culture, and personal project. 2. Electro Work is a program focusing on electronic music development. The program is divided into three agendas. There are regular agendas such as Electro:work!, New Breed Attack and Akhir Episode Pop. Also Independent event such as Fun with Knobs and Ex Machina. And personal project such as Soundhack and many more. 3. Urban Work is a program focusing on urban art in Surabaya. Most of the events are visual art exhibition. One of them is Abandoned. 4. No:Work stands for national observation work. It is a program focusing on education through creative activity like workshop, talks, discussion forum. For short, anything that’s educating is in.


Narawan Pathomvat是曼谷一個作為當代藝術圖書館的非營利平台The Reading Room之創 辦人與總監。她在曼谷Silpakorn大學考古學院藝術史系所擔任講師。畢業於紐約Pratt Institute的藝術與文化管理研究所,曾任職於紐約曼哈頓下城文化協會、香港亞洲藝術文獻 庫。她同時也是獨立策展人、作家與翻譯。 Narawan Pathomvat is the founder and director of a contemporary art library and non-profit platform, The Reading Room, Bangkok. She is a lecturer at the Department of Art History, Faculty of Archaeology at Silpakorn University (Bangkok). She receives her MPS (Arts and Cultural Management) from Pratt Institute (New York) and previously worked for Lower Manhattan Cultural Council (New York), and Asia Art Archive (Hong Kong). Narawan is also an independent curator, writer, and translator. 非營利組織The Reading Room於2009年在曼谷創立對外開放,作為一個藝術圖書館、計畫 空間、文化平台。The Reading Room致力於泰國當代藝術的教育和檔案化,其主要有兩個 部分的收藏:泰國當代藝術家的檔案,以及世界各地的藝術史、藝術理論、畫冊、展覽圖錄 、藝術雜誌以及其他電子資料。另外,回應泰國近期的社會政治情勢,以及公共獨立空間的 缺席,The Reading Room也提供空間經常性地組織並舉辦各種活動,以講座、放映會、工作 坊的形式為主,邀請藝術、文學、電影、社會政治議題等所有相關當代文化的參與者進行, 創造對話的空間、鼓勵各種知識領域、社群的自由表達和交流。The Reading Room同時關注 在地和國際組織、團體的合作,以創造並規劃多元的節目內容,鼓勵開放的跨領域討論。 The Reading Room is a non-profit organization that functions as a contemporary art library, project space, and cultural platform opening to the public since 2009. The Reading Room aims for documentation and education of contemporary art in Thailand, with two distinct resource sections: contemporary Thai art materials and art reference/ resource from all over the world - materials range from books, catalogs, journals, CDs, DVDs, and other electronic resource. Additionally, and in response to recent sociopolitical climate in Thailand, especially the realization that there is a certain lack of public and independent space in the country, The Reading Room has been providing space for wider public discourse through diverse programs including seminars, talks, screenings, and workshops from various fields – from art, literature, film to sociopolitical issues that are relevant to contemporary society and environment in order to create dialogue and discussion and encourage freedom of expression among people from various fields of knowledge and communities in Thailand. The Reading Room also focuses on collaboration with both local and international organizations and collectives in order to create and organize diverse and interesting a program, and to encourage open and cross-disciplinary discussion.


討論將針對東南亞區域性的藝文發展做一全面觀察,除了區域間透過雙年展與各地大型機構 所主導的展覽或駐村以外,我們還能運用什麼樣更為微型、輕巧且機動的藝術生產載具,來 深化彼此交流的縱深,讓藝術家與在地的觀眾得以進入距離更近的藝術生產系統和知識交換 中,並且將這些交流進一步化為更具體的資源和產出?本節將從區域性的歷史關照切入,並 思考我們如何展開新的工作方式、激發新的文化認同,並滋養藝術發生的可能?或由能由此 觀察到什麼樣藝術運動的形成? 當代藝術生產中一個無法漠視的鏈結即便是人際關係網絡,其部署往往大量地配置著資訊與 資源的流通與應用,而使得原本基於人際關係的友情在藝術生產系統裡作為交流與生產的匯 率和能量。我們各自的工作在彼此加成的契機下,又將面臨哪些新的挑戰?如果MITT網絡 是一個動詞,它能夠表現在哪裡?我們有什麼共同的想像? 在東南亞國家聯盟(ASEAN)起草與開始運作之際,我們希望透過更多由下而上的檢驗視角 來貼近並立足於彼此的文化生產脈動裡,而台灣如何主動搭建與東協的文化關係,理解自身 在區域間可以積極扮演的角色,也將是討論的軸線之一。 This session offers a critical overview on the regional development of art and cultural networks. Apart from large exhibitions like biennials and other government funded residency programs, we would like to investigate more flexible and micro agents and vehicles for art production and cultural exchanges. How can we bring our artists and audience together in a common circulation system of art and knowledge production? How can we extract and transform our cultural capitals into diverse outputs? How can we activate new work methodologies, cultural identities and art happenings when bearing a vision for the regional connection? What kind of artistic movement could we observe and initiate by ourselves? One of the key elements in contemporary art production lies on inter-human networks, which often manifest the distribution and application of information and resources turn friendship into exchange currency and production energy in the art system. If MITT is a verb, an action among us, what do we propose to do? What urgency and crisis do we share in our various contexts? What kind of new challenge do we confront with a common network? We hope to respond to the new mega economic structures and many following changes that will be soon introduced and operated among ASEAN countries, and generate more grass-root reflections to see how we can establish ourselves among each other’s cultural contexts. Another discussion point for the local participants in Taiwan is to understand how to actively respond to the regional collaboration and establish possible roles and relations.


高森幸男 奧賽德工廠

高森信男(b. 1985),獨立策展人,目前生活和工作於台北。2010年創立並主持「奧賽德工廠 」策展團隊,策畫過的展覽包括「Post- Actitud」:El Artecontemporáneo de Jóvenes Artistas de Taiwán,於Ex Teresa Arte Actual,2011年於墨西哥展出;「南國.國南」台越 藝術家交流計畫,2012年於越南胡志明市與台灣台南展出。2013年「Sommerreise」,於 GlogauAir德國柏林展出,並於日本橫濱黄金町エリアマネジメントセンター(黄金町地區 管理中心)進行策展人駐村。 Nobuo Takamori (b.1985), lives and works as an independent curator in Taipei, Taiwan. He established in 2010 and runs the curation group, Outsiders Factory in Taipei, Taiwan. He has curated numerous exhibitions including “Post – Actitud, El Artecontemporáneo de Jóvenes Artistas de Taiwán (Ex Teresa Arte Actual, Mexico City, Mexico, 2011), a Vietnamese & Taiwanese Artists Exchange Project “South country, South of Country” (Ho Chi Minh City, Vietnam and Tainan, Taiwan 2012), Sommerreise (Berlin, Germany, 2013), and a curator residency project (Koganecho Area Management Center, Yokohama, Japan, 2013). 張正 四方報

張正,1971年生於台北,台語不輪轉的台灣人。大學念公共行政,因喜好文字而投身媒體。 2006年響應已故恩師成露茜博士的號召,參與創辦《四方報》,以母語刊物服務東南亞移民 移工,並逐步擴展至越、泰、印、菲、柬五國文字分別發行的五份刊物。並以《四方報》讀 者投稿的畫作為基礎,在全台各地舉辦「艷驚四方」畫展。 2013年,張正轉戰電視,開辦台灣第一個東南亞語言的電視歌唱節目「唱四方」,邀請移民 移工面對鏡頭唱家鄉的歌、說出異鄉人的心聲。「唱四方」節目亦逐步擴充東南亞語新聞播 報、藝文活動介紹等內容,試圖在以中文為主的台灣,建構更完整的東南亞語文影音平台。 Cheng Chang, born in 1971, is a Taiwanese who does not speak perfect Taiwanese dialect. After graduating from public administration in university, he devoted himself into media work for his literary passion. He co-founded 4-way Voice with his teacher Lucy Chen to serve the Southeast Asian workers and immigrants in Taiwan with newspapers printed in their mother tongues. The publication gradually expanded into five languages: Vietnamese, Thai, Indonesian, Philippines and Cambodian. 4-Way Voice also runs a column to show readers’ paintings, and organized exhibitions based on these works. In 2013, Chang began to work with television and opened the first Southeast Asian singing program “Sing 4-way” to invite Southeast Asian people to sing songs from their hometown, and speak out for themselves. To establish a fuller service with this television platform, the program “Sing 4-way” is expanding its contents to feature news broadcasting, introducing art and cultural activities, etc.


議題將由各團體的組織經濟和營運方式切入,從最為基礎的生存問題著 眼,企圖理解各團體在各地的生存的方式與創意,並認識其所對應的藝 術生態、政經條件等,這個對話將幫助我們釐清是否能透過一個區域性 藝術網絡的建設去補足更多既有基礎建設資源整合上的困難,跨國合作 之間 的 困 難 以 及 一 個 共 同 願 景 產生的可能路徑。 The operational and economical reality of each group will be presented and discussed together to understand different survival creativities in varying environments, and translate the eco system of art and its political and economical infrastructure. At this session, we hope to identity a possible pathway to a common vision and how an autonomous regional network could further provide us with additional platforms and supplies, which may not be available in our separated and divided realities.


鄭美雅 當代藝術中心

鄭美雅居住並工作於台北。現為獨立策展人,台北當代藝術中心理事長。曾任台北當代藝術 館策展人(2006-2008)。精選策展經歷:「擴增世界」第六屆台北數位藝術節國際邀請展(2011 ,剝皮寮歷史街區),「未來事件交易所」(2012,與姚嘉善共同策展,台北當代藝術中心) ,「遊牧影展錄影藝術特輯」(2010,台北當代藝術中心),「第六屆皇后雙年展」(2013, 與岩崎仁美共同策展,皇后美術館,紐約。) 她關注藝術生產中勞動與價值的交換機制及權力關係,以及藝術機制本身的系統性問題。她 試圖討論藝術機構可能的開放性架構,以及它作為一個運作機制,如何作用於藝術體系。據 此,她共同參與了台北當代藝術中心的成立及運作,試圖發展出一個開放性架構,以群體合 作的模式,凝聚一個藝術社群,並共同營運這個實驗性的獨立機構。 受邀參與講座包括2011曼徹斯特亞洲三年展-「未來機構」,德國萊比錫當代藝術館,亞太三 年展(2012)等。近年發表文章散見於典藏今藝術、畫廊雜誌(中國)、藝術與投資(中國),主 編讀本:「歐洲重要嗎?」(2013, 為芭芭拉.史黛娜擔任藝術總監的歐洲n次方計畫之一)。 Meiya Cheng is a freelance curator, and now the chair of Taipei Contemporary Art Center. She lives and works in Taipei. She has worked as the curator of Museum of Contemporary Art, Taipei (2006-2008.) Her selected curated exhibition include: Augmenting the World, (The 6th Taipei Digital Art Festival, international section, 2011)) Trading Futures, (co-curated with Pauline Yao, TCAC, 2012.) Urban Nomad Film Festival video art section (TCAC, 2010.) Recent exhibit is 6th Queens International (co-curated with Hitomi Iwasaki, Queens Museum, NYC.) Cheng focuses on the exchange mechanism of labor and value, and the structural issues in art production. She intends to discuss the possibilities of creating an open structure in institutions, and if such models could serve as a mechanism to create changes in the system. She was invited to participate in forums, seminars include Asia Triennial Manchester (2011),Leipzig Museum of Contemporary Art (2011) and Asia Pacific Triennial (2012.) She has contributed in magazines Artco magazine (Taiwan), Art and Investment (China) and Broadsheet (Australia). In 2013 she edited the reader “Does Europe Matters?” (a project as part of Goethe Institute’s transnational project Europe (to the power of n), directed by Barbara Steiner.


Mitting program and participants b w