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生活 作為形式

LIVING AS FORM The Nomadic Version 巡迴版 2013.6.29~8.11 (Part I)

導覽手冊 Guide Book


策展簡述 在二十一世紀的第一個十年裡,行動主義的關鍵群體已然形成。 同樣的,社會參與性的藝術正在興起,搖撼了藝術的論述基礎,並且貢獻出遠超乎藝術領域的技 術與內涵。但是,不像那些前衛藝術的先行者,如構成主義、未來主義與達達主義,社會參與式藝 術並不是藝術運動。反之,它比較像文化實踐,主張新的生活方式,同時也強調參與、挑戰權威、並 將都市計劃、社群工作與戲劇、視覺藝術等等的學科範疇都聯結在一起。 這種在藝術領域裡急遽增加的作品,被冠以社會實踐、關係美學、新流派公共藝術或對話藝術等 等引人注目的字眼。但是,這些創作計劃本身拒絕被輕易地分類,而且還要去挑起作者論、傳統藝 術概念相關議題的衝突。實際上,它們與游擊隊、城市花園、另類經濟與教育實驗,以及公民意識、 非營利組織有更多相同之處。像這類計劃的成果也許不被稱為是藝術,但是它的合作精神、對社 區參與的投注,以及把文化活動當成其操作手法之一的佈署方式,就足以讓我們撇開那些稱號, 而把注意力放在他們所做的事情上。 在多名策展顧問的協助下, 《生活作為形式》在後冷戰時代及新自由主義興起之際,研究了體現這 幾股潮流的文化作品。本展覽中的計劃是從不同地域與歷史的關懷出發,而這些關懷也有其共通 之處。在世界各地的緊縮措施與財政惡化的情形下,大量自主與集體的行動已經成為日常生活的 一部份。正如1968年巴黎的情境主義者已預言了一個關係將被影像所中介的世界,現今人們已直 覺地用景觀(spectacle)來理解現實。二十世紀的藝術生產可能是少數人的領域,但在二十一世 紀,文化生產已經成為一種組織化的社會行動的必要元素。換句話說,假使世界是一個舞台,那演 員就得學習劇場技巧。 《生活作為形式》中所展出的,是屬於特定現場的、為事件所驅動的計劃,事實上,它們無法用本 展這種資料庫的方式呈現。這些計劃向不同族群的觀眾喊話,也同樣重視媒體的力量。每一個錄 影、小冊、海報與影像都為原始行動留下蒼白的記錄。儘管如此,我們運用這些作品大格局、跨地 域與跨學科的本性,去描繪出藝術的種種技能,這些技能是一連串複雜的社會組織方法,將來必 能改變我們的世界。藉由加強這些多種多樣的形式之間所存在的張力,我們希望這個資料庫能夠 啓發未來更進一步的研究,最後得以創造出新的社會實踐方式。為了達到這個目標,我們委託藝術 家為展覽製作了許多現場計劃,鼓勵觀眾參與,讓他們能夠從中瞥見這種作為所散發出來的能量。 對於《生活作為形式》的藝術家、行動者和參與民眾來說,推動他們走向社會公義這個艱巨目標的 驅力,正是來自這些作品的能量,而不是藝術概念。

創意時代 總策展人 納托 ‧湯普森


Curator Statement In this first decade of the 21st century, a critical mass of activism has emerged. Likewise, socially engaged art is on the rise, shaking up foundations of art discourse, and sharing techniques and intentions with fields far beyond the arts. But unlike its avant-garde predecessors such as Constructivism, Futurism, or Dadaism, socially engaged art is not an art movement. Instead, these cultural practices indicate new ways of life that emphasize participation, challenge power, and span disciplines ranging from urban planning and community work to theater and the visual arts. This explosion of work in the arts has been assigned catchphrases such as social practice, relational aesthetics, new genre public art, and dialogic arts. Yet, the projects themselves defy easy categorization, and raise contradictions regarding issues of authorship, and traditional notions of art. In fact, they often have more in common with guerrilla and urban gardens, alternative economic and education experiments, and civic-minded, nonprofit organizations. Such efforts might not be described as artworks, but their collaborative spirit, investment in community engagement, and deployment of cultural programs as part of their operations compel us to consider what they do, not who they say they are. With the aid of numerous curatorial advisors, Living as Form searches the post-Cold War era, and the dawn of neoliberalism, for cultural work that embodies these tendencies. The projects in this exhibition serve as points of departure for specific regional and historic concerns that find common ground. In response to austerity measures that continue to ripple across the planet, pockets of autonomous, collective action have become integral to daily life. Just as the Situationists of Paris 1968 predicted a world in which relations are mediated through images, people now intuitively understand reality in terms of spectacle. Art production in the 20th century might have been a rarified field, but in the 21st century, cultural production has become a necessary component of organizing social action. In other words, if the world is a stage, then the players must learn the skills of theater. Site-specific and event-driven, the projects in Living as Form resist display in an archive such as this one. They address multiple audiences, and pay equal attention to the power of media. Each video, pamphlet, poster, and image remains a pale shadow of the original action. Nonetheless, we use the sheer scale, geographic range, and interdisciplinary nature of the work to illustrate that the skill sets of art are now among a series of complex social organizational methods meant to transform our world. We hope that by exacerbating the tensions that exist among the myriad forms, this archive will inspire further inquiry, and ultimately, new approaches to social practice. To that end, we have commissioned several living projects in order to encourage participation, and to provide a glimpse of the energy that surrounds this work. For the artists, activists, and engaged citizens in Living as

Form, it is that energy, not the notion of art, which propels them toward the elusive goal of social justice.

Nato Thompson Chief Curator, Creative Time


1 艾未未 童話:一千零一位中國遊客 德國-卡塞爾 2007

第12屆德國卡塞爾文件展,藝術家艾未未帶來了一千零一位中國遊客共同參與這場年度藝術盛 事。資金由文件展的贊助單位──三個瑞士基金會及德國外交部──共同出資,總計四百一十 四萬美元,旅遊行程規劃都由艾未未一手包辦。他支付機票、申請簽證、改造舊紡織廠成為臨時旅 館、請來中國廚師負責膳食、設計服裝及行李箱等旅行用品,並且安排一系列卡塞爾著名景點之 旅。卡塞爾展場部份,藝術家設置了一千零一張古董椅,象徵性地表示來參與卡塞爾文件展的中 國人人數。這些遊客是旅遊團,也是艾未未的藝術主題──外國文化的觀者,也是他者的符號。事 前徵選時,艾未未把免費旅遊的消息貼在部落格,不到三天就收到三千封申請書。由於申請人數過 多,他優先挑選那些沒有經費或有旅行限制的人。例如:農村中沒有身分證的婦女,可以透過此次 機會獲得政府發給的旅行證件;其他參與者還包括失業勞工、警察、兒童、街頭小販、學生、農民及 藝術家等,整團共分為兩百組,同時到達。雖然人數眾多,但是艾未未仍徵詢訪問了每個人,並列了 一份長達九十九個問題的問卷,內容多圍繞在個人生命歷程、慾望與夢想。 卡塞爾最廣為人知的是格林兄弟,當地著名的童話家。艾未未把這項計劃命名為〈童話〉,除了取 材於格林兄弟,另也點明了這趟旅程的精神。對許多的參與者來說,這趟旅程本質上就像一個童 話,因為他們或許連作夢都沒想過能有離開中國的一天。


Ai Weiwei

Fairytale: 1,001 Chinese Visitors Kassel, Germany 2007 For his contribution to Documenta 12 in Kassel, Germany, artist Ai Weiwei brought to town 1,001 residents of China during the well-known art fair. With $4.14 million from funding sources such as Documenta’s sponsors, three Swiss foundations, as well as the German Ministry of Foreign Affairs, Ai arranged all aspects of travel. He paid for airfare, processed visa applications, refurbished an old textile mill into a temporary hostel, transported Chinese chefs to cook meals, designed travel items such as clothing and luggage, and organized tours of Kassel’s landmarks. He also installed 1,001 empty antique chairs throughout the exhibition pavilion to represent the Chinese participants’ presence in Kassel. His visitors acted as both tourists and subjects of his art—viewers of a foreign culture, as well as signs of another. Within three days of advertising the free trip on his blog, Ai received 3,000 applications. He privileged those with limited resources or travel restrictions; for example, women from a farming village, who lacked proper identity cards, were able to obtain government-issued travel documents for the first time. Other participants included laid-off workers, police officers, children, street vendors, students, farmers, and artists. They arrived en masse, in groups of 200. However, Ai solicited their individual voices through filmed interviews with each traveler, and also a lengthy questionnaire—99 questions—that focused on personal histories, desires, and fantasies. Kassel is best known as home to the Brothers Grimm, famed collectors of fables from the region. Ai named his project Fairytale in reference to their tales, and as a nod to the spirit of the trip, which likely felt mythical to many of the tourists, who had perhaps never before dreamed of leaving China.


2 珍尼佛‧阿羅拉+吉拉莫‧卡札德拉 粉筆計劃(利馬篇)  祕魯-利馬 1998–2006

珍尼佛‧阿羅拉與吉拉莫‧卡札德拉曾在利馬、巴黎及紐約公共廣場各放置12支五呎長的大型 粉筆,這是一個臨時的公共紀念碑:粉筆會隨著時間變成小碎片或完全粉碎。藝術家接著邀請民 眾使用粉筆碎塊在地板上寫字、塗鴉,並試著以任何方式表達自己意見,藉著此媒材,產生可發揮 創意的短暫機會。在利馬,阿羅拉與卡札德拉於政府機關前方放置了巨型粉筆,鼓勵過路民眾把 地板當做大型黑板,寫下對國家的不滿。這個活動演變成一個臨時但是和平的抗議行動,民眾聚 集在廣場,揮舞標語布條、高舉海報。但最後被手持盾牌,頭戴鋼盔的警方驅離,他們也收走粉筆, 並清理掉廣場地上具煽動性的政治陳述。 阿羅拉與卡札德拉為波多黎各籍藝術家,2011年代表美國參加威尼斯雙年展,他們是美國館首次 出現的表演藝術家與藝術小組。自1990年代末以來,他們曾使用雕塑、表演及錄像媒材,把日常物 件轉換成政治抒發工具。他們的計劃通常是去發掘具有影響力的行動,讓短暫的行為產生深遠的 效應。


Jennifer Allora and Guillermo Calzadilla

TIZA (Lima) Lima, Peru 1998–2006 Jennifer Allora and Guillermo Calzadilla placed 12 five-foot columns of chalk in public squares in Lima, Paris, and New York, ephemeral public monuments that would crumble and dissolve over time into smaller pieces and pools of liquid. The artists then invited people to use the fallen pieces of chalk to write messages on the ground, doodle, or express themselves in any fashion they chose, thereby transforming the material decay into a fleeting opportunity for creative possibilities. In Lima, Allora and Caldazilla placed the chalk columns directly in front of government offices, which incited passersby to convert the nearby ground into a large blackboard overflowing with messages intended to critique the state. This activity evolved into an impromptu, peaceful protest as civil servants gathered in the square, waving banners and hoisting posters above their shoulders. Eventually, military officers, who were standing by in shields and helmets, confiscated the chalk, and washed away the incendiary political statements. Puerto Rico-based Allora and Caldzadilla represented the United States in this year’s Venice Biennale—the first performance artists, and artists collaborative, to do so. Since the late 1990s, the artists have used sculpture, performance, and video to transform common objects into politicized tools. Their projects often explore the act of mark making—how temporary actions can yield permanent effects.


3 拉拉‧阿爾瑪雀紀+貝戈尼亞‧莫梅利安 Fuentes de Ebro 旅館 西班牙-薩拉戈薩 1997 高速公路穿越過 Fuentes de Ebro,此地是平凡的西班牙小村莊,也鮮少有遊客的蹤跡。為了讓人 重新注意這個地方,拉拉‧阿爾瑪雀紀與協同貝戈尼亞‧莫梅利安把當地已廢棄二十年的火車站 改建成只有一星期的臨時免費旅館。阿爾瑪雀紀說道: 「此城鎮並不漂亮,也沒辦法吸引其他鄉鎮 的村民參觀,所以我才想用這種極端的手段讓人在此停留一星期。」 她使用了四百元美金的小額補助重新翻修兩層樓高的混凝土建築,此地同時擁有成為旅館的條件 ──高聳天花板及磁磚地板。兩位藝術家親自粉刷內部牆面,擺進村民捐贈的家具,接上電力及 水力配管系統,並且在鄰近的薩拉戈薩宣傳這個把車站整建為旅館的計劃。儘管旅館在活動期間 都天天客滿,但此居住計劃是偷偷進行的,因為鐵路局發給藝術家的許可,是讓廢棄火車站成為 展覽空間,而非作為居住用途。 阿爾瑪雀紀說: 「他們絕對不會讓我做一個免費旅館計劃,而這個地方沒有美術館來支持這個計 劃。所以對住客來說,這個活動是不能說的秘密,我甚至請他們把行李藏起來,因為我擔心計劃被 拆穿。」如今,當地居民仍持續使用這棟建築,作為會議或活動的空間。 藝術家阿爾瑪雀紀現居荷蘭-鹿特丹,為2013年威尼斯雙年西班牙館的代表藝術家。在〈Fuentes de Ebro旅館〉準備期間,她花了一個月的時間在西班牙當地考察廢棄建築空間,並且嘗試解決住 屋與都會的難題。她擅長透過不同的方法建立社區關係,時常花費長時間作資料採集調查、居民 訪問、研究老舊建築的新觀看方式。


Lara Almarcegui and Begoña Movellán

Hotel Fuentes de Ebro Zaragoza, Spain 1997 A national highway runs through Fuentes de Ebro, yet the small, ordinary Spanish village rarely receives visitors. In order to draw attention to the area, Lara Almarcegui and Begoña Movellán converted the local train station, which had been abandoned for 20 years, into a free hotel for one week. “The town is not beautiful, and not the kind of village people would likely visit,” Almarcegui says. “So, I thought it would be a kind of extreme gesture to propose that people spend a week there.” She used $400 from a small grant to renovate the concrete, two-story building, which with high ceilings and tiled flooring was an apt candidate for use as a hotel. Almacegui and Movellán painted the interior walls, brought in furniture donated by the town’s residents, installed electricity and plumbing, and advertised the repurposed station in the neighboring city of Zaragoza. Though the hotel was completely booked during the project’s run, the effort remained somewhat clandestine, since Almarcegui originally received permission from railway officials to use the station as an exhibition venue, not a residential facility. “They never would have let me create a free hotel, especially since there was no museum” backing the project, she says. “So the event was a secret among the guests. I even asked them to hide their luggage—I was so afraid.” Fuentes de Ebro residents continue to use the building as a meeting and event space. Almarcegui lives in Rotterdam. In preparation for Hotel Fuentes de Ebro, she spent one month in Spain researching unused architectural spaces that offer potential solutions to housing and urban dilemmas. Her work often explores different methods for forming relationships to communities, usually though long-term research, interviewing residents, investigating new possibilities for aging infrastructure.


4 阿帕影像工作站 一千個風箏計劃 肯塔基州-懷特堡 1998

當尼克‧蘇柏拉在美國阿帕拉契地區設立了當地唯一的嘻哈電台節目並擔任DJ之時,附近「超嚴 密監獄」 (SuperMax)的兩位囚犯開始寫信給他,信裡揭露出獄中種族歧視與審查制度不公等人 權問題。他開始透過空中西洋棋遊戲與獄中囚犯聯繫,以輕鬆的方式暫緩他們在獄中的痛苦。尼 克‧蘇柏拉不久便開始透過各種藝術計劃,企圖傳達獄中囚犯心聲。這些計劃包括詩詞寫作、饒 舌詞創作,並與嘻哈樂手、在地樂手合作。在某天的電台節目中,一位囚犯藉由饒舌詞表示,他的 獄友在母親去世很久之後才得知消息。在另一集名為「家裡來電」節目單元中,一位母親定時向獄 中兒子報告家裡大小事及每日行程,就像進行晨間例行計劃一樣。 後來電台節目擴大為「一千個風箏」,它是一個「全國對話計劃」,同時也是一個位於肯塔基州-懷 特堡的非營利組織,藉由建立揭發監獄之不公義狀況的管道,來呼籲進行全國性的監獄改造。尼 克‧蘇柏拉為此計劃負責人,其計劃名稱來自於獄囚的俚語「放風箏」,意為送出信息給外界。 〈一 千個風箏計劃〉的中心是一個大型網站,主要內容是獄囚、家屬及行動者、藝術家的故事,以影音、 電台節目、部落格及投書運動為形式。這個網站還包括了有關法條修改與初階教育行動(例如「我 們付不起」──討論監獄維護成本提高的問題)的新聞畫面剪輯與新聞稿。 〈一千個風箏計劃〉的營運者是已成立40年的肯塔基州綜合式非營利組織「阿帕影像工作站」。此 單位也支援阿帕拉契的當地藝術、紀錄在地傳統,致力於消除外界對當地居民的成見。


Appalshop

Thousand Kites Whitesburg, Kentucky 1998 When former DJ Nick Szuberla launched the only hip-hop radio program in the Appalachian region, inmates from the two neighboring SuperMax prisons began writing him letters, recounting the racism and human rights violations they suffered while incarcerated. He responded by initiating an onair chess game with the prisoners, a simple gesture that acknowledged, and provided brief respite from, their hardships. Szuberla soon began broadcasting the voices of prisoners themselves via a variety of artistic projects, including poetry segments, rap sessions, and collaborations between hiphip artists and local mountain musicians. In one episode of the show, an imprisoned man expresses, in verse, a long overdue phone call to his brother, shortly after his mother’s passing. In another, titled Calls from Home, a mother updates her incarcerated son on family events and describes daily activities like her morning routine. The radio show has since expanded into Thousand Kites, a “national dialogue project” and non-profit organization based in Whitesburg, Kentucky, that advocates nationally for prison reform, primarily by creating transparency around injustices that occur within the system. Szuberla sits at the helm of the organization, whose name is derived from the phrase “to shoot a kite,” which in prison slang means to send a message. At the heart of the Thousand Kites project is a vast website that features the stories of prisoners, their families, activists, and artists in the form of video and radio programs, blogs, and letter-writing campaigns. The site also includes news clips, press releases about legislative changes, and accessible educational activities such as “We Can’t Pay the Bill,” which outlines the rising costs of maintaining prisons.

Thousand Kites operates under the 40-year-old umbrella non-profit Appalshop, which supports regional arts in the Appalachian region, documents local traditions, and works to abolish stereotypes of the area’s residents.


5 怎麼辦? 憤怒的三明治人或歌頌辯證 俄羅斯-聖彼得堡 2006

在俄羅斯首次革命百週年的當天,藝術團體「怎麼辦?」集結社運人士於聖彼得堡的納爾瓦廣場, 針對現代勞工的不公平待遇提出訴求。此廣場正是1905年革命起義的地點。在這場現代的重演行 動裡, 「怎麼辦?」邀請一群低薪勞工參與,他們身上掛的廣告牌平常都是當地的商業廣告,在行動 中,他們換上新的紙板,上頭的文字截取自德國詩人布萊希特的詩作〈歌頌辯證〉,以及一連串的問 題,例如: 「你被剝削了嗎?你剝削了別人嗎?剝削在所難免嗎?」俄羅斯的首次革命試圖暴力推翻 政府,結果失敗; 〈憤怒的廣告牌人〉企圖反省那次失敗革命的政治意涵。 藝術團體「怎麼辦?」名稱取自列寧的著名政治小冊,成員囊括致力於共產主義圖像學與術語學的 詩人、藝術家、哲學家、歌手、舞台設計師、評論家、作家等。他們受到俄羅斯20世紀初成立的眾多 議會所啓發,而以「藝術議會」的方式工作。 「怎麼辦?」憑藉著大量政治及藝術理論,透過展覽、藝 術創作及計劃,發掘出「參與式民主」的思想,以及「團結」一詞的歷史。


Chto Delat? (What is to be done?)

Angry Sandwich People or In Praise of Dialectic St. Petersburg, Russia 2006 On the 100th anniversary of the first Russian Revolution, collective Chto Delat? (What is to Be Done?) organized activists in protest of contemporary labor inequities on the square at Narva Gate in St. Petersburg, the site of the original uprising in 1905. In this contemporary staging, Chto Delat? invited low-income workers who normally wear sandwich boards advertising local businesses to participate by wearing new boards bearing language from Bertolt Brecht’s poem, “In Praise of Dialectics” as well as a series of questions. “Are you being exploited? Are you exploiting somebody? Is exploitation inevitable?” The first Russian Revolution was a violent and failed attempt to dislodge government;

Angry Sandwich People aimed to reflect on the political implications of this failure. Chto Delat?, which takes its name from Vladimir Lenin’s historic political pamphlet, consists of poets, artists, philosophers, singers, set designers, critics, and writers who appropriate the iconography and terminology of Communism in their work. They work as “art soviets,” inspired by the councils formed in Russia at the beginning of the 20th century. Relying heavily on political and artistic theory, Chto Delat? explores the idea of “participatory democracy,” and the history of the word “solidarity,” through exhibitions, artworks, and projects in public space.


6 特萊娃‧卡萊儂+奧利佛‧科赫塔‧卡萊儂 牢騷合唱團 世界各地 2005至今

牢騷合唱團的成立者特萊娃‧卡萊儂與奧利佛‧科赫塔‧卡萊儂時常聽到這些抱怨: 「我作的夢 好無聊」、 「我祖母有種族歧視」、 「樓上的鄰居一定在我寢室上組了一個匈牙利民俗舞團」、 「我是 又肥又懶的中年人」。自2005年開始,現居芬蘭-赫爾辛基的兩位藝術家邀請大眾公開或線上集 體唱出他們的大小怨言。計劃執行方式很簡單,首先邀請他人一起來,接著找位合適的音樂家。當 蒐集完所有的抱怨詞句後,經過潤飾及練習,計劃參與者需錄製公開的演出影像,再提交到〈牢騷 合唱團〉網站。這個網站收錄的曲目來自世界各地,從日本到芝加哥。 抱怨內容包括公開的政治不滿──例如,某巴西小鎮的社會不公不義──以及個人內心的牢騷。 但是, 「即使是私下、個人的事,也可能是非常政治的,」藝術家卡萊儂與科赫塔‧卡萊儂在網站上 寫道: 「『我閒得發慌!』可以視為個人悲劇,但也彰顯活出在資本主義社會的大問題,因為某些人 在生產體系中是無用的,而被冷落在一邊。」最近一場在埃及-開羅的牢騷合唱吸引到許多人的 注意與大批人潮參與,後來發酵成為持續進行的「合唱計劃」,它是〈牢騷合唱團〉的地方版,反應 與關心的是該地當下的政治狀況。 卡萊儂與科赫塔‧卡萊儂的作品通常是日常生活經驗的紀錄,如職場事故及醫患關係等。 〈牢騷 合唱團〉的概念是他們在芬蘭發想的,當地有個字valituskuoro,意指眾人齊聲抱怨,這個字的直 譯就是〈牢騷合唱團〉。他們在兩個藝術機構的協助下於英國的伯明罕成立第一個合唱團。在此之 後,世界各地已成立了七十多個牢騷合唱團。


Tellervo Kalleinen and Oliver Kochta-Kalleinen

Complaints Choir Multiple locations 2005– As organizers of Complaints Choir, Tellervo Kalleinen and Oliver Kochta-Kalleinen have heard it all: “My dreams are boring.” “My grandmother is a racist.” “My neighbor organizes Hungarian folk dances above my bedroom.” “I am fat and lazy and half-old.” Since 2005, the artists, who live in Helsinki, Finland, have invited people to sing their gripes in unison, in public, and online. The process is simple. First, invite others. Then, find a good musician. Once complaints are collected, written in verse, and rehearsed, participants are asked to record a public performance and submit it to the Complaints Choir website, a warehouse for songs with submissions from Japan to Chicago. Complaints include the overtly political—for example, social injustices in a small, Brazilian town—to the deeply personal, like having too much sex on the brain. But “the private, the personal, can be very political,” Kalleinen and Kochta-Kalleinen write on their website. “‘I have too much time!’ can be seen as a personal tragedy, but also points to a major defect in capitalistic society, which sidelines people because they are of no use in the production cycle.”In Cairo, Egypt, a recent complaints choir drew so much interest and such large crowds, that it evolved into the “Choir Project,” an ongoing, local version that generates reflections and concerns about current political conditions in the region. Kalleinen and Kochta-Kalleinen make work that often documents daily experiences, such as onthe-job mishaps, and doctor-patient relationships. The artists first got the idea for Complaints Choir while living in Finland, where the word for those who complain literally translates to “complaint choir.” They compiled their first choir in Birmingham, England, with the help of two arts organizations; since then, over seventy choirs have formed around the world.


7 去殖民建築與藝術進駐團體(DAAR) 烏鴉巢 巴勒斯坦-伯利恆 2008

去殖民建築與藝術進駐團體(DAAR)發起於巴勒斯坦的拜特沙胡爾地區,是個藝術與建築團體, 也是駐村計劃,由建築師桑迪‧希拉、亞歷山大‧貝地、埃爾‧魏茲曼主持。他們試圖重新審視占 領區的建築,尋求再利用的可能性──他們稱這個改造過程為「旋轉門占領計畫」。 2006年,以色列軍隊從Oush Grab(直譯為「烏鴉巢」)地區撤離,那是一個位於伯利恆-拜特沙胡 爾地區山頂上的軍事遺址,在此之前,這裡已被殖民政權統治了幾個世紀之久。 當以色列移民占領這座廢棄空間時,DAAR聯合巴勒斯坦及國際行動者,討回此地作為公共空間, 並且發展計劃,將其轉成多用途公園。為了喚起注意與助力,DAAR在非政府組織和當地自治區政 府協助下,於烏鴉巢舉辦了賓果遊戲、電影播映、祈禱集會以及地區觀光活動。 以色列移民在這座老建築上塗鴉,作為報復,而DAAR的反擊是組織當地社群共同清理。值得一提 的是,烏鴉巢也是成千上萬候鳥的棲息地。DAAR為候鳥量身訂作居住空間,他們把牆面鑿上許多 孔洞,一方面作為觀測站,另一方面也讓候鳥作為築巢用,把空間歸還給大自然。


Decolonizing Architecture Art Residency

Oush Grab (The Crow’s Nest) Bethlehem, Palestine 2008 Decolonizing Architecture Art Residency is a Palestinian art and architecture collective and a residency program based in Beit Sahour, Palestine. Organized by architects Sandi Hilal, Alessandro Petti, and Eyal Weizman, DAAR examines the possible re-usage of existing architecture in occupied territories—a process they refer to as “Revolving Door Occupancy.” In 2006, the Israeli army evacuated Oush Grab (literally translated as “The Crow’s Nest”), a hilltop military site at the edge of Beit Sahour, Bethlehem, from which colonial regimes had governed Palestine for centuries. When Israeli settlers took control of the abandoned building, Decolonized Architecture Art Residency (DAAR), along with other Palestinian and international activists, reclaimed Oush Grab as public space and initiated plans to convert it into a multiuse park. To generate interest as well as support for the plan, DAAR hosted bingo games, film screenings, prayer sessions, and tours of the land with the help of NGOs and the local municipality. The Israeli settlers retaliated by marking the old structure with graffiti, which DAAR responded to by organizing community cleanup measures. In addition, after discovering that same hilltop was also a roosting ground for thousands of migrating birds, DAAR punctured the structure with holes in order to transform it into both an observatory and a nesting place.


8 法瑞德‧亞罕吉爾+沙珊‧納席瑞+碧塔‧法雅席+阿塔‧哈席麥雅+可斯羅‧ 哈珊席德 廢墟工作室計劃 伊朗-德黑蘭 1991

在1991年,五位伊朗藝術家法瑞德‧亞罕吉爾、沙珊‧納席瑞、碧塔‧法雅席、阿塔‧哈席麥 雅及可斯羅‧哈珊席德共同佔領伊朗-德黑蘭的一處廢墟。他們把此地當成工作室以及拾得物 (found object)──是個協力工作的地方,也是發掘都會建築殘骸之物理及政治意義的地方。 他們在工作室裡頭待了兩個月,進不同類型的創作計劃,包括繪畫、裝置及雕塑等。其中有一件裝 置是從牆面撕下成條狀的壁紙、從桌面與櫥櫃翻倒的碎花瓶,並將艾爾‧葛雷柯油畫畫作〈歐蓋 茲伯爵的葬禮〉影像投影在空盪的屋子中。 兩個月後,他們向大眾與藝術家合作夥伴發表成果。在進駐期間,藝術家並未花費力氣在修復上, 老屋廢棄的調性完整保存,但居然也成為一個充滿活力的空間。展示結束後,藝術家們隨即將屋 子拆除,把它帶回註定將毀壞的命運。


Farid Jahangir and Sassan Nassiri, Bita Fayyazi, Ata Hasheminejad, and Khosrow Hassanzedeh

Studio Tehran, Iran 1991 In 1991, five Iranian artists, Farid Jahangir and Sassan Nassiri, Bita Fayyazi, Ata Hasheminejad, and Khosrow Hassanzedeh, took over an abandoned house in Tehran, Iran, and used it as both studio space and found object—a place to collaborate, and also explore the physical and political meaning of urban architectural detritus. They spent two months creating various projects in the house, including paintings, installations, and sculptures. An installation of wallpaper peeled away from the walls in long strips, broken vases spilled over countertops and out of cabinets, and atmospheric projections of images like El Greco’s Burial of Count Orgaz filled the relatively spare rooms of the house. At the end of the two-month period, they opened the project to the public, as well as other artist collaborators. During the artists stay, the house maintained its status as abandoned property—no effort to renovate it occurred— while it also evolved into an active, lived space. After the run of the show, the artists demolished the house, carrying out its original, intended fate.


9 海倫那製作小組 卡利表演藝術節 哥倫比亞-卡利 1997至2008年

哥倫比亞-卡利是個極度缺乏藝術資源及支援網絡的城市,由海倫那製作小組策劃的〈卡利表演 藝術節〉已持續十一年之久,在當地文化生活裡扮演關鍵角色。 〈卡利表演藝術節〉提供了一個演 出平台,讓新興藝術家及成熟的國際藝術家,創作出具有互動性、政治動機、挑戰藝術家與觀眾之 間界線的表演。 過去的表演例如:西班牙藝術家聖地牙哥‧席那在Tertulia 美術館牆上裝置了一幅巨大的美國國 旗;法國藝術家皮耶‧皮農切利截斷他的小指頭,以示對2002年總統候選人英格麗‧貝坦古特因 政治因素被綁架的抗議;由Casiotone藝術學校學生成立的「壞朋友樂團」在此舉辦演唱會,他們 自行發行數張CD專輯,廣受學生的喜愛。卡利表演藝術節除了公開徵選機制,同時也採邀請制。為 期五天的表演藝術節活動還包括工作坊、公共街頭介入、也有舉辦於城市各個文化機構(從公共 廣場到藝術家自營空間)的座談。 海倫那製作小組是一個非營利與跨領域的行動主義團體,他們透過舉辦在地文化及社區的相關 活動來擴展視覺藝術的定義。其成員包括威爾遜‧迪亞茲、安娜‧瑪利亞‧米蘭、安德魯斯‧桑 多瓦爾、克勞迪亞‧派翠西亞‧莎瑞亞以及胡安‧大衛‧梅迪納等五位藝術家。他們時常通過 作品表達對體制的批判,以及對哥倫比亞的在地狀況、當地社會及經濟衝突問題之另類途徑的觀 察。此外,他們也於2000年及2001年間負責製作一周播映兩集的電視節目,名為「迴圈 」,這個節 目擬仿綜藝節目的形式,介紹當地藝術家與龐克樂團的活動。


Helena Producciones

Festival de Performance de Cali Cali, Colombia 1997–2008 For eleven years, Helena Producciones’ Festival de Performance de Cali played a key role in the cultural life of Cali, Colombia, a city with a notable shortage of resources and support networks for the arts. The festival provided a forum for both emerging and established international artists to create performances that were interactive and politically motivated, and defied traditional boundaries between artist and audience. Examples of past performances include Spanish artist Santiago Sierra’s installation of an enormous American flag on the wall of the Tertulia Museum; French artist Pierre Pinoncelli’s amputation of his pinkie finger in protest of the kidnapping of 2002 presidential candidate Ingrid Betancourt; and a concert by Las Malas Amistades, a Casiotone art school band whose independently produced CDs have attained cult status among college students. Artists were invited to participate by invitation and through an open call for submissions. The five-day festival would also include workshops, street interventions, and talks held in various cultural centers throughout the city—from public plazas to modest artist-run spaces. Helena Producciones is a non-profit, multidisciplinary collective that expands definitions of visual art by organizing events that promote local culture and community-initiated activism. The collective, which includes artists Wilson Díaz, Ana María Millán, Andrés Sandoval, Claudia Patricia Sarria, and Juan David Medina, often offers institutional critique through its work, as well as perspectives on local conditions, alternative to the routine social and economic conflict endemic in Colombia. The collective was also responsible for Loop, a semi-weekly television program that aired in Cali from 2000-2001 and mimicked the variety show format in order to report on the activities of local artists and punk bands.


10 蘇珊‧雷西 屋頂上的熱血 加州-奧克蘭 1994

在1994年的某一天午後,加州-奧克蘭一處停車場頂樓停進許多車輛,220個高中生正坐在車上 高聲談論暴力、性、性別、家庭及種族等議題。這些青少年在拉下窗子的車裡,你一言我一句地熱 烈討論,完全無視穿梭於車輛間的記者、攝影小組和電視前的一千多名觀眾。這場表演的結果剪 輯為〈屋頂上的熱血〉節目,透過當地多個電視頻道與全美國有線電視新聞網CNN公開播送。 這些奧克蘭青少年已經很習慣受到媒體關注,不過他們的媒體形象都相當負面,例如:製造混亂、 暴力事件、和警察衝突等。這個計劃由藝術家蘇珊‧雷西和他的TEAM團隊(由青少年、教育工作 者、藝術家及媒體所組成)協力合作。在計劃中,這個設計出的事件要表現出正面的媒體形象,將 青少年描繪為成熟負責的社會公民。計劃執行的前五個月,雷西每周都前往拜訪學校教師、青少 年及保護管束單位,一同討論這群青少年的重要切身議題,同時也細心地向社會領袖傳達一個訊 息:青少年對奧克蘭未來扮演著什麼樣的角色。 〈屋頂上的熱血〉呈現了這些問題的核心,以及雷西數十年來企圖去對抗媒體誤導形象的長期使 命。自1970年代開始,她便開始舉辦各種另類敘事與新聞事件的再詮釋的表演活動。例如〈悲痛和 憤怒〉中,她在洛杉磯市政府的階梯前舉辦公開儀式,回應1977年關於十位婦女遭謀殺的新聞報 導。雖然這些故事聚焦於暴力事件的隨機性,但雷西的集體表演是對行動的召喚,以女性主義者 的觀點重新詮釋這起瘋狂殺戮事件。


Suzanne Lacy

The Roof Is On Fire Oakland, California 1994 For one afternoon in 1994, two hundred and twenty high school students in Oakland, California, sat in parked cars on a rooftop garage and talked to each other about violence, sex, gender, family, and race. The teens spoke candidly, without any kind of script, while an audience of nearly one thousand people—including numerous reporters and camera crews—walked from car to car, leaning in and bending over, to hear their conversations through rolled-down windows. The resulting footage of the performance, called The Roof Is On Fire, was aired locally on multiple networks and nationally on CNN. Oakland teens were already accustomed to receiving media attention, though largely through negative portrayals of young people involved in riots, violence, and conflicts with police. This event, however, which was organized by artist Suzanne Lacy in conjunction with TEAM (a group of teens, educators, artists, and media workers), was designed as a positive media spectacle, with young people depicted as citizens rather than liabilities. For five months, Lacy met weekly with teachers and teens, including those from a nearby probation program, to discuss issues important to them, and to craft a message for civic leaders about the role of young people in Oakland’s future. The Roof Is On Fire reflected the crux of those discussions, as well as Lacy’s decades-long mission to counter misleading media images with empowered, community-oriented actions. Since the 1970s, she has created performances that offer alternative narratives and interpretations of news coverage. For example, In

Mourning and In Rage presented a public ritual on the steps of Los Angeles’ City Hall in response to coverage of the murders of 10 women in December 1977. While the stories focused on the random nature of the violence, Lacy’s collaborative performance was a call to action, and reframing of the killing spree from a feminist perspective.


11 瑞克‧羅 排屋計劃 德州-休斯敦 1993年至今

1993年時,藝術家瑞克‧羅買下德州-休斯敦-北三區的整排狹長型廢墟。此地方曾是低收入 非裔美國人的社區,即將遭到拆除。買下後,他邀請百位志工一同協助維修建物,首先改善街道整 潔、重整外觀、改造屋內裝潢。在美國國家文藝基金會及私人基金會的資助下,行動者人數越來越 多,眾人協力把殘破之地改造成有藝術家、畫廊、公園、商家、花園的活潑園區,這裡也提供低租金 住宿給希望能夠自力更生的18到26歲年輕媽媽居住。 〈排屋計劃〉致力於重建建築物及當地社區 歷史,並提供居民基本的社會服務功能。如今以非營利機構方式運作的〈排屋計劃〉,目前仍是長 期社群參與計劃的代表作,並且已在世界各地的美術館或藝術單位展出。 計劃啓動以來,藝術家得到創意時代所頒發的2010年「李歐諾拉‧安那伯格-藝術與社會改造 獎」,他用藝術做為改變的催化劑,但卻也謹慎思考「改變」這詞。他說: 「當你聽到『改變』的時候, 你會預設這是一個進步的過程,但是語言是游移的,明確感已不在。」此計劃的動機來自於藝術家 與一個高中生談話,學生質疑在追求社會正義底下,藝術創作的功能為何?受此質疑啓發的藝術 家在本計劃執行前,他也借鏡藝術家約翰‧比格斯的作品。約翰‧比格斯認為藝術擁有潛力去提 升有形的社會狀態。 排屋計劃的房屋已從原來的22棟擴增到40棟,包括展覽空間、文學中心、多媒體表演藝術空間、低 收入戶住房及其他設施等。2003年,該計劃組織也成立了排屋社區發展公司,專門負責低租金住 房事務。


Rick Lowe

Project Row Houses Houston, Texas 1993– In 1993, artist Rick Lowe purchased a row of abandoned shotgun-style houses in Houston, Texas’, Northern Third Ward district, a low-income African-American neighborhood that was slotted for demolition. He galvanized hundreds of volunteers to help preserve the buildings, first by sweeping streets, rebuilding facades, and renovating the old housing’s interiors. Then, with funding from the National Endowment for the Arts and private foundations, the growing group of activists transformed the blight-ridden strip into a vibrant campus that hosts visiting artists, galleries, a park, commercial spaces, gardens, and as well as subsidized housing for young mothers, ages 18-26, looking to get back on their feet. Called Project Row Houses, the effort has restored the architecture and history of the community, while providing essential social services to residents. Now functioning as a non-profit organization, the project continues to be emblematic of long-term, community-engaged programs, and has been exhibited around in world in museums, and other art venues. Since Project Row Houses’ inception, Lowe—the 2010 recipient of Creative Time’s Leonore Annenberg Prize for Art and Social Change—has privileged art as a catalyst for change, a word that he has considered carefully: “It used to be that you could assume a progressive agenda when you heard the word ‘change,’” he says. “But language is shifting. Clarity is missing.” The project first took root after a conversation he had with a high school student who questioned the efficacy of making art objects in the quest for social justice. Inspired, Lowe looked to the work of artist John Biggers, who believed that art holds the capacity to uplift tangible social conditions, before intervening in the Northern Third Ward.

Project Row Houses has grown from 22 houses to 40, and includes exhibition spaces, a literary center, a multimedia performance art space, offices, low-income housing, and other amenities. In 2003, the organization established the Row House Community Development Corporation, a lowincome rental-housing agency.


12 狂歡節印地安社群 艾利森‧涂地‧蒙達納的喪禮隊伍 路易西安那州-紐奧良 2005

自1800年代起,美國紐奧良工人階級的黑人在脫離奴役的逃亡路上,得到印地安人的協助,終得 渡過危險,於是黑人用「扮成印第安人」向美國印第安人表達敬意,他們在狂歡節中製作精美的印 地安華服。衣服裝飾著多層羽毛、繁複的珠串、圓形金屬片、染上鮮艷顏色的皺紋絲布。艾利森‧ 涂地‧蒙達納是印地安社群的建築工及領導人物,52年以來,都是由他擔任遊行領隊,他的招牌 裝扮是立體的幾何圖形,重達數百磅,價值數千美金。他因此而得到美國國家文藝基金會獎,也是 一部紀錄片的主題。2005年7月10日他的葬禮當天,有數千名紐奧良居民參與,大家齊聚為他對藝 術及對社群支持而致敬。 蒙達納長期以來為狂歡節印地安社群發聲,抵制當地執法單位的歧視行為。在過世的那晚,他正 協同其他領袖、民眾與印地安遊行隊伍,公開向市府調解委員會喊話,抗議警力的野蠻。事發突 然,蒙達納倒在地上,隨即被送到附近醫院進行急救,但最終因心臟病仍宣告不治。來參加告別式 的隊伍中除了印地安人,也可看到非印地安族群,這是史上最盛大與最負盛名的從教堂到墓園的 遊行之一,隊伍中大家敲手鼓、唱聖歌,同時也施放水綠色、橙色、紅色、黃色煙霧,以示追悼。


Mardi Gras Indian Community

Funeral Procession for Allison “Tootie” Montana New Orleans, Louisiana 2005 Since the 1800s, working-class Blacks in New Orleans paid tribute to Native Americans who aided escaped slaves on their routes to safety by “masking Indian”: building and donning elaborate costumes for Mardi Gras, fashioned from layers upon layers of feathers, beads, sequins, and billowing fabrics dyed in energetic colors. For 52 years, Allison “Tootie” Montana, a construction worker and chief of the chief of these Mardi Gras Indians, lead the parade: His signature, three-dimensional geometric designs often weighed hundreds of pounds, costs thousands of dollars, and earned him a National Endowments for the Arts grant, and was the subject of feature-length documentary. On July 10, 2005, thousands New Orleans residents gathered to march in his funeral procession, out of respect for his art, and his advocacy for this community. Montana was a long-time, outspoken advocate for Mardi Gras Indians, who often faced discrimination from local law enforcement. On the night of his death, he addressed the City Council, along with other chiefs, to protest police brutality, as well as efforts to squash Mardi Gras Indian parades and other public gatherings. Moments later he collapsed on the floor, and was taken to a nearby hospital, where he was pronounced dead of a heart attack. His funeral procession, which drew both non-Indians and Indians, was one of the largest to trickle down the well-known parade route from the church to the cemetery; participants beat tambourines, chanted, and moved like rhythmic clouds of aqua, orange, red, and yellow smoke.


13 哺乳動物潛水反射效應團體 兒童理髮 加拿大-多倫多 2006

某天城裡的多家髮廊中有一個免費剪髮活動,美髮師竟是就讀多倫多-柏克戴爾公立學校五、六 年級的學生。原來他們接受過一星期的專業訓練,首先以假人模特兒為對象,練習編髮、使用染 劑、修除雜毛、頭髮分層及吹整頭髮等技巧。在免費剪髮活動中,理髮師會提供建議,但主要的顏 色挑選及頭髮長度等決定工作還是交給小理髮師們各別決定,另外,顧客也相當信任他們的眼光。 〈兒童理髮師計劃〉在為期兩天的多倫多國際兒童藝術節達到高潮,這項計劃後來也擴展至國際 巡迴。 此計劃由多倫多藝術研究團體「哺乳動物潛水反射效應」團體發起,他們擅於規劃出人意表的活 動。例如〈走出圈外計劃〉邀請參與者去接近交際圈之外的陌生人,並與他們交談; 〈和老師漫舞計 劃〉邀請高中老師與他的學生在夜晚漫舞。此團體的名稱靈感來自一種遭到極端生理威脅而引發 的自我保護機制。例如,當人體突然淹沒在水中或陷入凍結的環境中,所有主要的身體運作將會減 到最低,大幅減少對氧氣的需求,以增加生還機會。總言之,藉由與十至十二歲的青少年合作這項 需要高度專業、極其個人、需整合及費心力的剪髮計劃,其背後也傳達出一項重要的訊息:如果孩 童可以兼具創意及決策,那他們是否也可以擁有投票權?


Mammalian Diving Reflex

Haircuts by Children Toronto, Canada 2006 For one day, fifth- and six-grade students from Toronto’s Parkdale Public School provided haircuts, free of charge, in hair salons across the city. Using the tresses of mannequin heads, they trained for one week with professional stylists, learning how to trim bangs, add color, shave necklines, create long layers, and use a blow dryer. While adults provided supervision during the sessions, most patrons trusted the novice hairdressers, who worked in pairs or groups, to make aesthetic decisions like color choices and hair length, on their own. The project, which later traveled internationally, culminated in a two-day series of performances at the Milk International Children’s Festival of the Arts back in Toronto.

Haircuts By Children was organized by Mammalian Diving Reflex, a Toronto-based arts and research group that creates very specific interactions between people in public spaces. For Out of My League, participants were asked to approach strangers who they believed were ‘out of their league’ and engage in conversation with them. Slow Dance with Teacher made high-school teachers available for one night to slow dance with their students. The group’s name is inspired by a self-preservation technique triggered by extreme physical duress. For example, when the body is suddenly submerged in water or caught in a freezing environment, all major bodily functions slow almost to a halt, minimizing the need for oxygen, and increasing the chances of survival. To that end, Haircuts leveraged the image of children performing a highly specialized, and personal, form or labor, as well as the often-precocious nature of 10- to 12-year-olds, to convey a larger message: If children can be empowered as creative thinkers and decision makers, shouldn’t they be allowed to vote, too?


14 凱特里娜‧色達 那兒什麼都沒有 捷克-彭多威斯 2003

在2003年的某一個星期六早晨,捷克斯洛伐克-彭多威斯小村莊的村長,向全村350位村民廣播 下達指令:他要求村民在同一時間都去採買東西。當天的其他時間,大家的起居都同步照著村裡 公佈欄上的行程表走。他們一起開窗、打掃陽台、吃餃子、與朋友一起喝酒、最後大家準時在十點 鐘睡覺。雖然這份由藝術家凱特里娜‧色達定出的行程表相當嚴格,但居民卻表示藉由共同參與 日常活動,他們有種解放感,這樣的經驗是許多歐洲人民於1989年蘇聯解體前,曾共同體驗過的 的生活感——多少有種懷舊。 色達現居住與工作於布諾,她把捷克地方的俗語「那兒什麼都沒有」這句話當成此計劃名稱。色達 說: 「村民認為重要的事都發生在城市和國外很遠的地方。」色達在當地進行了一年的訪查、問卷 調查及從中觀察居民們的生活。這個小村莊在19世紀時曾是重要的軍事要塞,但如今已遠離歐洲 社會政治脈絡。 色達在創作時,時常請計劃參與者重新審視自我經驗,然而這也是她重新呈現審視他人生活意義 的契機點。例如色達的祖母,自從祖父死後,便患上重度憂鬱,連半步都不想離開椅子,更別說到 處走動或者基本如廁行為。她祖母曾在五金行擔任三十年的簿記員,為了幫助祖母病情,色達旁 敲側擊地鼓勵她手繪記憶中的商店或商品。最後透過數百張的手稿,她的祖母漸漸走出傷痛,重 新接受生活。同樣的,透過表演日常活動行為,彭多威斯居民得以重新更宏觀地思考他們的公民身 份。 色達為2013年威尼斯雙年展台灣館受邀參展的藝術家之一。


Katerina Šedá

There Is Nothing There Ponetovice, Czech Republic 2003 One Saturday morning in 2003, the mayor of a small, Czechoslovakian village, Ponetovice, broadcast a message to all 350 residents: He asked them to go shopping—at the same time. For the rest of the day, the people continued to synchronize their routine according to a schedule that was posted on the village bulletin board. They simultaneously opened windows, swept porches, ate dumplings, met for beers, and finally all retired to bed at 10 pm. Though the regimen, created by Katerina Šedá, was strict, members of the community felt liberated by the shared activities, an experience many Europeans perhaps associated—somewhat nostalgically—with their lives before the fall of the Soviet Union in 1989. Šedá, who lives and works in Brno, named the project after a common saying in Czech provinces: “There is nothing there.” “They feel that everything important happens in cities or somewhere beyond our borders,” Šedá has said. For one year, she conducted interviews, distributed surveys, and observed life in the village, which was once the site of major military battles in the 19th century, but was now largely disconnected from the socio-political fabric of Europe. Šedá often asks her projects’ participants to recount personal information that she then re-presents in order to encourage new reflection on what their lives can mean. When the artist’s grandmother fell into a deep depression after her husband’s death, refusing to leave her armchair to perform even basic, hygienic tasks, Šedá encouraged the elderly woman to draw, from memory, every item sold in the hardware store where she worked as a bookkeeper for 30 years. The activity, which yielded hundreds of images, allowed Šedá’s grandmother to engage with the past, in order to re-enter her life in the present. Similarly, by performing their minute, daily tasks en masse, Ponetovice residents were empowered to reconsider the larger terms of their citizenship.


15 納文‧羅望查庫 摩訶喀藝術節:市場裡的史詩藝術 泰國-清邁 2010-2011

自19世紀以來,最能形容清邁的瓦洛洛傳統市場(又名喀瑯)的字就是「史詩」。此地聚集了眾多的 攤販及商店,從販賣蔬菜、雞肉等生鮮,到鮮艷的染料織品、塑膠手工材料等民生用品,應有盡有。 另外,多年來市場也充斥著不同宗教與民族的人。藝術家納文‧羅望查庫自小在市場裡家人經營 的布店長大,也曾在店裡幫忙,接觸到複雜多元文化的洗禮。為了慶祝市場百週年,他著手策劃了〈 摩訶喀藝術節〉,其靈感來自市場歷史。藝術節設定了好幾個定點藝術裝置、活動以及平面作品,例 如歷史照片、居民肖像,以及一幅有200位社區居民的壯觀單色壁畫。它另外也提供給外國遊客一 本護照大小的手冊,內容有市場平面圖及相關資訊,並且設計了藝術站點的蓋章活動,集滿十個 章後,遊客即可兌換介紹摩訶喀歷史的免費刊物。此計劃由羅望查庫所經營的「納文製作工作室」 籌劃,並與數個社區團體一同合作。藝術節也舉辦了工作坊、羅望查庫定點導覽及一場關於社區 參與的當代藝術實踐研討會。藝術節的名稱是根據古印度史詩「摩訶婆羅達」,其複雜的角色網絡 與情節,正揭示了市場中互動密集的關係。 羅望查庫的創作關注日常的題材與場所。他的作品常常掛名「納文製作公司」,此公司成立於1994 年,首發作品是生產裝著清邁運河污染水的瓶裝水。1995年,他成立了「納文曼谷藝廊」,是個以計 程車改裝的行動式藝廊。


Navin Rawanchaikul

Mahākād Art Festival: Epic Arts in the Market Chiang Mai, Thailand 2010-2011 Chiang Mai’s Warorot Market, which dates back to the 19th century, is best characterized by the word “epic”: The densely packed stalls and stores feature inexhaustible rows of wares, from vegetables and chickens to brightly dyed textiles and plastic knick-knacks. Likewise, the market’s population has become an equally diverse cross-section of religious and ethnic identities over the years. Artist Navin Rawanchaikul grew up working in his family’s fabric store amid the complex, cultural mélange. To celebrate the market’s centennial anniversary, he organized an arts festival, called

Mahākād, inspired by the market’s history, that included site-specific installations and events as well as two-dimensional works such as historical photographs; portraits of its current inhabitants; and a vast, monochromatic mural depicting 200 community members. In reference to the international scope of the market, visitors were given maps of the space, and leaflets designed to look like “passports,” which could be stamped at each art station. After receiving ten stamps, visitors were eligible to receive a free magazine that recounts Mahākād’s history. Directed by Rawanchaikul’s Navin Production Studio, and in collaboration with several community groups, the festival’s accompanying activities included workshops, a tour of the project sites led by Rawanchaikul and a panel discussion about community engagement in contemporary art practices. The festival’s title references the ancient Indian text Mahābhārata—a complex, network of characters and plots that reflects the interwoven relationships embedded in the market. Rawanchaikul uses the realm of the everyday as both the subject and venue of his art. He often creates his work under the banner of Navin Production Co., Ltd., his production company that he founded in 1994 and launched by producing bottled, polluted water from a canal in Chiang Mai. In 1995, he initiated “Navin Gallery Bangkok,” his taxicab-turned-mobile art gallery.


16 凱米‧羅薩多‧賽久 山腰上 波多黎多-納朗席多 2002

位於波多黎各-聖胡安邊陲地區的納朗席多,周邊環繞此起彼落的山頭,是一個典型的山區 村莊。此社區曾有許多咖啡農,村子容貌多是木造窗,如今是滿街垃圾的經濟低落景象。但藝 術家凱米‧羅薩多‧賽久卻持相反觀點,他在山腳看到的是一片豐富的山貌。為了引起他人 對此小村莊的關注,藝術家利用天然的地景優勢,企圖把村莊所有房子漆成綠色。此地多數 居民普遍對此地的經濟狀況沒信心,所以另一個計劃重點是要引發當地人的社區情感。在計 劃期間,藝術家徵求屋主的意願,希望大家同意把屋子漆成他們自己所選的綠色。但因為政治 因素,計劃一開始並不順利──綠色是尋求脫離美國(波多黎各為美國的屬地)的獨立黨的顏 色。不過,漸漸地,居民開始接受這樣的想法,因為漆上綠色漆料之後,房屋從地形上來看更 加立體,並與周圍的樹木極為相襯,居民同意的條件是藝術家得把屋前的門廊與圍欄環境漆 上其它顏色。另外他也邀請當地年輕人幫忙油漆房屋,協助舉辦工作坊、座談會與其他相關活 動,試圖以此改變媒體報導裡過於強調這個村莊失業、犯罪等的刻板印象。 〈山腰上〉這件作品 曾在2002年惠特尼雙年展中展出。 羅薩多‧賽久藉由城市經驗提出新的方法,落實地方實踐,進而改變公眾看法。2005年時,紐 約「藝術總部」 (Art in General)邀請他用滑板去觀察曼哈頓。他根據自身在曼哈頓的經驗,製 作最佳的滑板地點與路線圖,最後製作了一幅約15呎的另類交通路線,同時提出新的城市美 學觀點。


Chemi Rosado-Seijo

El Cerro (The Hillside) Naranjito, Puerto Rico 2002 The houses of Naranjito, located outside of San Juan, Puerto Rico, follow the contour of the mountain beneath them, rising and falling along the ridges. This is the first thing Chemi Rosado-Seijo noticed from the foot of the hillside; not the boarded windows or trash-lined streets—signs of a declining economy in what was once a thriving community founded by coffee-plantation workers. And so, in an effort to draw attention to the uniquely organic shape of this small town—and to instill a sense of civic pride among residents who were increasingly disillusioned with their economic situation—he began to paint all of Naranjito’s houses green. During the project, Rosado-Seijo asked homeowners for permission to paint their homes a shade of green of their choosing. Many declined at first, primarily because the color is associated with the independistas, a local group that sought succession from the United States. But gradually, as the color popped out of the terrain and complemented the hues of the surrounding trees, they began to agree on condition that he also repaint other parts of the property such as stoops and fences in different colors. He enlisted local youth to help him paint, and held workshops, conferences and other events that brought positive press coverage to a community inundated daily with reports of the endemic unemployment and crime that had characterized the village. Throughout his practice, Rosado-Seijo transforms public perception by presenting new approaches to the urban experience. In 2005, he was commissioned by the New York-based Art in General to explore Manhattan on skateboard. He then created a map of the best skate sites and routes he located during his travels; his 15-foot diagram proposed an alternate transportation option as well as a new aesthetic understanding of the city. El Cerro was presented at the 2002 Whitney Biennial.


17 亞西‧派卓‧路加 剛果小姐 剛果-金夏沙 2007

約翰尼斯堡的藝術家亞西‧派卓‧路加時常挑戰自己:他曾在籃球場比賽到一半時,穿著珍芳達 年代的韻律服裝坐在場中央;在瑞士的某處山丘上,身穿類似黑色綿羊扮裝服,腳踩高跟鞋與一 群白色羊群一同窩在柵欄裡。路加的創作涵蓋行為表演、錄像藝術及時尚領域,他想與強勢的種 族、性別及文化刻板印象等主流價值觀抗衡。所以藉由塑造極端的角色,以誇張的表現形式,對比 刻板印象。 2006年時,路加構想計劃〈剛果小姐〉──在塞內加爾這個種族、性別飽受不平等的地方,扮演一 個男扮女裝的人物。路加表示: 「〈剛果小姐〉呈現錯置想法與一種無法被歸類的形象。」他以剛果 小姐的形象遊走在公共場合,不顧旁人的眼光織起毛毯。計劃執行一年後的2007年, 〈剛果小姐〉 以三螢幕紀錄片呈現。它紀錄了三段行為表演,地點位於剛果民主共和國金夏沙,表演看起來嚴 肅又寂寞,但又特別顯得幽默和風情萬種。影片中藝術家在市郊的數個地點中或坐或躺的織著毛 毯,以創新表演表現傳統手工技藝。 路加把這樣的行為表演稱作「手工藝冥想」——以編織與跨性別穿著的方式介入公共空間,並且 實踐創作。利用這個方式表達一種文化的、個人認同的多層複雜概念。藝術家也藉由扮演〈剛果小 姐〉探索關於地方與歸屬的主題,並藉著選擇孤立與疏離,行使其自主權。


Athi-Patra Ruga

Miss Congo Kinshasa, Democratic Republic of the Congo 2007 Johannesburg-based artist Athi-Patra Ruga has a habit of inserting himself into challenging situations. He once sat in the middle of a basketball court, mid-game, wearing Jane Fonda-era aerobics gear. He also teetered in stiletto heels and a black sheep costume atop a hill in Switzerland, while corralled in a pen with actual, white sheep. In each case, Ruga—whose work spans performance, video, and fashion—confronts prevailing racial, sexual, and cultural stereotypes by creating characters that embody extreme manifestations of those same stereotypes. In 2006, he conceived of Miss Congo, a character dressed in drag and born out of the racial and gender inequities the artist witnessed while in Senegal. “[Miss Congo] represented ideas of displacement, of not belonging,” he says. For one year, Ruga, in character as Miss Congo, traveled to public spaces and wove tapestries while passersby observed him. The character eventually became the subject of a three-channel video documentary, Miss Congo, in 2007. The film depicts three of Ruga’s performances—solemn and lonely, but with a distinct undercurrent of humor and sensuality—that were carried out in Kinshasa, Democratic Republic of Congo. The artist stitches a tapestry while sitting or lying in anonymous locations on the outskirts of the city, performing a traditionally domestic task far outside the domestic sphere. Ruga has called these performances “craft meditations”—interventions into public spaces that draw upon his practice of working with textiles and cross-dressing to express complex, layered notions of cultural and individual identity. The Miss Congo character also allows the artist to explore themes of place and belonging, exercising autonomy by choosing isolation and distance.


18 解放廣場 埃及-開羅 2011

2011年一月,埃及-開羅的解放廣場上聚集了成千上萬的抗議民眾,目的是為了推翻前總統穆巴 拉克30年的統治。在他統治時期裡,人民經歷了政府迫害人權、腐敗、經濟蕭條、糧食短缺等。雖只 有18天的抗爭,但是集結了學生聯盟、伊斯蘭婦女、勞工團體以及其他弱勢團等眾人的力量。參與 人群的能量越來越高漲,一方面是廣場驚人的聚集人數,另一方面是民眾充分運用手邊新媒體作 為傳播策略。 從那之後,所謂「阿拉伯之春」開始被讚頌為政治與社會媒體的革命,推特、YouTube與臉書所受 到的注意,不下於廣場的現場示威。雖然此類社交媒體傳播的實際影響力還有待商確,但可以確 定的是,網路無疑是抗議組織、埃及當地媒體發送抗議活動和鎮暴打壓等影像的重要通訊工具, 讓更多民眾得知現況,不至被矇蔽。同樣的,這場示威活動的紀念物──詩歌創作、T恤及口號 ──也出現在網站這個新媒體上。同年二月,穆巴拉克因為失去軍隊、國際社會及美國的支持而被 迫下台。


Tahrir Square Cairo, Egypt 2011 For one month in January 2011, Cairo, Egypt, reverberated as thousands of citizens flooded Tahrir Square in mass protest of former president Hosni Mubarak’s 30-year-rule, which was marked by human rights abuses, corruption, economic depression, and food shortages across the region. The protests transpired for a mere 18 days, yet the during that time the energy of the crowd, which consisted of student coalitions, Islamic women and labor groups, as well as other historically underrepresented constituents, escalated, due in part to the sheer number of people in the Square—as well as the new media-savvy tactics they used. Since then, the so-called “Arab Spring” has been celebrated as a political and social media revolution, with Tweets, YouTube videos, and Facebook pages garnering as much attention as the vast onsite demonstrations. While the actual impact of this technology is still under debate, these websites were inarguably an important communication tool for protest organizers, and Egyptian media outlets, who labored to disseminate images of the protests, and ensuing crackdown, into the broader public imagination. Likewise, the active commemoration of the event—the production of poetry, T-shirts, and slogans— was reflective of the new communication channels. In February, Mubarak lost the support of his military, the international community, and the United States, and was forced to step down.


19 美國社會論壇 喬治亞州-亞特蘭大,密西根州-底特律 2007至今

美國社會論壇舉辦為數幾天的活動,聚集數以萬計的社運人士,以建立全美齊發的社會公義運動 為討論目標。自美國社會論壇成立以來,已經舉辦了兩屆:2007年在亞特蘭大,2010年在底特律。 每屆論壇都吸引超過15,000名行動主義者,同時舉辦了多項活動,包括了研討會、藝術與文化表 演、青少年活動、直接行動、導覽及募款等。這項活動吸引了來自各個領域與種族的年輕人參與,他 們對解決經濟和生態危機之新方案的發展相當感興趣。美國社會論壇發起靈感是來自於「世界社 會論壇」,後者成立於2001年,邀請了國際行動主義者齊聚一堂,共同對抗新自由主義的全球化。 美國社會論壇於2005年逐漸成形,計劃委員會由「草根全球正義」團體以及國際特赦組織美國分 會、美國勞工聯合會-產業工會聯合會及美國人權網絡等超過其他45個組織共同組成。雖有包羅 萬象的活動及許多組織參與,但是美國社會論壇的消息卻甚少受到主流媒體的關注。 底特律特別適合做為美國社會論壇的主辦城市,原因是此地經濟逐年下滑、缺乏就業機會、另有 其他不公平的狀況在近年受到重視。此論壇標榜著「美國需要有另外一面」的精神,想要改變經濟 體系與政府做法的想望也都反映在「佔領華爾街」運動,以及其他世界各主要城市的抗議行動中。 至今美國社會論壇已舉辦了超過1,000場工作坊,這些活動都企圖以非制式的方式連結各方力量。


U.S. Social Forum Altanta, Georgia and Detroit, Michigan 2007– The U.S. Social Forum gathers tens of thousands of activists over several days with the goal of building a unified, national social justice movement across the country. Since its inception, two forums have taken place, in Atlanta in 2007 and in Detroit in 2010. Each forum drew over 15,000 activists, and offered a multitude of programs, including workshops, arts and culture performances, activities for children and youth, direct actions, tours, and fundraising initiatives. The event has attracted organizers—a younger, ethnically diverse crowd from a range of fields—interested in developing new “solutions to economic and ecological crises.” Inspired by the World Social Forum—which, starting in 2001 brought together international activists fighting against neoliberal globalization—the U.S. Social Forum began to take shape in 2005. The planning committee was formed by the group Grassroots Global Justice and was comprised of over forty-five organizations, including Amnesty International USA, the AFL-CIO, and the U.S. Human Rights Network. Despite the breadth of the event, and vast attendance, the USSF, has received little press coverage in the mainstream media. Detroit was a particularly apt host city for the USSF because of its persistently declining economy, lack of jobs, and other inequitable conditions that have come into central focus in recent years. The tagline for the event, “Another U.S. Is Necessary,” marks the spirit of the USSF, and the desire to overhaul economic systems and government practices—also reflected in the recent “Occupy Wall Street” movement, as well as other protests cropping up in municipal plazas across the globe. Over 1,000 USSF workshops took place, which veered away from standard meeting formats toward more collaborative efforts.


20 珍妮‧凡‧西斯薇克 氛圍谷 英國-東倫敦 1998

「假使你真想對改變社會結構盡一份心力,就要投入一段時間。」珍妮‧凡‧西斯薇克把這樣的 精神落實在〈氛圍谷〉計劃中,致力於集合東倫敦居民的心聲。因為在1998時,當地居民面臨了周 邊地區的都市縉紳化──換句話說,商業體系取代了當地文化。此計劃的一部份是凡‧西斯薇克 與策展人艾咪‧普蘭特建造了一台「氛圍偵查器」──簡單的鋁製箱型小推車,就像是行動式的卡 拉OK機,同時也擁有電台、錄音室、專業音響設備及數位錄音等複合功能。 計劃發表時,凡‧西斯薇克邀請了建築和城市規劃研究團隊CHORA一同佔領人行道(就像是街上 的小吃攤),並且請當地居民使用這台「氛圍偵查器」錄製他們的故事、演奏唱歌、表演或其他當代 文化的象徵,以反抗發生在此區域周邊的都市改造。另外, 「氛圍偵查器」也出沒在私人派對、當地 髮廊、商店、夜店、詩歌班、校園活動、市政會議及慶典等,凡是當地居民可能聚會討論的地點,皆 可看到它的蹤跡。CHORA團隊如今仍免費提供「氛圍偵查器」供居民使用,另也擔任技術支援與推 廣諮詢等。 凡‧西斯薇克在2011年得到創意時代頒發的「李歐諾拉‧安那伯格-藝術與社會改造獎」。早在 1993年開始,她就開始針對迫切的議題,透過發起各種溝通方式,進行可改善區域內居民關係的 公共藝術。例如,她最早的計劃是邀請阿姆斯特丹「證劵交易所美術館」 (Buers van Berlage)及紅 十字會共同以暴力時代下的人性尊嚴為概念,策劃一檔聯展計劃。2008年她提出振興鹿特丹南方 的Afrikaander市集計劃,邀請藝術家、攤販與消費者共同前來重建攤位,重新構思要銷售的貨物, 如此來為這個爭扎求生的地區創造新的經濟。


Jeanne van Heeswijk Valley Vibes East London, United Kingdom 1998 “If you really want to contribute to changes in social structures, you need time.” Jeanne van Heeswijk took this ethos to heart in Valley Vibes, her effort to gather the voices of East London’s residents, who in 1998 began witnessing gentrification—or the replacement of local culture for corporate business—in their neighborhood. As part of the project, van Heeswijk, along with curator Amy Plant, built a “Vibe Detector,” a simple aluminum storage container on wheels that functions as a mobile karaoke machine, radio station, and recording studio, equipped with a professional sound kit and DAT recorder. At the project’s launch, van Heeswijk enlisted members of the architecture and urban-planning research group CHORA to occupy sidewalks (à la street food vendors) and ask residents to use the available equipment to record their stories, music, performances, or any other signifier of local culture that countered the regeneration taking place in the neighborhood. The Vibe Detector traveled to private parties, the local hairdresser’s salon, shops, nightclubs, poetry readings, school events, municipal meetings, and festivals—wherever residents would gather to discuss issues important to them. CHORA still operates the Vibe Detector by offering the equipment for use free of charge, as well as technical assistance and marketing advice. Van Heeswijk is the 2011 recipient of the Leonore Annenberg Prize for Art and Social Change. Since 1993, she has created public art that mediates relationships among neighborhood residents by initiating different modes of communication around pressing issues. For one of her first projects, she organized a joint exhibition between Amsterdam’s Buers van Berlage art museum and the Red Cross that addressed notions of human dignity in an age of violence. In 2008, she revitalized the Afrikaander market in South Rotterdam by bringing artists, vendors, and consumers together to rebuild stalls, rethink the selection of wares for sale, and create a new economy within this struggling neighborhood.


21 維基解密 網際網路 2007年至今

2010年四月,一段影片震驚了媒體與外交界,並引發了全球對於新聞媒體與政府關係的爭辯,影 片內容為美軍飛行員在巴格達使用直升機對地面一群伊拉克記者開火。這段名為「附帶謀殺」的影 片是由「維基解密」所流出,此非營利組織目的要揭發世界各地的政府與企業的運作弊端。這個組 織由前電腦駭客朱利安‧阿桑奇以及一群科技人士、異議者與行動者所成立。維基解密的運作前 提是:只有在人民清楚瞭解國家與軍隊之運作的情形下,民主才能達到最佳狀態,並且政府才能 為其行動負責。 從過去歷史來看,大型媒體集團發佈較敏感的消息前會先與政府諮詢,與政府保持良好關係,未 來才能獲得更多消息。維基解密則是要大膽挑戰這樣的做法,他們避開傳統的協調過程,取而代 之的是透過網站,直接公開分類好的備忘錄、外交電報、影片與其他資料等。維基解密的理念為「 發佈透明的資訊才能為人民創造更好的社會」。 「透過良好的監督可以減少腐敗,強化政府、企業 及民間團體等社會機構的民主性。一個健全、活躍、實事求是的新聞媒體對此目標扮演了重要角 色。我們就是媒體的一部份」。但是以美國政府為主的批判則反駁維基解密,認為其做法已危及軍 事、情報人員以及其情報來源。 維基解密由一小群志工及800至1,000名網路加密、訊息審查和程式專家所共同組成。其機密資料 存在分佈於全球的伺服器──任何機構或政府都無法管轄。


WikiLeaks Online 2007– In April 2010, a shocking video of an American helicopter firing upon a group of Iraqi journalists on the ground in Bagdad stunned mainstream media and the diplomatic world, and inspired a global debate about the relationship between news outlets and the governments they report on. The video, titled Collateral Murder, was released by WikiLeaks, a whistle-blowing non-profit organization that since its inception has aimed to shine light on the operations of governments and corporations around the world. Founded by former computer hacker Julian Assange, as well as a group of technologists, dissidents and activists, WikiLeaks is guided by the premise that democracy works best when citizens are aware of state and military operations, and can hold governments accountable to their actions. Historically, large media groups consult with government sources before releasing potentially sensitive information, in order to leverage these relationships for greater access to information. WikiLeaks has challenged this process by eschewing such negotiations and releasing classified memos, diplomatic cables, videos, and other materials directly to the public via its website. “Publishing improves transparency, and this transparency creates a better society for all people,” states WikiLeaks’ mission. “Better scrutiny leads to reduced corruption and stronger democracies in all society’s institutions, including government, corporations and other organizations. A healthy, vibrant, and inquisitive journalistic media plays a vital role in achieving these goals. We are part of that media.” WikiLeaks’ critics, with the U.S. government at the helm, have countered that the organization’s practices have endangered military and intelligence personnel as well as their civilian sources. WikiLeaks operates with a small all-volunteer staff as well as a network of 800 to 1,000 experts who advise on issues such as encryption, vetting information, and programming. Its material is housed on servers around the globe—outside of the jurisdiction of any single institution or government.


22 海上婦女 不同地區 2001至今

「海上婦女」由雷貝卡‧岡珀茨醫師創辦,從2001年開始啓航的一艘船。這個婦女健康宣導團 體的目標是航行到世界各個視墮胎為違法行為的國家,進而提供海上墮胎服務。他們在荷蘭 登記成立海上墮胎診所。只要船在國際海域,停泊在港口外12英哩的海面上,即可依據荷蘭法 律,提供海上安全墮胎服務。不過,媒體報導產生了負面效應,例如:當船隻抵達葡萄牙時,即 有軍方干預活動;抵達波蘭時,曾被丟擲假血和雞蛋等。這段航行時間内,並沒有進行任何外 科墮胎手術,僅有50名婦女在船上接受其他方式的墮胎。海上婦女計劃經理琴雅‧曼德斯說: 「這艘船的確有許多爭議,但這對我們的政治主張卻一直是很重要的。我們一直希望能夠挑 起公開討論,我們要傳達的訊息是:墮胎不單單是的公共衛生問題,更是社會正義問題」。 這個小團隊由相關的醫護專家及社運人士所組成,在海上提供了避孕方法、懷孕檢測、性病知 識、開立墮胎藥(RU-486)處方籤,直到2008年才停航。結束海上航行後,海上婦女繼而在國際 展覽中展出這艘船隻,向藝術致敬。原來此計劃早期資金來自蒙德里安基金會,而且岡珀茨醫 師在學醫之前,也拿過藝術文憑。 「我們對行動主義與藝術間的關連很感興趣,」曼德斯說: 「並在邊緣的作法中找到具有創意 與概念性的解決方案。」目前這個組織以網站的方式營運,教導婦女安全自行人工流產的知 識,這在醫學上是無爭議的,但在政治上卻遭受攻擊:如何取得墮胎藥、哪裡可找到墮胎前後 的正確訊息與諮詢。網站每年至少有兩百萬個點閱數。


Women on Waves Multiple locations 2001– Women on Waves rocked the boat well before setting sail in 2001. Lead by physician Rebecca Gomperts, this women’s healthcare advocacy group aimed to provide abortion services in countries where the procedure is illegal. They built a seafaring abortion clinic registered in The Netherlands, anchored it 12 miles away from harbors in international waters, where they could operate under Dutch law, and attempted to safely bring women on board. Yet, media buzz resulted in strong resistance—such as military intervention as they approached Portugal, and pelts from fake blood and eggs in Poland. No surgical abortions were performed at sea, and only fifty women received abortions of any kind on the vessel. “But the boat created a lot of controversy, which has always been important to the campaign,” says Kinja Manders, project manager for Women on Waves. “Our goal has always been to stir public debate, and to send the message that abortion is not simply a public health issue—it’s a social justice issue. The small team, a mix of healthcare specialists and activists, provided contraceptives, pregnancy testing, information about STDs, and prescribed the abortion pill (RU-486) aboard until 2008. While the sea voyages have ended, Women on Waves has exhibited the boat in international exhibitions, in homage to the organization’s roots in the arts: Early funding was provided by the Mondriaan Foundation, and Gomperts earned a degree in art before attending med school. “We’ve always been interested in the link between activism and art,” Manders says. “And in finding creative and conceptual solutions that are on the edge.” The organization now exists online and educates women on safe, self-induced abortions, a medically uncontroversial, but politically charged practice; how to obtain abortion pills; and where to seek accurate information and counseling before and after an abortion. The website receives two million hits a year.


1. 艾未未 Ai Weiwei 2. 珍尼佛‧阿羅拉+吉拉莫‧卡札德拉 Jennifer Allora and Guillermo Calzadilla 3. 拉拉‧阿爾瑪雀紀+貝戈尼亞‧莫梅利安 Lara Almarcegui and Begoña Movellán 4. 阿帕影像工作站 Appalshop 5. 怎麼辦? Chto delat? (What is to be done?) 6. 特萊娃‧卡萊儂+奧利佛‧科赫塔‧卡萊儂 Tellervo Kalleinen and Oliver Kochta-Kalleinen 7. 去殖民建築與藝術進駐團體 DAAR (Decolonizing Architecture Art Residency ) 8. 法瑞德‧亞罕吉爾+沙珊‧納席瑞+碧塔‧法雅席+阿塔‧哈席麥雅+可斯羅‧哈珊席德  Farid Djahangir, Sassan Nassiri, Bita Fayyazi, Att Hasheminejad, and Khosrow Hassanzedeh 9. 海倫那製作小組 Helena Producciones 10. 蘇珊‧雷西 Suzanne Lacy 11. 瑞克‧羅+山姆‧杜蘭+潔西卡‧庫西克 Rick Lowe with Sam Durant and Jessica Cusick 12. 馬蒂‧格拉斯印地安社區 Mardi Gras Indian Community 13. 哺乳動物潛水反射效應團體 Mammalian Driving Reflex 14. 凱特里娜‧色達 Katerina Šedá 15. 納文‧羅望查庫 Navin Rawachaikul 16. 凱米‧羅薩多‧賽久 Chemi Rosado Seijo 17. 亞西‧派卓.路加 Athi-Patra Ruga 18. 解放廣場 Tahrir Square 19. 美國社會論壇 The U.S. Social Forum 20. 珍‧凡‧西斯薇克 Jeanne Van Heeswijk 21. 維基解密 Wikileaks 22. 海上婦女 Women on Waves

立方計劃空間 TheCube Project Space 策展人 Curator | 鄭慧華 Amy CHENG 專案管理 Project Manager | 羅悅全 Jeph LO 專案助理 Project Assistant | 梁以妮 Ini LIANG 行政助理 Exhibition Assistant | 董淑婷 Dale DONG 展場技術 Technical Support | 藝術戰爭公司 Art War Company 翻譯 Translator | 梁以妮 Ini LIANG 特別感謝 Special Thanks | 蔡家榛 Jia-Zhen TSAI *本場地由國家文化藝術基金會、台北市文化局贊助

主辦 Co-organizoers 贊助 Sponsors

Living as Form-The Nomadic Version  

立方計劃空間與紐約「獨立策展人國際聯盟」(Independent Curators International,簡稱ICI)合作,於台北展出《生活作為形式》巡迴版(Living as Form [The Nomadic Version]),由策展人納托.湯普森(Nato Thom...

Living as Form-The Nomadic Version  

立方計劃空間與紐約「獨立策展人國際聯盟」(Independent Curators International,簡稱ICI)合作,於台北展出《生活作為形式》巡迴版(Living as Form [The Nomadic Version]),由策展人納托.湯普森(Nato Thom...

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