藝術永續國際論壇International Forum for Art and Sustainability

Introduction

In recent years, the impact of climate change has become an issue that nobody can ignore. Many countries, including Taiwan, have announced their plan to achieve the goal of “2050 net zero emissions.” This has become a mutual goal around the globe.

The root cause of greenhouse gas emissions is the lifestyles that we lead. This includes the food we consume, our clothing, housing, transportation, education and entertainment. In order to achieve the goal of net zero emissions, we need to begin by changing ourselves.

In the United Kingdom, United States, Canada, Australia, Europe, and other countries, important international art organizations and related industries have been proactively establishing advocacy organizations to initiate the tide of change for sustainability. Not only have venues and artists been involved in the practice of carbon reduction, but also international industries of music, galleries, outdoor art festivals, film and television, etc. have joined the initiative for sustainable art. The concept that we share is: “Climate change is a global crisis, and we artists can never stay out of it”.

As a pioneer among arts universities in Taiwan and to celebrate Taipei National University of the Arts’ 40th anniversary, our school would like to be the first to make

“Sustainable Art” the focus in our next stage of development. The first step is this forum: 2022 International Forum for Art and Sustainability which will be held in December this year, and will be served as the base that we shall build upon. The purpose of this forum is to promote and attract attention to the issues on sustainability, in hopes of inspiring more proactive and diverse actions in various fields. More than twenty important speakers from around the world and Taiwan are invited. Two keynote speeches and five major themes are arranged in the two-day conference covering the following issues: “Global Sustainable Transformation under the Climate Crisis”, “Sustainable Theatre Operations”, “Sustainable Productions”, “Circular Design and Recycled Materials”, “Sustainable Design”, “Sustainable Visual Arts”, and “Sustainable Festivals”.

Taipei National University of the Arts would like to set itself as an example, initiate the international communication, then promote the widespread of it, attract the general attention of the society for the issues on sustainability, hoping to inspire more proactive and diverse practical actions in various fields.

President’s Message

In the transcendent information-based life of the 21st century, there are two specific magical worlds running in parallel at full load simultaneously, and the excessively complex systems running through them beyond our understanding every second. Still, they connect these two strange times and spaces without hindrance. However, most people misunderstand the world, thinking of it as it appears in a corresponding way of separating the virtual from the real. On the contrary, the digital fractal of reality, which is interlaced and complementary across time and space, and hyper-connected, is unexpectedly broken between the refined metaverses. However, the pursuit and consumption of a large amount of energy across the centuries have completely distorted the basic form of the primary world of civilization: the acceleration of everything has led to the rapid mutation, disintegration, and extinction of our living places. We have been entirely trapped in the quagmire created by human beings and become immobilized!

The global pandemic that began in 2020 has made us urgently realize that this diverse world will no longer be the same as the past time and space. The ecology, methods, and forms of artistic perception, exhibitions, and performances will also be completely influenced by the environmental factors, forcing the fundamental conditions to change drastically. Not only the widespread application

of technological intelligence but also the seamless spatial distances will be a new challenge and a new reality for the world as a whole. “Where are we heading” has become the future chief topic of “sustainability” for artistic creation, exhibitions, performances, and research.

We used to put less emphasis on the sustainable issues of arts, perhaps it is the lack of immediate urgency, always loosely thinking that there is still time to respond. However, after experiencing the worldwide common pandemic problem and difficult situation, we stopped to seriously think about and see through the complex and intricate root causes of the problem, and therefore, we were able to form a tacit understanding with a high degree of consensus very quickly——maintain the sustainability. In addition, we also withstand the pressure of the reality that “arts cannot stop, arts will not stop!” However, in order to achieve such a state of affairs, it is necessary to be able to carry out contextual and systematic adjustments that affect the whole body. Without such active transformation, it will be difficult to create a new artistic reality that can bear the changing world.

Therefore, our attention will be practiced in several main core dimensions, which will be promoted continuously and sequentially in a long-term stage as follows:

1. Dynamic confirmation and positioning of sustainable subjects: confirmed by the rolling connection relationship

of a single subject, multiple subjects, and flowing subjects, avoiding single centralization and exclusion.

2. Cognitive interactive platform construction: discuss in parallel the cross-discipline knowledge context and topic, exchange the thoughts of different domains, from the reference of problem models to the presentation, sharing, collaboration, learning, and prosperity of solutions.

3. Transformation of the arts ecosystem: through the speculation, variation, and turning of the concept of time and space, resolve the production logic myth of one-time consumption; the organic intelligence process for complex mechanisms, hardware, and software.

4. Sustainability and expansion of system feedback: from self-intensification of the system, generalization of the whole, to self-optimization beyond the system.

5. Transgenerational evolution towards a high-performance circulation: becoming the foundation of the sustainable normality of the metaverses.

6. Linkage of the global network: a complete operation of the earth and the virtual world; ensuring the ontological value of human “eternal return”.

In the foreseeable future, the continuous development of multi-dimensional synchronization can only be the first step of change! This difficult step will determine what kind of “green production” arts can support itself in this

century, and what kind of new metaverse world it will be. Our expectations and desires will decide how far we can go, which also determines the artistic appearance of the future world. When we have a comfortable life with more efficiency, we can construct a life value with deep practical significance; but at the same time, we exchange for a more fragile earth—its fragility is temporarily overwhelmed by human endless desires—to a degree beyond any sensitive apprehension of our sensual world. We know that a kind of unexpected collective ignorance and silence has dazzled and flowed among you and me for a long time, conversely urging us in every minute and every second, and we must bravely face the predictable encounters that human beings face together. Let us use the absolute spiritual energy of artistic tightrope performance to face the cross-century dilemma; in the end, it is possible for us to receive all the beauty of the world with artistic lightness. We are convinced that we can go that far together with our dedicated intentions: “Initiating Arts and Sustainability”; just like arts, it represents a completely awakened determination to practice arts in the future, and this will not be our last show!

National University of the Arts President

Taipei

Since the first industrial revolution, the increase in greenhouse gas emissions from industrial production has led to the rise of the earth ’ s temperature. In the second half of the 20th century, there was a sharp increase in the world ’s population, which made global warming more pronounced. Natural disasters such as large-scale droughts, floods, and forest fires have become more prevalent in various regions. Realizing the urgency of the problem, the 2015 United Nations Climate Change Conference was called and the Paris Agreement was created. The goal, “ substantially reduce global greenhouse gas emissions to limit the global temperature increase in this century to 2 degrees Celsius while pursuing efforts to limit the increase even further to 1.5 degrees, ” was set. Since then, governments of various countries have successively put forward declarations and plans to achieve net zero emissions by 2050, and then Private Sector and the Third Sector have joined the ranks. The arts and cultural industries also hold responsibility in this action. Arts and cultural organizations and artists of different fields have started climate initiatives, trying to promote the sustainable change of art in the general environment.

The British non-profit organization, “ Julie's Bicycle, ” established in 2007, was the first among arts industries to take action against the climate crisis. A vision discussed at a party inspired this organization to transform themselves from music industry only into an organization that mobilizes the cultural and arts industry to take action against the climate ecological crisis. Through artistic productions, speeches, training, and guidance, the public was inspired to take action to combat climate change, and it has substantially influenced UK policies on climate change. The Dutch non-profit organization, “ Ki Culture, ” is also committed to integrating sustainable concepts into culture and arts. They provide step-by-step guidelines, tool development, and network connections which includes instructors, knowledge platforms, operation guides, training programs, and workshops. Through the promotion of executable solutions and operation methods in the field of cultural assets, more cultural and arts departments and artists at home and abroad will be encouraged to adopt sustainable actions. Moreover, culture will be used as a medium to educate audiences, communities, and the public about the importance of sustainable development to encourage continuous attention on sustainability.

We are honored to have Caitlin Southwick, Founder & Executive Director of Ki Culture & Sustainability in Conservation (SiC) here with us to share how Ki Culture connects the arts and culture industry with the public and implements sustainability to impact

stakeholders. We are also very pleased to have Alessandro Sossa-Izzi, Corporate Communications Project Manager of DELTA, and Steven Yang, CEO of Canopy Impact Investment, with us to share their thoughts on how managers select the most optimal plans for sustainable development so as to persuade enterprises to cooperate with changes, investors to recognize value, and consider the role that the arts and culture industry plays in sustainable transformation.

In 2013, the world’s most influential organization in the circular economy—Ellen MacArthur Foundation—emphasized that design is the indispensable part in the circular economy. The foundation proposed four objectives: power of the inner circle, power of circling longer, power of cascaded use, power of pure circles. In 2015, the EU adopted the “Closing the loop - An EU action plan for the Circular Economy” to reduce the harm that resource consumption does to the environment. In 2020, the “New Circular Economy Action Plan - For a cleaner and more competitive Europe” was adopted to emphasize the goal of assisting industrial development and enhancing GDP through the circular economy .

The circular design is a set of design methods. By developing long-lasting and durable products that are easier to repair, disassemble and assemble, the speed of product cycle will slow down. With many successful cases of circular design, more and more companies have considered this as their new business models and product development goals in recent years.

MUJI, the representative brand of Japanese household goods, showcased the exhibit, Product Fitness 80, in 2012. MUJI reconsidered the production process, delivery, disposal, recycling, and other stages that the product experiences. The suitability of the product’s size, packaging,

production quantity, transportation and waste production is thoroughly examined to achieve a reasonable balance.

Naoto Fukasawa, a designer and member of the MUJI design advisory board, believes that “once a good design is supported by people, it means that the design reflects the common concept of people.” His idea corresponds with the circular design goal. The value of circular design should be conveyed to consumers, so people understand that products or services that support circular design is not a loss in quality, but is rather a force of support for sustainable social, economic, and environment.

We are very honored to have Naoto Fukasawa, Master in Product Designer, here to share his philosophy and experience, and the relationship between product design and sustainable development. We are very delighted to have Chi-Yi Chang, President of Taiwan Design Research Institute, here to discuss with Naoto Fukasawa regarding the implementation of circular design in the design industry, and the possibility of using circular economy as the driving force for better business, innovation and sustainable social development.

Performing arts venues provide stage lighting, audio, and other equipment when serving performance groups. But these services consume a lot of energy and resources in the name of artistic creation. While hosting audiences, the venue provides amenities such as food and beverages, and a place to purchase goods to meet the demands of customers but this service generates a surplus of waste. With the threat of climate change and higher energy costs due to resource scarcity, the problem described above will only become more and more obvious. The venues are bound to find solutions to minimize their own impact on the environment and to reduce operation costs. In the past, theaters have always been a platform for valuable communication. The question now is how can performance venues communicate their sustainability policy to stakeholders and make them understand and agree? How can they be convinced to put these policies into practice?

The Sydney Opera House, located on the shore of Sydney Harbor, incorporated sustainable operation into its architectural design as early as its construction. In 2010, it released its first sustainable environmental development plan which aligned with the UN’s sustainable development

goals (SDGs) into its operational blueprint, showing its commitment to being a leader in environmental and social sustainability. With the launch of environmental, reconciliation and accessibility action plans, the Sydney Opera House has significant achievements in social, environmental and governance aspects, and indeed is a catalyst for inspiring positive change.

The European Theatre Convention (ETC), with 55 members and theatres from 30 countries all over Europe, is the largest theatre network in Europe. ETC has set up a Green Theatre Committee in 2021, drawn up an ambitious sustainability action code for theatres and pledged to become a climate neutral network by 2030 and leading transformation for creating a greener, more sustainable, and just future.

We are honored to have Emma Bombonato, Environmental Sustainability Manager of the Sydney Opera House; Heidi Wiley, Executive Director of the European Theatre Convention (ETC) and Michaela Rýgrová, Sustainable Adviser of the European Theatre Convention (ETC), to share their sustainability initiatives and experience. We are also delighted to have our first keynote speaker, Caitlin Southwick, and Joyce Chiou, General and Artistic Director of National Taichung Theater to join the talk and to discuss about how theatre venues can achieve environmental sustainability and create social value through transformation.

The beauty of performing arts is that each time the production is put on, the outcome is always different. The difference is in the fleeting atmosphere of time and space. However, behind this beauty is the consumption of a lot of energy and resources. Each theatrical production requires time-consuming and laborious sets, props, and costumes. However, due to the scarcity of openings at theaters and the pursuit of novelty, often after the performance, the finished sets are discarded. Not only is it a pity for the production itself, but it is also a great burden on the environment. It is like the sparkler that shines for only a few seconds, leaving a trail of grey and black. However, this phenomenon has changed in recent years.

In order to respond more actively to the global climate change crisis, the project, Theatre Green Book, cosponsored by the Association of British Theatre Technicians, the Theatres Trust, and Buro Happold, has compiled “Theatre Green Book - Sustainable Production.” This volume contains guidelines on green practices to create sustainable productions, including encouragement of the use of second-hand, recycled materials. It provides guidance for the production team on how to think about sustainability, how to plan green productions, and how to divide the roles and responsibilities between production members. Many theatres in the UK and across Europe have announced that they will adopt these guidelines in their future productions.

For example, Opera North’s remake of Alcina, which had twice been delayed due to the pandemic, was reproduced in accordance with Green Book’s guidelines when it restarted in 2022. Its stage and costume designs were created from existing second-hand scenes and props in accordance with the Green Book's recycling and reuse guidelines.

We are honored to have Paddy Dillon, Director of Theatre Green Book, to introduce the origins and guidelines of the book, and Dawn Furness, Sustainability Champion of Opera North, along with Kieron Docherty, the Technical Director of Opera North to share their experience after adopting the guidelines to their production. We are also very delighted to have Austin Wang, CEO of Taipei Performing Arts Center, here to share his thoughts on the practice and the challenges of sustainable productions.

The past three years of the pandemic caused great economic loss to America's performing arts industry. After incidents of racial discrimination, theater professionals began to reconsider their responsibility on social, economic, and environmental issues. They also asked the question of whether it is society that needs theater, or theater that needs society. While the world is scrambling and bargaining in the face of climate change, survival challenges, and war and sanctions, how should theater respond to these conditions, and what can the industry do to improve the world?

To spark conversation and to discuss and sketch the future of theater, the faculty and theater personnel of the Department of Theater at Barnard College have put together, “The Sustainable Production Toolkit.” This guide is based on practical experience and analyzes the problems and solutions that various departments of theater production have encountered. It provides free resources to performing arts organizations on sustainability. Materials for the Arts, a creative reuse center located in New York City, is a place that collects donated reusable materials and provides these materials free of charge to non-profit, cultural and arts organizations, public schools, and city agencies. In addition, they also offer an education center that provides courses and activities for creative reuse. They visit communities to share the art of reuse, giving meaning

to items that would have been in landfills.

We are honored to have Sandra Goldmark, Director of Campus Sustainability and Climate Action of Barnard College, Tara Sansone, Executive Director of Materials for the Arts at NYC Department of Cultural Affairs, and John Cloud Kaiser, Gallery Director and Director of Education at Materials for the Arts, here to share their thoughts on the sustainability issues the United States has faced in the history of theater production, and the solutions to these issues. We are also delighted to have Chin-Cheng Chen, Chairman of Performing Arts Alliance, here to discuss possible solutions on disposing products left behind from performing productions in Taiwan, keeping sustainability in mind.

consuming of all cultural and arts industries which is about twenty-eight times that of libraries. The main reason is that in order to maintain the constant temperature and humidity required by the collections in the museum, a lot of energy is consumed. In addition, works of art traveling internationally and transportation between venues require large quantities of packaging and display and binding tools. This is the largest source of carbon emissions in the visual arts industry.

In order for visual arts institutions to pay more attention to the impact that their industry has on the environment, international galleries and curators led by the United Kingdom have set up a non-profit organization called, “Gallery Climate Coalition.” The organization’s goal is to provide sustainability guidelines and call on more visual arts organizations to calculate their carbon footprint and develop carbon reduction plans. The objective is to reduce the visual arts industry's carbon emissions by at least 50% globally, by 2030. Coincidentally, Taiwan’s visual arts institutions have also begun to pay attention to sustainability issues inside and outside the industry. By sharing professional knowledge and experiences, they have planned specific carbon reduction measures and have called on art partners with the same beliefs to cooperate and contribute to climate change mitigation.

We are very honored to have Heath Lowndes, Managing Director & Co-founder of Gallery Climate Coalition and Long -Sheng Shih, Chief Executive Officer of YIKE ZHIKU, here to share the sustainable initiatives that are available in visual arts around the world and in Taiwan. They will also share the reasoning behind these initiatives. We are also very pleased to have Yao-Hua Su, Chairman of Association of the Visual Arts in Taiwan, and Peini Beatrice, Hsieh, Sustainable Art Strategy Consultant of Gallery Climate Coalition Taiwan, here to share their thoughts on how Taiwan’s visual arts industry can cooperate with international organizations and join the ranks of green initiatives.

Festivals are unique to human beings. A large group of people escape from individualism and pursue collective action and delight. The most extreme case of this is at carnivals. Be it a festival or a carnival, integrating services such as arts and cultural performances, commercial goods, food, and sightseeing, magnifies the charm of the overall event. However, wherever humans go, litter follows. The transportation needs of the hosts and the consumers also increase with the expansion of the event. These external spendings are easily overlooked in the estimation for costs of the festival.

Festivals Edinburgh is a consortium of 11 Festivals in Edinburgh, including the well-known Fringe and the Edinburgh International Festival. Building on a culture of collaborative working, the Directors of Edinburgh’s leading Festivals came together in 2007 to formally establish Festivals Edinburgh with a mission to maintain and develop the value of the Festivals’ and the Festival City’s position locally and globally, through development and delivery of

collaborative projects and initiatives. The Edinburgh Festivals have been working together to share knowledge on reducing their environmental impacts since 2011, when they cofounded Creative Carbon Scotland and then the Green Arts Initiative which now has 280 members nationwide. In 2020 the festivals agreed a shared Carbon Reduction Route Map identifying key areas of responsible and leading practice. In 2021, the Festivals then announced plans to respond to the climate emergency and help Edinburgh achieve its goal of reducing carbon emissions to net zero by 2030.

On the other side of the world, i Light Singapore, Asia’s leading sustainable light festival first held in Marina Bay in 2010, showcases light art installations created by Singaporean and international artists. These artworks are designed with energy-saving lightings and/or environmentally-friendly materials to encourage festival goers and the general public to adopt sustainable habits in their everyday lives. The Festival also strives to raise awareness of sustainability and encourage the community to adopt an eco-conscious lifestyle through various initiatives such as “Switch Off, Turn Up campaign”, “i Light i Pledge initiative” and “i Quest”, an app for festivals goers to pick up tips on sustainability and stand a chance to win prizes.

We are honored to have Romane Boyer, Green Arts and Edinburgh Festivals Officer, and Jason Chen, Festival

Director of i light Singapore and Director for Place Management, Urban Redevelopment Authority (URA) here to share their initiatives and achievements on sustainability.

We are also delighted to have Ying-Ping Lee, CEO of The Lovely Taiwan Foundation, here to share her thoughts on how to discover the goodness of Taiwan through festivals as well as to stimulate the sustainability of township culture, local industry, and natural resources.

Keynote Speaker

護中心 (Getty Conservation Institute) 、烏菲茲美術館 (Uffizi Gallery) 以及復活節島 (Rapa Nui) 。另外，她也在國際博物館協會 (ICOM) 的永續發展小組 (Working Group on Sustainability) 擔任秘書，是歐洲氣候指導委員會的會員，同時也是氣候保護同盟 (The Climate Project) 的氣候現實領導者 (Climate Reality Leader) 。

Caitlin Southwick is the Founder and Executive Director of Ki Culture and Sustainability in Conservation (SiC). She holds a Professional Doctorate in Conservation and Restoration of Cultural Heritage from the University of Amsterdam. Before founding Ki Culture, Caitlin worked in the conservation field for eight years in museums and sites around the world, including the Vatican Museums, The Getty Conservation Institute, The Uffizi Gallery, and Rapa Nui. She is the Secretary of the Working Group on Sustainability for the International Council of Museums (ICOM), a member of the Steering Committee on Climate for Europeana, and a Climate Reality Leader for the Climate Reality Project.

深澤直人 Naoto Fukasawa

2006 年，他與 Jasper Morrison 一起成立了 「 Super Normal 」， 2017 年，他當上了羅意威基金會工藝獎 (LOEWE Craft Prize) 評 審委員會的成員。他同時也是多摩美術大學統合設計學科的教授，並且自 2012 年起， 擔任日本民藝館的館長。 深澤直人曾經獲得日本國內外機構所頒發的許多獎項，其中包括了 2018 年度的野口 勇獎。他曾經出版數本著作，其中最新的一本是 2018 年出版的《 Naoto Fukasawa EMBODIMENT 》 (PHAIDON 出版 ) 。

Naoto Fukasawa is Known for his designs devoted to simplicity and sublime beauty, as well as unusual ideas. Fukasawa has designed for a wide range of leading brands worldwide like MUJI, HERMAN MILLER, B&B ITALIA, BOFFI, MARUNI, and many others throughout Europe, America, and Asia. His designs, unique ideas, and consultancy work span a wide variety of fields, from precision electronic equipment to furniture and interior spaces.

Fukasawa is one of the directors of 21_21 DESIGN SIGHT. He also sits on the design advisory board of MUJI and is the art director of MARUNI. In 2006, he established “Super Normal” with Jasper Morrison. In 2017, he became a member of the judging committee for the LOEWE Craft Prize. He is a professor in the Integrated Design department at Tama Art University. Since 2012, he is the chairman of The Nihon Mingei-kan (The Japan Folk Crafts Museum).

Winner of numerous awards given by domestic and international institutions, including the 2018 Isamu Noguchi Award. He published a few books, the recent one in 2018‘Naoto Fukasawa EMBODIMENT' (PHAIDON).

演講人 介紹 Lecturer

Emma 是雪梨市永續目標夥伴 (Sustainable Destination Partnership) 的領導團隊的主席，同時也是新南威爾斯州遺產委員會遺產 諮詢小組 (Heritage Council Heritage Advisory Panel) 的成員。

Emma is driven by purpose and inspirational leadership in sustainability, with a passion for the role that both culture and cultural institutions play to support sustainable cities and communities. She has proven experience in strategic engagement, improving building performance, project delivery and navigating the environmental risk management and governance landscape.

Emma has an environmental science background and has 20 years of experience working in collaboration with people, agencies and organisations to help influence and bring about positive and sustained change. Emma joined the Sydney Opera House in 2017, her role is to strategically support the implementation of the Opera House’s Environmental Action Plan and to help set the future direction of the program. Emma is the Chair of the City of Sydney’s Sustainable Destination Partnership leadership and a member of NSW Heritage Council Heritage Advisory Panel.

(Victoria Chaplin) 擔任國 際製作人與巡迴演出經紀人，協助他們在歐洲以及亞洲的主要藝術節活動以及劇院場地 巡迴演出。她是一位具有深厚學識的文化領域經紀人，曾在法國索邦大學 (Sorbonne University) 以及德國呂訥堡大學 (Leuphana University) 取得學位，在過去 25 年裡， 她曾在英國、美國、法國以及德國等地居住與工作。

Heidi Wiley is Executive Director of the European Theatre Convention (ETC). Appointed ETC’s Executive Director in 2009, Heidi Wiley established ETC as a European network with an international programme of artistic collaboration, professional development and advocacy for Europe’s public theatres spanning 30 countries. Under her leadership, ETC became a strategic partner of the European Commission and was awarded European prizes for youth theatre and digital theatre productions in the fields of audience development and cultural heritage as organisation for its outstanding achievement. She is a renowned moderator and speaker at international conferences. In 2020 she was co-initiator of the 1st European Theatre Forum of the European Commission and the German EU Council Presidency; and in 2021, Consultant for European cultural policy agencies KEA (Brussels) and PPMI (Vilnius). Heidi started her career as international producer and touring manager for artists Victoria Chaplin and the Tiger Lillies, touring around Europe and Asia at major festivals and theatre venues. A studied cultural manager with degrees from La Sorbonne and Leuphana University, she has lived and worked over the last 25 years in the UK, US, France and Germany.

Michaela Rýgrová is a project manager of Greenfilming.cz, sustainability consultant in creative industries and artist. She is driven by a passion for culture, innovation, sustainability, art, communities and a better world. She consults for the European Theatre Convention, teaches Sustainability and Ecology in Arts at Academy of Performing Arts in Prague and gives lectures, workshops and talks in Czechia, Slovakia and on international platforms. In 2014 she published a book The Sustainable Theater.

Michaela comes from a production management and journalism background. She has worked with wide range of organizations and artists in: theater (Prague Quadrennial, Forman Brothers Theatre, National Theater); film (Czech Lion Awards, documentary movies Passage to passage, My Neighbour Killed Heydrich); arts Winton’s Trainsexhibitions); casting and talent management; and produced conferences supporting ecological and social concerns. She was the first Burning Man Project Fellow and worked with its Global Network and conducted research within the European Community (including Middle East and Russia) to support its future and innovation, consulting in areas of production, logistics, security, communication, networking, relationship management, developing conferences and managing new educational programs.

Paddy 受到英格蘭藝術委員會 (Arts Council England) 以 及大倫敦市政府的委託，參與了通用於所有文化組織的綠皮書的部分製作工作。 Paddy 是國際劇場工程暨建築師會議 (International Theatre Engineering and Architecture Conference) 的主席，這個劇場會議組織在全球八大城市都有舉辦相 關活動。他曾在英國劇場信託組織 (Theatres Trust) 擔任副主席以及主席等職位直 至 2021 年。

Paddy Dillon is one of the UK’s leading theatre architects, responsible for the regeneration of the National Theatre, in London, alongside many other projects. In 2020 he initiated the Theatre Green Book, a project to help theatre-makers work together towards a sustainable future for theatre. Uniting all the UK’s leading theatre organisations, it brought theatre-makers together with sustainability experts to define clear guidance and shared standards for the journey to zero carbon. The Theatre Green Book is now translated into several languages, and is being used worldwide, including by all the UK’s leading theatres and opera companies. Paddy has since been commissioned by Arts Council England and the Greater London Authority to develop part of the Green Book to serve all cultural organisations.

Paddy is chair of the International Theatre Engineering and Architecture Conference, a theatre conference with events in eight global cities. He was deputy chair, then chair of the UK Theatres Trust until 2021.

Dawn is the new Sustainability Champion for Opera North. She read physics at Manchester University and completed postgraduate research in music technologist and electro-acoustic composition at Newcastle University.

As a professional opera singer and Fellow of the Royal Schools of Music (in Operatic Performance), Dawn has performed with Scottish Opera and her own touring company, Opera-X. She has worked in education and outreach for multiple music organisations and as a peripatetic singing teacher and vocal consultant.

In 2019 she was elected to the Executive of the Green Party of England and Wales and served as the Co-Ordinator of the North East region and the co-chair of the national Green Party women’s caucus. She has previously stood as the Blyth Valley Parliamentary candidate in the 2015, 2017 and 2019 General Elections and was the MEP candidate and campaign manager for the 2019 European elections.

Dawn currently works as a sustainable development producer and documentary filmmaker and has written and directed 2 UKFC feature films and multiple shorts. She creates sustainable digital art as a response to climate change using sound design, poetry, film & music. In her spare time she gardens, sings and plays jazz piano.

Kieron hails from Southampton, England and studied English and Drama at Barton Peveril College. He has worked in professional theatre, predominantly opera, since 1987 first as a stage and lighting technician in many local theatres including The Nuffield and Mayflower theatres in Southampton, before joining the Royal Opera House in 1989. He went on to work as head of department there for eight years before becoming a freelance production manager in 1998, working for companies such as Wexford Festival Opera, Opera Ireland, Opera North, British Youth Opera, the Opera Group, London City Ballet and Ballet Central.

Kieron then joined the English National Opera in 2001, first as a production manager, then as Head of Production working on a variety of international productions including many for The Metropolitan Opera in New York, including Satyagraha which as an early example of recycling old productions and existing items into a new show.

He joined Opera North as Technical and Production Director in 2015, overseeing all productions including Not Such Quiet Girls, Seven Deadly Sins and Alcina which again were created using old productions to create new work.

織設計的氣候行動與永續發展的免費資源。她同時也為哈德遜谷莎士比亞節 (Hudson Valley Shakespeare Festival) 的董事會工作。她的作品曾在《紐約時報》、《華爾街 日報》、 MSNBC 、英國廣播公司、《星期日泰晤士報》、《每日新聞》、 Salon.com 等多家媒體上發表。Sandra 也是《修理：如何在不破壞地球的情況下擁有東西 (Fixation: How to Have Stuff without Breaking the Planet) 》的作者。

Sandra Goldmark is a designer, professor, entre- and intra-preneur of regenerative and circular climate responses. Sandra serves as Senior Assistant Dean for Interdisciplinary Engagement at the Columbia Climate School, and Director of Sustainability and Climate Action and Associate Professor of Professional Practice at Barnard College. From 2013-2019, Sandra founded and operated Fixup, a social enterprise repair service dedicated to healthy and circular patterns of consumption. Sandra is a co-creator of the Sustainable Production Toolkit, a free climate action and sustainability resource for performing arts organizations, and serves on the Board of the Hudson Valley Shakespeare Festival. Her work has been featured in The New York Times, The Wall Street Journal, MSNBC, the BBC, The Sunday Times of London, The Daily News, Salon.com, and many more. Sandra is the author of Fixation: How to Have Stuff without Breaking the Planet.

礎藝術教育計畫，這個專案計劃已經在紐約市的社群裡發展成一個獨立的機構了。她讓 原先規模僅限於少數活動的組織內部計劃發展成一個健全的年度計劃，其中包含了教育 研討會、學校合作計劃、季節性音樂活動，各種活動的參加人數通常都會超過 3,000 人。 Tara 擁有亨特學院的美術學士學位、普瑞特藝術學院的創意藝術治療碩士學位、並且 持有城市永續農業與芳香療法的認證。

With two decades of working in the Arts, Education and Sustainability, Tara Sansone is currently the Executive Director of Materials for the Arts where she oversees all aspects of the organization. In this role, she manages a diverse array of teams including the donation program, internal operations and special events and programming. At MFTA, she has been responsible for developing strategic relationships with City Agencies, schools, artists and businesses in NYC to double the quantity of donations shared with the community and see the donations go into the hands of those who can use them.

Prior to MFTA, Tara was the Director of Public Programming and Community Relations at artist Mark Di Suvero’s acclaimed Socrates Sculpture Park in LIC for 10 years, where she was responsible for creating community programming and developing foundational arts education programming that has become an institution within the NYC community. She grew the organizational programming from a handful of events to a robust annual program of art education workshops, school partnership programs, seasonal & music events with attendance often ranging in excess of 3,000 attendees.

Tara holds an undergraduate degree in Fine Arts from Hunter College, a Master’s degree in Creative Arts Therapy from Pratt Institute, is certified in Urban Permaculture and Aromatherapy.

John Cloud Kaiser is the Gallery Director and Director of Education at Materials for the Arts in New York City. Since starting his art collective The Freestyle Family over 20 years ago, he has been dedicated to artwork made from re-used materials, art that impacts communities, and art that examines sustainability across our society.

A graduate of New York University, Kaiser lectures at conferences, teaches workshops to NYC students and teachers, curates art exhibits, and advocates for arts access. He has exhibited art projects throughout New York including PS1, Storm King Art Center, and Governors Island. He has been featured in The NY Times, collaborated with CERN in Switzerland, and was selected as Arts Administrator of the Year by the NYC Art Teachers Association.

Heath 是 PACT ( 藝術夥伴氣候目標聯盟 ) 的聯合創辦人，該組織的宗旨，就是在全 球文化領域與氣候領域的交集範圍之內，為各種組織制定標準、謀求目標的一致化。 在投入環保事業以前， Heath 曾經在許多位於倫敦的畫廊以及藝術工作室裡工作。

Heath Lowndes (b. London, UK 1990) is co-founder and Managing Director of Gallery Climate Coalition (GCC). GCC is an international charity and membership organisation set up to provide sector-specific resources and guidelines on environmental sustainability.

The coalition’s primary targets are to facilitate a reduction of the visual art sector’s greenhouse gas emissions by a minimum of 50% by 2030 (in line with the Paris Agreement’s goal of keeping global warming to below 1.5°C), whilst also promoting zero-waste practices.

GCC has 800+ international members committed to decarbonisation, including artists, museums, art-sector businesses and commercial galleries. GGC also has regional volunteer teams operating in Germany, Italy, United States, UK and Taiwan.

Heath is a co-founder of PACT (Partners on Arts and Climate Targets), a collective established to set standards and align targets amongst organisations working at the intersection of culture and climate globally.

Prior to his focus on environmental initiatives, Heath worked for several galleries and artist studios in London.

Mr. Shih has worked on observation and research in the field of contemporary art environments and markets. For many years, he has devoted himself to the promotion of a variety of investigations and research for domestic cultural and arts policies and related legislation revisions. Previous positions: SecretaryGeneral of the Taiwan Art Gallery Association, Chief Executive Officer of the Taipei Art Economy Research Centre (a research body under the Taiwan Art Gallery Association), Chief Executive Officer of the Art Emperor Research Center (a subsidiary unit of Art Emperor Technology & Culture Co. Ltd), and concurrently serving as the Chief Strategy Officer of the Gallery Association. He is currently the Chief Executive Officer of the YIKE ZHIKU, engaged in the development and basic research of digital technology application tools in the field of visual arts.

對藝術的興趣來 自於童年的音樂演奏薰陶以及多年以來參加花式游泳運動比賽的過往經歷。 在蘇格蘭創意碳組織 (Creative Carbon Scotland ， CCS) 任職時， Romane 發起了 「綠色藝術倡議 (Green Arts Initiative) 」，促進文化組織社群減少溫室氣體排放，並 為愛丁堡藝術節 (Edinburgh Festivals) 實現淨零排放的宏遠策略提供協助。

Romane Boyer has a background in environmental sustainability (MSc in same from University of Edinburgh), specialising in circular economy and the arts sector. Previously she studied peace and conflict in Sweden where she focused her final thesis on environmental peacebuilding and chaired the Education Interest Group at the Environmental Peacebuilding Association (a non-profit that brings together an international community of academics and practitioners on issues related to the environment, conflict, and peace) for two years.

She has experience of initiating and managing diverse projects in international contexts, delivering workshops on climate change in France and the UK, and coordinating cross-cultural teamwork. Romane’s interest in the arts comes from having played music since a child and competed as a synchronised swimmer for many years.

In her role at Creative Carbon Scotland (CCS), she leads our Green Arts Initiative facilitating a community of cultural organisations to reduce their greenhouse gas emissions and support the Edinburgh Festivals in their ambitious strategy to reach net-zero.

他的團隊 還負責監督主要的營造管理計畫，例如：試點商業促進區計畫。 市區重建局被正式指定為提倡濱海灣發展的機構，負責辦理特色活動，例如：「照亮 新加坡」永續燈光藝術節和新加坡濱海灣跨年倒數晚會，作為其致力活化區域， 以及 實現 「濱海灣成為人民共享的海灣」之願景之一。 陳裕銳擁有新加坡國立大學的文學學士學位和南澳大學的大眾傳播碩士學位。他在加 入市區重建局之前，曾在私營部門和新加坡武裝部隊擔任過各種職務。他從 2008 年 開始在市建局工作，並於 2012 年擔任現職－地方營造管理署署長。

Mr Jason Chen is the Director of Place Management at the Urban Redevelopment Authority (URA), Singapore’s land use planning and conservation agency with a mission to make Singapore a great city to live, work and play.

In his role, he leads a team to drive URA’s efforts in enlivening public spaces, including working with the community on ground-up initiatives. This includes the management of State land, as well as the organisation of events and activities in precincts such as Marina Bay and the Singapore River. Jason’s team also oversees major place management initiatives such as the pilot Business Improvement District programme.

Formally appointed as the agency championing Marina Bay’s development, URA organises signature events such as the i Light Singapore sustainable light festival as well as the Marina Bay Singapore Countdown as part of its efforts to activate the precinct and achieve its vision of Marina Bay being a People’s Bay.

Jason holds a Bachelor of Arts degree from the National University of Singapore, and a master’s degree in Mass Communications from the University of South Australia. Before joining URA, Jason held various positions in the private sector and the Singapore Armed Forces. Jason has been with URA since 2008 and took on his current role as Director of the Place Management Department in 2012.

與談人 介紹 Panelist

Alessandro Sossa serves as Corporate Communications Manager at Delta Electronics, Inc., a global provider of smart energy-saving solutions as well as a world-class corporate citizen committed to major ESG initiatives such as RE100 by 2030.

Alessandro is responsible for enhancing Delta’s corporate image and managing media stakeholder relations in the Americas, Europe, Middle East & Africa, and India. Prior to Delta, Alessandro served as Investor Relations Manager in the renewable energy industry and as a Taiwan equities trader for foreign institutional investors (FINI) in Taipei and Hong Kong. Alessandro is a certified European ESG analyst (CESGA®), holds an MBA in International Business, and is fluent in Mandarin Chinese, Italian, Spanish and English.

Steven C.Y. Yang received his Ph.D. in economics from Iowa State University in 2000, and had since worked for more than a decade as a research fellow and policy consultant in Taiwan. His research interest covered the areas of industrial innovation system, SMEs, and knowledge services. In recent years he has joined the impact investment circle for putting in practice his academic findings in the hope for more actively contributing to the development of economic inclusiveness and a better society.

General and Artistic Director of the National Taichung Theater since June 2018.

With a thorough background in both music and theater, Joyce Chiou has an impressive track record in arts production, curation, and international affairs. Being the Executive Director (2006-2018) of Taiwan Philharmonic, the National Symphony Orchestra, she had successfully established its acclaimed international reputation by taking the orchestra on tour in Europe and the USA for a dozen times. In June 2018, Chiou commenced her tenure at National Taichung Theater (NTT) as General and Artistic Director. Under her leadership, NTT has become a culture hub of both local communities and international outreaches, a compelling artistic force in Asian performing arts circle.

Austin graduated from Master of Fine Arts in Stage and Lighting Design, University of Southern California, USA. Worked as Senior Production Manager and Stage Designer for Cloud Gate Dance Theatre, works like Moon Water, Songs of the Wanderers. And He has worked with other troupes as well, such as Performance Workshop, Ping-Fong Acting Troupe, Contemporary Legend Theatre, and Ming Hwa Yuan Arts & Cultural Group as stage and lighting designer or technical director for their productions. Selected honors and awards: National Award of Arts presented by the National Culture and Arts Foundation (2014); chief stage designer for the opening/closing ceremony of Taipei Deaflympics (2009); jury member of Prague Quadrennial and the convener of Taiwan team, with the Taiwan Hall project winning the Gold Medal for Best Use of Technology (2007); and Belvedere International Achievement Award presented at the Poland Presidential Palace in Warsaw (2004). From 2016 to March 2021, he was the director of Taipei Performing Arts Center, and currently the CEO of Taipei Performing Arts Center.

In 1987, he was one of the main members of the Preparation Committee of “Performing Arts Alliance” and has served as the chairman of the Performing Arts Alliance since 2021. The main tasks of the preparation and establishment of the Performing Arts Alliance include the promotion of “exemption of entertainment tax on the tickets to performing arts” and “abolishment of censorship on script”. Performing Arts Alliance has officially registered as a non-profit organization in 1997, it plays a role in communication in cultural affairs, creates meaningful conversations between folk art groups and government agencies, and promotes the sound development of the overall environment for performing arts in Taiwan.

His major in university was Drama and Theatre, and his major in graduate school was Management for Non-profit Organization. He served as the Chief Executive Director of the National Culture and Arts Foundation, Assistant Professor of Graduate Institute of Arts Administration and Management, Taipei National University of the Arts, and Founding Producer of Formosa Aboriginal Song & Dance Troupe.

His experience in the overall coordination of large-scale exhibition events includes being Chief Consultant of Opening ceremony "Taipei 2017 Summer Universiade" and the Planning Executive of "The world games 2009 in Kaohsiung". He has devoted himself to the practical management and operation of arts and cultural groups for more than 40 years and has also acted as the main promoter of the establishment and development of important performing arts organizations in Taiwan.

Chang is the current President of Taiwan Design Research Institute, Board Member of World Design Organization, Professor of Graduate Institute of Architecture of National Chiao Tung University and Vice Chairman at Xue Xue Foundation. He was Deputy governor of Taitung County Government. Previously Vice President for General Affairs in National Chiao Tung University, the director of Graduate Institute of Architecture in National Chiao Tung University and the director of A+@ Architecture Studio. He has published several books including Contemporary Architecture: the Concept of Aesthetic, European Charm: New Architecture, and Contemporary Architecture of North American in Focus. He received his Master in Design Studies (MDes) from Harvard Design School in 1994 and his Master of Architecture (M.Arch.) from Ohio State University in 1992.

Dr. Yaohua Su is an associate professor in the department of Fine Arts, and also worked part-time as the chief curator at the University Art Museum of National Taiwan Normal University. Currently as the chairlady of Association of the Visual Arts in Taiwan and board member of JUT art and architectural museum, Yaohua is active in arts community.

She completed her Ph.D. in Cultural Administration from the School of Fine Arts, National Taiwan Normal University and M.A. in Arts Administration from Teachers College, Columbia University. She goes to National Taiwan University and majored in political theory and public administration.

Her research interests are in museum management, museum tourism, museum audience research, art museum exhibition curating and histories. She has been fulltime arts administrators for 30years before her career of being a scholar. She was deputy director at the Asia University Museum of Modern Art, founding director of the Treasure Hill Artist Village and senior executive officer of the Ministry of Culture, Taiwan.

現任文化內容策進院、文化台灣基金會、台灣生活美學基金會等公法人董事。 歷任台北市文化局局長、台北文化基金會執行長、高雄市立美術館館長、國際藝評人 協會台灣分會 (UNESCO-AICA, Taiwan) 理事長、何創時藝術基金會執行長、台北白 晝之夜 (Nuit Blanche) 總策畫、台北國際書展主題國藝術總監、威尼斯建築雙年展台 灣館策展人等。

Curator/Art critic/Writer. She has studied, taught, and worked in Asia, Europe, the United States, and Africa, and has more than 30 years of professional qualifications in various fields. She was awarded the Ordre des Arts et des Lettres, the Order of Merit of the Italian Republic (OMRI), and the National Medal of the Czechoslovak Republic. She has served as an international visiting scholar at the invitation of the governments of the United States, France, Germany, Australia, and the United Kingdom.

She is currently a board member of the Taiwan Creative Content Agency, The Cultural Taiwan Foundation, Taiwan Living Arts Foundation and other public departments and corporate entities.

She served as the director of the Taipei Cultural Bureau, the executive director of the Taipei Cultural Foundation, the director of the Kaohsiung Museum of Fine Arts, the president of UNESCO-AICA Taiwan, the executive manager of the HCS Calligraphy Foundation, the executive director of Nuit Blanche, the art director of the theme country of Taipei International Book Exhibition, the curator of Taiwan Pavilion at the Venice Biennale of Architecture, etc.

Previously Political Deputy Minister of Culture, Director of Kwang Hwa Information and Culture Centre, CEO of the Lung Ying-tai Cultural Foundation, and Director of the National Culture and Arts Foundation, Lee Ying-ping is a veteran in organizing large-scale art and cultural events.

She is concerned about the development of the cultural environment and civil society, and weaves together experiences from the civil and public sectors for fostering the legislation of various cultural policies.

主持人 介紹 Moderator

跨媒體藝術形式 ( 觀念行為、影像與新媒體、跨領域多媒材空間環境裝置 ) 進行與此 議題相呼應的計畫型 (Art Projects/ Project-based Creation) 創作。 30 年來進行 與此議題相呼應的計畫型創作 ( 截至目前創發一百多個藝術計畫 ) 總體稱為：《文化 測量 ( Measurement of Inter-Cultures) 》，進行總體文化地理、土地與認同的共通 關注與集體想像。現任國立臺北藝術大學校長、文學跨領域創作研究所 ( 創所 ) 所長， 也是藝術跨域研究所教授以及財團法人台北市文化基金會董事。

Graduated from Ecole Nationale Superieure des Beaux-Arts de Paris, France in 1990, Professor Chen Kai-Huang has been one of the most influential contemporary artists in employing interdisciplinary methods and conceptual approach in Taiwan since the 1980’s. Focusing on the identity politics of Taiwan’s subjectivity, Chen embarks his epic projects on culture ontology, paralogical subjectivity, and social intervention in rendering Taiwan’s independency as aesthetic forms. For the past 30 years, there have been more than hundred art projects implemented under the umbrella title Measurement of Inter-Cultures, in transcending boundaries of community, memory, and locales in generating a collective imagination of nation without nationality.

Chen is the 10th president of Taipei National University of the Arts, the chairperson of Graduate Institute of Transdisciplinary Study on Creative Writing and Literature and the professor of Graduate Institute of Trans-disciplinary Arts. He also serves as the Board Member of Taipei Culture Foundation.

Professor Shaw-Ren Lin is currently the Dean of Academic Affairs of TNUA. He used to be the Dean of the Office of Quality Assurance of Higher Education Evaluation & Accreditation Council which is the accreditation agency of Taiwan from 2017-2019. He specializes in education evaluation, quality assurance, higher education policy, creative teaching. He has been conducting several education evaluation and higher education research projects funded by Ministry of Education, Ministry of Science and Technology, and Taiwan local governments. He also has been awarded “2008 Excellence Teacher of TNUA ” and the “Internship Guide Professor Award ” by MOE.

Assistant Professor, Graduate Institute of Arts Administration and Management, Taipei National University of the Arts; Doctor of Literature, Peking University. Had served as Journalist; Chief Executive Officer of XUE XUE INSTITUTE CO., LTD.; Chairman / Secretary General of the Performing Arts Alliance.

Also holds a concurrent post as a Member of the Board of the National Performing Arts Center, Creative Education and Management Foundation, Carrefour Foundation, Newhomeland Foundation, and the Executive Director of Performing Arts Alliance. His book, The Journey of Learning Beauty ( 學美之旅 ) was published by China Times Publishing Co.in June 2022.

Set Designer Vice President, International Organization of Scenographers, Theatre Architects and Technicians Consultant, Paper Windmill Cultural Foundation Project Leader, World Stage Design 2017

Chin-Yuan Yang has started his teaching career in Taipei National University of the Arts (TNUA) since 2002 after his graduation with MFA degree from Yale School of Drama, majoring in technical design and production. He established the Stage Machine Lab in TNUA in 2007; and since then, he has developed, designed, and fabricated a lot of cutting-edge stage machines for performing arts and rock concerts in Taiwan’s industry. With several distinguished works, he was awarded the Excellent Teacher in 2010 and the Distinguished Professor in 2013 by TNUA. Yang is currently the associate professor of Dept. of Theatrical Design & Technology and the director of the Industry-Academia Cooperation Section, Research & Development Office in TNUA.

In 1995, Prof. Hsi-Chuan Liu had his MA degree of Graphic Fine Art in UK and had worked as a graphic artist and taught in CYUT since 1996. In 2005, Prof. Liu had a teaching position in TNUA, and was elected as chairperson of Dpt. of Fine Arts in 2010. During the three years on behalf of the chairperson, he conducted several projects in enhancing the cooperation with allied schools, like Tokyo University of the Arts, London University of the Arts and many other excellent art institutions. In 2013, he was promoted as Dean of Academic Affairs and started his research interest in development of higher education and global connection. In 2018, he was elected as Dean of School of Fine Arts.

Jack Shih is the Dean of School of Film and New Media, he started the animation department and was the originator of KaunDu International Festival in 2011. He graduated from Pratt Institute in computer graphics major and studied experimental animation program at Calarts. His animated films awarded to television academy Emmy Award、Asia Pacific Film Award、Golden Horse Award and Golden Bell Award, etc.

Huang is the professional sustainability consultant of Mastery Consulting Management and specialized in providing consultancy and training services to organizations on ISO 20121, ISO 14064-1:2018, ISO 14067 and ESG. She holds a master’s degree in Arts Administration and Management from Taipei University of the Arts. Before devoting herself to sustainability, she has 25 years of experience working in theatre and event industry. Driven by great passion for arts, culture, and sustainability, she now offers consultancy services for private corporates as well as arts and culture sector including National theatre and Concert Hall, Taipei University of the Arts, Performing Arts Alliance and is one of the directors of Taiwan Art Sustainability Alliance.

Preparatory Committee

Working team

Consecutive Interpretation：Meng-Ting Hsieh, Carrie Huo, Eric Lin, Jimmy Chang Live Video：Simply Co., Ltd.

Souvenir Designer：Underground Studio Chinese and English Script Editor：Yun-Ting Che