2024-03-25 - 2024-05-10
主題Topic:
21世紀批判性策展：公共空間、新媒體以及地緣政治
Critical Curatorial Practices in the 21st Century: Public Space, New Media and Geopolitics
講者speakers：
Wen-Shu Lai | Professor/Director, Institute of Applied Arts, NYCU, Taiwan
Karin G. Oen-Lee | Senior Lecturer, Head of Art History, School of Humanities, Nanyang Technological University, Singapore
Shwetal Ashvin Patel | Ph.D. Winchester School of Art, University of Southampton, UK
主持人Moderator：
Joyce C.H. Liu | Professor/Director, International Center for Cultural Studies, NYCU, Taiwan
與談人Discussants：
Tammy Ko Robinson | Associate Professor, Department of Applied Art, Hanyang University, S. Korea
Hwa-Jen Tsai | Assistant Professor, Institute of Social Research and Cultural Studies, NYCU, Taiwan
日期時間 Date & Time: 2024年4月29日 18:30-21:30 台北(Taipei time)
地點Venue：線上Online
活動方式 Format：線上論壇Online Forum
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加入 Zoom 會議
https://us02web.zoom.us/j/81870341834?pwd=SWg0UXR1WEVBckNRVUVla0cySmw3UT09
會議ID: 818 7034 1834
密碼Code: 998835
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*活動將以英文進行。
*The lecture will be held in English.
活動簡介：
針對21世紀的深刻轉變和複雜挑戰，策展藝術家可以採用哪些策略來應對全球和本地的問題？他們對於這個時代的策展實踐有什麼樣的觀點？策展實踐如何可以介入公共空間，質問歷史？當代新媒體以及虛擬空間如何能夠成為策展的媒介？策展如何可以帶出教育的目的？博物館空間是否成了一種限制？或者，博物館空間仍舊具有塑造社群能動性的力量？當前全球地緣政治的變化之中，策展實踐是否也能夠思考藝術工作者身分政治的限制？為了探討這些問題，我們邀請了三位跨地域的策展藝術家參與此次線上論壇，分享他們過去藝術實踐的經驗，一起思考21世紀批判性策展的可能向度。我們也邀請了藝術教育者共同討論這些議題。
Introduction:
In response to the profound transformations and complex challenges of the 21st century, what strategies can curatorial artists employ to tackle global and local issues? What are their perspectives on curatorial practices in this era? How can curatorial practices intervene in public spaces and question history? How can contemporary new media and virtual spaces serve as mediums for curation? How can curation serve educational purposes? Are museum spaces becoming restrictive, or do they still possess the power to shape community dynamics? Amidst the current global geopolitical changes, can curatorial practices also consider the limitations of artists' identity politics? To delve into these questions, we have invited three cross-local curatorial artists to participate in this online forum, sharing their past artistic experiences and collectively contemplating the potential dimensions of critical curation in the 21st century. We have also invited art educators to join in discussing these issues.
講者講題speakers and topics：
1）賴雯淑｜「質疑性設計」作為社會介入與策展方法
「質疑性設計」由克裡斯多夫・沃迪奇科（Krzysztof Wodiczko）所倡議，是一種藝術介入社會的實踐路徑與方法，針對特定議題展開探究。其目的是透過藝術行動進入公共空間，以人事物作為活隱喻，將特定場域轉化為隱喻空間，並進行提問。說話者、空間、工具物作為仲介媒介，與參與者或觀眾進行互動，透過仲介機制啟動對話或辯證。「質疑性設計」也是一種社會行動藝術化、藝術實踐公共化的策略，透過多媒體投影、互動裝置、策展，目的不是要提供特定議題的解決方案，而是經由提問或質問，讓社會或政治現象背後的原因或問題顯現。質疑性設計也是一種策展方法，也是一種藝術實踐的態度與批判行動，透過策展來讓不可見或邊緣者的困境，得以被看見或聽見，並引發關注與討論。
Wen-Shu Lai | Interrogative Design as a social intervention and curational method | Wen-Shu Lai
The Interrogative Design, initiated by Harvard University professor Krzysztof Wodiczko, is a method for investigating social or political issues, raising critical inquiries, instead of solving problems. Through entering public spaces, taking artistic actions, and using people or things as living metaphors to transform specific sites into metaphorical spaces. In other words, speakers, spaces, and tools serve as intermediary media to interact with participants or audiences and initiate dialogue through intermediary mechanisms. As a method or strategy, the interrogative design conveys information through cross-disciplinary integration such as multimedia projections, interactive installations or curation. The purpose is not to provide solutions but to raise or reveal problems behind the social or political phenomena. The praxis of Interrogative design could be seen as a curational method or approach, an attitude, a critical action, or a social intervention, thus bringing about the conditions of the invisible or the marginal voices to be seen or heard, and triggering follow-up and
2）Karin G. Oen-Lee｜「複調」實踐
21世紀的策展實踐提出了「複調」的挑戰：如何在納入不同模式的知識生產和話語實踐之同時，能夠仍舊保留抵抗或反抗話語的展覽體驗時空元素。我將通過博物館展覽的不同例子，例如非收藏性的當代藝術空間、快閃非營利空間、以及「生成藝術速度塗料」（G.A.S.P）商業畫廊，介紹一種以同等立場融合不同超-策展元素，包括研究、規劃、個人和機構的合作。播客、出版和（無論是短期、長期、非正式或正式的）教育課程，如何能夠作為不具有傳統訓練背景的策展實踐者之切入點？具有藝術鑑賞力或是以物件為基礎的策展，如何能夠發展出不同「經驗」觀念之下的展覽製作？通過深入探討四個與陶瓷相關的不同策展項目作為起點，並以四個與新媒體相關的策展計畫作為結束，我將展示策展工作的複雜性——既在策展的概念空間中操作，也在全球藝術世界的虛擬與物質空間中，進行策展專案的管理及合作聯盟的建立。
Karin G. Oen-Lee ｜Polyphony in Practice
21st century curatorial practices raise questions of the polyphonic: how to include diverse modes of knowledge production and discursive practice while also preserving elements of the spatio-temporal exhibition experience that resist or defy discourse. Drawing from examples at museums, non-collecting contemporary art spaces, pop-up non-profit spaces, and (gasp) commercial galleries, I will share notes on a mode of exhibition making that incorporates para-curatorial elements on equal footing with research, programming, and collaborations with individuals and institutions. How can podcasts, publications, and educational programmes (short-form, long-form, informal, and formal) provide entry points for curatorial practitioners who have non-traditional backgrounds? And how can connoisseurship or object-based practices evolve alongside the diffuse notion of “experience” in exhibition-making? Beginning with a deep dive into four different curatorial projects involving ceramics in and ending with four curatorial projects related to new media practices, this presentation will showcase examples of the vexed issues of working in the conceptual space of the curatorial while simultaneously inhabiting the practical space of project management and coalition building in the virtual and material space of the global art world.
3）Shwetal A Patel, 博士｜軟實力與新冷戰
最近，BRICS國家（巴西、俄羅斯、印度、中國和南非組成的世界經濟集團）的擴張，使這一地緣政治集團再增六國，預示著西亞、南亞和東南亞、拉丁美洲和非洲軟實力崛起的新時代的到來。在15世紀開始的歐洲殖民計劃裡，國際文化交流主要是由少數強國策劃和控制的。可以說，自上世紀80年代以來，隨著美國成為全球唯一佔主導地位的經濟和軍事大國，世界發生了翻天覆地的變化。今日，文化部門試圖應對前所未有的、需多邊集體努力的挑戰，國際文化關係的既定規範也正在經歷另一次變革，這也讓人想起1947 - 1991年的冷戰時期。此次演講為與會者提供了關於上述多極地緣政治時刻的研究工具，亦在這種範式轉變中，藉機反省援用「聯合國世界人權宣言」時身分政治的侷限。這種劃時代的轉變也反映了藝術世界日益多樣化的趨勢：在這個高度金融化和高度互聯的時代，多種軟實力的動態交互作用，而重塑了藝術世界。鑒於這些複雜且不斷發展的情境，本次演講也試圖思考藝術領域實踐者的倫理考量。
Shwetal A Patel, PhD ｜Soft Power & New Cold War/s
The recent expansion of BRICS (a grouping of the world economies of Brazil, Russia, India, China, and South Africa) centring six additional countries to the geopolitical grouping, portents to a new era of rising soft-powers from West Asia, South & South East Asia, Latin America and Africa. For the better part of the European colonial project beginning in the 15th century, international cultural exchange was primarily choreographed and controlled by a small group of powerful countries. Arguably, a seismic shift began from the 1980s onwards as the US became the sole dominant global economic and military power. Today, as the cultural sector attempts to tackle the unprecedented challenges that demand collective multilateral efforts, the established norms of international cultural relations are undergoing yet another transformation in an age reminiscent of the Cold War (circa 1947 – 1991). This lecture-workshop provides students and practitioners with tools to investigate the aforementioned multi-polar geopolitical moment and provides an opportunity to think together about the limits of identity politics along with the application of United Nations Universal Declaration of Human Rights within this paradigm shift. This epochal transition also mirrors the growing diversification of the art world, reshaped by the dynamic interplay of multiple soft-powers in an age of hyper financialisation and hyper connectivity. Given these complex and evolving scenarios, the lecture-workshop speculates on the ethical considerations for practitioners in the field.
講者介紹Bios ：
Wen-Shu Lai, an academic and artist, earned MA and MFA degrees in Art and Design, later achieving a Doctoral degree in Art Education from the University of Iowa. Her teaching tenure began at Angelo State University, Texas, where she taught Art from 2001 to 2004. Currently, Lai holds key roles at the National Yang Ming Chiao Tung University in Taiwan. She is a professor and director at the Institute of Applied Arts, leads the Interrogative transArt Lab, and contributes significantly to the NYCU Sixth Fuel Factory team. Additionally, she engages as a researcher at the International Institute for Cultural Studies at NYCU. In her artistic pursuit, Lai focuses on ontological inquiries, exploring the essence of existence. She served as a visiting scholar at UC Berkeley in 2016. Her research interests span a wide artistic spectrum, encompassing Art Intervention, Cross-disciplinary Arts, Interrogative Design, Hermeneutic Theory, Phantom Narratives, and Artist’s Books. Lai's diverse approach underscores her commitment to investigating the intersections of art, culture, and interpretation.
Web Site: https://wendylai.lab.nycu.edu.tw/
Karin G. Oen-Lee is a curator and art historian based in Singapore where she is Senior Lecturer and Head of Department, Art History, at Nanyang Technological University’s School of Humanities. She works on historical, modern, and contemporary creative practices related to the transcultural and the transmediatic. Recently, Karin was Deputy Director of Curatorial Programmes at NTU CCA Singapore and co-editor with Ute Meta Bauer and Tan Boon Hui of the 2022 book SEA: Contemporary Art in Southeast Asia. She previously served as associate curator of contemporary art at the Asian Art Museum of San Francisco where her exhibition projects included teamLab: Continuity (2021), Haroon Mirza: The Night Journey (2018), and Koki Tanaka: Potters and Poets (2016). Prior to her time in San Francisco, Oen was a curator at the Crow Museum of Asian Art in Dallas. She received her BA from Stanford, MA from Christie’s New York, and PhD in the history, theory, and criticism of art and architecture from MIT, where her dissertation focused on experimental new media practices in early Reform Era China. She is a board member of The Institutum, a Singapore-based nonprofit dedicated to contemporary art education and outreach; and iPress, a non-profit publisher of books on architecture, urbanism, and social space founded in Boston in 1970.
Web Site: https://dr.ntu.edu.sg/cris/rp/rp01883
Shwetal Ashvin Patel is a writer and researcher practising at the intersection of visual art, exhibition-making and development studies. He works internationally–– primarily in Europe and South Asia–– and is a founding member of Kochi-Muziris Biennale in India, responsible for international partnerships and programmes. He holds a practice-based PhD from Winchester School of Art, University of Southampton, where his thesis was titled 'Biennale Practices: Making and Sustaining Visual Art Platforms'. He is a guest lecturer at Zürich University of the Arts, Royal College of Art, and Exeter University, besides being an editorial board member at OnCurating.org and a trustee at Milton Keynes Museum and Coventry Biennial. He lives between United Kingdom, Belgium and India.
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