Academic Papers by LU Pei-Yi 呂佩怡
藝術學研究 Journal of Art Studies, 2023
摘要
高雄市立美術館自1994年開館以來成為南台灣藝文重鎮，近30年該機構論述變遷從區域地理的「台灣南方」，擴張到「全球南方」論述相關的「大南方South +」，從聚焦「南島」轉向「泛．南．島」... more 摘要
高雄市立美術館自1994年開館以來成為南台灣藝文重鎮，近30年該機構論述變遷從區域地理的「台灣南方」，擴張到「全球南方」論述相關的「大南方South +」，從聚焦「南島」轉向「泛．南．島」。本文詢問在此不同階段「南方」論述實踐之中，從「南島」到「泛．南．島」這個路徑的轉變，是推動原民當代藝術的階段性策略，亦或是積極擁抱全球當代藝術潮流的傾向？「泛．南．島藝術祭」（2021）是加強原民當代藝術特質的「再南島」，或是相反方向的「再當代化」原民當代藝術？這樣的選擇是加強高美館在全球美術館的特殊位置，亦或削弱其特質？筆者認為高美館南方論述的轉向是針對不同時期機構所需進行調整，以及反映與回應外部大環境之現實條件。「泛．南．島」論述與「泛．南．島藝術祭」是解構、遠離南島語族的範疇，進而更自由地將澳洲、東北亞、東南亞、南亞等地納入，也就是透過某種程度的「去」南島而貼近「南方」、「海洋」、「島嶼」等概念，既是高美館自身機構的轉身，同時這個轉向也呼應當代藝術領域的「全球南方」論述與實踐。
Abstract
Established in 1994, the Kaohsiung Museum of Fine Arts (KMFA) plays a vital role in the development of the art of southern Taiwan. In 2007, KMFA initiated a three-year project entitled “The Development of Austronesian Contemporary Art”. The term “Austronesian” as a marker of linguistic, ethnic and geographical identity was employed to include Taiwanese indigenous contemporary art and this approach became a distinctive strategy and orientation of KMFA. In 2016, the KMFA’s policy “South +” was launched to connect the idea of “Austronesian” to the notion of “Global South”. In 2021, the “Pan-Austronesian Arts Festival” exhibited the works of 23 artists from Asia and the Pacific region. Significantly, it sought to move away from the notion of “Austronesian” in favour of the more fluid and expansive concept of “Pan-Austro-Nesian” by foregrounding the idea of deterritorialization, diversity and oceanic interconnectedness.
This shift and realignment have given rise to number of pressing questions: How should we understand the KMFA’s re-orienation away from the idea of “Austronesian” in favour of the “Pan-Austro-Nesian”? Does this approach sufficiently engage with the specificity and complexity of Taiwanese indigenous contemporary art, or does it view such art as merely a part of the broader condition and development of global contemporary art? Does the “Pan-Austronesian Arts Festival” reaffirm the local significance and specificity of Taiwanese indigenous contemporary art, or does it merely embrace the current fashion of the global world of contemporary art? Is this choice a reflection of the desire of KMFA to be in a unique position within the global museum community, or does it represent a departure from its founding mission?
This paper argues that the turn to the South is a means by which the museum has responded and adapted to the external changing environment. Indeed, the concept of “Pan-Austro-Nesian” and “Pan-Austro-Nesian Art Festival” effectively unsettles the bounded territory of ‘Austronesia’ so as to include Australia, Northeast Asia, Southeast Asia, South Asia. In this way, the “Pan-Austro-Nesian Art Festival” may be understood as exhibition that resonates with the concepts of the “South”, “Oceania” and the “archipelago”. This shifting approach reflects not just the institutional imperatives and corporate re-orientation of KMFA, it is also symptomatic of its alignment and engagement with the discourse of “Global South” in the field of global contemporary art.
《創造意義的載體：探索博物館策展》博物館學系列叢書3, 2022
呂佩怡，〈從『物之證言』到『物的劇場』：談當代策展介入美術館典藏〉，《創造意義的載體：探索博物館策展》博物館學系列叢書3，台北：藝術家，2022，34-57
現代美術學報Journal of Taipei Fine Arts Museum , 2021
本文分析三個與「南方」相關之策展實踐：「南國．國南－台越藝術家交流計畫」（齁空間與Zero Station，2012 － 2013）、「南方：問與聽的藝術」（高雄市立美術館，2017）、「南方以... more 本文分析三個與「南方」相關之策展實踐：「南國．國南－台越藝術家交流計畫」（齁空間與Zero Station，2012 － 2013）、「南方：問與聽的藝術」（高雄市立美術館，2017）、「南方以南：南迴藝術計畫」（南迴四個鄉鎮多處空間與活動，2018）等，探討台灣作為一個多重殖民歷史的國家，置身於強權環繞的地緣競爭，「製造南方」作為策展方法的驅動力為何？是自我認同之探索，抑或符合政治正確？「南方」概念如何影響當代策展？「南方策展」實踐可能成為翻轉的利器，去動搖傳統慣習呈現邊緣地區藝術的方式，還是僅僅強化全球化藝術世界的現有階級？本文認為曖昧多義的「南方」在當代展覽之中持續現身，這些展覽也不斷拓展「南方」之於台灣的多面向意義：從地理區位到台灣內部的南北不均，到全球南方相關的現代性與生態議題，再到東南亞與南島語系等。
This paper critically examines three exhibitions relating to the idea of “South”. In particular, it will analyze a number of case studies, such as South Country, South of Country – Vietnamese & Taiwanese Artists Exchange Project (Howl Space, Tainan, 2012-2013), The South: An Art of Asking and Listening (Kaohsiung Museum of Fine Arts, 2017), The Hidden South (presented in multiple spaces across four towns in the south-link areas, 2018) and so on in order to probe the questions of curating in Taiwan in the context of its multi-layer colonized history, and as a country marked by geopolitical rivalry. What is driving force behind “making south” as a curatorial method? Is it an attempt to explore Taiwan’s identity or an expression of political correctness? How does the ambiguity of the idea of the “South” impact on contemporary curating? Could the practice of “Curating the South” become a strategy to unsettle conventional ways of presenting art from the margins, or does it simply reinforce the existing hierarchies of the globalized art world? This paper argues that the ambiguity of the idea of the “South” has frequently emerged in various exhibitions. In the context of Taiwan, a number of exhibitions have expanded the multi-faceted meaning of the “South,” marking its geo-cultural and geo-political location as well as defining its uneven internal development between the North and South and its modernity and ecological future as part of the Global South and as aligned with Southeast Asia and Austronesia.
Routledge Companion to Art in the Public Realm, 2020
This essay examines two case studies from Taiwan to rethink art and its relationship to/with powe... more This essay examines two case studies from Taiwan to rethink art and its relationship to/with power and frame the concept of “art as protest”. The Shijhou and Sa'owac tribes are urban indigenous communities who faced forced eviction due to new urban development plans. In their protests, the role of art goes far beyond one’s expectations within a conventional social movement. Art systems - which include the gallery, museum, biennials and art awards - play a specific role in protests. I argue that "Art as protest" is not merely a form of symbolic dissent within the art world. Instead, it acts as a platform or vehicle for certain values and is a new form of social practice that potentially engender social and political change in order to highlight the right to live as one desires and deserves as well as foregrounding questions of social justice.
藝術評論 ARTS REVIEW, 2021
文件大展成立於戰後的1955年，每五年於德國卡塞爾舉辦，是當代國際藝壇極具分量的大型展覽。第七屆文件大展(1982)是台灣第一次有系統性的報導介紹，此後每屆文件大展皆在台灣藝術圈掀起熱潮，藝術媒... more 文件大展成立於戰後的1955年，每五年於德國卡塞爾舉辦，是當代國際藝壇極具分量的大型展覽。第七屆文件大展(1982)是台灣第一次有系統性的報導介紹，此後每屆文件大展皆在台灣藝術圈掀起熱潮，藝術媒體多以「藝術界的奧林匹亞」、「當代藝術朝聖地」，或「視覺藝術界的奧斯卡」等形容文件大展。透過專門藝術雜誌之報導，文件大展地位在台灣當代藝術圈屹立不搖。此現象成為本研究的問題意識：專業藝術雜誌呈現甚麼樣貌的文件大展？這些持續被再現的文件大展意味著什麼？對台灣當代策展產生什麼樣可能的影響？本文聚焦於第七屆至第十二屆文件大展於三個紙本藝術雜誌：《雄師美術》、《藝術家》、《典藏今藝術》之報導，分析「再現文件大展」之方法與形象。本文認為「再現文件大展」不僅是當代策展概念與實踐的新知新訊傳達，更重要的是一種儀式性傳播—專業藝術雜誌根據台灣在地需求出發，將「文件大展」作為一種外部推力，用以面對台灣藝術圈的詢問：「我們藝術的位置何在？」。換句話說，「再現文件大展」可視為台灣當代藝術的文化政治事件。
關鍵詞:文件大展、雜誌報導、展覽史、再現、文化政治事件
Founded in 1955, documenta, which takes place every five years in Kassel, Germany, has been an important and long-standing international exhibition in the post WWII period. In Taiwan, the first introduction to, and report on, this exhibition was documenta 7. Afterwards, each documenta has triggered extensive discussions and debates over the years. The significance of documenta is reflected in descriptions and praise in the media, where phases such as such as“the Art Olympics”“, Pilgrimage of Contemporary Art”and“Visual Art Oscar Awards”have been used. This phenomenon raises the questions addressed in this research: What is the image of documenta reflected in these media reports? What are the peculiar implications behind these representations of documenta? What has been the impact on Taiwan contemporary art curating? This essay focuses on the representation of documenta 7-12 in three professional art magazines – Lion Art, Artist and ARTCO – and analyzes the methods and images presented of documenta. It is argued that“the representation of documenta”as an event in these magazines implies more than just the transmission of new information and stories about curatorial concepts and practices. It is also a response to Taiwanese local needs, raising the question“What is the present situation of Taiwanese art?”. That is to say“the representation of documenta”should be considered as a Taiwanese cultural political event.
Keywords: documenta, Media Reports, Exhibition Histories, Representation, Cultural Politics Event.
現代美術學報 Journal of Taipei Fine Arts Museum, 2018
摘要
2014年臺港兩地接力展開關鍵性的社會運動──春天有臺灣的「318太陽花學運」，秋冬出現香港的「雨傘革命」；在這兩次運動進行的當下，藉由藝術視覺化、具體化與情感化運動的訴求，體察到藝術於... more 摘要
2014年臺港兩地接力展開關鍵性的社會運動──春天有臺灣的「318太陽花學運」，秋冬出現香港的「雨傘革命」；在這兩次運動進行的當下，藉由藝術視覺化、具體化與情感化運動的訴求，體察到藝術於社會運動中扮演相當重要的角色。本文著眼於藝術與運動之間不同階段的關係，詢問當運動遠離之後，議題漸消退於日常生活之中，藝術之於社會運動有何可能？透過分析藝術家陳界仁的三件動態影像藝術作品：《加工廠》（2003）、《路徑圖》（2006）與《殘響世界》（2014），用以回應此議題。此三件作品皆與某一特定的社會運動直接相關，但又與之保持距離，且作品製作於運動落幕許久之後，採用一種間接行動的路徑。本文不以動態影像角度切入，轉而關注其工作方法，歸納出「社群共謀」、「（非）表演」、「（現）場／非現場」三個特殊的工作方法。本文認為正因這些獨特的工作方法使藝術得以在運動遠離之後再延續、再生產與再傳播。藝術之於社會運動的力量所在，即因其以「沒有位置的位置」提供異議與想像之空間。藝術不應受限於運動現場的時效性與有效性框架，運動落幕之後更是藝術發揮所長之時：重新喚醒被遺忘的過去，揭露運動過程被遮蔽的多種聲音，為既有的社會運動框架打開新的空間與可能。
Abstract
In 2014, there were two critical social movements emerged subsequently- Sunflower Student Movement in Taiwan and Umbrella Movement in Hong Kong. Within these two social movements, art played a significant role to visualize, embody and emotionalize the appeal of social movements. This essay focuses on the relationship between art and social movement at different stages and question that long time after the social movement, when the concerned issues disappearing gradually in the daily life, what art could do with this? Three works by artist Chen Chieh-jen: “Factory” (2003), “Route” (2006) and “Realm of Reverberations” (2014) are taken as case studies to respond this inquiry. These three works relate to specific social movements but meanwhile keep a distance. All of them were produced long after the social movements they related to. In other words, Chen took an indirect approach.
This essay, different from previous researches of Chen’s works, will not take a perspective of moving image, rather focus on the working methods that artist applies. “Community Collusion”, “(No) performance”, “Site/Non-site” are three methods summarized form this analysis. This essay points out the fact that these three methods make art extend, reproduce and recommunicate after those social movements. The power of art with social movement is art located in a place with no place so that it could provide a space to image and debate. Art should not be limited within the framework of on-going social movement. The period after social movement might be a better moment for art: art could recall the forgotten past, reveal the hidden multi-voices in the process of social movement, and open new space and possibility for the social movement which is getting rigid.
關鍵字：陳界仁、當代藝術、社會運動、殘響、社群共謀、（非）表演、（現）場
Keywords: Chen Chieh-jen, Contemporary Art, Social Movement, Reverberation, Community Collusion, (No) performa
共再生的記憶：重建臺灣藝術史學術研討會暨論壇論文集 The Renaissance of Cultural Memory: Collected Papers of the Symposium on Reconstructing Art Histories in Contemporary Taiwan, 2018
展覽史 ( Exhibition Histories) 是從「全球藝術」（Global Art）的角度重新思考西方藝術史在1989年之後是否適用於其他地域？這個帶有複數、強調多元的展覽史，不同於... more 展覽史 ( Exhibition Histories) 是從「全球藝術」（Global Art）的角度重新思考西方藝術史在1989年之後是否適用於其他地域？這個帶有複數、強調多元的展覽史，不同於以往以歐洲為中心的現代主義普世美學概念，進而重視全球南方（Global South）的案例，從結構性的全球變遷來思考。本文將從「全球藝術」之角度，複數的歷史，透過詢問展覽之意義，展覽史與藝術史之間的關係，理解展覽史之價值，思索台灣的展覽史 之可能。本文強調展覽史可作為藝術史之批判，此一以複數形式出現的展覽史，不僅顛覆西方單一藝術史中心的藝術史書寫，也可透過展覽與歷史之間的動態關係，展開多元可能性，例如視展覽為重述歷史之方案、視展覽為反映公共文化史之可能、視展覽為對其自身機制之批判等。全球藝術具有更大格局的視野，不僅觀看台灣內部之議題，也必須以跨國界、跨領域、跨文化視野關注鄰近的亞洲地區之連帶關係，期望以台灣的多重殖民歷史與全球地緣政治之位置來思考具複數歷史之「台灣展覽史」之必要。
關鍵字：展覽史、全球藝術、臺灣展覽史、公共文化史
Exhibition histories, from the perspective of global art, is a notion to rethink whether Western Art history is still applicable in other regions of the world after 1989. “Exhibition histories” which is a plural term emphasizes on diversities. Different from the Eurocentric modern art aesthetic, it considers on those cases from the Global South based on the shift of global structure. By discussing the meaning of exhibitions as well as the relations between exhibition histories and art history, this article was written to understand the value of exhibition histories from the perspective of global art and propose the possibility of Taiwan exhibition histories. The author argues that as a plural term, exhibition histories can be used in criticizing art history. Not only does it overturn the writing of art history which specifically focuses on Western contexts but also it expands the multiple possibilities in the dynamic relationships between exhibitions and histories. For example, we can take exhibitions as the way for historical re-narration, a reflection on public culture histories and an effective criticism on exhibition mechanisms. This article intends to think of “Taiwan exhibition histories,” from the multi-layered colonial histories of Taiwan and its global geopolitical position. Furthermore, by placing “Taiwan exhibition histories” within the framework of global art, we can deal with those internal issues of Taiwan and at the same time, pay attention to other Asian regions in views of cross-nation, cross-field and cross-culture.
Keywords: exhibition histories, global art, Taiwan exhibition histories, history of public culture
Journal of Art Theory and Practice , 2017
Art and the City: Worlding the Discussion through a Critical Artspace, 2017
LU Pei-Yi & Phoebe Wong, “Art/ Movement as a Public Platform-Artistic Creations in Sunflower Move... more LU Pei-Yi & Phoebe Wong, “Art/ Movement as a Public Platform-Artistic Creations in Sunflower Movement and the Umbrella Movement”, 2016 AAG Annual Conference (Association of American Geographer), USA: SF, 2016.3.29-4.2。
LU Pei-Yi & Phoebe WONG, “Art/ Movement as a Public Platform-Artistic Creations in Sunflower Movement and the Umbrella Movement”, in Art and the City: Worlding the Discussion through a Critical Artspace, London: Routledge, 2017, p. 44-58。
The 34th World Congress of Art History (CIHA), 2016
LU Pei-Yi,“Exhibition as Identity Making: Environmental Art (1994) and Resurgence on the Tamshui ... more LU Pei-Yi,“Exhibition as Identity Making: Environmental Art (1994) and Resurgence on the Tamshui River (1995) in Taiwan as Case Studies”, The 34th World Congress of Art History (CIHA), China Central Academy Of Fine Arts, China: Beijing, 2016.9.15-21. ( not yet be published)
The lifting of martial law in 1987 in Taiwan was seen as a milestone on the road to democracy, and its impact triggered a series of social-political-cultural reforms, widespread social movement and changes in the 1990s. Two main features of this political change may be observed: a shift from a single-party (KMT) centralized political system towards democracy and from a predominantly Chinese ideology to a more specifically local identity. In these circumstances, on the one hand, the new political freedoms generated the possibility of the appearance of a public realm and of the use of public spaces as venues for art, and on the other hand, localism came into being as a collective movement in the 1990s. With the convergence of these forces, what artistic phenomenon might emerge? What role might the exhibitions could play? If we see an exhibition as a public platform, could the local issues be raised that generate the imagination of identity? The exhibitions of Environmental Art (1994) and Resurgence on the Tanshui River (1995) will be good examples to examine the direct connection between the exhibitions and the social-political circumstances, in particular responding to localism. Taking place along the bank of the Tanshui River, this river not only served as an exhibition venue but also furnished the concept for Environmental Art. In this essay, I argue that the development of exhibitions outside the museum/gallery spaces in the 1990s as a complex and peculiar phenomenon reflects a remarkable socio-political change, and also became part of the process of localization in the 1990s.
Keywords: exhibition, Identity Making, localization, environmental art, public space.
《博物館與文化》, 2015
呂佩怡，〈博物館作為方法：以香港民間博物館計畫為個案探討〉，《博物館與文化》第九期 (2015.6)：3 -32
2013亞洲藝術學術論壇DELTAIII 亞洲生活手勢: 手勢作為方法 論文集, 2013
藝術觀點(ACT)當代跨域學術論壇「影像．偶然．非秩序: 重探台灣藝術的當代性」學術研討會論文集, 2013
博物館與文化 no.2, Dec 2011
This essay centers upon the discussion of issues between art museum and its "institutional critiq... more This essay centers upon the discussion of issues between art museum and its "institutional critique" in order to provide an external perspective of Museum Studies in Taiwan. From the analysis of the term "institutional critique", firstly, the author points out the fact that there is a core problem of losing the nuance behind "institutional critique" in the translation from English to Chinese. Secondly, it is necessary to review the development of "institutional critique" within Western Contemporary Art, and also to concern its shift and to know the response from the art museums. The Final section concerns the case in Biennial, which was taken as a case study to analyze the possibility of the emergence of a local "institutional critique". In summary, this essay argues that the crucial moment of cultural governance and commercialization of an art museum, it is essential and urgent to have an "institutional critique" in Taiwan that could further be a method to cope with the current situation and promote the change of mechanisms of an art museum. However, it is important to bear in mind that the above idea should -37 be based on the understanding of "critique" as the notion of "critical analysis" and the concern for a multiple correspondence between the dynamic relationship between an art museum and its "institutional critique", rather than confrontation; therefore, towards local "institutional critique" it is possible to produce its own positive and effective meaning.
現代美術學報 no.22, Oct 2011
This essay aims to develop a concept of 'Off-Site Art' as a distinct mode of art production. Taki... more This essay aims to develop a concept of 'Off-Site Art' as a distinct mode of art production. Taking place in real living environments, 'Off-Site Art', on the one hand, is liberated from the limitations imposed by an institution, while on the other hand it naturally encounters difficulties being sited in a broader social, economic and political arena. In this sense, 'Off-Site Art' provides cultural as well as aesthetic value and it is well worth further research. The term 'Off-Site Art' is used here to refer to this kind of art practice: artists not only present works outside of the gallery space but also seek new perspectives in creating the artworks' own time-space experience on site which should be considered as an interweaving relationship among the 'artwork itself, its environmental context and audiences'. Furthermore, 'Off-Site Art' usually possesses the characteristics of 'presence', 'event' and 'participation'.
Research by LU Pei-Yi 呂佩怡
Curatography issue 7, 2022
LU Pei-Yi, "South Fever: The South as a Method in Taiwan Contemporary Curating", Curatography - T... more LU Pei-Yi, "South Fever: The South as a Method in Taiwan Contemporary Curating", Curatography - The Study of Curatorial Culture, ISSUE 7 The Heterogeneous South.
https://curatography.org/7-3-en/
Yishu: Journal of Chinese Contemporary Art, Volume 9, Number 5, Sep 2010
Yishu-Journal of Contemporary Chinese Art, 2016
This study focuses on art practices of social engagement in Taiwan since 2000. Question how art p... more This study focuses on art practices of social engagement in Taiwan since 2000. Question how art power could be to respond to the current social-political climate: post-transit –democracy, post-industrialization and post-China-Taiwan-Relation. Three artists’ practices will be looked at in detail: CHEN Chieh-jen’s “Factory” (2003) and “Realm of Reverberation” (2014) ; HUANG Po-Chih’s “Production Line”(2014) and 500 Lemon Trees; WU Mali’s “Plum Tree Creek: Environmental Art Action”(2010-2012) to articulate three approaches of social engagement. Art as a means to manifest the reality; Art as a platform for exchange; Art as a means for effecting social change could be examined. This study suggests that the development of socially engaged art in Taiwan since 2000 has been more diverse and the imagination of art and society has expanded from “art←→society” since lifting material law in the late 80s towards “art/society” in the 2000s.
LU Pei-Yi,“Three Approaches of Socially-Engaged Art in Taiwan”, Dislocations: Remapping Art Histories organized by Tate Research Centre, Tate Modern, UK, 2015.12.3-4.
LU Pei-Yi,“Three Approaches of Socially-Engaged Art in Taiwan”, Yishu-Journal of Contemporary Chinese Art 77 issues (2016 Nov/Dec.): 91-101.
Yishu: Journal of Chinese Contemporary Art, 2013
The author excavates the histories of both the Taiwan and Hong Kong Pavilions and their struggle ... more The author excavates the histories of both the Taiwan and Hong Kong Pavilions and their struggle to establish a “national” identity without having official national status within the Venice Biennial.
(Yishu: Journal of Chinese Contemporary Art. Volume 12, Number 5, September/October 2013 )
National Culture and Arts Foundation (NCAF), Taiwan, 2015
This study focuses on art practices of social engagement that deal with social issues and use a v... more This study focuses on art practices of social engagement that deal with social issues and use a variety of concepts of “participation” as their approaches. Its scope will encompass the lists of grantees in the visual arts section of the National Culture and Arts Foundation (NCAF), including recipients of regular grants (artistic production, exhibition, research, publication and so on) and Production Grants to Independent Curators in Visual Arts, and will also extend to community research programs from 2007 to 2010. The selected cases are taken from the period after 2000. This research raises questions such as: what is the background and local context of socially engaged art in Taiwan? Since 2000, what characteristics have these practices manifested in terms of concepts, ideas, and approaches? This study will be conducted on three levels: (1) to study the social, political and economic changes in Taiwan, and the corresponding developments in the art environment, discourses and practices in Taiwan contemporary art; (2) to discuss the artists who received grants under four categories: art as a means to manifest the reality, art as intervention in reality, art as a platform for exchange, art as a medium for effecting change;(3) to summarize the characteristics of these art practices and assess their impact. This study suggests that the development of socially engaged art in Taiwan since 2000has been more diverse, not only in terms of concepts, themes and methods, but also in terms of presentation. In terms of concept, it has expanded its imagination of art and society, and changed its approach from “art ←→society” to “art/society”. In terms of their role, the artists fall into three categories: artist as subject, artist as interface, and artist steps back. The themes and modes of presentation also vary greatly due to the changes in concept and the role of the artist.
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Academic Papers by LU Pei-Yi 呂佩怡
高雄市立美術館自1994年開館以來成為南台灣藝文重鎮，近30年該機構論述變遷從區域地理的「台灣南方」，擴張到「全球南方」論述相關的「大南方South +」，從聚焦「南島」轉向「泛．南．島」。本文詢問在此不同階段「南方」論述實踐之中，從「南島」到「泛．南．島」這個路徑的轉變，是推動原民當代藝術的階段性策略，亦或是積極擁抱全球當代藝術潮流的傾向？「泛．南．島藝術祭」（2021）是加強原民當代藝術特質的「再南島」，或是相反方向的「再當代化」原民當代藝術？這樣的選擇是加強高美館在全球美術館的特殊位置，亦或削弱其特質？筆者認為高美館南方論述的轉向是針對不同時期機構所需進行調整，以及反映與回應外部大環境之現實條件。「泛．南．島」論述與「泛．南．島藝術祭」是解構、遠離南島語族的範疇，進而更自由地將澳洲、東北亞、東南亞、南亞等地納入，也就是透過某種程度的「去」南島而貼近「南方」、「海洋」、「島嶼」等概念，既是高美館自身機構的轉身，同時這個轉向也呼應當代藝術領域的「全球南方」論述與實踐。
Abstract
Established in 1994, the Kaohsiung Museum of Fine Arts (KMFA) plays a vital role in the development of the art of southern Taiwan. In 2007, KMFA initiated a three-year project entitled “The Development of Austronesian Contemporary Art”. The term “Austronesian” as a marker of linguistic, ethnic and geographical identity was employed to include Taiwanese indigenous contemporary art and this approach became a distinctive strategy and orientation of KMFA. In 2016, the KMFA’s policy “South +” was launched to connect the idea of “Austronesian” to the notion of “Global South”. In 2021, the “Pan-Austronesian Arts Festival” exhibited the works of 23 artists from Asia and the Pacific region. Significantly, it sought to move away from the notion of “Austronesian” in favour of the more fluid and expansive concept of “Pan-Austro-Nesian” by foregrounding the idea of deterritorialization, diversity and oceanic interconnectedness.
This shift and realignment have given rise to number of pressing questions: How should we understand the KMFA’s re-orienation away from the idea of “Austronesian” in favour of the “Pan-Austro-Nesian”? Does this approach sufficiently engage with the specificity and complexity of Taiwanese indigenous contemporary art, or does it view such art as merely a part of the broader condition and development of global contemporary art? Does the “Pan-Austronesian Arts Festival” reaffirm the local significance and specificity of Taiwanese indigenous contemporary art, or does it merely embrace the current fashion of the global world of contemporary art? Is this choice a reflection of the desire of KMFA to be in a unique position within the global museum community, or does it represent a departure from its founding mission?
This paper argues that the turn to the South is a means by which the museum has responded and adapted to the external changing environment. Indeed, the concept of “Pan-Austro-Nesian” and “Pan-Austro-Nesian Art Festival” effectively unsettles the bounded territory of ‘Austronesia’ so as to include Australia, Northeast Asia, Southeast Asia, South Asia. In this way, the “Pan-Austro-Nesian Art Festival” may be understood as exhibition that resonates with the concepts of the “South”, “Oceania” and the “archipelago”. This shifting approach reflects not just the institutional imperatives and corporate re-orientation of KMFA, it is also symptomatic of its alignment and engagement with the discourse of “Global South” in the field of global contemporary art.
This paper critically examines three exhibitions relating to the idea of “South”. In particular, it will analyze a number of case studies, such as South Country, South of Country – Vietnamese & Taiwanese Artists Exchange Project (Howl Space, Tainan, 2012-2013), The South: An Art of Asking and Listening (Kaohsiung Museum of Fine Arts, 2017), The Hidden South (presented in multiple spaces across four towns in the south-link areas, 2018) and so on in order to probe the questions of curating in Taiwan in the context of its multi-layer colonized history, and as a country marked by geopolitical rivalry. What is driving force behind “making south” as a curatorial method? Is it an attempt to explore Taiwan’s identity or an expression of political correctness? How does the ambiguity of the idea of the “South” impact on contemporary curating? Could the practice of “Curating the South” become a strategy to unsettle conventional ways of presenting art from the margins, or does it simply reinforce the existing hierarchies of the globalized art world? This paper argues that the ambiguity of the idea of the “South” has frequently emerged in various exhibitions. In the context of Taiwan, a number of exhibitions have expanded the multi-faceted meaning of the “South,” marking its geo-cultural and geo-political location as well as defining its uneven internal development between the North and South and its modernity and ecological future as part of the Global South and as aligned with Southeast Asia and Austronesia.
關鍵詞:文件大展、雜誌報導、展覽史、再現、文化政治事件
Founded in 1955, documenta, which takes place every five years in Kassel, Germany, has been an important and long-standing international exhibition in the post WWII period. In Taiwan, the first introduction to, and report on, this exhibition was documenta 7. Afterwards, each documenta has triggered extensive discussions and debates over the years. The significance of documenta is reflected in descriptions and praise in the media, where phases such as such as“the Art Olympics”“, Pilgrimage of Contemporary Art”and“Visual Art Oscar Awards”have been used. This phenomenon raises the questions addressed in this research: What is the image of documenta reflected in these media reports? What are the peculiar implications behind these representations of documenta? What has been the impact on Taiwan contemporary art curating? This essay focuses on the representation of documenta 7-12 in three professional art magazines – Lion Art, Artist and ARTCO – and analyzes the methods and images presented of documenta. It is argued that“the representation of documenta”as an event in these magazines implies more than just the transmission of new information and stories about curatorial concepts and practices. It is also a response to Taiwanese local needs, raising the question“What is the present situation of Taiwanese art?”. That is to say“the representation of documenta”should be considered as a Taiwanese cultural political event.
Keywords: documenta, Media Reports, Exhibition Histories, Representation, Cultural Politics Event.
2014年臺港兩地接力展開關鍵性的社會運動──春天有臺灣的「318太陽花學運」，秋冬出現香港的「雨傘革命」；在這兩次運動進行的當下，藉由藝術視覺化、具體化與情感化運動的訴求，體察到藝術於社會運動中扮演相當重要的角色。本文著眼於藝術與運動之間不同階段的關係，詢問當運動遠離之後，議題漸消退於日常生活之中，藝術之於社會運動有何可能？透過分析藝術家陳界仁的三件動態影像藝術作品：《加工廠》（2003）、《路徑圖》（2006）與《殘響世界》（2014），用以回應此議題。此三件作品皆與某一特定的社會運動直接相關，但又與之保持距離，且作品製作於運動落幕許久之後，採用一種間接行動的路徑。本文不以動態影像角度切入，轉而關注其工作方法，歸納出「社群共謀」、「（非）表演」、「（現）場／非現場」三個特殊的工作方法。本文認為正因這些獨特的工作方法使藝術得以在運動遠離之後再延續、再生產與再傳播。藝術之於社會運動的力量所在，即因其以「沒有位置的位置」提供異議與想像之空間。藝術不應受限於運動現場的時效性與有效性框架，運動落幕之後更是藝術發揮所長之時：重新喚醒被遺忘的過去，揭露運動過程被遮蔽的多種聲音，為既有的社會運動框架打開新的空間與可能。
Abstract
In 2014, there were two critical social movements emerged subsequently- Sunflower Student Movement in Taiwan and Umbrella Movement in Hong Kong. Within these two social movements, art played a significant role to visualize, embody and emotionalize the appeal of social movements. This essay focuses on the relationship between art and social movement at different stages and question that long time after the social movement, when the concerned issues disappearing gradually in the daily life, what art could do with this? Three works by artist Chen Chieh-jen: “Factory” (2003), “Route” (2006) and “Realm of Reverberations” (2014) are taken as case studies to respond this inquiry. These three works relate to specific social movements but meanwhile keep a distance. All of them were produced long after the social movements they related to. In other words, Chen took an indirect approach.
This essay, different from previous researches of Chen’s works, will not take a perspective of moving image, rather focus on the working methods that artist applies. “Community Collusion”, “(No) performance”, “Site/Non-site” are three methods summarized form this analysis. This essay points out the fact that these three methods make art extend, reproduce and recommunicate after those social movements. The power of art with social movement is art located in a place with no place so that it could provide a space to image and debate. Art should not be limited within the framework of on-going social movement. The period after social movement might be a better moment for art: art could recall the forgotten past, reveal the hidden multi-voices in the process of social movement, and open new space and possibility for the social movement which is getting rigid.
關鍵字：陳界仁、當代藝術、社會運動、殘響、社群共謀、（非）表演、（現）場
Keywords: Chen Chieh-jen, Contemporary Art, Social Movement, Reverberation, Community Collusion, (No) performa
關鍵字：展覽史、全球藝術、臺灣展覽史、公共文化史
Exhibition histories, from the perspective of global art, is a notion to rethink whether Western Art history is still applicable in other regions of the world after 1989. “Exhibition histories” which is a plural term emphasizes on diversities. Different from the Eurocentric modern art aesthetic, it considers on those cases from the Global South based on the shift of global structure. By discussing the meaning of exhibitions as well as the relations between exhibition histories and art history, this article was written to understand the value of exhibition histories from the perspective of global art and propose the possibility of Taiwan exhibition histories. The author argues that as a plural term, exhibition histories can be used in criticizing art history. Not only does it overturn the writing of art history which specifically focuses on Western contexts but also it expands the multiple possibilities in the dynamic relationships between exhibitions and histories. For example, we can take exhibitions as the way for historical re-narration, a reflection on public culture histories and an effective criticism on exhibition mechanisms. This article intends to think of “Taiwan exhibition histories,” from the multi-layered colonial histories of Taiwan and its global geopolitical position. Furthermore, by placing “Taiwan exhibition histories” within the framework of global art, we can deal with those internal issues of Taiwan and at the same time, pay attention to other Asian regions in views of cross-nation, cross-field and cross-culture.
Keywords: exhibition histories, global art, Taiwan exhibition histories, history of public culture
LU Pei-Yi & Phoebe WONG, “Art/ Movement as a Public Platform-Artistic Creations in Sunflower Movement and the Umbrella Movement”, in Art and the City: Worlding the Discussion through a Critical Artspace, London: Routledge, 2017, p. 44-58。
The lifting of martial law in 1987 in Taiwan was seen as a milestone on the road to democracy, and its impact triggered a series of social-political-cultural reforms, widespread social movement and changes in the 1990s. Two main features of this political change may be observed: a shift from a single-party (KMT) centralized political system towards democracy and from a predominantly Chinese ideology to a more specifically local identity. In these circumstances, on the one hand, the new political freedoms generated the possibility of the appearance of a public realm and of the use of public spaces as venues for art, and on the other hand, localism came into being as a collective movement in the 1990s. With the convergence of these forces, what artistic phenomenon might emerge? What role might the exhibitions could play? If we see an exhibition as a public platform, could the local issues be raised that generate the imagination of identity? The exhibitions of Environmental Art (1994) and Resurgence on the Tanshui River (1995) will be good examples to examine the direct connection between the exhibitions and the social-political circumstances, in particular responding to localism. Taking place along the bank of the Tanshui River, this river not only served as an exhibition venue but also furnished the concept for Environmental Art. In this essay, I argue that the development of exhibitions outside the museum/gallery spaces in the 1990s as a complex and peculiar phenomenon reflects a remarkable socio-political change, and also became part of the process of localization in the 1990s.
Keywords: exhibition, Identity Making, localization, environmental art, public space.
Research by LU Pei-Yi 呂佩怡
https://curatography.org/7-3-en/
LU Pei-Yi,“Three Approaches of Socially-Engaged Art in Taiwan”, Dislocations: Remapping Art Histories organized by Tate Research Centre, Tate Modern, UK, 2015.12.3-4.
LU Pei-Yi,“Three Approaches of Socially-Engaged Art in Taiwan”, Yishu-Journal of Contemporary Chinese Art 77 issues (2016 Nov/Dec.): 91-101.
(Yishu: Journal of Chinese Contemporary Art. Volume 12, Number 5, September/October 2013 )
Key words:
高雄市立美術館自1994年開館以來成為南台灣藝文重鎮，近30年該機構論述變遷從區域地理的「台灣南方」，擴張到「全球南方」論述相關的「大南方South +」，從聚焦「南島」轉向「泛．南．島」。本文詢問在此不同階段「南方」論述實踐之中，從「南島」到「泛．南．島」這個路徑的轉變，是推動原民當代藝術的階段性策略，亦或是積極擁抱全球當代藝術潮流的傾向？「泛．南．島藝術祭」（2021）是加強原民當代藝術特質的「再南島」，或是相反方向的「再當代化」原民當代藝術？這樣的選擇是加強高美館在全球美術館的特殊位置，亦或削弱其特質？筆者認為高美館南方論述的轉向是針對不同時期機構所需進行調整，以及反映與回應外部大環境之現實條件。「泛．南．島」論述與「泛．南．島藝術祭」是解構、遠離南島語族的範疇，進而更自由地將澳洲、東北亞、東南亞、南亞等地納入，也就是透過某種程度的「去」南島而貼近「南方」、「海洋」、「島嶼」等概念，既是高美館自身機構的轉身，同時這個轉向也呼應當代藝術領域的「全球南方」論述與實踐。
Abstract
Established in 1994, the Kaohsiung Museum of Fine Arts (KMFA) plays a vital role in the development of the art of southern Taiwan. In 2007, KMFA initiated a three-year project entitled “The Development of Austronesian Contemporary Art”. The term “Austronesian” as a marker of linguistic, ethnic and geographical identity was employed to include Taiwanese indigenous contemporary art and this approach became a distinctive strategy and orientation of KMFA. In 2016, the KMFA’s policy “South +” was launched to connect the idea of “Austronesian” to the notion of “Global South”. In 2021, the “Pan-Austronesian Arts Festival” exhibited the works of 23 artists from Asia and the Pacific region. Significantly, it sought to move away from the notion of “Austronesian” in favour of the more fluid and expansive concept of “Pan-Austro-Nesian” by foregrounding the idea of deterritorialization, diversity and oceanic interconnectedness.
This shift and realignment have given rise to number of pressing questions: How should we understand the KMFA’s re-orienation away from the idea of “Austronesian” in favour of the “Pan-Austro-Nesian”? Does this approach sufficiently engage with the specificity and complexity of Taiwanese indigenous contemporary art, or does it view such art as merely a part of the broader condition and development of global contemporary art? Does the “Pan-Austronesian Arts Festival” reaffirm the local significance and specificity of Taiwanese indigenous contemporary art, or does it merely embrace the current fashion of the global world of contemporary art? Is this choice a reflection of the desire of KMFA to be in a unique position within the global museum community, or does it represent a departure from its founding mission?
This paper argues that the turn to the South is a means by which the museum has responded and adapted to the external changing environment. Indeed, the concept of “Pan-Austro-Nesian” and “Pan-Austro-Nesian Art Festival” effectively unsettles the bounded territory of ‘Austronesia’ so as to include Australia, Northeast Asia, Southeast Asia, South Asia. In this way, the “Pan-Austro-Nesian Art Festival” may be understood as exhibition that resonates with the concepts of the “South”, “Oceania” and the “archipelago”. This shifting approach reflects not just the institutional imperatives and corporate re-orientation of KMFA, it is also symptomatic of its alignment and engagement with the discourse of “Global South” in the field of global contemporary art.
This paper critically examines three exhibitions relating to the idea of “South”. In particular, it will analyze a number of case studies, such as South Country, South of Country – Vietnamese & Taiwanese Artists Exchange Project (Howl Space, Tainan, 2012-2013), The South: An Art of Asking and Listening (Kaohsiung Museum of Fine Arts, 2017), The Hidden South (presented in multiple spaces across four towns in the south-link areas, 2018) and so on in order to probe the questions of curating in Taiwan in the context of its multi-layer colonized history, and as a country marked by geopolitical rivalry. What is driving force behind “making south” as a curatorial method? Is it an attempt to explore Taiwan’s identity or an expression of political correctness? How does the ambiguity of the idea of the “South” impact on contemporary curating? Could the practice of “Curating the South” become a strategy to unsettle conventional ways of presenting art from the margins, or does it simply reinforce the existing hierarchies of the globalized art world? This paper argues that the ambiguity of the idea of the “South” has frequently emerged in various exhibitions. In the context of Taiwan, a number of exhibitions have expanded the multi-faceted meaning of the “South,” marking its geo-cultural and geo-political location as well as defining its uneven internal development between the North and South and its modernity and ecological future as part of the Global South and as aligned with Southeast Asia and Austronesia.
關鍵詞:文件大展、雜誌報導、展覽史、再現、文化政治事件
Founded in 1955, documenta, which takes place every five years in Kassel, Germany, has been an important and long-standing international exhibition in the post WWII period. In Taiwan, the first introduction to, and report on, this exhibition was documenta 7. Afterwards, each documenta has triggered extensive discussions and debates over the years. The significance of documenta is reflected in descriptions and praise in the media, where phases such as such as“the Art Olympics”“, Pilgrimage of Contemporary Art”and“Visual Art Oscar Awards”have been used. This phenomenon raises the questions addressed in this research: What is the image of documenta reflected in these media reports? What are the peculiar implications behind these representations of documenta? What has been the impact on Taiwan contemporary art curating? This essay focuses on the representation of documenta 7-12 in three professional art magazines – Lion Art, Artist and ARTCO – and analyzes the methods and images presented of documenta. It is argued that“the representation of documenta”as an event in these magazines implies more than just the transmission of new information and stories about curatorial concepts and practices. It is also a response to Taiwanese local needs, raising the question“What is the present situation of Taiwanese art?”. That is to say“the representation of documenta”should be considered as a Taiwanese cultural political event.
Keywords: documenta, Media Reports, Exhibition Histories, Representation, Cultural Politics Event.
2014年臺港兩地接力展開關鍵性的社會運動──春天有臺灣的「318太陽花學運」，秋冬出現香港的「雨傘革命」；在這兩次運動進行的當下，藉由藝術視覺化、具體化與情感化運動的訴求，體察到藝術於社會運動中扮演相當重要的角色。本文著眼於藝術與運動之間不同階段的關係，詢問當運動遠離之後，議題漸消退於日常生活之中，藝術之於社會運動有何可能？透過分析藝術家陳界仁的三件動態影像藝術作品：《加工廠》（2003）、《路徑圖》（2006）與《殘響世界》（2014），用以回應此議題。此三件作品皆與某一特定的社會運動直接相關，但又與之保持距離，且作品製作於運動落幕許久之後，採用一種間接行動的路徑。本文不以動態影像角度切入，轉而關注其工作方法，歸納出「社群共謀」、「（非）表演」、「（現）場／非現場」三個特殊的工作方法。本文認為正因這些獨特的工作方法使藝術得以在運動遠離之後再延續、再生產與再傳播。藝術之於社會運動的力量所在，即因其以「沒有位置的位置」提供異議與想像之空間。藝術不應受限於運動現場的時效性與有效性框架，運動落幕之後更是藝術發揮所長之時：重新喚醒被遺忘的過去，揭露運動過程被遮蔽的多種聲音，為既有的社會運動框架打開新的空間與可能。
Abstract
In 2014, there were two critical social movements emerged subsequently- Sunflower Student Movement in Taiwan and Umbrella Movement in Hong Kong. Within these two social movements, art played a significant role to visualize, embody and emotionalize the appeal of social movements. This essay focuses on the relationship between art and social movement at different stages and question that long time after the social movement, when the concerned issues disappearing gradually in the daily life, what art could do with this? Three works by artist Chen Chieh-jen: “Factory” (2003), “Route” (2006) and “Realm of Reverberations” (2014) are taken as case studies to respond this inquiry. These three works relate to specific social movements but meanwhile keep a distance. All of them were produced long after the social movements they related to. In other words, Chen took an indirect approach.
This essay, different from previous researches of Chen’s works, will not take a perspective of moving image, rather focus on the working methods that artist applies. “Community Collusion”, “(No) performance”, “Site/Non-site” are three methods summarized form this analysis. This essay points out the fact that these three methods make art extend, reproduce and recommunicate after those social movements. The power of art with social movement is art located in a place with no place so that it could provide a space to image and debate. Art should not be limited within the framework of on-going social movement. The period after social movement might be a better moment for art: art could recall the forgotten past, reveal the hidden multi-voices in the process of social movement, and open new space and possibility for the social movement which is getting rigid.
關鍵字：陳界仁、當代藝術、社會運動、殘響、社群共謀、（非）表演、（現）場
Keywords: Chen Chieh-jen, Contemporary Art, Social Movement, Reverberation, Community Collusion, (No) performa
關鍵字：展覽史、全球藝術、臺灣展覽史、公共文化史
Exhibition histories, from the perspective of global art, is a notion to rethink whether Western Art history is still applicable in other regions of the world after 1989. “Exhibition histories” which is a plural term emphasizes on diversities. Different from the Eurocentric modern art aesthetic, it considers on those cases from the Global South based on the shift of global structure. By discussing the meaning of exhibitions as well as the relations between exhibition histories and art history, this article was written to understand the value of exhibition histories from the perspective of global art and propose the possibility of Taiwan exhibition histories. The author argues that as a plural term, exhibition histories can be used in criticizing art history. Not only does it overturn the writing of art history which specifically focuses on Western contexts but also it expands the multiple possibilities in the dynamic relationships between exhibitions and histories. For example, we can take exhibitions as the way for historical re-narration, a reflection on public culture histories and an effective criticism on exhibition mechanisms. This article intends to think of “Taiwan exhibition histories,” from the multi-layered colonial histories of Taiwan and its global geopolitical position. Furthermore, by placing “Taiwan exhibition histories” within the framework of global art, we can deal with those internal issues of Taiwan and at the same time, pay attention to other Asian regions in views of cross-nation, cross-field and cross-culture.
Keywords: exhibition histories, global art, Taiwan exhibition histories, history of public culture
LU Pei-Yi & Phoebe WONG, “Art/ Movement as a Public Platform-Artistic Creations in Sunflower Movement and the Umbrella Movement”, in Art and the City: Worlding the Discussion through a Critical Artspace, London: Routledge, 2017, p. 44-58。
The lifting of martial law in 1987 in Taiwan was seen as a milestone on the road to democracy, and its impact triggered a series of social-political-cultural reforms, widespread social movement and changes in the 1990s. Two main features of this political change may be observed: a shift from a single-party (KMT) centralized political system towards democracy and from a predominantly Chinese ideology to a more specifically local identity. In these circumstances, on the one hand, the new political freedoms generated the possibility of the appearance of a public realm and of the use of public spaces as venues for art, and on the other hand, localism came into being as a collective movement in the 1990s. With the convergence of these forces, what artistic phenomenon might emerge? What role might the exhibitions could play? If we see an exhibition as a public platform, could the local issues be raised that generate the imagination of identity? The exhibitions of Environmental Art (1994) and Resurgence on the Tanshui River (1995) will be good examples to examine the direct connection between the exhibitions and the social-political circumstances, in particular responding to localism. Taking place along the bank of the Tanshui River, this river not only served as an exhibition venue but also furnished the concept for Environmental Art. In this essay, I argue that the development of exhibitions outside the museum/gallery spaces in the 1990s as a complex and peculiar phenomenon reflects a remarkable socio-political change, and also became part of the process of localization in the 1990s.
Keywords: exhibition, Identity Making, localization, environmental art, public space.
https://curatography.org/7-3-en/
LU Pei-Yi,“Three Approaches of Socially-Engaged Art in Taiwan”, Dislocations: Remapping Art Histories organized by Tate Research Centre, Tate Modern, UK, 2015.12.3-4.
LU Pei-Yi,“Three Approaches of Socially-Engaged Art in Taiwan”, Yishu-Journal of Contemporary Chinese Art 77 issues (2016 Nov/Dec.): 91-101.
(Yishu: Journal of Chinese Contemporary Art. Volume 12, Number 5, September/October 2013 )
Key words:
https://www.ncafroc.org.tw/research-single.aspx?id=39538
書評：
二十年終得一磚，《台灣當代藝術策展二十年》──專訪策展人呂佩怡
https://okapi.books.com.tw/article/3733
黃郁捷，評[呂佩怡主編]《臺灣當代藝術策展二十年》，《博物館與文化》 Issue 9（2015.06），頁93-101
http://www.cam.org.tw/activity/jmc/download/9-5.pdf
議藝份子 第二十七期
http://art.ncu.edu.tw/artConf/main/public/27/[1.8]書評－《台灣當代藝術策展二十年》.pdf
中文版本
黃郁捷，評[呂佩怡主編]《臺灣當代藝術策展二十年》，《博物館與文化》 Issue 9（2015.06），頁93-101
2. 當代藝術, 策展與展覽史 (Contemporary Art, Curating and Exhibition Histories)/Lucy Steeds
3. 策展研究在當代藝術史的位置 蔣伯欣
4. 「隔岸觀火」，拉開距離來看那個的時代——費大為談「大地魔術師」/採訪: 呂佩怡、蔣伯欣、孫松榮 整理：編輯部
5. 策展的肇始? (When was Curating?)/Kit Hammonds
6. 展覽作為展覽/盧迎華
7. 策展的運動化，亦或運動的策展化？成為新文化政治參與形式的問題與想像/方彥翔
8. 策展作為試探藝術概念的一種途徑：呂岱如與方彥翔對談
9. 我們其實都是被動型策展人：周安曼與翁子健對談
http://www.twvideoart.org/tiva_16/about.html
呂佩怡，〈誰為誰演出？美術館框架下的表演性作品〉，《藝外》 67期 (2015.04)：59-67
At the core of this Collectively Annotated Bibliography are the ten curators and researchers (Miguel A. López, LU Pey-Yi, Julia Morandeira Arrizabalaga, Narawan Kyo Pathomvat, RAW Material Company, Shela Sheikh, Pelin Tan, Meenakshi Thirukode, Joanna Warsza, Vivian Ziherl) from diverse backgrounds and contexts who have been invited to suggest the titles that are most representative of the current debate on the present and future of art in the public domain. Each bibliographical note is supplied by one or more quotes – some in their original language – and links to the publishers or reviews to explore topics addressed in the suggested books in more detail.