Tainan 台南事

【Inside out系列講座 II 】藝術節,地方與能動性(Festival, locality, agency)

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【INSIDE OUT 系列講義第二場】

藝術節,地方與能動性(Festival, locality, agency)

時間:10月1日 15:00~17:00

講者:鄭文琦 Rikey Tēnn

地點:台南絕對空間二樓(台南市中西區民生路一段205巷11號)

 

〖內容簡述〗
「數位荒原」是由數位藝術基金會從2011年11月開始贊助的網路書寫計畫,並且陸續開展「見面會」(2013, 1~)、「荒原小報」(2014, 8~)等不同溝通界面。2014年發起《Project Glocal亞洲城市串流》連結東南亞場景,並在2015年檳城策劃了「馬來西亞DA+C藝術節」的國際交流單元《歷史上的今天》。在這場講座裡,數位荒原的總編輯將從他近年來參與東南亞藝術單位交流的頓挫經驗為起點,透過「節慶性」與「地方性」的視野展開以「東南亞」為範疇的另類敘說方案。本次講座也歡迎其他非相關學院背景出身的藝術工作者前來交流關於(東南亞)藝術交流的前景與疑惑。

 

〖講者介紹〗
鄭文琦現居臺北,他是數位藝術基金會贊助的「數位荒原計劃」創辦人也是數位荒原網站主編,文章散見於台灣的《典藏今藝術》和中國的《LEAP藝術界》等雜誌。他也是菲律賓策展人達鴦.雅洛拉所發起的2014年「Project Glocal 亞洲城市串流」計劃台灣主辦人,以及今年的馬來西亞DA+C藝術節《歷史上的今天》單元共同策展人。現在他感興趣的是人們如何在沒有專業背景的情況下,創造並主張那些讓他們實現自我組裝為「藝術家」(或其他藝術世界裡的專業角色)的情境。

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Based in Taipei, Rikey Tēnn (b. Hsinchu) is the founder and editor-in-chief of No Man’s Land Project at Digital Art Foundation (DAF), Taipei. He writes articles for ARTCO Magazine in Taiwan and LEAP Magazine in China. He also hosted Project Glocal 2014: Transi(en)t Taipei which initiated by Philippine curator Dayang Yraola, and co-curated (with curator Suzy Sulaiman) “Hari Ini Dalam Sejarah” in Malaysia’s DA+C Festival this year. Currently, he is interested in how certain scenes are being invented and claimed by those who are without professional background, yet are able to self assemble and recognize themselves as artists (or any other professionals) in today’s art world.

 


藝術節、地方與能動性 — 重思藝術社群在東南亞的呈現
Festival, Locality, Agency – Rethink the REPRESENTATION of art community in Southeast Asia
主講人:鄭文琦

2016.10.01 台南絕對空間

我們是誰:由鄭文琦主持的線上平台「數位荒原」之起源與概念,第一部分是關於「書寫」這部分,內容包括兩個月一次有製作專題在網路上發佈,有時透過轉載舊文章、或與作者討論後書寫;第二是見面會,藉由見面會的方式再回去影響社群,「數位荒原」不只是一個評論的媒體、或是實體的見面會、或是只有策展的藝術交流,我們在嘗試從這三個面向來創造書寫的可能並且創作者、藝術家、作者回到藝術生產的核心。

緣起:2014年開始文化部有「翡翠計劃」,鼓勵藝術單位邀請藝術工作者等來台灣作交流,因為台灣有許多的新移民以及移工,可以藉由這個來擴大交流的基礎。而鄭文琦過往就對東南亞有些經驗,所以在想自己可以在這方面做什麼事,但同時又思考為什麼非得要去東南亞,為什麼要用這種區域性的東西去拓展。於是後來與菲律賓策展人達鴦(Dayang Yraola)認識且合作了《Project Glocal亞洲城市串流》,這是有經濟學背景的,達鴦想像的基礎是全球化以經濟的觀點,例如麥當勞在全球不同的地方就會有不同的作為,例如在曼谷的麥當勞可能就會做飯之類的。

第一個有關於藝術節(Festival),藝術節這個字眼會在東南亞交流時常被提起,在不同的人的觀點中對這個字的定義也有些許不同。新加坡策展人David TEH:「許多處於當代藝術初次浮現於此區域(東南亞)的或大或小脈絡中,也或許在這之中的大部份,可能皆具有節慶特質。因此,它們被視為慶典與消費的脈絡更甚於作品與累積的脈絡。更甚之,可將節慶性視為東南亞當代藝術的源頭。」

第二位是印尼的Alia Swastika:「認同的議題是如此豐盛,值得讚揚,使嘉年華被選為慶賀的形式,在印尼,嘉年華的點子建立了最歡樂的氣氛,而它的靈感來自對多元融合讚賞的渴望。」

2015年8月鄭文琦前往馬來西亞檳城參加DA+C藝術節,他們在慶祝喬治市被聯合國教科文組織列為世界文化遺產的慶典,但參加的多數都是觀光客,參展團隊去是想觀察濱城當地的藝術社群但在那邊的多是觀光客,不過另一方面也是因為濱城要透過文化觀光來帶動藝術活動的關係。

第二:地方性。該次參展的三位台灣藝術家在佈展過程中碰到一些困難,例如工具上、空間上的限制,而有的藝術家會依現場條件來選用裝置的物件,而有的藝術家則因為太想展現自己想要的,而到了現場才發現困難重重。另外,在國外交流過程裡,鄭文琦思考我們如何跟濱城的交流語言,每個藝術家呈現的方式都不同。我們在批評某些東西時,我們以為我們可以批評,但其實我們無法去批評那個工具,對於藝術家而言去東南亞或歐洲都是一樣的,但對鄭文琦而言「地方」還是很重要的,完全是取決於藝術家對於這地方感不感興趣。

2015年的展覽,鄭文琦提出的是「島的記憶」,思考的是與海的連結,直接用島和船為主的發想作為連結的創作,像泰國館的意象,作品內就有讓人思考泰國文化就是笑臉迎人、度假、熱帶水果等等的。然而2015年交流之後,鄭文琦反思:這是一種反射還是一種折射?

假設,藉由某個島去反映另一個島的狀況這會是反射,但折射的路徑不是從A到B,在台灣的境況裡牽涉到南島語系的脈絡,有一說法是從紐西蘭一路往北擴散經過我們熟悉的東南亞(菲律賓、印尼、馬來西亞等等)另一說法是以台灣為中心往南島語系國家擴散,台灣的南島語系語言占八成。以當時參展的台灣藝術家王鼎燁作品為例,王的作品是與他出生在檳城的祖母有關,而祖母小時候在檳城看到的景象、資源物產等等,到了現在來談論,也可以稱為是折射。

能動性,一個代理者(行動者)提供特殊服務(可完成某項事),社會是取決於結構還是能動性呢?藝術演進的過程透過「再現」與「模擬」,而後殖民提出的翻成再現、呈現、代表,想探究這個是因為語言差異還是會影響我們的交流的,而Spivak有提出例如:像文學上「移工」這個議題(所謂的政治正確)以移工文學獎為例當你進入了這個文化主體(得獎)你就不再代表「他者」。

社會學家張君玫在著作《後殖民的賽伯格》比較兩位女性主義觀點後,解釋現代性的欲望,其中一個是你要擁有「對象」可以讓你認識,可以在這個世界被知識的主體認識,第二是交換與交流後能被看到被認識,例如台灣跟泰國常常被討論與搞混。書裡常常提到,你必須要成為那個文化主體,成為代言,你才能夠去進行更進一步的拆解跟批判,代言本身還是有許多問題的,但可以賦予對方限制等。

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