《藝術認證》No. 96 ：泛‧南‧島航行指南

 

　　曾經，人類隨著湧動的洋流遠航，從南島語族的遷徙到大航海時代的冒險，造就了無數文化的相遇與碰撞，促使世界形成我們今日所認知的模樣。如今，新的浪潮再度撲湧而來，特別是從2020年延燒至2021年的COVID-19疫情。但不同於過去的大航海時代或是近年的全球化浪潮使我們交流更頻繁，如今我們不再是能隨意互通有無、聯絡往來的網絡，而是盡可能的，各自封閉成一座孤島。

 

　　於此同時，高美館即將推出的《泛．南．島藝術祭》，便成為疫情時代中，最深刻、對比的展覽。展名「PAN──泛、南方、島嶼」，分別具有以下意涵：

 

　

　　《泛．南．島藝術祭》試圖透過當代藝術提供超越血緣、語言、族群等跨疆界的「議題共同區」。即便因為疫情，讓《泛．南．島藝術祭》許多實體的交流變得不可能，但在「封閉」、「阻絕」的情境中，或許更能讓我們反思「連結」與「開放」的意義。

 

　　此外，本期也是《藝術認證》由雙月刊改版半年刊後的揚帆之作，同時是文集形式的展覽專輯。第一部分邀請總策劃人李玉玲館長介紹本次策展理念，暢談她如何從「大南方」架構延展至「泛．南．島」的思考。策展顧問札拉・斯坦霍普（Zara Stanhope）與魯本．福連德（Reuben Friend）也特別撰文：斯坦霍普對照《泛．南．島藝術祭》與其他雙年展、藝術季的策劃形式，指出其未來的發展可能；福連德則聚焦於海洋與島嶼概念的探究，並介紹太平洋藝術家如何以創作回應相關概念。第二部分則涵蓋參展23組藝術家與作品的詳盡介紹與精彩作品照，供讀者完整閱讀。第三部分則由策展團隊透過爬梳藝術家創作概念，引介更廣闊的命題。如徐柏涵談論〈雅加達事件簿〉與〈海不平面〉中，地圖如何象徵、展現人類的觀看與想像；方彥翔從〈山羌模仿術〉思索人類與動物的角色互換與溝通可能；亦有多篇文章討論原民文化傳承與藝術創作的關係，包含曾芳玲、謝宇婷、崔綵珊、柯念璞等作者。專文也特別介紹於高美館園區創作的盧建銘與劉哲安，如何在自然環境中，進行文化與藝術實驗？

 

　　無法任意遠行的此刻，希望閱讀這本刊物能成為各位的嶄新旅程。讀者如同航行於洋面的小船，而藝術家的作品則如同浮現於海的島嶼，每一座島嶼都有自身的經歷與故事，彼此之間又互相連結。

 

　　歡迎您，與我們共同踏上《泛．南．島》的探險旅程。

 

 

　　Once upon a time, humans sailed across the surging ocean, traveling, along the ocean currents, to far-away lands. From the migration of the Austronesians to the adventures in the Age of Exploration, these voyages generated countless cultural encounters and collisions, which have contributed to making the world we know today. Now, a new wave is rising again; notably, the COVID-19 pandemic has been raging from 2020 to 2021. While the tide of globalization used to make our communications more frequent, nowadays, we are no longer a network in which everyone is free to contact one another; instead, we have done everything within our powers to become an island, isolated from one another. 

 

　　In the meantime, Kaohsiung Museum of Fine Arts (KMFA) is ready to present “Pan-Austro-Nesian Arts Festival”: the deepest and most contrasting exhibition in the age of the pandemic. The meaning of each word in “Pan-Austro-Nesian” is: 

 

 

　　Pan-Austro-Nesian Arts Festival creates a common ground where issues are shared across blood ties, languages, ethnic groups, and national boundaries. Even though the outbreak makes many forms of physical interactions impossible for the exhibition, perhaps in this scenario of “closure” and “blockage”, we will be more likely to reflect on the meanings of "connection" and "openness".

 

　　In a time of travel restrictions, we hope reading this publication will be a new journey for you. The reader is the boat sailing across the ocean, and the artists’ works are the islands that emerge in the ocean, each has its individual experience and stories while still being connected to the others.

 

　　Furthermore, the present publication is the first issue of Art Accrediting since our transition from bimonthly to biannual publication, as well as being an exhibition catalogue in the form of an essay collection. In the first part of the issue, KMFA director Yulin Lee introduces the curatorial concept as the head curator of this exhibition. Curatorial Consultant Zara Stanhope compares the planning of “Pan-Austro-Nesian Arts Festival” to other biennales and art festivals whereas another Curatorial Consultant Reuben Friend focuses on exploring the concepts of the ocean and islands. The second part of the issue details information on all of the artists and artworks in the art festival for the reader’s reference. Finally, the third part contains the curatorial team’s insights into the artists and their creative concepts produced in the process of curating the exhibition. 

 

　　We warmly invite you to join the exploration of “Pan-Austro-Nesian Arts Festival” with us. 

 

 

　　高雄市立美術館館長

 

 

　　紐西蘭塔拉納基大區戈維特－布魯斯特美術館／連恩萊藝術中心館長

 

 

　　紐西蘭帕特迦美術館館長

 

 

　　高雄市立美術館研究發展部助理研究員

 

 

　　高雄市立美術館展覽部主任                 

 

 

　　高雄市立美術館展覽部助理策展人

 

 

　　高雄市立美術館研究發展部助理研究員

 

 

　　高雄市立美術館展覽部助理策展人                                             

 

 

　　高雄市立美術館展覽部助理策展人                            

 

 

　　台大森林所碩士、專職生態圖文作家                  

 

 

　　高雄市立美術館教育暨公共服務部教育專員

 

 

 

　　Director of Kaohsiung Museum of Fine Arts

 

 

　　Director of Govett-Brewster Art Gallery/Len Lye Centre (GBAG/LLC), Taranaki, New Zealand

 

 

　　Director of Pātaka Art+Museum

 

 

　　Assistant Researcher at Kaohsiung Museum of Fine Arts Research and Development Department

 

 

　　Head of Exhibition at Kaohsiung Museum of Fine Arts

 

 

　　Assistant Curator at Kaohsiung Museum of Fine Arts Exhibition Department

 

 

　　Assistant Researcher at Kaohsiung Museum of Fine Arts Research and Development Department

 

 

　　Assistant Curator at Kaohsiung Museum of Fine Arts Exhibition Department

 

 

　　Assistant Curator at Kaohsiung Museum of Fine Arts Exhibition Department

 

 

　Nature Writer and Ecological Illustrator; Graduated with Master Degree from School of Forestry and Resource conservation, National Taiwan University

 

 

　　Coordinator at Kaohsiung Museum of Fine Arts Education and Public Services Department

第一章 策展論述                                                                

關於《泛‧南‧島藝術祭》︱李玉玲                                             

從未知到未知︱札拉・斯坦霍普                                                

旅程待續：海洋藝術新潮流︱魯本·福連德                                        

 

Yuki Kihara/ 王虹凱/ 吳思嶔/ 吳燦政/ 杉本博司/ 宜德思‧盧信/ 拉黑子‧達立夫/ 東冬‧侯溫/ 林介文/ 拉拉‧魯克/ 邱杰森&莫珊嵐/ 簡‧金‧凱森 / 約翰‧普爾/娜辛娜．霍海亞/ 張致中/ 張恩滿/ 強納森‧瓊斯/ 蒂摩爾古薪舞集/ 雷恩/ 雷斌/ 劉哲安/ 盧建銘/ 蘿拉‧葛里諾

 

地圖之外，海面之內：關於「泛‧南‧島」的一些觀察︱徐柏涵                   

與大海共振的儀陣－蘿拉‧葛里諾的項鍊和林介文的織物︱曾芳玲                 

動物化、生動化與物種溝通：吳思嶔作品中的跨物種政治︱方彥翔                 

語言、土地、邊界：強納森．瓊斯如何以創作重建原民文化景觀︱謝宇婷

Varhung－聲之身，生不息︱崔綵珊                                             

田地和山野，隨時都有我的魂守護著－高一生︱柯念璞                            

在森林中營造藝術—側記盧建銘的高美館生態復育行動︱ 黃瀚嶢                   

盧建銘ｘ劉哲安：身體力行，回應環境的生態與文化復振實驗︱蔡佳文、謝宇婷 

 

• About the “Pan-Austro-Nesian Arts Festival”︱Yulin Lee

• From Unknown to Unknown︱Zara Stanhope

• The Journey Continues: New Currents in Oceanic Art︱Reuben Friend

 

• Yuki Kihara/  Wang Hong-Kai/ Wu Sih-Chin/ Wu Tsan-Cheng / Hiroshi Sugimoto/ Idas Losin/ Rahic Talif / Dondon Hounwn/ Labay Eyong/ Lala Rukh/ Chiu Chieh-Sen & Margot Guillemot/ Jane Jin Kaisen/ John Pule / Ngahina Hohaia/ Chang Chih-Chung / Chang En-Man/ Jonathan Jones / Tjimur Dance Theatre / Kulele Ruladen / Masiswagger Zingrur / Varig Tinaway / Lu Chien Ming / Lola Greeno

 

• Beyond Maps, Beneath Sea Level: Observations on the “Pan-Austro-Nesian Arts Festival”︱Hsu Po-Han

• A Ritual Formation that Resonates with the Ocean: On Lola Greeno’s Necklaces and Labay Eyong’s Textiles︱Tseng Fang-Ling

• Animalizing, Animating, and Interspecies Communication: Interspecies Politics in Wu Sih-Chin’s Works︱Fang Yen-Hsiang

• Language, Land, Borders: How Jonathan Jones Rebuilds the Aboriginal Cultural Landscape︱Hsieh Yu-Ting

• Varhung: The Infinite Body of Sound︱Tsui Tsai-Shan

• The fields and Mountains are Evermore Guarded by My Soul - Uong e Yatauyungana︱Ko Nien-Pu

• Creating Arts in the Forest - Behind the Scenes of Chien-Ming LU’s Ecological Restoration Project at Kaohsiung Museum of Fine Arts︱ Huang Han-Yau

• Lu Chien-Ming x Varig Tinaway: Practice and Respond Toward the Ecology of the Environment and Cultural Revival Experiment︱Tsai Chia-Wen, Hsieh Yu-Ting