不同步區域/異邦-亞洲獨立藝術空間連線
Asynchronous States -AIA Asia in Independent Asia
2013.06.29 – 2013.07.27
開幕酒會|2013/06/29 (六) 19:00
展覽地點|FreeS 福利社 (台北市新生北路三段82號B1)
VT Artsalon 非常廟藝文空間 (台北市新生北路三段56巷17號B1)
開幕酒會|2013/06/29 (六) 19:00
展覽地點|FreeS 福利社 (台北市新生北路三段82號B1)
VT Artsalon 非常廟藝文空間 (台北市新生北路三段56巷17號B1)
不同步區域 / 異邦Asynchronous States
文│吳達坤 Wu Dar-kuen 前言 「亞洲獨立藝術空間連線」(AIA Asia in Independent Asia,以下簡稱AIA連線)是一個串聯亞洲獨立藝文空間的計畫,目前組成單位來自台灣、中國、韓國、香港與澳門共六個獨立藝術空間。本計畫擘劃兩年時間,台北為計畫的第一站,未來將與各國替代空間進行不同主題的展示與論壇,預計每年一次,巡迴於亞洲各城市。2011年非常廟藝文空間(VT Artsalon,以下簡稱VT)曾經出版了《搞空間─亞洲後替代空間》,為台灣少見的亞洲獨立空間介紹性專書,可被視為是AIA這個結盟策略的暖身,而「不同步區域/異邦」一展與AIA連線的成立則是由出版跨向實體展覽與論壇的第二步。 後全球化時代之下 在解釋「不同步區域/異邦」這主題之前,我們首先來看看多年前的維多莉亞時代。19世紀盛值巔峰的大不列顛帝國,因為要管理包括亞洲在內的龐大國土而訓練出一套的精於外交政策與數字化管理的現代文官,讓他們鞏固帝國利益與女王的旨意。同一個時代,西方經歷工業革命,制式化的生產線帶來更有效率的商品與文化傳遞,這是咸信的第一次的全球化思想。而回顧更早的中國科舉制度,其實也是企圖為過去中原的皇帝訓練出能夠管理龐大帝國疆土的技術官僚。此刻無論從地理上或是制度上看來,近代的亞洲無疑是經歷了高密度的政治與文化的外在影響,過去中國歷史上界定「異邦」的中原文化思維,早已轉變成為區域中心或多元中心的概念。在21世紀的世界全面被全球化浪潮席捲之後,亞洲該如重新界定自己與世界的關係? 過去的亞洲VS今日的亞洲 最初「Asia」這詞是由腓尼基語「Asu」轉化而來,到西元前一世紀時,Asia成為羅馬帝國一個行省的名稱而延用至今,19世紀殖民主義高峰時期,亞洲意味著歐洲殖民母國那片物產豐饒的土地資產。也可以說,第一個亞洲的概念是使自西方的。相當諷刺地,對「亞洲人」而言,亞洲恐怕是一個外來名詞。而當時間來到了亞洲在思想層面更深刻自覺的時代時,如何重新詮釋這個「外來用語」也成了亞洲當代藝術家的顯要課題之一。什麼是亞洲?為何需要亞洲這個概念?在政治上與文化上,亞洲這個概念(被誰)投射著甚麼樣的利益與理想? 不同步國家∕不同步狀態 在亞洲各個國家,因著政治與文化的差異,藝術生態亦衍生出不同的生長策略。問題在於,這策略的相異之處可否被清楚的描繪,而這些個別地區的策策略又可否彼此截長補短,因而得以開發出更多積極的策略來因應其在地情勢?「不同步區域∕異邦」一展企圖提出一個比較的可能,並在這個比較過程中,凸顯這種每個制度∕國家(states)的不同步 (asynchronous) 狀態(states),又或者,我們也可將這一比較視為是一種政治學上的轉換現象考察。 以亞洲之名 藝術家∕藝術團體總是那處於社會夾縫之間的邊緣聲音,AIA以及「不同步區域∕異邦」一展的另一個意圖即是藉由這一個考察,將這些邊緣者的政治策略加以結盟並壯大。AIA不只希望可以用展覽做為交流形式,同時也期望能透過各國空間在台北的工作過程及高峰論壇,把這些空間的經驗以及發展脈絡跟彼此分享,藉此為亞洲替代空間(alternative space)∕藝術家空間( artist-run space)發現其潛在共有的特質、發展策略與創意,並進一步的,在這些發展經驗上發現某種「亞洲性」的積極可能,以「亞洲之名」開創相對於以西方為主導的當代藝術論述,詮釋出更清晰的亞洲主體性。 藝術在世界的分工中 過去數百年的近現代文明大抵是以單一價值觀點來對待這個世界,這個觀點想像有一個整體的,普世的發展模式,忽略每個區域的政經、地理等先天條件,不協調的機制也讓環境、人類也因此付出許多代價。但今日的世界選擇了朝向分工的方向運行,無論是一家麥當勞加盟店,或者是一家專推錄像藝術的非營利畫廊,這些分工各自跟隨某個信仰或價值體系,從未同心協力地朝向某個想像的理想前進,但他們都在發揮作用。我們走訪世界各地後發現,藝術家們也是一樣,對應機制呈現出不對稱的發展,在這世界形成許多小型分工體系,讓資源互補 (與衝突)。因此,這個由亞洲六個藝術家機構所集合起來的連線,它作為一個概念起點,也被期許能是個運行機制,亦或是一群亞洲藝術家的宣言。這是一個以藝術作為信仰而結合的亞洲連線,它亦被期許為一個能謀合這「不同步的」一切的機制,一個從哲學家到藝術家再到今日世界分工體系的重要環節。 |
Preface
Asia in Independent Asia (AIA for short) is a project connecting independent art spaces in Asia, current consist of spaces from Taiwan, China, Korea, Hong Kong, and Macau, totaling six independent art spaces. AIA is a continuous project starting with Taipei as its first stage, in the future moving annually to spaces from different countries presenting exhibitions and forums on various subject and issues. In 2011 VT Artsalon (VT for short) released a publication “Creating Spaces”, a rare introductory book for Asian Independent Art Spaces, this can be considered as the preparation to the AIA alliance strategy, and Asynchronous States exhibition provide the second step into realizing the project from publication to actual exhibition and active forum.
Under Post-Globalization
Before explaining the title of “Asynchronous States”, let us first look back to the Victorian period. During the 19th century, peak of the British Empire, from the need to manage the vast territory it now controls, this including Asia; a system of bureaucrats specialized in foreign affairs and numerical management is developed, this allows them to strengthen the interest of the empire and wish of the Queen. At the same period in history, the Western World underwent the industrial revolution; regularized production line provides efficiency within products and aids the delivery of culture, creating for the first time a generally accepted globalised method of thinking. Reflecting further back to the Chinese Imperial Examination system, it is also an attempt to educate a group of bureaucrats with the ability to manage the vast territory of its empire for the emperor. Currently, whether from the geographical or institutional aspect, there is no doubt that Asia experienced condensed and concentrated outside influence on its politics and culture, the previous Central of China concept models that has defined “foreign tribes” (異邦), have long been transformed into the concept with relation to “Central of the Region” or “Central of the Multicultural Collective”. In the 21st century when the whole world has been washed by waves of globalization, how should Asia redefine itself with relation to the world?
Asia of the past vs Asia of today
Originally the word “Asia” was derived from “Asu” from the Phoenician language, until around 100 BC, where the Asu became Asia, a province of the Roman Empire, and the term is used until present. In the 19th century during the peak of colonialism, Asia represents a land with plentiful resources to the colonial countries in Europe. Hence it could be said, the first concept of Asia comes from the West. Ironically for “Asian people” perhaps Asia is a foreign term. As we move to a period where we are far more self conscious on a philosophical level, reinterpreting this foreign term becomes an imperative task for contemporary artists. What is Asia? Why do we need the concept of Asia? On a political and cultural level, what sort of benefits and ideals is projected onto the concept of Asia (and by whom)?
Asynchronous States / States of Asynchronous
Each of the countries in Asia, because of political and cultural differences, developed an art environment that suited to their own growth strategy. The question lies in; can the difference between these strategies be clearly outlined? And can we draw on the advantages from these strategies that originated from different locations, in term develop even more active tactics to respond to local state of affairs? “Asynchronous States” exhibition attempt to raise the possibility of comparison, and through this comparison highlight the asynchronous between each countries (states) and the state these countries are currently under. Or on the other hand we can also view this comparison as an observation of a transformation event in political studies.
In the Name of Asia
Artist/art groups always find their voices contained in a narrow gap and on the fringe of society, another intention that AIA and “Asynchronous States” exhibition has is through this investigation, provide the ones on the fringe an alliance that will allow their politic strategy to strengthen. AIA not only intend to use the exhibition as a form of exchange, but also hope through physical cooperation in Taipei prior to the exhibition and summit forum, share our experience and development with each other. From this exchange, discover the underlying common traits, potential for developments, and strategy these Asian alternative space/artist-run space could have; actively seeking for an “Asian-ness” based on the experience of the project, finding a contemporary art discourse “in the name of Asia” creating a dialogue contrasting the western-oriented art theory, and reinterpret a much clearer and precise Asia entity.
Art in the division of work in the world
For the past few hundred years civilization more often developed with a single perspective with regard to its values, using it as the upmost priority, ignoring the localized political, economical, geographical and any other natural complications, the biased development mechanism caused the environment and human a great deal of loss. However today the world choose to function in a method that allows the division of labor, whether it is a McDonald’s franchise restaurant or a non profit art space that specializes in promotion of video art, these kind of division of labor each follows its own believe or value system, although they never striving for the same ideals, but each performed their own roles. Journeying around the world we realized it is the same for artists, corresponding developing mechanisms display an uneven development, creating various little division of labor, allowing the complementing (or competition) of resources. Therefore the connecting of six independent art spaces/artist run spaces, standing as an initial concept, also contains expectation that it can be a functional mechanism, or possibly a manifesto for artists in Asia. This connection within Asia relying on art as its belief, it also contains the expectation of coordinating this ultimately “asynchronous” mechanism, an essential link from philosopher to artist to the division of labor in todays world.
FreeS 福利社 展出作品
Nomad
JUNG, Hyeryun 鄭惠蓮 25x15x20 cm Wood leather 木頭、皮革 2009 Unstabled mixture of the weak and language Ed.1/10
KANG,Hyun-wook 姜顯郁 7 min single channel video 單頻道錄像 2006 Kangaroo 袋鼠
Tong Chong 唐重 107x31 cm Mixed Media 混合媒材 2012 對政治的暖味態度 ed.1/10
Ng, Fong Chao 吳方州 80x84cm photography 攝影 2001-2010 Precipitations 明日大致多雲 ed.
Elaine W. Ho 何穎雅+ Fotini Lazaridou-Hatzigoga 科天妮‧拉扎里多‧海梓葛甲 60min single channel video 單頻道錄像 2013 親愛領導人父子同志,我們愛您!
Chen, Ching-Yao 陳擎耀 116x80cm 壓克力、水基油畫顏料 2013 |
Nomad
JUNG, Hyeryun 鄭惠蓮 40x20x20 cm Wood leather 木頭、皮革 2009 Fireworks ed.1/10
KIM, Seong-youn 金聖淵 4min57sec single channel video 單頻道錄像 2006 守護路環!捍衛山林不止我一個!ed.1/5
Si, Wun-Cheng 施援程 220X57CM photography 攝影 2013 對政治的暖味態度 ed.1/10
Ng, Fong Chao 吳方州 80x84cm photography 攝影 2001-2010 Can Man 罐頭人 ed.
Ching Chin-Wai 程展緯 海報、文件、影片 2013 global-store.info
Takahiko Suzuki 鈴木貴彦 Model:80x80x110cm, 3PhotoPosters:75x60cm Mixed Media 2012 |
Nomad
JUNG, Hyeryun 鄭惠蓮 25x15x20 cm Wood leather 木頭、皮革 2009 The Scars of my City
我城的相痕 Lei, Sio-Chong 李少莊 19 min B&W,Color/sound 黑白,彩色/有聲 2011 對政治的暖味態度 ed.1/10
Ng, Fong Chao 吳方州 80x84cm photography 攝影 2001-2010 對政治的暖味態度 ed.1/10
Ng, Fong Chao 吳方州 80x84cm photography 攝影 2001-2010 Plaque of “Fighting for Justice” 為公義而戰
Wong, Lai-Chung 黃乃忠 dimensions variable 尺寸可變 fa paa, document, video 花牌、文件、錄象 2013 |
THE WHITE HOUSE
JEON, Joon-ho 全濬晧 32min16se single channel video 單頻道錄像 2005-2006 鳥
Tong Chong 唐重 50x52cm X2pcs Mixed Media 混合媒材 2010 對政治的暖味態度 ed.1/10
Ng, Fong Chao 吳方州 80x84cm photography 攝影 2001-2010 對政治的暖味態度 ed.1/10
Ng, Fong Chao 吳方州 80x84cm photography 攝影 2001-2010 Two Dollars 獅子山下的二元
Lo, Chi-Kit 羅至傑 dimensions variable 尺寸可變 Action, outdoor installation Coin, tripod construction light 2011 |