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⤞女頭目的未來學 #2⤝
狄雅納‧道凌 –〈螃蟹與岩石〉
時間：2019.07.12 – 08.04，每週二到日，1-7pm
地點：台北當代藝術中心 TCAC （台北市大同區保安街49巷11號1樓，近捷運大橋頭站）
開幕：2019.07.12 6-8pm
萬里實地探查：2019.07.13 4-8:30pm, 限額十位，請於7月10日前由此報名：https://forms.gle/ranE3v4ctYKuVoZp7
TCAC 推出2019全新帶狀節目《女頭目的未來學》，第二回合為紐西蘭藝術家狄雅納‧道凌呈現限地製作計劃〈螃蟹與岩石〉。這是一項持續性的計畫，研究關於建築手法與建築物使用壽命。計畫由紐西蘭 Enjoy 當代藝術空間委託製作，並且由策展人蘇菲‧戴維斯策劃，並作為與台北當代藝術中心兩地空間交流的一部份。作品包括道凌在2018年時於台灣拍攝的影像製作的動態影像裝置，相關研究材料和文字，以及在TCAC展覽空間的「暫時性介入」。
錄像新作為此次影像裝置的核心，記錄了位在新北市郊外沿海的萬里，其半廢棄的未來屋（Futuro）與冒險屋（Venturo）社區。萬里的未來屋與冒險屋聚落建造於1970年代，最初設定為新鮮感十足的度假村，推論是芬蘭建築師馬提‧索羅南（Matti Suuronen）的模組化「飛碟屋」系列最密集的據點。這些建築外銷全世界，推崇大膽新穎的未來居家生活方式， 紐西蘭的奧特雅羅瓦（Aotearoa）與亞太地區的許多角落都有它們的蹤跡。
〈螃蟹與岩石〉刺探著這些建物於萬里「著陸」的背景，聚焦人們與人造環境之間的關係，並批判當今西歐主體框架中追逐建築崇高不朽的主流觀點。作品思考建築如何在形式、建造方法和維護修復上，與居住行為產生依存關係，以及建築本身如何與自然環境、人類勞動、經濟運作密不可分。
本展覽受紐西蘭Enjoy Contemporary Art Space 委託製作，並獲Creative New Zealand Arts Council Toi Aotearoa 贊助。現地裝置台北文字工作者兼策展人吳虹霏及紐西蘭藝術家與作家瑪蒂爾達‧弗雷（Matilda Fraser）的文字作品。影像作品的配樂由弗雷‧沃克（Fraser Walker）製作。
圖片版權： Raglan futuro house, 2013, 115 Riria Kereopa Memorial Drive, Raglan, New Zealand. http://www.thegrumpyoldlimey.com/images/buildings/for_sale_ray_white9.jpg
⤞關於藝術家⤝
狄雅納‧道凌是工作於紐西蘭奧特雅羅瓦威靈頓港（Te Whanganui-a-Tara Wellington, Aotearoa）的藝術家。擁有梅西大學（Massey University）的藝術創作碩士學位。近期展覽包括：道斯美術館（The Dowse Art Museum）的SOLO（2018）、但尼丁公共藝廊（Dunedin Public Art Gallery）的The sea we built on（2016）；東京遊工房（Youkobo Art Space）的Young wood is restless（2016）；但尼丁藍牡蠣藝術空間（Blue Oyster Art Project Space）的A Tragic Delusion（2016）；與威靈頓Enjoy Contemporary Art Space的Time to save a little more（2015）等。道凌2016年獲選亞洲紐西蘭基金會（Asia New Zealand Foundation）進駐東京遊工房藝術空間，並於2014年獲得懷卡托美術文化博物館（Waikato Museum）頒發的國家當代藝術獎（National Contemporary Art Award）。
⤞女頭目的未來學：母系‧生產‧生態⤝
TCAC推出2019全新帶狀節目《女頭目的未來學》，以系列展覽與公眾參與活動帶領觀眾想像：母系的生產將如何領導與批判科技與資本主義治理的社會。我們希望在超越邊界的前提下討論唐納‧哈洛威談的女性「類同」。以此為背景，《女頭目的未來學》重新檢視第四波女性主義中科技對女性賦權的樂觀，以及馬克思女性主義與生態女性主義的方法學。
參展藝術家多在網路時代成長，其中有些擁有身為離散族群的生命軌跡，他們享受60-70年代的女性主義運動成果，但仍弔詭地在生命歷程中面對不同程度的性別暴力。跨文化的背景使他們將性別權力的討論延伸到不同的空間，包括情動、個人歷史、去殖民、環境生態。參展藝術家以個人敘事回應本展的潛在台詞: 「如果不成為母親，女性藝術家如何面對女性認同相關的藝術生產？」母系回應父權暴力的方式，絕不是生理、同質、抽象、排除他者的。我們希望女頭目透過各種「跨」，來化身為溝通者與預言者，連結男子、女人、酷兒、移民、非人類。或者說，女頭目的預言，是一個包容跨物種的未來生態系統。
《女頭目的未來學》由徐詩雨與李雨潔共同策展。
#FemaleAvatarsFuturistStatement #TCAC #TaipeiContemporaryArtCenter #The CrabAndTheRock
《女頭目的未來學》獲國家文化藝術基金會與台北市文化局支持。
〈螃蟹與岩石〉獲 Creative New Zealand Arts Council Toi Aotearoa 支持。
⤞Female Avatars’ Futurist Statement #2⤝
Deanna Dowling — The Crab And The Rock
Time: 2019.07.12 – 08.04, Tue. – Sun, 1-7pm
Venue: Taipei Contemporary Art Center (1 Fl, No.11, Lane 49, Baoan Street, Datong District, 10346 Taipei)
Opening：2019.07.12 6-8pm
Site visit to Wanli: 2019.07.13 4-8:30pm, 10 visitors only, please sign up here: https://forms.gle/ranE3v4ctYKuVoZp7
In 2019 Taipei Contemporary Art Center (TCAC) is launching a new program called Female Avatars’ Futurist Statement. The second exhibition The Crab And The Rock is presented by New Zealand artist Deanna Dowling. The project extends the artist’s ongoing research into architectural approaches and the lifespans of buildings. Commissioned by Enjoy Contemporary Art Space (New Zealand) and curated by Sophie Davis, The Crab And The Rock is a part of an exchange with TCAC. The moving image installation includes a new film by Dowling shot in Taiwan in 2018 with accompanying research materials and text, along with a temporary intervention in TCAC’s gallery architecture.
Central to the installation is a new film that documents the semi-abandoned Futuro and Venturo complex in the coastal village of Wanli, outside New Taipei City. Originally built as a novelty resort during the 1970s, Wanli’s Futuro and Venturo village is likely the largest settlement of these modular pre-fabricated “UFO houses” designed by the Finnish architect Matti Suuronen. The houses anticipated a bold and optimistic future for domestic living and were exported internationally, including Aotearoa New Zealand and elsewhere in the Asia Pacific region.
Exploring the “landing” of these readymade structures in Wanli, The Crab And The Rock highlights relationships between humans and the built environment, critiquing dominant perspectives that tend to monumentalise architecture within a Western European framework. The installation contemplates the ways in which the form, construction and maintenance of architecture exists within and depends upon living relations, and is embedded within the natural environment, human labour and economies.
The Crab and the Rock is commissioned by Enjoy Contemporary Art Space, with the support of Creative New Zealand Arts Council Toi Aotearoa and curated by Sophie Davis. The installation is accompanied by new writing by Taipei-based writer and curator Hung Fei Wu and New Zealand artist and writer Matilda Fraser. Composition by Fraser Walker.
Image credit: Raglan futuro house, 2013, 115 Riria Kereopa Memorial Drive, Raglan, New Zealand. http://www.thegrumpyoldlimey.com/images/buildings/for_sale_ray_white9.jpg
⤞The Artist⤝
Deanna Dowling is an artist based in Te Whanganui-a-Tara Wellington, Aotearoa New Zealand. She holds an MFA from Massey University. Recent exhibitions include: SOLO, The Dowse Art Museum (2018), The sea we built on, Dunedin Public Art Gallery (2016); Young wood is restless, Youkobo Art Space, Tokyo (2016); A Tragic Delusion, Blue Oyster Art Project Space, Dunedin (2016); Time to save a little more, Enjoy Contemporary Art Space, Wellington (2015). Deanna was a recipient of an Asia New Zealand Foundation residency at Youkobo Art Space in 2016, and the winner of the National Contemporary Art Award awarded by Waikato Museum in 2014.
⤞Female Avatars’ Futurist Statement: Matrilineage, Production, Ecosystem⤝
In 2019 TCAC is launching a new program called Female Avatars’ Futurist Statement. Through this series of exhibitions and public workshops, we hope to unite leaders and art workers who share a vision of matrilineal production. Reflecting on the dominance of information technology and capitalism, which hinder genuine equality and diversity in our society, we look for new directions for feminist “affinities” across borders. Female Avatars’ Futurist Statement cautiously examines the techno-optimism embedded in the fourth-wave feminist movement, and perspectives inspired by Marxist Feminism and Ecofeminism.
Participating artists grew up in the information age, and many of them experienced diaspora. They enjoyed the achievement of feminist movements in the 1960s and 1970s, which, however, do not guarantee a world without gender violence. Their cross-cultural backgrounds enable them to extend the discussion about gender power to various aspects regarding affect, personal histories, decoloniality, and ecosystem. Their individual narratives respond to the underlying note of the exhibition: “How does a [woman] artist cope with [her] practice without being a mother?” Art of the so-called “maternal lineage” does not refer to sex- and gender-specific products, nor is it homogenous, exclusive, or instrumentalized. The future avatars have to be communicators and prophets who can form an alliance with men, women, queer people, immigrants, and non-humans. Thus, this futurist statement delineates an ecosystem that accommodates all species.
Female Avatars’ Futurist Statement is curated by Shih-yu Hsu and Yu-Chieh Li.
#FemaleAvatarsFuturistStatement #TCAC #TaipeiContemporaryArtCenter #TheCrabAndTheRock
Female Avatars’ Futurist Statement is supported by the National Culture and Arts Foundation and The Department of Cultural Affairs, Taipei City Government.
The Crab And The Rock is supported by the Creative New Zealand Arts Council Toi Aotearoa.
展場圖片：汪正翔。
Photo by Sean Wang.
