2014.01-12 台北當代藝術中心 關鍵議題駐村
2014.01-12 TCAC Burning Issue Residency Programme
(For English please scroll down)
帶著提問出發，譜寫新形態駐村！
走出工作室，在駐村期間深入社區及所在城市，將駐村視為一個尋求其創作突破，回應其創作研究、議題探討的一個過程，由創作研究者選擇一個駐村處所以及提出一個與其所在相關的「關鍵提問」，帶著提問前往駐村，尋求議題上可能的答案或者創造更多的討論 。
TCAC台北當代藝術中心為一群當代藝術家、策展人、學者及文化工作者以協會模式所獨立籌設的藝術空間，於今年初喬遷座落於都會東區的邊陲—安東街巷弄之間—造就一處過渡而靜僻老舊社區鄰里間的新鮮門戶。在此，當代藝術資料庫重新開張，並主動邀請國內外研究者、策展人以此作為基地進行研究與發表。新階段藉由策辦性、邀請式、議題導向的討論為主，並將公共美學議題持續深化，「空間政治」與「藝術機構」等公共議題作為研究與階段計畫的發表主軸。
於2014年TCAC的藝術村專案推出年度重點企劃「關鍵議題駐村計畫」（Burning Issue Residency Programme），相較於傳統定點式且強調成果發表的駐村，此新形態駐村的不同之處在於此計畫對象泛以文化研究者（culture resreachers）及當代藝術創作者為主，帶著自身長期以來所關注的關鍵議題作為其駐村提案。計劃以其各自的「提問」是否關鍵為選取方向，藉此建立出一個具有特色的駐村形式。倘若文化研究者的議題與生態研究相關，則其也許嚮往「駐村」於北極或是中國的工業汙染區域 ; 而藝術家的創作概念與機構批判相關，則可能以全球藝術博覽會、雙年展或是機構林立的柏林為其「駐村」之地 。「關鍵議題駐村計畫」中的核心價值為明確定義駐村經驗中所產值而出的「實踐過程」而非「作品成果」（“process” not “product”），駐村過程中探討出對研究本身的議題之關注方向或許發生顯著的變化、或許產生可能的結果，也或許引導出更多的提問，而綜上，在出訪者們結束駐村回歸至起點（出發地：台灣）後研究持續發展，並藉由駐村經驗將其所提問的關鍵議題進行脈絡梳理的持續性發展。
報導文學作家吳音寧為此次關鍵議題駐村計畫的參與者之一，其長期積極參與社會運動並關注如農業、生態的發展與困境。此次她將藉由走河（沿河行走）的田調方式前往中國雲南的西雙版納傣族自治州（瀾滄江出中國「變成」湄公河的邊境之地）去「駐村」（駐到農村），並向中國水壩作一生態提問與環境反省。以「黑狼那卡西」名義演出的藝術家黃大旺則選擇前往日本，以關西阿宅世代為觀察對象，提出對其文化生成史的行動考察及探討聲音表演的主體性。而總是前行於歷史性踏查的藝術家高俊宏，將帶著他所編寫的「『人民如何造假？』使用檔案」前往英國第一工業大城曼徹斯特進行駐村，透過「生命文獻」的形式對「人民」概念進行一個「回到原點的思考」。雙年展藝術家李傑為了開啟藝術家以另種型態的創作思考參與到藝術生產機制中的可能性，將前來TCAC以扮演一個月的機構營運者（TCAC理事長）身分作為其駐村方式，審視就藝術生態及其之外的世界中，在藝術家自我規劃的某特定身分、角色內去實踐出獨特回應藝術世界種種範疇與議題的方法論。來自英國倫敦的獨立策展人並任教於RCA皇家藝術學院的Kit Hammonds透過進駐TCAC機構營運者的角色，藉由系列工作坊的討論探討當今藝術機構的現實面向實踐，希望能夠整理歸納出TCAC未來發展的管理、財務，並檢視當下及未來的挑戰。
計劃參與者 簡介
吳音寧
報導文學作家，並長期積極參與社會運動。曾獲彰化縣磺溪文學獎、法律文學創作獎首獎、時報文學獎人間新人獎。2001年進入墨西哥查巴達民族解放軍的自治區探訪，結合查巴達領導人馬訶士的童話詩文及報導，輯為《蒙面叢林》一書出版。2005年以25萬字的《江湖在哪裡？——台灣農業觀察》記錄下戰後50年台灣農業的發展與困境。
黃大旺
自二○○四年以「黑狼那卡西」名義演出至今，聲音表演藝術家黃大旺於 2011年與實驗音樂家張又升、攝影師陳藝堂等人組成環境即興與聲音採集集團「民国百年」，獲2012奧地利林茲Ars Electronica聲音藝術類榮譽獎。2012年發表《黑狼臥室卡那西》專輯並參與小劇場界如柳春春劇社〈無言劇〉的演出，現為台灣噪音組合「台北熱秋」成員。
高俊宏
1973年生於台北縣樹林市，現就讀於台南藝術大學藝術創作理論研究所博士班，曾獲得第五屆台新獎評審團特別獎、第三屆台新獎年度視覺藝術入圍，以及入選文建會「全球視野創作人才培育計畫」。近期參與重要聯展為2013國美館「亞州雙年展」、誠品畫廊「我們是否工作過量？」、上海雙年展中山公園計畫「漳州幣」、2012「未來事件交易所」。
李傑
現於香港與台北兩地生活和工作的香港藝術家李傑，於今年代表香港參加威尼斯雙年展。李傑善於將繪畫這個行為在不同的布上簡化成一組組重複的線條網格，並利用這個過程來記錄時間和情感的流逝。他最近的裝置作品將不同的物件、圖像和媒介結合在一起，以形成一種稀疏但又親密的場景，來表明某些不明確關係的痕跡。
Kit Hammonds
Kit Hammonds是活躍於英國的獨立策展人與作家，任教於倫敦皇家藝術學院人文學院，教授當代藝術策展計畫。2009-2010年於倫敦「展覽廳」的代理館長，2004-07年擔任南倫敦藝廊的策展人，此外，他也是白教堂藝術畫廊的自由策展人。2004年他共同創立了「出版即被詛咒」，這是一個關於藝術家主導的獨立出版品及其流通方式的持續性計畫。
2014.01-12 TCAC Burning Issue Residency Programme
Research-based-Residence with “Burning Issue”
Walking out the studio and exploring the community and the city, artists regard artist-in-residence as a process to seek for the breakthrough in practice so as to response their researches in practicing. Artists can choose one residence and propose a “key issue” related to it. In the residency, artists manage to deal with the issue.
TCAC is an art space run independently by a group of contemporary artists, curators, scholars and cultural workers. Since moved to a new space situated on Andong Street in the corner of the metropolitan east district earlier this year, it became an intermediate, brand-new portal in the neighbourhood of an old, quiet and secluded area. Here, we reopen and invite local and international researchers and curators to be based here to do their researches and to present their works. The new phase will deepen the public aesthetic issues by self-organized, or invited issue-oriented talks, conferences or forums.
By the beginning of 2014, TCAC proposed the annual key programme “Burning Issue Residency Programme”. In comparison to traditional on-site and outcome-emphasized residency, this new form of residency mainly focuses on the cultural researchers and the contemporary artists with their long-term concerned issues as their proposed projects. Whether the proposed issue is important or not is to be the key factor for candidate’ selection; then, the chosen issue is going to be developed as a unique research-based-residence project. If the artist’s practice is related to the environment research, he/she can reside in the North Pole or the industrial polluted area in China. If the artist’s practice is related to critique of institutions, he/she can choose an art fair, biennial, or Berlin where many institutions are located as the residence. The core concept of “Burning Issue Residency Programme” is identifying the value of residency experience is based on the “process”, not the “product”. The process of residency could discover more ideas on their own issue or maybe cause some prominent influences, create more possible outcome of product, or maybe raise even more questions on the issues. Then, when the participants come back to where departure (Taiwan) after all, the research can be carried on and the proposed issues throughout their experience of residency can be further developed.
Within our outbound part, reportage writer Wu Yin-Ning is one of the participants of the “Burning Issue Residency Programme”, who’s been involving in lots social movement and paid her attention on the difficulties about agriculture and ecology. This time, she will start off to the Xishuangbanna Dai Autonomous Prefectureat at Yunnan, where the Lancang River flows out of China and “turns into” the Mekong River, and conduct a field trip by walking along the river and residing at villages to review the ecological and environmental issues about Chinese dams. Performed in the artist group “Black Wolf Nagashi”, the artist Dawang Yingfan Huang decides to visit Japan, and take Kansai Otaku Generation as his research target. He’d like to conduct the mobile investigation of the history of its culture and discuss the subjectivity of the voice performance. As always on the scout of historical investigation, the artist Kao Junn Hong will bring his ‘manual of “How the concept of people be fabricated?”’ to Manchester, the biggest industrial city of UK, to reside and to “think in an initial way” about the concept of “people” with the form of “life documents”. Within our inbound part, biennale artist Lee Kit will come to TCAC and take the role in chair of TCAC for one month as his residency plan, in order to produce more possibilities for artists to think and create another view and participate in the art production system. Moreover he will examine within the art environment and the outside world, as well as respond to the methodology of different fields and issues in the art world as an artist of certain self-regulated figure. Another residency-in-director plan, Kit Hammonds will design a series of workshops and presentations to discuss and investigate the practice of art institutions and the interaction with stakeholders. Through the discussion and examination on various business models, these aim to collect and summarize the alternative possibilities of the future development on the field of governance, financial plans and aimed missions for TCAC.
Participants Introduction
Wu Yin Ning
Wu Yin-Ning, a reportage writer, who has been participated in social movement for a long time. She has won many prizes including Huangsi Literature Prize, the first prize of Law and Literature Award, and Newcomer Award of China Time Literature. In 2001, she went to visit the autonomous region of Zapatista National Liberation Army in Mexico. She collected the fairy-tale poems and the reports of the leader of Zapatista, Subcommandante Marcos, and edited them to be published as the book, “We are Zapatista”. In 2005, she wrote around 250,000 words to record the development and difficulties that happened in Taiwan agriculture during the fifty years after the war.
Huang Dawang
Performed in the artist group “Black Wolf Nagashi” since 2004 till now, sound performce artist Dawang Huang, experimental musician Zhang You-Sheng, and photographer Etang Chen formed an improvised soundscape band ‘Minkoku Hyakunen’, and won the Honorary Mention Award at Prix Ars Electronica 2012 in Linz, Austria. In 2012, the artist group released the album “Yingfan’s Blackwolf Nagashi in Bedroom” and started to join the performance of indie theatres such as “Act without Words” by Oz Theatre Company. Now Dawang Huang is the member of “taipei autunno caldo”, the only hardware noise band in Taiwan.
Kao Junn Hong
Kao was born in Taipei in 1973, now he is gaining his PHD degree in Art Creation and Theory, Tainan National University of the Art. He has won the Jury’s Special Award of 5th Taishin Arts Award, nominated for the Annual Visual Art of 3rd Taishin Arts Award , and selected in “Global Vision Creative Artist Cultivation Plan” by the Council for Cultural Affairs. Recent important participated exhibitions are 2013 Asian Biennale at National Taiwan Museum of Fine Arts, “Are we working too much?” at Eslite Gallery, “Local Currency System / Zhangzhou” at 2013 Shanghai Biennale, “Trading Futures” in 2012.
Lee Kit
Lee Kit currently lives and works in Hong Kong and Taipei. He’s the representative of Hong Kong at 2013 Venice Biennale. Lee’s works are away from representational tendencies and the limitations of stretched canvas, reducing the act of painting to a network of repetitive lines and squares. He takes the process of creation to record the loss of time and emotions. His recent installations combine different objects, images and mediums to form sparse yet intimate settings that suggest traces of immaterialised relationships.
Kit Hammonds
Kit Hammonds is an Independent Curator and a Tutor and Researcher in Curating Contemporary Art at the Royal College of Art, London working at the intersection between creative, theoretical and institutional practices. His teaching includes the study of institutional structures with a special focus on risk analysis, strategic planning and new working practices. These subjects also features in his independent exhibition-making practice and critical writing. Since 2008 he has led a unique arts-for-business and artist-development workshops at Wysing Arts Centre, Cambridge, that employ creative workshops to develop professional and critical skills in tandem. He is currently curating a section of the Second CAFAM Biennale, Beijing.
