For English please scroll down.
此講堂將以中英雙語進行。
關係 # 1 藝術家─策展人
11/7（六）鳳甲美術館
2:00 陳界仁／我的「聾人之見」
3:00 姚嘉善／跨度展覽脈絡的策展與合作
關係 # 2 後台─再現
11/8（日）鳳甲美術館
2:00 Zoe Butt／藝術作品的推論性誕生
3:00 江洋輝／展覽基礎結構工程：材料、工法的混合多面體
關係 # 3 文本─地方─場域
11/14（六）TCAC
2:00 David Teh／創造顯見：節慶性與當代性
2:55 葉偉立／策展實踐作為藝術創作，或反之亦然
3:50 呂岱如／大象長怎樣？幾問參與型藝術的策展實踐
關係 # 4 後製─循環
11/15（日）TCAC
2:00 董冰峰／出版「當代藝術」—知識生產網路中的研究、策展和出版
2:55 數位荒原／想像循環的自我實踐
3:50 Mary Pansanga／展覽檔案—捕捉另翼觀點
關係 # 5 機構─個體
11/21（六）TCAC
2:00 鄭慧華／流浪漢與自由：與談「藝術－空間」的生產
2:55 林平／藝術機構透過策展的藝術力
3:50 劉和讓／境物虛擬—伍眾會計劃
關係 # 6 觀眾─展示
11/22（日）TCAC
2:00 楊俊／藝 域 性 男 女
2:55 秦雅君／策展人最怕遇到的是？
3:50 Misal Adnan Yildiz／天—屏：以心理認知的路徑再思展覽展示與觀眾行為
關係 # 7 藝術─金錢
11/28（六）TCAC
2:00 蕭麗虹／對不同可獲資源的創意使用
2:55 黃其玟 & Bart Dekker ／藝術體系之生存—藏家與畫廊經營者的觀察分享
3:50 豪華朗機工／藝術過活
當代藝術的生產與傳播載體常以展覽為普遍之形式，也在其對話緊密的共構生態裡，讓我們今日看藝術，不只觀看作品，還得看展覽，甚至展覽以外的更多文本關係，才得以更為深刻地掌握其創作意義生產的軌跡。展覽從前置的研究、發生到進入後端的知識循環過程裡，究竟扮演怎樣的文化介媒？於藝術生產中如何對接各樣角色、系統，又何以自處及回應環境並展開言說成為藝術的溝通介面？展覽自身的形式與技術形塑出的美學語言和視覺文化要從何開始理解？
這些問題不僅企圖潛入策展意識、創作慾望、政治經濟語境，同時凝視藝術史的承襲與新思潮，亦面對著不同的體制與參與者。週末講堂系列《展覽製作中的七組關係》邀請了跨文化不同身份的藝術工作者，試圖勾勒出幾重透視展覽製作的視角，由策展文法、媒體、行動上的探討以及對藝術生產系統的觀察，揭示展覽作為一個各種創作力交匯集結處所展開的多元協作向度，引發更多閱讀與挑戰展覽的可能。
在「藝術家－策展人」的議程裡，我們邀請藝術家和策展人分別從各自的角色出發來談展覽製作上的合作關係和經驗，這兩者的對話往往是展覽形成過程裡最關鍵的培養皿，交織著兩種專業概念的激盪空間，在不同型態、規模條件下的合作，也往往溢出超越展覽製作的生產，我們將從兩方的視角中去再度理解展覽製作裡，能量最為動態的一組合作關係。
「後台－再現」處理的是展覽現場見不到的一組生產關係，從策展人的研究工作、田野踏查、檔案整理、思考演練、多方合作等，一直到思考展覽作為其觀念再現介質時，所真實操作的各項工作。我們將透過策展人的分享，跨到展覽製作的後台，去理解其面對的複雜工作向度。
「文本－地方－場域」將是探索展覽地理文化空間與人文關係的一個議題，在現當代藝術發展的脈絡裡，其應對與言說的對象，往往嫁接著其空間脈絡關係，從現代主義的觀念藝術以降，在地景藝術、機制批判等路徑皆有其不同分支發展，而在晚近不同的公共藝術、參與性藝術、田野研究計畫性的作品表現上，也都常常透過更多人文關係的網絡，發展出更為綿密美學政治關係。我們將透過理解不同方式的操作來理解展覽生產過程裡，從前置的田野到後期的觀眾溝通面向上，如何部署與思考這組議題。
「後製－循環」是思考展覽作為一個知識生產工具所觸及的衍生項目，包括展覽的檔案存檔紀錄、評論書寫、策展學的累進、後續座談、研討、出版項目等新生的知識生產與循環功能，這些涉及了更多與外界專業、觀眾、泛文化的衍生性生產，也將被提出討論，並由更多出版界的專業加入議程。
「機構－個體」是不論從藝術家或是策展人都需要面對的生命政治議題，其中涉及的議題範疇廣闊，從機構自身運作、內外部的合作、與個體之間聯繫的關係，鋪成了藝術生產系統上複雜的合作對話關係。我們將著重於在台灣在地文本中，不同策展機構模式的運作，來思考其中的運作邏輯和特殊角色可發揮的潛力。
「觀眾－展示」是策展人在面對公眾溝通時，最需要思索著墨的介面，其中涉及展覽敘事的各種策略，是文化上、空間上、視覺溝通、文字論述書寫等層層疊置的溝通工作，橋接展覽如何被各種不同文化背景觀眾閱讀的狀態，涉及了更精密的文化分析、空間運動、心理參與向度等細緻的問題。
「藝術－金錢」既是一個展覽製作上的現實條件，也同時是一個藝術經濟創造性的關係。我們將透過不同觀點，諸如藝術家、策展人、畫廊、藝術經紀等的觀察與實踐，去進一步理解展覽製作在這組角力關係中，可以有什麼樣的另類生產方式來循環其中串流的資源，並探究其倫理關係。
此週末講堂為2015開放策展學校的公開演講活動。
主辦單位：台北當代藝術中心、財團法人邱再興文教基金會 鳳甲美術館
贊助單位：國家文化藝術基金會
特別感謝：典藏叢書、呂佩怡、林明弘
The seminars will be conducted bilingually in Chinese and English.
Relation # 1 Artist ─ Curator
11/7 Sat. Hong-Gah Museum
2:00 Chen Chieh-jen, My “View of the Deaf”
3:00 Pauline J. Yao, Curating and Collaborating across Exhibition Contexts
Relation # 2 Backstage ─ Representation
11/8 Sun. Hong-Gah Museum
2:00 Zoe Butt, The Discursive Birthing of an Artwork
3:00 Water Yang-Huei Chiang, Exhibition’s Infrastructure Engineering:
A Polyhedron of Material and Method
Relation # 3 Context ─ Place ─ Site
11/14 Sat. TCAC
2:00 David Teh, Making Manifest: Festivity and the Contemporary
2:55 Wei-Li Yeh, On Curatorial Practice as Artistic Practice or Vice Versa
3:50 Esther Lu, Meet the Elephant: Questions around Making the Curatorial in Participatory Art
Relation # 4 Post-production ─ Circulation
11/15 Sun. TCAC
2:00 Dong Bingfeng, Publishing “Contemporary Art”: Research, Curating and Publishing in the Knowledge Production Network
2:55 No Man’s Land, Self-Practice: Circulation with Imagination
3:50 Mary Pansanga, Exhibition Archives – Capturing Differing Perceptions
Relation # 5 Institutional ─ Individual
11/21 Sat. TCAC
2:00 Amy Cheng, Vagabond and Freedom: The Production of “Art – Space”
2:55 Ping Lin, Art Power in Institutional Curating
3:50 Ho-Jang Liu, The Virtual Border of Substance – B5
Relation # 6 Audience ─ Display
11/22 Sun. TCAC
2:00 Jun Yang, Art Space Sex Man Woman
2:55 Ya-Chun Chin, What Are Curators Afraid of?
3:50 Misal Adnan Yildiz, SKY-SCREEN: A Cognitive Approach for Rethinking Exhibition Displays and Audience Behaviour
Relation # 7 Art ─ Money
11/28 Sat. TCAC
2:00 Margaret Shiu, Creative Assessment of Different Available Resources
2:55 Chi-Wen Huang & Bart Dekker, Surviving the Art World – Perspectives from A Collector and A Gallerist
3:50 LuxuryLogico, Art for Survival
Exhibitions as the common form of contemporary art production as well as its communication vehicle compose elaborated dialogues in the system to construct meanings and rhetorics in relation to artworks. In order to contemplate on the trajectory of art creation, audience are often challenged to read not only the artworks in display or the exhibition as a whole, but also the contextual relations beyond exhibitions today. What kind of cultural agency does an exhibition play during its very own production–from the research phase, work-in-progress to the knowledge circulation? How does an exhibition enact its speech to communicate with diverse roles involved in the system and to respond to its situated environment? How can we begin to understand the aesthetic language and visual culture that are informed by the form and technology of exhibitions?
All these questions attempt to explore subjects around curatorial consciousness, artist’s incentives and political and economical contexts. They further concern the history and the currents of art movement while confronting varying institutions and participants. TCAC’s weekend seminar series “The Seven Relations in Exhibition-Making and Beyond” invites cross-cultural art professionals to address exhibition-making from multiple perspectives via a series of discussions on curatorial grammars, media, actions. It shall create a discursive investigation on art production and expose the complex collaboration relations in exhibition-making to call for new ways to read and make exhibitions today.
The artist – curator session invites artists and curators to talk about their collaborative experiences. Their conversations are often the key element to the forming of an exhibition, and are often full of unexpected developments through their different modes of collaboration. This session will try to investigate the most dynamic relation in the exhibition-making process.
The backstage – representation session touches on the productive relations invisible in the exhibition presentation. It will examine curatorial research, field study, archiving, and multilateral collaboration. This session will look at the backstage of exhibition production to understand the complicated parameters of curatorial work through real case studies.
The context – place – site session explores the relation between geographical cultural environment and the human matters. In the contemporary art contexts, there is a particular tendency that leads art project responding to people in a specific context in our complicated society. We can see such historical development from conceptual art, land art, institutional critique, and so on, and each of them develops its own trajectory in considering spatial relations. Recently, there are more thoughts generated from the expressions of public art, participatory art, community art based with more local field research, and they often develop sophisticate relations between aesthetics and politics via complex human connection. This session will try to understand how to contemplate this set of issues in exhibition-making from field work to audience communication, and how best to deploy curatorial agency.
The post-production – circulation session considers how exhibitions and their archives are used as tools for knowledge production, including documentation, commentaries, reviews, collections, seminars, conferences and publications. These tools frequently relate to production in external professions, audiences and other culture. This session also includes perspectives from publishing industry.
The institutional – individual relation is an issue of bio-politics that artists and curators have to come across through the exhibition-making process. It contains a wide range of subjects, from institutional operations to internal and external collaborations, as well as connections between individuals. They constitute complex relations in art production systems. This session will focus on local contexts and various curatorial and institutional models to think about logics and potentials in various roles.
The audience – display session considers the parameter that requires particular attentions from curators in communication with the public and various audience. It involves narrative approaches that communicate via spatial and visual design as well as text distribution. It connects to how exhibitions are understood by audiences from different cultural backgrounds. This session is also related to cultural analysis, spatial movement, and intellectual engagement.
In the art – money session, it does not only address to the real conditions of funding the exhibition-making process, but also to the art & economy ecosystem in a bigger global picture. This session follows observations from artists, curators, galleries and art agents to explore alternative production methods that connect resources and ethical concerns.
The Weekend Seminars are part of the public event from 2015 Open Curatorial School.
Organizer: Taipei Contemporary Art Center, Hong-Gah Museum
Support by: National Culture and Arts Foundation
Special Thanks: Artco Books, Peiyi Lu, Michael Lin
