策展人培力計畫｜家物事 Housing Things
展覽時間：2021/03/19-05/15
開放時間：11:00~17:00（每週日、週一公休）
開幕：2021/03/19 15:00
地點：國立臺灣藝術大學有章藝術博物館：臺藝大藝術聚落、九單藝術實踐空間 新北市板橋區大觀路一段59號
關於家物事 Housing Things
當展覽總是一場注定曲終人散的宴席、策展總是一種「待客」與「為主」的技術，好客的情態如何展示？主賓的關係從何架構？那些來自各方（人與非人的）的參與者，又何以在策展情境之中，賓至如歸？而這場以藝術空間為家，藝術家、策展人、作品、觀眾與機構的暫時關係為客的「待客之道」，是否也正考驗著創作者留客的技術、反映參與者接收內容的適性，與檢驗策展作為資訊與知識中介的功能。
在談論展覽如何生產關係、藝術如何走向公眾之際，且讓我們一同緩行至板橋浮洲的藝術聚落。這片位於臺灣藝術大學北側、全區斷續綿延著略高於人身的住宅圍牆的「校地」，有著四十多棟新舊參雜的獨棟房舍：它們多是五、六十年前由板橋士紳捐地、美援資金起建的華僑中學教職員眷舍。歷經半個世紀的人事變遷與產權糾紛，昔日那破舊的、常淹著水、偶有學生入（誤）住、故事頻傳，緊連著臺藝大的眷舍群，近年來逐漸撤下圍牆、翻新成一棟棟有著抿石子外牆、掛著綠色窗框的「藝術空間」，就地成為隸屬於有章藝術博物館的「九單藝術實踐空間」與「臺藝大藝術聚落」（舊稱：北區藝術聚落）。面對這般特殊的機構紋理，今日於此發生的藝術活動，如何回應昨日的地方歷史，與勾勒明日的空間想像？當觀者像看房或訪友般踏入一棟棟曾為家屋的館舍，如此反映「家務」的經驗，正開啟著「家物事：一場發生在藝術空間的聚落與實踐」的策展情境。
Introduction
If the exhibition is a temporary banquet and the curatorial is one of hospitality, how can it be achieved to make the human and non-human guests “feel at home”? On what basis can the host-guest relations be built? What is an always-welcoming curatorial situation? In other words, when art spaces become “homes” for the ephemeral relations between artists, curators, works, spectators and institutions, how to show the hospitality and keep the guests’ interest in taking in the exhibiting content is not only a challenge to the artistic skills but also a check of the curatorial function of mediating information and knowledge.
In the discussion about how exhibitions host relations and how visual art approaches the public, the art village affiliated to Yo-Chang Art Museum in Fuzhou, Banqiao and managed by the National Taiwan University of Arts (NTUA), could bring us to a special situation. Located in the north of the NTUA, the village, a part of the “campus”, is surrounded by walls that are a bit taller than people. It accommodates more than forty buildings, old and new, and most of them were the National Overseas Chinese Experimental Senior High School’s faculty housing, which received the U.S. aid to build on lands donated by local gentry five or six decades ago. After 50 years’ disputes over the ownership, these ragged, frequently-flooded buildings, adjacent to the NTUA and occasionally taken up by students, are now turned into renovated “art spaces” decorated with close lightly pebbles and green window frames. With the dilapidated walls gradually being knocked down, these art spaces are now known as the 9 Art Practice Space and the NTUA Art Village (or its old name, Northern Campus). With such kind of unique building history, how do today’s art events echo yesterday’s local history, and shape the future of the space? When visitors get into these old residences as if they were taking a house tour, their visiting of Housing Things: Compilations, Gatherings, and Practices Shared in An Art Space is not only a temporary gathering of various public and private relationships but also a series of household activities that belong to, but are not limited to, the field of visual art.
「家物事 – 一場發生在藝術空間的聚落與實踐」策展論述
待客之道與策展情境
藝術展覽，是藝術家、策展人、作品、觀眾與機構等角色在特定時空下的暫時集合；而策展情境（curatorial situation），則永遠是一種待客之道（hospitality）。[1] 依循此恆常的主賓樣態與暫時的角色相遇，總是希望被「看見」、「拜訪」與「知悉」的展覽，往往不求回報地向社會大眾展示「歡迎」。然而，面對這些注定曲終人散的藝術宴席，好客的情態如何展示？主賓的關係從何架構？參與者又何以遊覽其中、賓至如歸？或者我們可以說：一場實踐於策展情境的待客之道，不僅考驗著創作者留客的技術、反映出參與者接收內容的適性，也檢驗著策展方作為資訊與知識中介的功能。
而當我們將展覽視為以邁向/成為公眾為目的，集合特定人物、時空、文化、社會與政治的敘事複合體，並以技術、適性與功能搭建關係的基礎建設，關於展覽的發生場所——例如空間、地點與機構，是否也同步上演著另一個地緣與歷史的敘事現場？換言之，倘若展覽是以策展實踐聚合藝術與非藝術、人與非人的事物關係的「公共場所」，當其展示的空間本身也自帶「複式」的歷史與脈絡，又將促成何種策展情境？
[1] 參見 Beatrice von Bismarck and Benjamin Meyer-Kramer ed., Hospitality: Hosting Relations in Exhibitions (Berlin: Sternberg Press and “Cultures of the Curatorial” at the Academy of Fine Arts Leipzig, 2012), 8
家物事：一場發生在藝術空間的聚落與實踐
在談論當代社會的視覺藝術如何藉由機構與展覽實踐走向公眾之際，且讓我們一同緩行至板橋浮洲有章藝術博物館的藝術聚落。這片位於臺灣藝術大學北側，全區斷續綿延著略高於人身的住宅圍牆的「校地」，有著四十多棟新舊參雜的獨棟房舍：它們多是五、六十年前由板橋士紳捐地、美援資金起建的華僑中學教職員眷舍。歷經半個世紀的人事變遷與產權糾紛，昔日那破舊的、常淹著水、偶有學生入（誤）住、故事頻傳，緊連著臺藝大的眷舍群，近年來逐漸撤下圍牆、翻新成一棟棟有著抿石子外牆、掛著綠色窗框的「藝術空間」，就地成為隸屬於有章藝術博物館的「九單藝術實踐空間」與「臺藝大藝術聚落」（舊稱：北區藝術聚落），其中數棟首批改建的展舍，更已歷經三屆「大臺北當代藝術雙年展」，可說是有章藝術博物館「展覽史」的第一現場。[2]
面對這般特殊的機構紋理，今日於此發生的藝術活動，如何回應昨日的地方歷史，與勾勒明日的空間想像？當觀者像看房與訪友般踏入曾為家屋的館舍，這種截然不同於制式美術館空間的觀展經驗，又將經由策展實踐反映出什麼樣的「待客之道」？
今年（2021年）三月，獲國家文化藝術基金會「策展人培力計畫@美術館」贊助，名為《家物事：一場發生在藝術空間的聚落與實踐》（以下簡稱《家物事》）的策展計畫，在有章藝術博物館展出。依循館舍本身的複式空間歷史與兼具家屋情境和展覽場域的空間現狀，《家物事》意圖實踐一場以藝術再現混融家屋情景與公共場所，進而模糊公眾與私人關係的策展情境。
另一方面，這場非有章藝術博物館自辦的展覽，同時也致力於創造一場「當自己家」的策展經驗。先是以家務事的諧音「家」、「物」、「事」作為本次展覽在藝術創作、空間脈絡與展覽敘事上的共同基點，再從九單藝術實踐空間和臺藝大藝術聚落兩處展覽地點擷取出「藝術」、「空間」、「聚落」與「實踐」四個概念組成展覽的副標題，這場由「家」和「物」兩個篇章組成的展覽情「事」，聚集著李傑、楊季涓、劉千瑋、區秀詒和陳侑汝、劉玗和吳思嶔的藝術實踐；展示著有章藝術博物館的經典藏品；也筆記著板橋浮洲的大小事。透過個別展出、集體協作、空間與事件製造，《家物事：一場發生在藝術空間的聚落與實踐》上演的將不僅是各種公共與私人關係的暫時集合，也是一場屬於但不限於視覺藝術的「家務事」。
鄒婷
[2] 大臺北當代藝術雙年展（Greater Taipei Biennial of Contemporary Arts）為國立臺灣藝術大學發起的「大臺北藝術節」（Greater Taipei Arts Festival）中，偶數年舉辦的大型視覺藝術展演活動，首屆於2016年舉辦。展覽空間主要在有章藝術博物館、臺藝大藝術聚落與九單藝術實踐空間。
Housing Things: Compilations, Gatherings, and Practices Shared in An Art Space
Hospitality and the Curatorial Situation
Art exhibitions are temporary compilations of artworks, artists, curators, audiences, and institutions gathered together somewhere at some time, so a curatorial situation can always demonstrate hospitality.[1] Following such a host-guest situation and all the temporary encounters in an exhibition venue, art exhibitions, despite their thirst for attention and acknowledgment, end up unconditionally “welcoming” the general public. In such kind of temporary art galas, however, how do curators show their hospitality? How do people form the host-guest relationship? And how do participants enjoy themselves in these exhibitions? Or, we can probably put it this way: To evaluate hospitality in a curatorial situation, we should examine the curator’s techniques for making their audiences stay longer, the audiences’ adaptability to the exhibition, and whether the curator properly performs their tasks to convey the information and knowledge.
If we consider an exhibition a narrative complex bringing together specific people, time, spaces, cultures, social and political practices that aims to approach, or become part of, the general public, and if we aim to build an infrastructure on the basis of our techniques, the audiences’ adaptability, and the nature of our tasks, then do we expect to see yet another ongoing scene depicting geographical and historical stories in the same exhibition venue? In other words, if an art exhibition is a “public space” combining art and non-art, humans and non-humans through curatorial practices, and the exhibition space itself a “compound” of multiple historical narratives, what kind of curatorial situation would that be?
[1] see Beatrice von Bismarck and Benjamin Meyer-Kramer ed., Hospitality: Hosting Relations in Exhibitions (Berlin: Sternberg Press and “Cultures of the Curatorial” at the Academy of Fine Arts Leipzig, 2012), 8
Housing Things: Compilations, Gatherings, and Practices Shared in An Art Space
If we are going to talk about how contemporary visual art approaches the general public through institutions and exhibitions, why don’t we take a walk at the NTUA Art Village? It is managed by the National Taiwan University of Arts’ (NTUA) Yo-Chang Art Museum (the Museum), located in Fuzhou, Banqiao. Located in the north of the NTUA, part of the “campus” is surrounded by walls that are a bit taller than people. It accommodates more than forty buildings, old and new, and most of them were the National Overseas Chinese Experimental Senior High School’s faculty housing, which received the U.S. aid to build on lands donated by local gentry five or six decades ago. After 50 years’ disputes over the ownership, these ragged, frequently-flooded faculty housing adjacent to the NTUA, which was met with many rumours and were sometimes accidentally taken by students, are now turned into renovated “art spaces” decorated with tiny pebbles and green window frames and managed by the Museum. With walls gradually knocked down, these art spaces are now known as the 9 Art Space and the NTUA Art Village (or its old name, Northern Campus). Some of their early renovated buildings have already hosted three editions of the Greater Taipei Biennial of Contemporary Art – the frontiers of Yo-Chang Art Museum’s exhibition history.[2]
With such kind of unique building history, how do today’s art events echo yesterday’s local history, and shape the future of spaces? When visitors get into these old residences as if they were taking a house tour, what kind of “hospitality” can be delivered in exhibition spaces other than art museums – just like these art spaces – through the curatorial practices?
Funded by the National Culture and Arts Foundation’s program “Curator’s Incubator Program@Museums”, Housing Things: Gathering, Practice, and Assembly in Art Space (Housing Things) takes place in the Museum in March 2021. This exhibition taps into the complicated building history and the coexistence of a household setting and exhibition venues – to demonstrate how art represents and blends together household settings and public spaces, hence blurring the lines between private and public relationships.
On the other hand, the curator also aims to make herself “feel at home” because she’s not an in-house curator at the Museum. The Chinese exhibition title is adopted from its Chinese homophone which translates into English as “house chores”, and the adopted title gives lives to three new elements: “houses”, “things”, and “matters”. The three elements then become guidelines of this exhibition when it comes to artmaking approaches, spatial layouts, and narratives. In general, Housing Things showcases both “houses” and “things” while bringing together different art approaches adopted by LEE Kit, YANG Chi-Chuan, LIU Chien-Wei, AU Sow-Yee & CHEN Yow-Ruu, and LIU Yu & WU Sih-Chin, iconic artworks collected by the Museum, and stories about Fuzhou, Banqiao. Through solo exhibitions, group projects, and the creation of spaces and events, Housing Things is not only a temporary compilation of various public and private relationships but also a series of household activities that belong to, but are not limited to the field of visual art.
TSOU Ting
[2] The Greater Taipei Biennial of Contemporary Arts, began in 2016 and run in every two-year, is a part of the Greater Taipei Arts Festival organised by the NTUA. The main exhibitions take place at Yo-Chang Art Museum, the 9 Art Space, and the NTUA Art Village.
展覽資訊
家物事：一場發生在藝術空間的聚落與實踐
Housing Things: Compilations, Gatherings, and Practices Shared in An Art Space
展期 Date：2021.03.19 - 2021.05.15
開放時間 Opening hours：
週二至週六 11:00-17:00，免費參觀。
Tuesday to Saturday 11:00-17:00. Admission is free.
展覽地點 Venues：
國立臺灣藝術大學有章藝術博物館：臺藝大藝術聚落、九單藝術實踐空間
新北市板橋區大觀路一段59號
Yo-Chang Art Museum, NTUA: NTUA Art Village, 9 Art Space
59, Sec. 1, Daguan Rd., Banqiao Dist., New Taipei City, Taiwan
museum.ntua.edu.tw
預約導覽表單填寫:https://forms.gle/pWDqcLH4x5X7VG4DA
相關活動 Events：
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2021.04.11 (Sun.) 14:00-16:00 你的策展情境與我的待客之道——「家物事」展覽討論會 與談人：呂佩怡、陳彥伶、莊哲瑋、鄭慧華 主持人：鄒婷 地點：國立臺灣藝術大學有章藝術博物館 九單藝術實踐空間 Housing Things Exhibition Forum – Your Curatorial Situation and My Hospitality Speakers: LU Pei Yi, CHEN Yen Ling, CHUANG Che Wei, Amy Cheng Moderator: TSOU Ting Venue: 9 Art Space, Yo-Chang Art Museum, NTUA |
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2021.05.08 (Sat.) 14:00-17:00 「家物事」藝術家工作坊 參與人：李傑 、吳思嶔、區秀詒、陳侑汝 、 楊季涓、劉千瑋、劉玗 主持人：鄒婷 地點：國立臺灣藝術大學有章藝術博物館 九單藝術實踐空間 Housing Things Artist Workshop Participants: LEE Kit, WU Sih Chin, AU Sow Yee, CHEN Yow Rum, YANG Chi Chuan, LIU Chien Wei, LIU Yu Moderator: TSOU Ting Venue: 9 Art Space, Yo-Chang Art Museum, NTUA |
主辦單位 Organizers：
國家文化藝術基金會「策展人培力＠美術館」
有章藝術博物館
贊助單位 Sponsors：
RC文化藝術基金會
千鳥藝術
工作人員名單
策展人 Curator｜鄒婷 TSOU Ting
藝術家 Artists｜李傑 LEE Kit、區秀詒 & 陳侑汝 AU Sow Yee & CHEN Yow Ruu、楊季涓 YANG Chi Chuan、劉千瑋 LIU Chien Wei、劉玗 & 吳思嶔 LIU Yu & WU Sih Chin
展場設計 Exhibition Design｜鄒婷 TSOU Ting、洪詩慧 HUNG Shih Hui
視覺設計 Graphic Design｜楊士慶 YANG Shi Ching / 吳家葳 WU Jia Wei @羊有四十七隻
展場技術 Technical Coordination｜千鳥藝術 Thousand Bird Arts、賴科維 LAI Ke Wei
行政協力 Administrative Assistance｜王睿瑋 WANG Jui Wei
媒體公關 Public Relations｜張家珩CHANG Chia Hebg、林育暄 LIN Yu Hsuan
推廣活動與導覽 Public Program and Guided Tour｜陳彥伶 CHEN Yen Ling、鄒婷 TSOU Ting
預約導覽 Exhibition Guided Tour Arrangement｜楊宜晨 YANG Yi-Chen
譯者 Translator｜林庭如 LIN Ting-Ru
藝術家
劉千瑋1982年生於苗栗，現工作、生活於臺灣。劉千瑋的創作關注於文物、物件（如現成物和日常物件），與當代社會秩序間的歷史/反歷史關係。他的立體裝置作品由各式不對稱的材質、物件與藝術製品組成。這種僅在展示場域暫時性成立藝術集合體，對應出他在創作上以重構與轉型的途徑改變物件所既有的社會意義的意圖，並進一步提出對於現行社會的詮釋與分類系統的質疑。換言之，藉由操作物件在當代情境下所產生的浮動意義，他的創作實踐出以藝術為名的反映與反思。
LIU Chien Wei
Born in 1982 in Miaoli. He now lives and works in Taiwan.
LIU’s work focuses on historical/ahistorical relations among artefacts, objects (such as ready-made and daily object) and the orders of contemporary societies. His installation works are composed of varies of asymmetrical montages of artistic productions and objects. As a temporary constellation conducted by artistic approach in display, his work addresses the intention of reframing and transforming the initial social meanings of these components and further questions the current sociopolitical system of its way of interpretation and classification. In other words, his practice creates an artistic reflection by carrying out the shifting meanings while engaging with contemporary conditions.
more 藝術家
吳思嶔吳思嶔（b. 1985）出生於臺南，目前工作與生活於臺北，作品形式多以雕塑作為創作主軸，將個人經驗中偶遇的事物作為取樣對象，並透過模型化的手段做為參照形式，製作出強調過程與敘述性的雕塑物件。近期創作開始轉向於人類、動物與自然之間的詮釋方法，在這多向的關係中展開人類意識形態的荒謬處境。
WU Sih-Chin (b. 1985, Tainan) mostly uses the form of sculpture as the media sampling his personal experience. Referring to the method of modeling, WU makes sculpture that emphasizes the process and narrative. His recent works take a turn to focus on the situation of humans, animals, and nature.
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劉玗劉玗（b. 1985）目前居住及創作於臺北。作品形式涵蓋錄像、裝置、文字等多種形式，逐漸發展出一系列紀錄式田野的工作模式。從隱匿在社會結構下的族群作為研究主題，發展一系列的作品，她認為這些族群的存在總是可以對照出當下社會或歷史結構中的時間切面，將我們日常熟悉嚴謹的體制、科學方法做一種模糊分界的重組工作。
LIU Yu (b. 1985) lives and works in Taipei. Employing a variety of mediums such as video, installation, and texts, LIU’s gradually developing a series of field studies of documentary nature as a kind of working methodology in relation to her artistic practice. A series of works are later created with a research focus on less visible communities marginalized by structural societal factors. The existence of these communities often reflects the intricacies of its contemporary society; furthermore, offers a sample of a specific historical moment with regard to a grander context –– a boundary-breaking reexamination that helps disrupt strictly defined scientific methodologies and the science institution with which we are all too familiar with.
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陳侑汝出生於高雄的劇場創作 / 工作者。個人創作常與當地環境結合，利用聲音、影像、裝置與現場表演作為創作手法。
CHEN Yow Ruu
Born in Kaohsiung, Yow-Ruu is an artist, theatre director and performer. Her works often integrate local environment, using sound, video, installation and live performances as creative tactics.
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區秀詒出生長大於馬來西亞吉隆坡，目前工作於臺北。她的創作主要以錄像、觀念、裝置等混合形式，探討和擴延影像與影像製造以及和歷史、政治、權力之間的關係。「數位荒原」特約作者，吉隆坡「亞答屋84號圖書館」共同創辦人之一。
AU Sow Yee
Born in Kuala Lumpur, Au Sow Yee now lives and works in Taipei. AU’s works focuses mainly in questioning, exploring as well as expanding the relation between images, image making, history, politics and power, through video installation and other mediums. A finalist for the 2018 Asia Pacific Breweries Foundation Signature Art Prize, Sow-Yee is one of the guest writers for online magazine No Man’s Land and co-founded Kuala Lumpur’s Rumah Attap Library and Collective in 2017.
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李傑李傑，1978 年生於香港，現居住和工作於台灣。
「真的不重要。」
Lee Kit, born in 1978 in Hong Kong. He lives and works in Taiwan.
‘It really doesn’t matter.’
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楊季涓楊季涓，1985年出生於台北，現居住工作於台北。
楊季涓將記憶做為知識來源與媒介，探索在人們、地方、物件、事件之間的種種關係，賦予物質或非物質的形式來載動其感性和敘事表達。她經常採用說故事的方式在她的雕塑或空間裝置裡，創造出一種溫暖質地的時間量體、一個輕巧的入口，穿透展開在生活、家庭、政治、都市環境、文化肌理等各種向度的問題。
YANG Chi Chuan, born in 1985 in Taipei, Taiwan. She lives and works in Taipei.
YANG explores memory as a source of knowledge and agent to mediate relations among people, places, objects and events, giving it material or immaterial form to carry her sensitivity and narratives. Yang often employs storytelling to create a warm duration in her sculpture or installation that embodies a subtle access to a wide range of questions in life, around family, politics, urban environment and various cultural fabrics.
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鄒婷策展人、研究員、文字工作者，目前工作與生活於柏林、臺北。2019年以碩士論文「去中心的途徑——策展如何在展覽中檢視歷史」畢業於德國萊比錫藝術學院策展文化研究所，現為該校博士生。文章散見於《藝術家》、《今藝術》、《典藏 ARTouch》等媒體。其現階段的研究方向著重於策展情境的跨學科性、藝術再現，與意義生產；以及臺灣藝術史與展覽史發展的特殊語境。
TSOU Ting is a curator, researcher, and writer based in Berlin and Taipei. She graduated from Cultures of the Curatorial at the Academy of Fine Arts Leipzig with the master thesis “Decentralized Approach—How the Curatorial Reviews Histories in Exhibition” in 2019 and is currently a doctoral candidate at the same academy. Her articles have been published in journals including ARTouch, ARTCO, Artist Magazine. Her current research focuses on the transdisciplinarity, artistic representation, and meaning production in a curatorial situation, as well as the particular contexts of the art history and exhibition history developed in Taiwan.
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