台北 Taipei 2014

台北 Taipei 2014



  • 视频Video
  • 發起人Initiators
生產藝術 Production Art
協辦:臺北市立美術館 交通大學亞太/文化研究室
地點:臺北市立美術館視聽室(台北市中山北路三段181號) 清華大學月涵堂(台北市金華街110號)
Organized by Inter-Asia School
Co-organized by Taipei Fine Arts Museum, Center for Asia-Pacific/Cultural Studies, NCTU (APCS-NCTU)
Sponsored by Moonchu Foundation
Venues: Taipei Fine Arts Museum Auditorium (B2, 181 Zhongshan North Road Section 3), 
Yue-han Hall (110 Jin Hua Street Taipei)
Huang Chien-Hung, Taipei Biennial Forum Convener
Inter-Asia Biennale Forum Initiators: Chang Tsong-Zung, Gao Shiming, Chen Kuan-Hsing
The Taipei Forum of the Inter-Asia Forum will take the concept of  “Production Art” as its starting point. On the one hand, this is a response to curator Nicolas Bourriaud’s (the founder of Relational Aesthetics) concepts of “co-activity” and “co-relational”. On the other hand, the Forum will seek to open up a platform for Asian thought, beginning with reflections on production art, and on the relationships of dominance among the human world, the non-human world, and the world of the things, as well as methods of creation.
Production (productive forces and production relations) is intimately related to contemporary biopolitics. Every labouring individual or act of labour contains the operations of a particular system of organisation. The syndrome of dependency that exists in the production relations between the individual and the system turns production into sites of ineffable amnesia and historical absence. Because of the intimate interrelationships between social values and hierarchal power relations in the workplace, the status of labour and the status of contracts remain indisputable; conversely, inequitable productive forces that are the result of cultural dominance and unequal production relations, make it difficult for antiquated colonial structures to be eradicated completely from present-day democratic societies. In fact, since the beginning of World War II, discussions of “total war” have always taken the assumption that war was nothing more than the conflict over production (a struggle over the means of production, the uninterrupted maintenance of the productive forces, the collaboration between production relationships and political alliance, etc.). Similarly, in the realms of art and philosophical practice, the question, “How do we deal with production?” has become the most radical issue confronting history and power. At the same time, goods and technology, as well as the labourers involved in actual production (producers, workers, artists...), have become the potential vessels of the “silence” and “blank spaces” within historical writing, created by the implacable relations of power dominance. Thus, at the present Taipei Biennial Forum, we intend to create an interface between the generating of history, individual memoirs, biopolitics, production of things, and production relations, etc., as a way of dealing with today’s most pressing issue: How to deal with Production? How to deal with production in which relationships of dominance still exist? How to deal with production and its dominance of political power and knowledge? 
For these reasons, we must examine the mutually determined relationships that exist between things and production within different cultural situations, and the productive communities that are driven by these determinative relationships. In the dramatically accelerating enterprise of humanity, we discover that the productive communities in the traditional sense of the term have long disintegrated as a function of capitalism and globalisation. Man having dominated man, and man having dominated things, we now have a situation in which things dominate man. For this reason, the creation of new forms of production and exchange has become increasingly urgent; and innovation in forms of production and exchange must be based on the production of new “communities.” Exacerbation of the situation by Capitalism, the systems of OEM (original equipment manufacturing) and ideology characteristic of the Cold War era all serve to reiterate the importance of investigating the problem of the close relationship between “things” and communities. The relations of production determine the nature of things, and make possible the liberation of the materiality from the existing political and economic relations. 
“Things” are no longer merely physical or inorganic objects. Rather, they are the “others” that individuals and communities use as a way of expressing or enlarging their identities. “Animism,” the notion that all things have a soul, is not just a kind of “spiritual endowment,” nor is it merely a “deconstructed” rationality that provides a partial and abstract interpretation and contemporary “external tool.” On a deeper level, people basically rely on and deploy a wide variety of things to enable them to construct the world, this globe of domination. Is not “Colonial domination” exactly that process of reduction of the significance of every kind of thing, and the establishment of an unsurpassable class system between people and things, as a way of creating a world of singular meaning in the name of capitalism? 
But “things,” in the way they are differentiated in different cultures, already provide a situation for their having a diversity of meanings; in other words, their dynamic meaning must be understood in terms of their contextual “ecological” relationships. The question being raised here is: Is there a form of development that is able to transcend culture? As things follow in the footsteps of colonialist history, migrating to all corners of the earth, thus spurring the Glocalisation of “technology” or “skills,” intercultural and interregional migration even more directly demonstrates the cultural authority of things in the web of individuals and communities, and opens up silent spaces for negotiation. Starting from this point, perhaps we may begin to address the following three notions: “the power of things”, “the community of things”, and “the negotiation of things”. From a critique of, and resistance, to every kind of “dominance” relations, perhaps attempt to collectively produce an art and philosophy of “production” that is both ecological and interactive.   
The Inter Asia Forum and conference will take place on October 11 in the Audio Visual Center of the Taipei Fine Arts Museum and on October 12 in the Yuehantang at National Tsing Hua University in Hsinchu, respectively. The specific topics for discussion are as follows:  
1. 物與體制(召集人:張頌仁)
Session 1: Things and Institutional Systems (Convener: Chang Tsong-Zung)
“Things” are resources that are constantly scrutinised as economic asset by capitalist mechanisms. They are the “Other” awaiting exploitation, as well as the fulcrum for the manipulation of social relations by means of the system of production. In the relations of production, things have been reduced to the status of the means for class domination; yet they also possess the special characteristics of “the Other” that cannot be encompassed simply by these relationships. For example, “things” transformed by the production process that subsequently take on new forms as pollutants or environmental damages, are a perfect example of this irreducible “Otherness” of “things”. The fact that Things cannot be simply reduced to nothing or be totally abstracted, suggests that under different historical and cultural conditions, there are multiple ways in which technology can affect the character of things. In no culture can things be entirely divorced from human domination; at the same time, things can become an important medium for the domination of one social group over another. In “modern” Asia, what kind of institutional frameworks have things been assigned to? Under different systems of authority, to what extent do people dominate things, and to what extent do things in turn dominate people? If “liberation” remains an effective historical goal, than human liberation may in the end depend on the liberation of things.
吳山專與Inga Svala Thorsdottir ,《物權》系列(1994 - 2009
吳山專與Inga Svala Thorsdottir 的《物權》以《人權宣言》三十條為基礎,提煉出「物」的對等權利。人文中心的現代啟蒙,在《人權宣言》裏暴露了底牌,掀開了對「物」世界宰割的約定,而吴與Inga 則從這個約定中提出新的人和物的平等關係,一方面把啟蒙理念推至邏輯極致,另一方面提出了新的生產關係的可能。
Visual Reference: 
Inga Svala Thorsdottir and Wu Shanzhuan “Thing’s Right(s)” series (1994-2009)
Inga Svala Thorsdottir and Wu Shanzhuan’s “Thing’s Right(s)” series of videos, based on the 30 articles of “Declarations of Human Rights,” declare the equal rights of “things.” Modern Enlightenment, centered on humanism, shows its hand in the form of “Declarations of Human Rights,” exposing the human world’s oppressive arrangement with “things.” From out of this arrangement, Thorsdottir and Wu derive a new, equitable relationship between things and people. They accomplish this by pushing the ideals of Enlightenment to its logical extreme, which at the same time opens up new possibilities for the relations of production.
2. 精神生産與物之盛墟(召集人:高士明)
Session 2: Spiritual Production and the Flourishing Ruin of Things (Convener: Gao Shiming)
Over the course of the past half-century, under the dual-structure of imperialism and the modern nation-state, people have once again found themselves divided and reconstituted: Due to the entangled histories of colonialism and the Cold War people have been dispersed and scattered; in globalised production - consumption networks - they have consistently been subjected to allocation and consolidation. Under the influence of the power of the dual history of colonialism and the Cold War, daily life in Asia was absorbed very early on into the consumer networks of global capitalist production; within the meaning structure and signs circulation of the ‘object system’, behind the global circulation of “things” (both everyday articles and art objects) one finds increasingly brutal domination and exploitation, OEM (original equipment manufacturing) and developmental logic have left Asia with any number of ravaged sites of production. In this ceaselessly expanding empire of the “flourishing ruin” and demise of “things”, can we invent new means of cultural struggle and spiritual production? 
Visual references: 
Chen Chieh-jen, Factory (2004), The Route (2006), and Realm of Reverberations (2013).
Every object in Chen Chieh-jen’s videos is a social archive and a historical revelation, and can be viewed as a path that leads us back to history. But the door of history has never been thrown wide open, because once an event takes place, it quickly finds itself in a state of ruin. Historical experience can never be more than threadbare echoes; fragments that inform the energetic movement of constructed knowledge and of memory that circulates among the people and which, in the course of endless days and nights, months and years, expand silently and imperceptibly. Diametrically opposed to this process are the techniques contemporary society employs to obstruct, isolate, suppress and demolish the field of memory. The artist’s lens must focus on and reveal the remnants of the past, which are the leftovers of reality. As a means of spiritual production and actual mobilization, images can constantly evoke living echoes of social memories from within the multiple layers of history. 
3. 技藝的協商與敘事的支配(召集人:黃建宏)
Session 3: The Consultation of Technology and the Domination of Narrative (Convener: Huang Chien-Hung)
Technology is a form of cultural modification that is carried out on objects and materials. In the course of historical development and as events unfold, technology maintains a kind of silence, as if it bears no relationship to politics. Even the relationship between technology and history appears to be no more than a set of cultural characteristics or mere evidence of the presence of civilisation. However, whether we are discussing craftsmanship, art techniques or advanced science and technology, the continuity within the field is often made possible by a succession of cultural translations, consultations, rewriting and misreading. In fact, man-made objects inevitably harbour multi-layered vestiges of colonialism and exist in a condition of cultural modification and fusion. It is hoped that this discussion will focus on the traces left on this silent history by progressive things, by the products of science and technology or works of art.  
蘇育賢的《花山牆》 (2013),《椅子》(2012),《塑膠人》(2011) 
藝術家在2010年之後的作品, 更多關注在非知識專業或文化專業的人 如何在其勞動中建構其知識與文化。因此在這些與不同社群的人接觸的觸作過程中, 他的作品開始轉向物質與技藝在不同生命狀態中, 如何轉化成與某特定生命密不可分的生產關係; 也因此, 作品成為一次次複雜而多層的敘事, 一種關於技藝的轉譯歷程與敘事. 在這一則則通過影像化的技藝敘事, 我們不只看到物質與技藝本身的轉變, 更能夠看到生命在特定政經結構下, 在一種"有名無分"的分配狀態下, 如何通過物質與技藝的轉譯獲取自身主體化的機會。
Visual References:
Su Yuxian, Hua Shan Qiang (2013), The Chair (2012), and Plastic Man (2011)
The artist’s works dating from 2010 and after are mostly concerned with how non-knowledge-based workers and cultural professionals structure their knowledge and culture in the course of their work. As these people came into contact with members of other communities, the artist’s work began to shift its focus to the way materials and skills, within different living situations, are transformed into production relationships that are inseparable from specific lives. For this same reason, Su’s work eventually became a series of complex, many-layered narratives concerned with the process of the retranslation of skills. As each of these narratives of skills is filmed, we not only observe the transformation of materials and skills, we also can see how individual lives, within specific economic and political structures, and in a kind of “named but undifferentiated” state of assignment, have an opportunity to gain individual subjectivity, as a result of the retranslation of materials and skills. 
*Extracurricular Conference “What more can be done with Biennales as Platforms?” (Convener: Chen Kuan-Hsing)
Since 2010, West Heavens and Modern Asian Thought projects, initiated by the Inter-Asia School, have worked with the Shanghai Biennales, and now with the Taipei Biennial, as platforms to engage in social thought dialogues. In this open-ended gathering, we would like to critically reflect on these experiments and invite concerned colleagues and friends to share with us their own thoughts, and to imagine together what can be done more with the biennale as a public platform to stage new possibilities.


1968年生,巴黎第八大学哲学所美学组博士。研究领域为影像哲学、美学、德勒兹电影。 现职国立台北艺术大学艺术跨域研究所副教授,从事关于影像与策展的研究。同时也书写电影、当代艺术与表演艺术的评论。并从事法国当代理论,如德勒兹(Gilles Deleuze)、布希亚(Jean Baudrillard)与洪席耶等人着作的翻译。

Huang Chien-Hung

Huang Chien-Hung is associate professor of Taipei National University of Arts, in the Institute of Trans-disciplinary Art. He is involved in cinema critics as well as critics towards the contemporary art and the spectacle. He translated and introduced G. Deleuze, J. Baudrillard and J. Rancière’s writing to the Chinese World. Meanwhile, he authored several publications including COQ (2009), An Independent Discourse (2010), Trans-Plex Agenda (2011), EMU (2012), etc.


策展人,中國美術學院客座教授,漢雅軒畫廊藝術總監,香港亞洲藝術文獻庫董事會成員。張頌仁的策展專案包括:「後八九:中國新藝術」巡迴展(1993 - 1998)、一九九四聖保羅雙年展中國特展、一九九六聖保羅雙年展中國特展及香港館、二○○一威尼斯雙年展香港館、「文字的力量」巡迴展(1999 - 2002)、「黃盒子:當代藝術與中國空間」系列研究計劃(2004年開始)、二○○九湖北美術館「造物與空間:當代大漆藝術」、二○○八「第三屆廣州三年展:與後殖民說再見」聯合策展人、「西天中土」中印學術交流項目的發起人和總監(2010年開始)、二○一二上海雙年展聯合策展人等重要藝術活動。

Chang Tsong-Zung

Chang Tsong-Zung (Johnson Chang) is a curator, the Director of Hanart TZ Gallery, guest professor at China Art Academy, and board director of Asia Art Archive. Chang has been active in curating Chinese exhibitions since the 1980s: major exhibitions include ‘China’s New Art Post-1989’ (international tour 1993–98), Special Exhibitions for the Sao Paulo International Biennial (1994 and 1996), Hong Kong official participations at Sao Paulo Biennial (1996) and Venice Biennial (2001), ‘Power of the Word’ (Taiwan and US tour 1999–2002), the ‘Yellow Box’ series of research projects about contemporary art practice and Chinese aesthetic spaces (since 2004). Recent curatorial work includes: co-curator of ‘Guangzhou Triennial 2008: Farewell to Post-Colonialism’, ‘Spiritual Space: A Dimension in Lacquer’ (Hubei Museum of Art 2009) and the ‘West Heavens’ series of Indian-Chinese art and intellectual exchanges (presented at the Shanghai Biennale 2010, Guangzhou Triennial 2011 and Shanghai Biennale 2012). Chang was also co-curator of the 2012 Shanghai Biennale.


陳光興任職交通大學社會與文化研究所,同時負責亞太/文化研究室,曾為新加坡國立大學任資深客座研究員、韓國延世大學與北京清華大學客座教授。著有Asia as method: towards deimperialization (Duke University press, 2010),《去帝國──亞洲作為方法》(2006)、《帝國之眼》(2003;漢​​城,韓文版)、《媒體/文化批判的人民民主逃逸路線》(1992);編有Stuart Hall: Critical Dialogues in Cultural Studies (1996與David Morley合編)、Trajectories: Inter-Asia Cultural Studies (1998)、《Par​​tha Chatterjee 講座: 發現政治社會:國家暴力、現代性與後殖民民主》(2000)、​​《文化研究在台灣》(2000)、​​《後東亞論述》(2006,與白永瑞、孫歌合編,東京,日文版)、Inter-Asia Cultural Studies Reader (2007 ,與蔡明發合編)。他是台灣社會研究季刊的成員,Inter-Asia Cultural Studies: Movements期刊的執行主編。

Chen Kuan-Hsing

Chen Kuan-Hsing is Professor in the Graduate Institute for Social Research and Cultural Studies, and also the coordinator of Center for Asia-Pacific/ Cultural Studies, National Chiao Tung University. He has held visiting professorships at universities in Korea, China, Japan, Singapore and the U.S. He has published extensively in both Chinese and English, including edited volumes in English: Stuart Hall: Critical Dialogues in Cultural Studies (1996) and Trajectories: Inter-Asia Cultural Studies (1998), Inter-Asia Cultural Studies Reader (2007); and in Chinese: Cultural Studies in Taiwan (2000) and The Partha Chatterjee SeminarLocating Political Society: Modernity, State Violence and Postcolonial Democracies (2000). His own books include Media/Cultural Criticism: A Popular-Democratic Line of Flight (1992, in Chinese), and The Imperialist Eye (2003, in Korean), De-ImperializationAsia as Method (2006, in Chinese). His writings have been frequently translated and published in Korea, China and Japan. Founding chair of Taiwan’s Cultural Studies Association and a core member of the Taiwan: A Radical Quarterly in Social Studies, he is a co-executive editor of the journal, Inter-Asia Cultural Studies: Movements.



Gao Shiming

Gao Shiming is the Director of the School of Intermedia Art at the China Academy of Art. In the past years, he has founded the Center of Visual Culture Research, Institute of Contemporary Art and Social Thought, as well as the Research and Development Center of Media City in the China Academy of Art. His focal points are visual cultural research, contemporary art studies, curatorial studies and social thought. Gao has organised many large-scale exhibitions of academic standing, including ‘The Migration of Asian Contemporary Art and Geopolitics’ (2002–04), ‘Techniques of the Visible: The 5th Shanghai Biennale’ (2004), ‘Micrology: Micro-politics in Chinese Contemporary Art’ (2005), ‘Yellow Box: Contemporary Art and Architecture in Chinese Space’ (2006), ‘Special Exhibition of China in The 6th San Paulo Architecture Biennale’, ‘Alchemy of Shadows: The 3rd Lianzhou International Photography Festival’ (2007), ‘Farewell to Post-colonialism: The 3rd Guangzhou Triennial’ (2008), ‘Rehearsal: The 8th Shanghai Biennale’ (2010) and ‘West Bund 2013: A Biennial of Architecture and Contemporary Art’. Gao has also published many academic writings, including Thoughts of the Visual (2002), The Migration of Asian Contemporary Art and Geopolitics (2003), Farewell to Post-colonialism: The 3rd Guangzhou Triennial (2008) and Relevant Readers 1, 2 and 3 (2008–12), Rehearsal: The 8th Shanghai Biennial (2010), Ho Chi Minh Trail (2010), All Lethal Things are Unspeakable (2011) and The Book of Action (2012).