Este é o segundo de uma série de seminários que antecipam a exposição Histórias indígenas, a ser realizada em 2021, ano em que um eixo curatorial de mesmo nome pautará um programa completo de exposições individuais e coletivas, palestras, oficinas, publicações e cursos no MASP. O primeiro seminário ocorreu em junho de 2017 e contou com Ailton Krenak, Aristóteles Barcelos Neto, Claudia Andujar, Davi Kopenawa, Edson Kayapó, Els Lagrou, Joseca Yanomami, Luís Donisete Benzi Grupioni, Luisa Elvira Belaunde, Lux Vidal, Milton Guran e Pedro de Niemeyer Cesarino. Os seminários reintroduzem as culturas indígenas no museu. Ao longo de sua história, o MASP organizou diversas exposições com objetos e registros de comunidades indígenas localizadas no território brasileiro: Exposição de arte indígena (1949), Alguns índios (1983), Arte karajá (1984), Índios yanomami (1985) e Arte indígena kaxinawa (1987). Com a presença de teóricos, artistas, curadores e ativistas de diferentes locais, cenários e perspectivas, os seminários também se propõem a apresentar e discutir a riqueza e a complexidade de materiais indígenas e culturas imateriais, suas filosofias e cosmologias e os desafios e as possibilidades de trabalhar com esses campos, sobretudo no contexto de um museu. Nesses dois dias, ainda serão discutidos temas como direitos humanos e ativismo, a prática curatorial e a prática artística. Dois outros seminários internacionais estão planejados para 2020 e 2021, ano em que deve sair uma antologia com os conteúdos apresentados nos encontros.

PROGRAMA 23.7 | terça-feira | Tarde 14h – 16h BIUNG ISMAHASAN Dispossessions como performatividade: articulando a “indigeneidade performativa” na prática curatorial indígena taiwanesa Esta apresentação explora a arte performativa indígena taiwanesa através das obras do artista e ativista Don Don Hounwn, de origem Truku, da escultora Eleng Luluan, de origem Rukai, e de mim mesmo, curador de origem Bunun – os grupos mencionados estão entre os dezesseis povos indígenas de Taiwan. Será discutido o intercâmbio artístico de performances de artistas indígenas taiwaneses com base na exposição Dispossessions [Desapropriações], realizada na Goldsmiths, e Let the River Flow [Deixe o rio fluir], montada no Departamento de Arte Contemporânea da Noruega. Nossas abordagens performativas e estratégias curatoriais serão avaliadas como práticas artísticas indígenas, dando foco especial a temas pertinentes à perda, recuperação e ativação cultural, e ao discurso sobre a soberania criativa e incorporada dos indígenas. A apresentação demonstrará como Hounwn performa indigeneidade, pesar e solidão, expondo assim identidades híbridas. Em seguida, abordarei o modo como Luluan usa sua instalação performativa indígena para explorar a performatividade intrínseca e extrínseca através de objetos materiais e esculturas macias. Por fim, observarei como eu mesmo estruturei um encontro performativo com a arte contemporânea indígena taiwanesa com a curadoria de um espaço esteticamente organizado e de ressonância cultural. 

Office for Contemporary Art Norway (OCA) is pleased to announce its latest publication Sovereign Words. Indigenous Art, Curation and Criticism (OCA / Valiz, 2018).
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• What will the new histories of the arts of Indigenous practitioners look, feel and sound like?

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• A first of its kind reader of Indigenous voices that charts perspectives and strategies from the disciplines of art and film, ethics and history, theory and the museological field, from across four continents.

'I am confident that echoes of Sovereign Words. Indigenous Art, Curation and Criticism will assist in strengthening existing collaborations and lead to new and ground-breaking connections where mutual respect and learning will become the norm when exchanging with First Nations ways of life.'
– Brook Andrew, artist and Artistic Director of the 22nd Biennale of Sydney, 2020

Artists and cultural practitioners from Indigenous communities around the world are increasingly in the international spotlight. As museums and curators race to consider the planetary reach of their art collections and exhibitions, this publication draws upon the challenges faced today by cultural workers, Indigenous and non-Indigenous, to engage meaningfully and ethically with the histories, presents and futures of Indigenous cultural practices and world-views. 



Sixteen Indigenous voices convene to consider some of the most burning questions of our time. How will novel methodologies of word/voice-crafting be constituted to empower the Indigenous discourses of the future? Is it sufficient to expand the Modernist art-historical canon through the politics of inclusion? Is this broadening a new form of colonisation, or does it foster the cosmopolitan-ness of thought that Indigenous communities have always inhabited? To whom does the much talked-of ‘Indigenous Turn’ belong? Does it represent a hegemonic project of introspection and revision, in the face of today’s ecocidal, genocidal and existential crises? 


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A first of its kind reader of Indigenous voices, Sovereign Words charts perspectives across art and film, ethics and history, theory and the museological field. With the canonical power systems of the international art world increasingly under fire today, the book makes a concerted bid for knowledge building and intellectual alliances that will frame the cultural and artistic processes of Indigenous and non-Indigenous futures.

Edited by: Katya García-Antón
 (Director and Chief Curator, Office for Contemporary Art Norway) 
Contributors: Daniel Browning, Kabita Chakma, Megan Cope, Santosh Kumar Das, Hannah Donnelly, Léuli Māzyār Luna’i Eshrāghi, David Garneau, Biung Ismahasan, Kimberley Moulton, Máret Ánne Sara, Venkat Raman Singh Shyam, Irene Snarby, Ánde Somby, Megan Tamati-Quennell, Prashanta Tripura, Sontosh Bikash Tripura. Section introductions written collaboratively by Liv Brissach, Katya García-Antón, Drew Snyder and Nikhil Vettukattil.

Authors in this publication first convened for public presentations under the third iteration of OCA’s Critical Writing Ensembles at the Dhaka Art Summit in February 2018, organized with the support of the Dhaka Art Summit, Samdani Art Foundation, Art Space Sydney and the Australian Council for the Arts.

ANTI-ALCOHOLISM 
Collaborative Curatorial Practice of Indigenous Performative Art 

Curated by Biung Ismahasan 彼勇．依斯瑪哈單
Performed by Hsueh Yu-Shien 薛喻鮮​
Photography Copyright by Rich John Matheson​
Participants, Tribal Peoples and Namasia Nursery School Children 

The title of the exhibition – “Anti-Alcoholism” – is an experimental performative exhibition that consists of a flux of performances and on-site curatorial creation in which indigenous artists engage with the spaces, audiences, and previous works, leaving a succession of trajectories along the way. This collaborative curation builds upon a sustained team commitment to revealing how indigenous performance can be a radical tool to rethink indigenous curatorial practice’s uses and aesthetics, positioning such use of the rhythmical nature of performance and ephemeral performing actions with effective voicing of issues around decolonisation. A performing of indigenous curation exceeds the limits of an ambiguous relationship with temporality, in order to decolonise indigenous art frameworks as a way to articulate and consider the contemporary, which requires far more resources to achieve an authentic understanding of curatorial practice. 

Participants of tribal peoples and children were invited to participate and display the artistic objects and explore about how meaning of their life value is constructed. This performative exhibition emphasises on the existing phenomena of drinking alcohol at indigenous communities around the world that is an assimilatory process continuously at installational works in the construction of social, cultural, personal, and self-identities.  

Performative curating is a form of knowledge creation and also a catalyst for sensibility to contemporary curatorial practices of Indigenous Taiwanese. Performative exhibition stimulates demands in socio-cultural/environmental change of indigenous society.

這件合作策展作品『反酒精中毒』，期盼透過自身生命經歷的感受，詮釋為履踐式表述行為藝術策展實踐 (Indigenous Performative Curatorial Practice)，再次延伸並進入原住民族群藝空間 (Ethno-Spatiality)，透過生命舞藝的展演、社會參與式藝術集體創作的展示，提供參與者在視覺情感上、聽覺感受上以及觸覺回應上的反思；內容涵蓋紅粉系列抽象鐵皮藝術的詮釋、生命禮讚的展演以及裝置藝術的呈現；其目的不僅秉持原住民社會參與式藝術 (Being part of indigenous community) 的理念與影響力，並邀請參與者透過展演過程與氛圍反思自身生命之價值。

一個生命的誕生，如同嬰兒的皮膚，從粉紅色系開始，其代表健康是生命的源頭，更是生命旅程的開始；一個生命的死亡，如同人類對於生命的頓悟，如朱紅般的暗沈。

FROM PINK TO DARKER 
Taki-un-ung (kidney in Bunun Language)
Performative Curatorial Practice curated by Biung Ismahasan 
Performed by Yu-Shien, Shiue 
Kaohsiung Museum of Fine Art, Taiwan
4 November 2016 ​