We are delighted to share impressions of GWKL 2019 and vision for this valuable cultural marquee. Shorties for your enjoyment, capturing the experience of GWKL: 1. View the Experience GWKL 2019; 2. Insights into the Luminary dynamic featuring; 3. Vision for Gallery Weekend Kuala Lumpur GWKL’s anchor feature, the Luminary Program, hosts a range of influential speakers from a variety of creative expertises. Starting with GWKL 2016, the Luminary Program has seen leading curators, architects, collectors, artists, gallerists, and critics, amongst others, sharing views through talks, panels and other meetings, on varied topics. These stimulating discussions are designed for both local and global audiences, shining a spotlight on the dynamic Malaysian creative. http://www.gw-kl.com/l-u-m-i-n-a-r-i-e-s/
0 Comments
Performative Indigeneity among Rukai Nation artist Pasulange Druluan x Amin Farid Soultari12/12/2019 Singaporean Choreographer Amin Farid Soultari demonstrates performative Indigeneity within Taiwanese Indigenous Rukai Nation artist Pasulange Druluan's driftwood installation among "Ngahi' Routes: When Depths Become Experiment" exhibition at Taoyuan City Indigenous Cultural Centre, northern Taiwan.
https://www.soultari.com/ Soultari Amin Farid is a choreographer, arts educator and researcher from Singapore. He is currently a PhD candidate in Theatre, Drama and Dance studies at the prestigious Royal Holloway, University of London, UK. He is a recipient of the ASEAN-India Youth Award (2018), Singapore Youth Award (2017), National Arts Council Scholarship (2017) and Goh Chok Tong Mendaki Youth Promise Award (2016). Amin is the Joint-Artistic Director of Bhumi Collective, a multidisciplinary performing art and producing company. As an arts practitioner-researcher, his works constantly question and challenge the normative notions of class, ethnicity, identity and gender. He is vocal about indigenous, minority rights and addresses privilege in his advocacy. Amin believes that young arts practitioners must become leaders in creating artistic works that are innovative, critical and relevant to their evolving landscape. He writes occasionally for online arts magazine, Arts Equator, and the Esplanade Theatres by the Bay. 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). • What will the new histories of the arts of Indigenous practitioners look, feel and sound like? • 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? 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. A performative Indigenous encounter Satamal Bunun mas tapudavas 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 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 Biung Ismahasan, freelance curator of Bunun Tribe of Indigenous Taiwanese, uses photography, video, painting and conceptual installation to explore how the reflections and perspectives of the alcohol addiction reflect ways of peoples’ lifestyle continues to haunt to the society of indigenous communities in Taiwan. Viewers will be invited to think and to make the artwork about how meaning of your life value is constructed. This performative exhibition will lay emphasis on the idea that the “visibility” is an assimilatory process continuously at work 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. 擁有布農和泰雅族的混合血統,出生於高雄原鄉那瑪夏區達卡努瓦部落,旅居於英國東南部倫敦近郊艾塞克斯郡,現於艾塞克斯大學策展學研究中心修讀當代藝術策展學博士班 (PhD in Curating, Centre for Curatorial Studies, School of Philosophy and Art History, University of Essex, UK)。身為一名專職的原住民藝術管理人,長期透過策展實踐與展覽空間作為工具,當代藝術作為文化呈現與詮釋的媒介,將台灣原住民當代藝術推向國際,並連結英國當代藝術的社群,積極爭取原住民藝術家國際策展行動的合作機會。 這件作品是2014年的腎臟告別式紀錄片作品的延伸,彼勇期盼透過自身生命經歷的感受,詮釋為概念性行為藝術策展實踐 ( 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,提供觀者視覺情感上、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藝術的詮釋、生命禮讚的展演紀錄片(taki-un-ung) 以及裝置藝術的呈現;其目的不僅秉持社會參與式藝術 (Being part of indigenous community) 的理念與影響力,並邀請觀者透過展覽空間與展演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。 <展覽論述> by 原民當代獨立策展人 Biung Ismahasan Ebu Istanda 來自那瑪夏布農族,目前和她的家人居住於英國劍橋,她16歲時離開部落到台南學室內設計,一般人記錄故事用的是筆,而她則是用繪畫的方式來表達她對族群深切的情感與認同,並且也以視覺文化的再現,記錄著布農族遠古的傳說故事,進而繪製出她內在豐富的想像力,她曾在台灣、墨西哥和英國策劃過數次的個展。 Ebu 希望藉著這次的行動展覽,與觀者共享她以視覺藝術方式詮釋有關部落情感的連結與傳說故事的繪畫創作,並欣賞她長年在異鄉觸動心弦的每一幕傳說故事中帶來的省思及文化意涵。 Biung Ismahasan 來自那瑪夏布農族,目前是英國艾塞克大學策展學研究中心當代藝術策展博士生 PhD in Curating, Centre for Curatorial Studies, University of Essex,他是一名原民當代獨立策展人,藉由 Ebu & Biung 同時返鄉的機會,將兒時豐富童趣的叢林回憶,透過樟樹林的特定場域展覽 Site-Specific Exhibition,分享臺灣原住民部落在藝術介入空間發展的可能性及參與者帶來多面向的對話,包括人與人、人與空間、人與畫作、人與環境的對話、對原住民自身文化與社會脈絡的反省。 Tanivu Istanda 來自桃源布農族,她是一位將原住民文化、藝術與國際教育結合的教育人,現職桃源國中輔導主任,藉由她當天與談人的身份,從她說起布農神話故事的那一刻,帶領我們走進 Ebu 繪畫詮釋 和 Biung 展覽空間設計和氛圍營造的情境內,享受與欣賞布農族文化之美。 我們這樣的行動是分享可以用什麼樣的展覽製作,促使臺灣原住民當代藝術策展實踐在藝廊之外空間的發生,也就是在我們的生活空間裏,透過 Ebu 的畫作詮釋引導觀者,一起討論文化、教育、土地正義與種族相關的議題。 我們相信藝術介入空間具體地擴大了藝術影響原住民社會的範疇,不僅帶來了更多藝術的解放和自由、人與人的連結,也打破了西方與漢人主流藝術與生活的藩籬,使藝術的生產成為族人生活的表達方式之一。 |
|