ANTI-ALCOHOLISM

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。

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