Asian Art Biennial
Launched by the National Taiwan Museum of Fine Arts (referred as NTMFA below) in 2007, the Asian Art Biennial focuses on the diverse art scene in the Asian regions, and aims to respond to the contemporary field and content/meaning of “Asia” through exhibitions, forums and other programs to further reflect on Taiwan’s potential position in international art scene. The Asian Art Biennial and the Taiwan Biennial are presented in alternate years at NTMFA.
In the exhibition catalogue to the first edition of the Asian Art Biennial “Have You Eaten Yet?,” the NTMFA director of the time, HSUEH Pao-Shia stated, “despite the geographical boundaries, Asia cannot be reduced to one culture or a single value system.” Moreover, the Southeast Asian, South Asian and Russian artists featured in Have You Eaten Yet? also set the biennial’s tone through adopting “Asia” as its problematic. In 2017, Wassan AL-KHUKHAIRI, one of the curators to the 6th Asian Art Biennial, “Negotiating the Future,” gave a talk with the topic, “Is Middle East Asia?—The Case of Including Middle East in the 2017 Asian Art Biennial,” and discussed the challenge of deciding on the demarcation of Asia given its diverse cultures, histories and transnational migration of population in Central and Western Asian regions. The talk was a response to the biennial theme about “negotiation,” and highlighted the biennial’s goal to re-map Asia.
After the first edition “Have You Eaten Yet?,” the second edition “Viewpoints and Viewing Points” (2009), the third edition “Meditation” (2011), the fourth edition “Everyday Life” (2013), the fifth edition “Artist Making Movement” (2015), the sixth edition “Negotiating the Future” (2017) and the seventh edition “The Strangers from beyond the Mountain and the Sea” (2019) respectively centered on the cultural diversity in Asia, the complex and polarized social situations, the reality and scenarios reflected by the everyday life, global and art activism, the relation between art and society, and the heterogeneous cultural viewpoints of “the other.” The curatorial system and approach also underwent various changes: initially, the biennial was curated by a single in-house curator (the first and second editions were curated by the in-house curator TSAI Chao-Yi; and the third, fourth and fifth editions were curated by the in-house curator HUANG Shu-Ping). The sixth edition was curated by a curatorial team formed by three guest curators – Kenji KUBOTA, Ade DARMAWAN and Wassan AL-KHUDHAIRI – together with the in-house curator, LIN Hsiao-Yu. Adopting the approach of “dividing labor according to different sections”, there is no “chief curator” in the curatorial team. For the seventh edition, as “artist-curators,” HSU Chia-Wei and HO Tzu-Nyen’s allowed a nimble, flexible approach for the exhibition, whereas the section of “footnotes” planned by the co-researcher LIN Yi-Hsiu provided different readings of the exhibition context to provoke new ideas.
Reference
In the exhibition catalogue to the first edition of the Asian Art Biennial “Have You Eaten Yet?,” the NTMFA director of the time, HSUEH Pao-Shia stated, “despite the geographical boundaries, Asia cannot be reduced to one culture or a single value system.” Moreover, the Southeast Asian, South Asian and Russian artists featured in Have You Eaten Yet? also set the biennial’s tone through adopting “Asia” as its problematic. In 2017, Wassan AL-KHUKHAIRI, one of the curators to the 6th Asian Art Biennial, “Negotiating the Future,” gave a talk with the topic, “Is Middle East Asia?—The Case of Including Middle East in the 2017 Asian Art Biennial,” and discussed the challenge of deciding on the demarcation of Asia given its diverse cultures, histories and transnational migration of population in Central and Western Asian regions. The talk was a response to the biennial theme about “negotiation,” and highlighted the biennial’s goal to re-map Asia.
After the first edition “Have You Eaten Yet?,” the second edition “Viewpoints and Viewing Points” (2009), the third edition “Meditation” (2011), the fourth edition “Everyday Life” (2013), the fifth edition “Artist Making Movement” (2015), the sixth edition “Negotiating the Future” (2017) and the seventh edition “The Strangers from beyond the Mountain and the Sea” (2019) respectively centered on the cultural diversity in Asia, the complex and polarized social situations, the reality and scenarios reflected by the everyday life, global and art activism, the relation between art and society, and the heterogeneous cultural viewpoints of “the other.” The curatorial system and approach also underwent various changes: initially, the biennial was curated by a single in-house curator (the first and second editions were curated by the in-house curator TSAI Chao-Yi; and the third, fourth and fifth editions were curated by the in-house curator HUANG Shu-Ping). The sixth edition was curated by a curatorial team formed by three guest curators – Kenji KUBOTA, Ade DARMAWAN and Wassan AL-KHUDHAIRI – together with the in-house curator, LIN Hsiao-Yu. Adopting the approach of “dividing labor according to different sections”, there is no “chief curator” in the curatorial team. For the seventh edition, as “artist-curators,” HSU Chia-Wei and HO Tzu-Nyen’s allowed a nimble, flexible approach for the exhibition, whereas the section of “footnotes” planned by the co-researcher LIN Yi-Hsiu provided different readings of the exhibition context to provoke new ideas.
Reference
- WANG Wan-Ju (chief editor). The 2007 Asian Art Biennial: Have You Eaten Yet? National Taiwan Museum of Fine Arts, 2007.
- CHANG Jen-Chi (chief editor). The Asian Art Biennial 2009: Viewpoints and Viewing Points. National Taiwan Museum of Fine Arts, 2009.
- TSAI Chao-Yi (editor). The Asian Art Biennial 2017: Negotiating the Future. National Taiwan Museum of Fine Arts, 2017.
- WU Mu-Ching. “From the Beginning of ‘Asian Studies’… The Curatorial Method of ‘Zone Defense’ in the 6th Asian Art Biennial.” Artco Monthly & Investment, iss. 302, November 2017, pp. 100-3.
- KAO Hui-Chien. “Art in Power Struggle—Asian Art Biennial 2017: Negotiating the Future.” Artist, iss. 511, December 2017, pp. 154-159.
亞洲藝術雙年展（Asian Art Biennial）
由國立台灣美術館（以下簡稱國美館）主辦，創始自2007年的雙年展，關注於亞洲地區多元的藝術生態面貌，透過展覽、論壇及相關活動，試圖回應「亞洲」一詞在當今的範疇與內容，進而思考在國際藝術場域當中，臺灣可能的位置。與台灣美術雙年展在國美館交替舉辦。
在首屆亞洲藝術雙年展「食飽未」專輯序中，時任國美館館長的薛保瑕提及：「…亞洲雖然有其地理疆界，然無法歸結為一種文化或單一的價值體系…」，參與「食飽未」的藝術家來自東南亞、南亞與俄羅斯，也建立了雙年展以「亞洲」作為問題意識所開展的基調。2017年，第六屆亞洲藝術雙年展「關鍵斡旋」策展人之一的瓦姍·阿爾-庫戴立（Wassan Al-KHUDHAIRI）在雙年展論壇中以「中東是亞洲嗎？以2017年亞洲藝術雙年展納入中東為題」講述自己在策展過程中因中亞、西亞地區多元的文化、歷史及跨國的人口移動所造成的劃分困難，來回應展題中的「斡旋」，也顯現了亞洲藝術雙年展在重新描繪亞洲地貌的企圖。
在首屆的「食飽未」後，第二屆「觀點與『觀』點」（2009）、第三屆「M型思維」（2011）、第四屆「返常（2013）、第五屆「造動」（2015）、第六屆「關鍵斡旋」（2017）及第七屆「來自山與海的異人」（2019）分別關注於亞洲地區文化的多元性、複雜且極端化的社會處境、日常生活所映射出的現實情境、全球化及藝術的行動主義、藝術與社會間的關係、「他者」的異質文化觀點等；策展制度與方式也經轉變：從初始的單一館內策展人（第一屆、第二屆的亞洲雙年展由館內策展人蔡昭儀策畫，第三屆至第五屆由館內策展人黃舒屏策畫），到第六屆由三位客座國際策展人漥田研二（Kenji KUBOTA）、達瑪萬（Ade DARMAWAN）、瓦姍·阿爾-庫戴立與館內策展人林曉瑜組成的策展團隊，以「區域分工」的方式完成展覽，當中並未設置「總策展人」一職；在第七屆時，許家維與何子彥「策展人-藝術家」（Artist-Curator）的身份則為展覽創造了靈活且彈性的實踐方式，協同研究的林怡秀所規劃的註腳（Footnotes）資料研究區則為觀眾帶來不同的展覽脈絡解讀方式並觸發思考。
參考文獻
在首屆亞洲藝術雙年展「食飽未」專輯序中，時任國美館館長的薛保瑕提及：「…亞洲雖然有其地理疆界，然無法歸結為一種文化或單一的價值體系…」，參與「食飽未」的藝術家來自東南亞、南亞與俄羅斯，也建立了雙年展以「亞洲」作為問題意識所開展的基調。2017年，第六屆亞洲藝術雙年展「關鍵斡旋」策展人之一的瓦姍·阿爾-庫戴立（Wassan Al-KHUDHAIRI）在雙年展論壇中以「中東是亞洲嗎？以2017年亞洲藝術雙年展納入中東為題」講述自己在策展過程中因中亞、西亞地區多元的文化、歷史及跨國的人口移動所造成的劃分困難，來回應展題中的「斡旋」，也顯現了亞洲藝術雙年展在重新描繪亞洲地貌的企圖。
在首屆的「食飽未」後，第二屆「觀點與『觀』點」（2009）、第三屆「M型思維」（2011）、第四屆「返常（2013）、第五屆「造動」（2015）、第六屆「關鍵斡旋」（2017）及第七屆「來自山與海的異人」（2019）分別關注於亞洲地區文化的多元性、複雜且極端化的社會處境、日常生活所映射出的現實情境、全球化及藝術的行動主義、藝術與社會間的關係、「他者」的異質文化觀點等；策展制度與方式也經轉變：從初始的單一館內策展人（第一屆、第二屆的亞洲雙年展由館內策展人蔡昭儀策畫，第三屆至第五屆由館內策展人黃舒屏策畫），到第六屆由三位客座國際策展人漥田研二（Kenji KUBOTA）、達瑪萬（Ade DARMAWAN）、瓦姍·阿爾-庫戴立與館內策展人林曉瑜組成的策展團隊，以「區域分工」的方式完成展覽，當中並未設置「總策展人」一職；在第七屆時，許家維與何子彥「策展人-藝術家」（Artist-Curator）的身份則為展覽創造了靈活且彈性的實踐方式，協同研究的林怡秀所規劃的註腳（Footnotes）資料研究區則為觀眾帶來不同的展覽脈絡解讀方式並觸發思考。
參考文獻
- 王婉如總編，《食飽未？：亞洲藝術雙年展.2007》，國立台灣美術館，2007。
- 張仁吉總編，《觀點與「觀點」：亞洲藝術雙年展.2009》，國立台灣美術館，2009。
- 蔡昭儀主編，《關鍵斡旋：亞洲藝術雙年展.2017》，國立台灣美術館，2017。
- 吳牧青，〈「亞洲學」從頭說起…第六屆亞洲雙年展的「區域聯防」策展方法〉，典藏今藝術，302期，頁100-103，2017.11。
- 高慧倩，〈走入權力角力場的藝術—2017亞洲雙年展「關鍵斡旋」〉，藝術家，511期，頁154-159，2017.12