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The Silence and Clamor of the Cities Under the Pandemic 台泰藝術交流論壇Ⅱ
疫情之下 :
城市的靜默與喧囂
01
2021 10 30 Taiw an Time
14:00-14: 10
引言 | 主持人方彥翔
14:10-14: 5 0
平行世界 - 2020 泰國清邁攝影節
Introduction by Yen-Hsiang Fang
講者 | 黃建樺 Parallel World- 2020 Chiang Mai Photo Festival by Chien-Hua Huang
14:50-15: 4 0
根基、旅程和機遇的循環 Part 1 講 者 | P e n w a d e e N o ph a ke t M a n o n t The Cycle of Root, Journey and Opportunity Part 1 by Penwadee Nophaket Manont
15:40-15: 5 0
休息時間
15:50-16:4 0
根基、旅程和機遇的循環 Part 2
Take a Break
講 者 | A d i sa k P h up a The Cycle of Root, Journey and Opportunity Part 2 by Adisak Phupa
16 :40-17: 3 0
根基、旅程和機遇的循環 Part 3 講 者 | Mub a r a d Sa l a e h a n d N u r iy a W a ji The Cycle of Root, Journey and Opportunity Part 3 by Mubarad Salaeh and Nuriya Waji
17: 30-18: 3 0
綜合討論 Roundtable Discussion 02
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在「台泰兩地策展進駐雙向交流計畫」 第一階段時，泰國藝術家告訴我們， 泰 國 芒 果（Nam Dok Mai） 沒 有 台 灣的甜，因為他們通常會搭配煉乳或 是甜糯米；以及泰式打拋豬裡面其實 不會使用番茄。這兩個小故事其實正 表現出，我們對於異國文化的不理解， 進而產生對於「他者」的另一種想像， 其實想像與現實有著不小的落差。這 即是對於「他者」在文化與主體上理 解的差異。這也是我們期待透過雙向 交流計畫來消彌的部分。
文│施友傑
但弔詭的地方在於，我們期待的交流
期對於政府與社會之不滿。原本期待
計畫卻擺脫不了疫情的干擾。第一階
能夠前往曼谷進行實地交流的第二階
段，正逢台灣疫情最嚴重之時，民眾
段計畫，卻也因為泰國當前嚴峻的疫
自律在家，也使得台南的街道少了許
情影響，使得駐村人員沒辦法進行實
多外來旅客的身影，許多展演空間也
體交流。於是，線上交流成為與「他
被迫暫停開放、活動延期，或是取消。
者」建立連結的替代方案。
儘管疫情受到許多限制，但來台駐地 的 策展人與藝術家，仍持續地的構思
但隔著螢幕對於泰國的接觸，會不會
展覽、執行線上活動，並行走在台南
其實就像台灣這些標榜著「泰式」的
城市之間，為了就是更深入的認識這
打拋一樣，存在著某種必然的落差，
裡。也因此，我們得以藉由展覽、論
而這樣的落差又會如何體現在對彼此
壇，開展一系列對於泰國政治現況，
文化想像的理解與交流中？因此本次
以及泰國歷史脈絡的深刻反思與對
的論壇著重在「經驗交流」，希望將
話。
原先在泰國開展的交流形式，透過這 次論壇的形式進行，藉由親身的經驗
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一樣面對疫情，泰國的城市卻面臨著
分享以及田野筆記來呈現不同工作者
極度的喧囂。這兩年的泰國爆發具相
與不同文化之間的差異性。唯有藉由
當規模的反政府抗議活動，示威民眾
這些差異性，我們才能更進一步挖掘
不懼疫情影響紛紛上街響應，表達長
藝術交流之多樣性與必要性。
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台泰藝術交流論壇Ⅱ
疫情之下： 城市的靜默與喧囂 I n t h e f i r s t s t a g e o f Ta i w a n - T h a i l a n d Residential Bilateral Art Exchange Program, artists from Thailand told us that Nam Dok Mai (a Thai mango cultivar) in Thailand aren’t as sweet as the ones in Taiwan, because they are usually served with condensed milk or sweet sticky rice. Furthermore, in the Thai dish Pad Krapow Moo, tomatoes are never part of the dish in Thailand. These examples show how misperceptions toward an exotic culture creates an alternative interpretation of “others.” This in turn forms a gap between i m a g i n a t i o n a n d r e a l i t y, m e a n i n g t h a t differences in perception occur when “others” try to understand cultures and subjects that are not their own. Through this bilateral program, we hope to clear some of these misperceptions.
still able to ponder, reflect, and converse on topics regarding the political status quo and the historical context of Thailand.
H o w e v e r, w i t h t h e t u r b u l e n c e o f t h e pandemic, the bilateral exchange program was placed in a bizarre position. The first stage of the program took place during Taiwan’s worst pandemic period. Most people were well-disciplined at staying home, and foreign tourists were rarely found in the s t r e e t s o f Ta i n a n . M a n y a r t s p a c e s w e r e temporarily closed, while activities were postponed or even canceled mandatorily. With all the restrictions, resident curators and artists still continued to organize and execute several online activities. Meanwhile, they also continued to walk among the city of Tainan to take a deeper look. Thus, with a series of exhibitions and forums, we were
With a screen that separates us, will there be a similar kind of gap like Pad Krapow Moo in our perception of Thailand? How will this kind of consequential gap impact our understanding and exchange of ideas on cultural perceptions? Since the focus of this forum is about “the exchange of experiences,” we aim to transform our previous exhibition experience in Thailand into the form of a forum. Through sharing personal experiences and fieldwork notes, we wish to capture the differences between both cultures and artworkers. After all, we can only dig deeper on the diversity and essentiality of art exchange through understanding these differences.
On the other hand, the cities in Thailand became ever more clamorous under the pandemic. In the past two years, large scale anti-government protests have filled the streets of Thailand. Demonstrators joined street protests regardless the threats of the pandemic. Originally, stage two of the exchange program was supposed to take place in Thailand; however, with Thailand’s severe pandemic condition, resident artists f r o m Ta i w a n w e r e n ’ t a b l e t o m a k e t h e journey. Instead, online exchange became the alternative solution for connecting the “others.”
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2020 年初，透過台灣策展人龔卓軍、新加坡策展人莊吳斌與泰國清邁大學的協助，很高興有 機會受邀參加泰國清邁攝影節（CMPF），並至當地參訪展出。 第三屆清邁攝影節主題為「平 行世界」（Parallel Worlds），目的在於提出生活在媒體時代的人們如何面對我們所居住的 環境，以及回應人際關係之間複雜性的思考。主辦單位透過邀請世界各地經驗豐富的青年攝影 藝術家來參與展出，並分享個人或所屬國家的創作經驗，致力於在地打造完整良好的攝影創作 環境；另一方面，也邀請專家學者舉行座談與工作坊，除了使清邁與世界各大攝影節產生連結， 同時也進一步為攝影與視覺藝術領域提供不同面向的亞洲觀點。 本此重點在於分享個人參與期間的觀察重點則聚焦於三個層面：認識此一新興的國際攝影節其 定位與未來目標、觀察當地的攝影環境及其風土、個人田野工作的執行。 I n e a r l y 2 0 2 0 , Ta i w a n e s e c u r a t o r J o w - J i u n G o n g a n d S i n g a p o r e a n c u r a t o r Wu Bin Chuang were honored to be invited by Chiang Mai University (CMU) to join the exhibition of Chiang Mai Photo Festival (CMPF), titled “Parallel Worlds,” which was the third CMPF organized by CMU. The exhibition reflected the living environment of the media era, and the complicated relationship issues in the digital age. By inviting experienced young photographers around the world to join the exhibition, and share their creative experiences, the organizers aimed to build a good local creative environment for photography. In the festival, CMU also invited expert scholars to host seminars and workshops. Besides connecting Chiang Mai Photo Festival with other major global photo festivals, this festival also presented a unique Asian perspective concerning photography and visual arts. This forum focuses the sharing of personal observations during the festival on three particular dimensions: the understanding of the positioning for this novel festival among other international photo festivals; the observations on local photography environment and its customs; and lastly executions of individual field work.
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absoluteart.space Ａbout
黃建樺，2003 年畢業於台灣藝術大學雕塑學系，2003 至 2006 年於國立台南藝術大學造形藝術所就讀時轉而趨向影像創作，試 圖將對實體時間空間的存在獨有看法帶入當代科技影像。現於國 立台南藝術大學藝術創作理論研究所攻讀博士學位，持續對人類 存在於影像時代的身分定位做探討。 Huang Chien-Hua received his BFA in 2003 from National Taiwan University of Arts, Department of Sculpture, and MFA in 2006 from Graduate Institute of Plastic Arts at Tainan National University of the Arts. During the time in Tainan, his work shifted towards image making. Huang conveys his view on time and space with contemporary digital photography. Currently he is a PhD candidate at the Tainan National University of the Arts, Department of Art Creation and Theory, continuing his investigation on the identity of human existence in an image driven age.
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我們對於自家的桌具、空間與屋舍自
化 工 作 者 交 流 彼 此 的 經 驗 與 省 思。
然是瞭若指掌 ; 我們也清楚記得自己
作 為 一 位 獨 立 策 展 人、 研 究 者、 文
的所有物安置在何處、自己所在的城
化 工 作 者 與 行 動 者， Penwadee
市街道是何樣貌 ; 我們早就習慣了所
Nophaket Manont 將探討泰國當代
居的社區環境及其社會體系，以及自
藝 術 自 1990 年 代 以 降 的 部 分 轉 向，
出生起便耳濡目染的文化。然而，一
她以自身的策展經驗切入，其問題意
旦我們踏上旅途甚至移居他鄉，往往
識主要從與泰國歷史與政治密切相關
便開始學著適應新環境，當中不乏面
的社會脈絡發展而成，並結合個人見
臨些似曾相識的熟悉感，或者是前所
解；另外，來自泰國伊善地區（Isan）
未有的經歷。正因為如此，我們傾向
的 Adisak Phupa 則會分享他於泰國
讓身心社會調適的狀態重置，並試著
東北地區投身藝術創作的經驗，以他
從中認識自己，覺察思維、心態與信
來說，要使作品在藝術界得以被看見
念所映照的自我以及周遭社會情境。
並不一定要仰賴大型藝文組織或是循 正規的策展途徑 ; 身兼作家和詩人的
每一趟旅程的經歷不盡然在於尋獲新
Mubarad Salaeh 與 藝 術 家 Nuriya
的 自 我 特 質 ; 其 實， 更 多 時 候 是 發 現
Waji 亦 將 分 享 他 們 各 自 的 作 品， 以
了自己內在失落的碎片，並重新拼湊、
及與曾參訪兩人家鄉（北大年府）的
建 構 起 來 ; 有 的 時 候， 我 們 似 乎 也 有
藝術家們之間的交流歷程，從中可見
意或無意地遺留部分的自己在所經之
站在社會和文化價值框架下的思考觀
處。旅行帶給我們的不僅是途中體驗
點。 最 後， 曾 於 2020 年 受 邀 於 清 邁
的新事物，甚至能 將自己從各類生命
國際攝影節主題展「平行世界」（2020
束縛中解放出來。
Chiang Mai Photo Festival—The Parallel World) 展出的台灣藝術家黃
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此次論壇將以泰國當代藝術圈現況為
建樺將就泰國的藝術交流經驗分享他
主 軸， 由 泰 國 策 展 人、 藝 術 家 與 文
的看法。
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We know our desk, our room, our home; we remember where we place our belongings and the streets in the city we live in; we are accustomed to our community, its social system, and the culture we’ve grown up with since birth. But once we travel and change residence, we often learn to adapt to new places that might have something familiar or never been experienced b e f o r e . We , t h u s , t e n d t o r e s e t o u r social learning system while trying to understand oneself, in terms of thoughts, attitudes, beliefs towards ourselves and the surrounding social context. Each trip is not just about finding new components; many times our inner-self becomes fragmented and reassembles; and sometimes we may intentionally or unintentionally leave some parts of us there. Traveling is an opportunity for us all to experience new things, or even liberate ourselves from any life-traps. In this discussion, there’ll be Thai cu ra to r, a rti sts a n d c ul t u r a l w o r k e r s to exchange experiences and reflect upon the current contemporary art scene in Thailand. Penwadee Nophaket M a n o n t , a n I n d e p e n d e n t C u r a t o r, R e s e a r c h e r, C u l t u r a l W o r k e r a n d Activist, will present some shifts of Thai contemporary art since the 1990s,
through her curatorial experiences which have been developed and adapted according to the social context and personal standpoints, linked to Thai history and politics. Adisak Phupa, an artist from ISAN, will share his experiences about making art in the Northeast of Thailand and opportunities in the art world that does not always require factors of any big-scale institutional organization nor orthodox curation. Mubarad Salaeh (Writer/Poet) and Nuriya Waji (Artist) will share about their artistic practices, and journeys of exchange with visiting artists in their h o m e l a n d , PATA N I , v i a v i e w p o i n t s often framed by social and cultural values. A Taiwanese artist, Chien-Hua Huang, who was part of the Parallel World 2020 Chiang Mai Photo Festival will also share perspectives toward art exchanges in Thailand.
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潘瓦迪．諾帕吉．瑪儂，1973 年生於美國加州，現居泰國曼谷。2007–2012 年， 她在吉姆．湯普森藝術中心的策展團隊任職。爾後，作為獨立策展人，她將重心轉 向社會政治題材。其策展經歷包含 2007 年 –2008 年的《湄公河藝術文化計畫：海 國》，該計劃為一連串以旅行、研究為主軸的系列展覽、2009 年於曼谷藝術文化 中心的《扭轉吶喊》當代藝術計畫 (Twist and Shout)，當中展出了多位日本前衛 當代藝術家的作品、2013 年第五十五屆威尼斯國際藝術雙年展的《Poperomia/ 金淚滴展》(Poperomia/Golden Teardrop)、2015 年由南韓光州的亞洲文化中 心所舉辦，橫跨七〇年代至今的《泰國展覽史》、2017 年於泰國曼谷 WTF 展覽的《自 由有罪》(Condemned to Be Free)、2019 年位於印尼日惹的《第十五屆日惹雙 年展 - 赤道計畫 #5》 (Biennale Jogja XV Equator#5)、2018-2019 年的《中間 變動》(Altered-in-Between) 為實務研究結合藝術展覽的企劃項目，該企劃與北 大年府 PATINI 的少數民族文化節 (Minority Voicing Festival）同步舉辦，部分研 討會、工作坊、研究與展覽項目以《東亞與東南亞的遷徙敘事》為題，於蒙古的烏 蘭巴托國際媒體藝術節、南韓光州市的亞洲文化中心展出。 2016 年 起， 潘 瓦 迪 成 立 了 Rai.D Collective。 一 群 策 展 人 與 文 化 工 作 者 開 始 針 對 北 大 年 的 當 代 藝 術 與 社 會 文 化 實 踐 進 行 實 務 研 究。 同 時， 她 也 啟 動 了《 [R] Ejecting Mantra 計畫》，該計畫結合研究與檔案展，旨在反思強行灌輸民族主 義理念、神話、論述的後果，及其對當今泰國社會的衝擊。自 2020 年起，她也參 與創辦了 PRY 計畫，藉之探討社會政治議題與在地實踐。首發的實踐行動涉及草 根階層在泰國東北依善地區的貧困問題，該行動促成了阿迪薩克·普帕 (Adisak Phupa) 的《PRY 計 畫 #1： 犧 牲 》（Project-PRY#01: Sacrifice)。 阿 迪 薩 克 是 依善的一名藝術家，其作品圍繞著生活僅夠糊口、夢想與現實相距甚遠的人們。潘 瓦迪近期為阿迪薩克·普帕策劃的《前進寧靜藍》(Into Tranquility Blue) 現為南 韓光州市的亞洲文化中心《冰箱幻象》(Refrigerator Illusion，2021 年 ) 的部分展 覽。 潘 瓦 迪 現 為 獨 立 藝 術 與 文 化 策 展 人、 研 究 員、 文 化 活 動 工 作 與 參 與 者、Rai.D Collective 創始人、Project-PRY 創始人、Lekter.Studio 創始人、電影製片人及 東南亞劇情片實驗室（SEAFIC）總經理。
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Penwade e N o p h a ke t Ma n o n t (b .1 9 7 3 , Ca lifo rn ia , Th e Un ited States of America) Lives and works in Bangkok, Thailand. She was part of the Curatorial Team at The Jim Thompson Art Center (2007-2012). After becoming an Independent Curator, her practices have shifted to socio-political focuses. Her experiences include Mekong Art and Culture Project, a research and traveling exhibition series project, SEA countries (2007-2008); Twist and Shout, a contemporary art project by Forefront Japanese Contemporary Artists, at Bangkok Art & Culture Centre, Thailand (2009); Poperomia/Golden Teardrop, an exhibition at the 55th International Art Exhibition – La Biennale di Venezia, Italy (2013); a research and archiving project titled The Exhibition History in Thailand from the 1970s to the Present, for Asia Culture Center, Gwangju, South Korea (2015); Condemned To Be Free, an exhibition at WTF, Bangkok, Thailand (2017); Biennale Jogja XV Equator#5), Yogyakarta, Indonesia (2019); a practice-led research and art exhibition project titled Altered-in-Between in parallel with a Minority Voicing Festival in PATANI as part of the seminar, workshop, research and exhibition project titled Migration Narratives in East and Southeast Asia, exhibited at Ulaanbaatar International Media Art Festival, Mongolia, and Asia Culture Center, Gwangju, South Korea (2018-2020). From 2016 onwards, Penwadee has founded Rai.D Collective, a group of curators and cultural workers, started practice-led researches on PATANI’s contemporary art and socio-cultural practice, while initiated [R]Ejecting Mantra, a research and archive-based exhibition series project aiming to reflect over consequences of the compulsion of Nationalism ideology, myth and discourse presently impact Thailand. Since the beginning of 2020, she has co-founded Project-PRY, a curatorial-movement initiative initiated to touch upon socio-political issues and work under locality-based practices. Her first practice concerns the ISAN (Northeastern) grassroots’ poverty issue in Thailand, resulted Project-PRY#01: Sacrifice by Adisak Phupa, an Isan Artist whose focus is of those who live from hand to mouth where dream and reality fatally meet. Her recent research-based curatorial piece Into Tranquility Blue by Adisak Phupa is now displayed at Asia Culture Center (ACC), Gwangju, South Korea, as part of an exhibition Refrigerator Illusion (2021). Penwadee is currently an Independent Art Curator, Researcher, Cultural Worker and Activist, Founder of Rai.D Collective, Co-Founder of Project-PRY, Co-Founder of Lekter.Studio, and the Managing Director at Southeast Asia Fiction Film Lab Foundation (SEAFIC).
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阿迪薩克・普帕，1978 年生於泰國益梭通 (Yasothon)，現居泰國瑪哈 沙 拉 堪 (Mahasarakham)。 阿 迪薩 克 先 於 瑪 哈 沙 拉 堪大 學取 得 學 士 學 位，又於清邁大學取得碩士學位，現正於瑪哈沙拉堪大學攻讀博士學位。 起初，阿迪薩克受到當地傳統的火箭節啟發，開始對依善當地的信仰與 裝置藝術感到好奇。他參與了一些聯合展覽，其中包括 2011–2012 年位 於泰國呵叻府由吉姆．湯普森藝術中心主辦的《吉姆．湯普森農場藝術 計 劃 》( Jim Thompson Art On Farm Project)、2013 年 於 泰 國 藝 術 大學 PSG 藝廊舉辦的《Little Big Print》、2018 年於泰國曼谷藝術文化 中心的《常見活動：依善當代報告》、2019 於印尼《第十五屆日惹雙年 展 - 赤 道 計 畫 #5》 的 孔 敬 宣 言 館 中 展 出 的《Ling Dao》、2019-2010 年《光 ‧ 合作用－亞洲當代藝術同志議題展》中的《Der Nang Der》。 2020–2021 年於Ｗ TF 藝術酒吧的《PRY 計畫 #1》，阿迪薩克的《犧牲》 (Sacrifice) 為 部 分 展 出 作 品。 他 的《 前 進 寧 靜 藍 》(Into Tranquility Blue) 則 為 南 韓 光 州 市 的 亞 洲 文 化 中 心《 冰 箱 幻 象 》(Refrigerator Illusion，2021 年 ) 的部分展出。 阿迪薩克，目前也是瑪哈沙拉堪大學美術應用藝術與文化科學學院，視 覺藝術類的講師。
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absoluteart.space About
Adis a k P h u p a
Adisak Phupa (b.1978, Yasothon, Thailand) Lives and works in Mahasarakham, Thailand. Adisak received a Bachelor's and a Master's degree in Printmaking at Mahasarakham University and Chiang Mai University, respectively. He is currently pursuing a Doctorate degree at Mahasarakham University. He has become interested in installation art through the beliefs of the ISAN locals, initially towards their traditional Rocket Festival. He has participated in group exhibitions include Jim Thompson Art On Farm project by Jim Thompson Art Center, Nakhon Ratchasima, Thailand (2011-2012), Little Big Print at PSG Art Gallery, Silpakorn University, Bangkok, Thailand (2013), Common Exercises : Isan Contemporary Report at Bangkok Art and Cultural Center, Bangkok, Thailand (2018), Ling Dao presented under KhonKaen Manifesto Pavilion at Biennale Jogja XV Equator#5, Yogyakarta, Indonesia (2019), Der Nang Der in Spectrosynthesis II–Exposure of Tolerance: #LGBTQ in Southeast Asia Exhibition (2019-2020), Sacrifice a s p a r t o f P r o j e c t - P RY # 0 1 a t W T F G a l l e r y & C a f é , B a n g k o k , Thailand (2020-2021), Into Tranquility Blue as part of an exhibition Refrigerator Illusion at Asia Culture Center (ACC), Gwangju, South Korea (2021). A sst . Pro f. Adisak Phu pa is als o a lec t ur er at t he Vi s u a l A r t s Program, Faculty of Fine - Applied Art and Cultural Science, Mahasarakham University.
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努莉雅・瓦吉，1992 年生於泰國北大年府（Pattani）的柿武里縣 (Sai Buri)， 主 要 在 陶 公 府 生 活 與 工 作。 她 的 創 作 以 蠟 染 織 布「Batik」 為 媒 材， 運 用 紮 染 技 法 呈 現 其 特 殊 用 色， 多 數 作 品 主 題 緊 扣 她 來 自 泰 國 深 南地區的家鄉、社會與文化背景，以及當地暴力事件頻傳的情況。她畢 業於宋卡王子大學 (Prince of Songkla University) 北大年校區的應用 美 術 學 系（Faculty of Fine and Applied Arts）， 之 後 於 泰 國 藝 術 大 學（Silpakorn University） 的 藝 術 研 究 所（Faculty of Painting, Sculpture and Graphic Art）鑽研泰國本土藝術並完成其碩士學位。 Nuriya 是 藝 術 團 體 Muslimah Collective 的 成 員 之 一， 該 團 體 由 五 位 來 自 泰 南 三 府 —— 北 大 年（Patani）、 也 拉（Yala） 和 陶 公 （Narathiwat）的穆斯林女性藝術家組成。她們於位在曼谷市立藝術文 化中心（Bangkok Art and Culture Centre）的 People’s 藝廊舉辦 首次展覽「The Way of Women」(2017)，隨後陸續受邀於「2018 曼 谷藝術雙年展」（Bangkok Art Biennale 2018）以及新加玻的加賈藝 廊（Gajah Gallery）展出，並曾獲選參加第十五屆日惹雙年展，亦是 第五屆的「赤道計畫」（Biennale Jogja XV Equator#5, 2019）。 2018 年，她在曼谷廊 1919 文創園區（Lhong 1919）舉辦個展「Fade Away」，並參加過在清邁的 MAIIAM 當代藝術館（2017）與馬來西亞 吉隆坡的 ILHAM 藝廊（2018）推出的巡迴聯展「Patani Semasa」。 Nuriya 亦曾在 2018 年入選由泰國藝術大學藝文中心與位於北大年的藝 廊 De' Lapae Art Space Narathiwat 合 辦 的「Sync 藝 術 家 進 駐 計 畫」。此外，她的作品在「The 30 PTT Art Contest」（譯註：由泰國 藝術大學與泰國國家石油股份有限公司 PTT Public Company Limited 合辦的藝術競賽活動）與第四屆「Asia Plus Art Exhibition」藝術獎皆 獲頒「傑出表現獎」。目前居住於北大年府的 Nuriya 仍持續不懈地創作。 13
absoluteart.space About
N u riy a Wa ji
N uriya Waji (b.1 99 2, Saibur i dis t r ic t , Pat t ani, Thail a n d ) L i v e s and works in Narathiwat. Her works are batik-based using tiedye technique and unique colors. Most of them linked with her homeland, society, culture and the violence in the Deep South of Thailand. She received a Bachelor ’s Degree from Faculty of Fine and Applied Arts, Prince of Songkla University, Pattani Campus, and a Master’s Degree in Thai Arts from Faculty of Painting, Sculpture and Graphic Art, Silpakorn University. Nuriya is part of Muslimah Collective —a collaborative group of five female Muslim artists from Pattani, Yala and Narathiwat. Their first exhibition “The Way of Women” was at People’s Gallery, Bangkok Art & Culture Center (2017); later, participated in Bangkok Art Biennale 2018; invited to exhibit at Gajah Gallery, Singapore and selected to join Biennale Jogja XV Equator#5 (2019). During 2018, she had a solo show “Fade Away” at Lhong 1919, Bongkok; participated in group show Patani Semasa at MAIIAM Contemporary Art Museum, Chiang Mai (2017) and at Ilham Gallery, Kuala Lumpur Malaysia (2018). She was part of the Sync Artist in Residence program in 2018, co-organized by Art Center Silpakorn University and De ‘Lapae Art Space Narathiwat. In addition, she’s received an Outstanding Award, The 30 PTT Art Contest and the 4 th ASIA PLUS Exhibition. Nuriya currently resides and continues her works in PATANI.
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穆巴拉德・薩拉赫，1992 年生於泰國北大年府（Pattani）的柿武里縣 （Sai Buri）， 他 隨 著 打 算 創 業 的 父 母 遷 居 陶 公 府（Narathiwat）， 並在此生活和工作超過二十年。如同其他普遍還不清楚自己人生志向的 青少年，Mubarad 在念高中時，為了符合社會期待而先選擇修讀科學 學程。但是，當他認知到這條路並非其志趣所在之後便轉而進入大學讀 平面設計，期許自己能以設計專業來協助家裡經營的鞋店生意。他不僅 藉此機會前往曼谷求學，也在一次參觀泰國國際書展的機緣之下，更加 認識自己，並進一步開啟了他對文學的興趣。Mubarad 曾自行出版過 數本口袋詩集，包括「我看著月亮於清晨時冉冉升起」（I Watch the Moon Rises in the Morning, 2015）與「痛苦即詩」（Pain is Poetry, 2017）； 其 第 三 本 書「 世 間 萬 物 皆 不 循 常 理 」（Nothing Follows Its Season, 2019）則是由 SM-Thai 出版社發行。Mubarad 目前仍居住於 陶公府並持續從事文學創作。
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absoluteart.space About
Mubarad Salaeh
Mubarad Salaeh (b.1992, Saiburi district, Pattani, Thailand) Lives and works in Narathiwa for more than 20 years, after moving along with parents who came to start a business. During high school, he’s just like other kids who didn't know of their life goal and chose to study Sciences Program following social norms. Once finding the path wasn't of true interest, he attended the university in the field of Graphic Design, hoping to earn design knowledge for his family's shoe business. Not only did he get the chance to study in Bangkok, but also opportunities to visit the Thai National Book Fair which made him discover himself and his interest in literature. His self-published poetry pocketbooks include “I Watch the Moon Rises in the Morning” (2015) and “Pain is Poetry” (2017). His third book “Nothing Follows Its Season” (2019) has been published by SM-Thaipublishing. Mubarad currently resides in Narathiwat and continues literary writings.
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absoluteart.space About
方 彥 翔
Yen-Hsiang Fang
從事策展、評論、書寫與創作等工作，長期關注當代藝術實踐與 社群運動之對話關係，視當代策展與書寫為一種跨域性的聚集行 動，近期研究重心為全球化境況下之文化生產與美學政治。過去 機構與策展經歷包含 : 獨立藝術空間「打開—當代藝術工作站」、 「乒乓藝術空間」之共同營運策畫，2015 至 2016 年間擔任台 北當代藝術中心策展人，現任職高雄市立美術館助理策展人。 Yen-Hsiang Fang is a curator, critic, writer and artist who is interested in the dialogue between contemporary art practices and social movements. He regards contemporary curating and writing as a cross-disciplinary action of assembly, and his recent studies focus on the cultural production and the aesthetics of politics under the globalization situation. Fang’s institutional and curatorial experiences include: the co-operator and programmer of independent art spaces Open-Contemporary Art Center and Ping Pong Art Space. He was the curator of Taipei Contemporary Art Center from 2015 to 2016. He has presented his individual curatorial projects and presentations at Kaohsiung Museum of Arts, He currently works as the Assistant Curator of Kaohsiung Museum of Fine Arts.
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absoluteart.space About
陳 佳 暖
Chia-Nuan Chen
生於 1991 年。長期從事展覽執行、研究員、獨立策展人、藝術 家。現就讀於國立台北藝術大學藝術跨域研究所。創作與研究關 注於庶民生活中歷史記憶與情感的建構方式，及其與環境、社會 之間的互動關係。同時，關注於藝廊、藝博會、藝術節與美術館 等不同機構中展覽與觀眾之間的關係。曾策劃 2019 年高雄岡山 《咁敢趕幹—岡山國際當代藝術交流展》並獲台新獎入圍提名、 2017 年大觀藝術空間《話・時代—畫廊產業三部曲》（協同策展） 等展覽 。 Born in 1991, has long been a curatorial execution, researcher, independent curator, and artist. She is currently studying at the Graduate Institute of Trans-disciplinary Arts, Taipei National University of the Arts. Her artworks and research focus on the construction of historical memories and emotions in the lives of common people, and their interaction with the environment and society. In the meantime, she‘s also interested in the relationships shared between gallery, art festivals, and art museums. She has curated such exhibitions as Dare you do this? FFFF it!, at Ganshang International Contemporary Art Exchange, in Kaohsiung 2019, and was nominated for the Taishin Art Prize. And she has co-curated Words • Era––Gallery Industry Trilogy, at DaGuan Gallery in 2017.
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absoluteart.space About
游 承 彥
Kevin You Singgan
1994 年生於臺灣臺北，國立台北藝術大學電影系、美術學院藝 術跨域研究所畢業。專長影像、文學創作，實驗計畫《鬼島踏查 日 記 》 共 同 創 始 人。 長 期 關 注 非 主 流 社 群 及 後 殖 民 文 化， 作 品 探 問 文 學、 電 影 與 當 代 藝 術 中 虛 構 及 非 虛 構 元 素 間 的 曖 昧 性， 發 表 於 國 家 攝 影 文 化 中 心、 水 谷 藝 術 等 展 演 空 間， 臺 灣、 國 際 LGBTQ 主題影展及《數位荒原》、《MPlus》、《報導者》等 平臺。 Kevin Singgan (born Iû Sîng-gān/Yu Cheng-yen; 1994) is a Taiwanese artist and writer whose creative and research interests focus on non-mainstream communities and postcolonial cultures. His works are realized through explorations in-between the fiction and the non-fiction among literature, cinema and contemporary art. His narrative short film BREATHE has shown in international LGBTQ-themed film festivals, and his fiction short The Story of You was awarded the 9th TSMC Literary Prize. He has contributed articles to No Man’s Land by ET@T, MPlus, and The Reporter, etc.
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absoluteart.space About
S oifa S ae n k h am kon
長期於泰國以及世界各地從事藝術相關計畫，經常擔任策展人、 助理 策展人與專案經歷等職位，亦曾擔任 2011 年獨立電影。 目前的職業是藝術相關與獨立電影的自由工作者，本身也是策展 人與 文化工作者團體的創始人之一。 Soifa has worked for art projects both in Thailand and a b r o a d c o n t i n u i n g l y, a s a n A s s i s t a n t C u r a t o r, C u r a t o r, Project Manager. She has also worked as a casting crew for independent film productions since 2011. Soifa currently works as a freelancer in both art management and independent film industry. She is also a Co-Founder of Rai.D Collective, a group of curators and cultural workers.
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疫情之下 : 城市的靜默與喧囂 The Silence and Clamor of the Cities under the Pandemic absoluteart.space專案執行▁施友傑、陳妍伊、陳佳暖、游承彥
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