台北當代藝術館 MoCA on Air 台北當代藝術館

【프로그램 소개】
부산 비엔날레는 국제 교류 및 지방 경영에 있어, 과거지향적 관점으론 식민의 아픔 및 이민의 역사를 다루고 미래지향적 관점으론 과거 폐쇄된 관사를 예술 공간으로 개방, 내부적으론 전시를 통해 부산의 정체성을 다시금 상기하고 외부적으론 코로나 기간 동안 온라인 전시 협업 진행을 했다.
지방 미술관과 비엔날레는 그들이 있는 장소로부터 벗어날 수 없지만, 그렇다고 단 하나의 도시에만 국한되어 있어야 하는 것도 아니다.

【개요 표기】
01:31 코로나 기간 동안의 비엔날레
03:43 지속적인 미술관：온라인을 통한 대-한 교류
06:34 물결：부산 근대 이민, 식민, 공업 발전사의 대항 및 창조
09:13 공간：은행, 폐공장, 부두창고, 조선소 창고, 주택 등의 원도심 탐색

【강연자 소개】
김성연: 현(現)부산 비엔날레 집행 위원장이자 2017-2022년 부산 현대 미술관 첫 관장. 1999년부터 부산을 중심으로 비영리 예술 활동을 이끌어왔으며 공간 반디의 창립자이자 부산 국제 VTR 예술절의 창시인, 그리고 예술 월간《비아트(B-ART)》발행인.

기타 경력: 2010 부산비엔날레 게스트 큐레이터, 2014년 부산 무빙트리엔날레 전시 감독, 2017년 평창비엔날레 예술총감독.
오중평：1985년 타이페이 출생, Heriot Watt 대학 정산수학과 및 Cumbria 대학 예술학과 졸업, 현(現)타이페이 당대모카예술관 전시팀 파트장. 창작 배경 출신으로 대안/상업 전시 공간 제작 10년 경력, 과거 Double Square Gallery 큐레이터, VT Artsalon 경리를 맡았으며 영국 badger badger 예술가 공간 창시 멤버이자《海市蜃樓(신기루)》영문판 역자이기도 하다.

【참고 자료】
1. Busan Biennale 2022–We, on the Rising Wave
http://www.busanbiennale2022.org/en
2. Haeju Kim｜Appointed Artistic Director Of Busan Biennale 2022
https://biennialfoundation.org/2021/12/haeju-kim/
3. Sustainable Museum: Art and Environment–MoCA Taipei X Museum of Contemporary Art Busan，2021
https://www.mocataipei.org.tw/tw/ExhibitionAndEvent/Info/環境∞藝術—台北當代藝術館*x*釜山現代美術館

【음악】
오프닝 ／엔딩：Spy Glass by Kevin MacLeod
Link: https://filmmusic.io/song/4410-spy-glass
License: https://filmmusic.io/standard-license
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FB：https://www.facebook.com/TaipeiMoCA
청중 메일함：mocaresearch@mocataipei.org.tw


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스폰서：재단 법인 기혜능 예술문화기금회
특별 감사：타이페이 시립 건성국민중학교

【節目簡介】
釜山雙年展在國際交流與地方經營之間：一面向過去，處理殖民創傷與移民歷史；一面向未來，開放曾經封閉的館舍成藝文空間。一面向內，隨著展覽重新覺察釜山的自我認同；一面向外，在疫情期間進行台韓線上展覽合作。
地方美術館與雙年展之關懷，離不開它們的所在，也不安於自限在一座城市之內。

【大綱標記】
01:31疫情期間的雙年展
03:43永續美術館：展間線上化的台韓交流
06:34浪潮：釜山近代化移民、殖民、工業發展史的對抗與創造
09:13空間：銀行、廢工廠、碼頭倉庫、造船廠庫房與廢棄老民宅的城市探索

【講者介紹】
金聖淵
現為釜山雙年展執行委員會董事（2019年－），過去曾任釜山現代美術館開館館長（2017年－2022年）。1999年起持續於釜山引領非營利的藝術運動，為螢火蟲替代空間（Space Bandee）創辦人、釜山國際錄像藝術節（2004年－）創始人，並出版《B-Art》藝術月刊。其他經歷包括：2010釜山雙年展客座策展人、2014釜山移動三年展，以及2017平昌雙年展的視覺藝術總監。

吳中平
1985年出生於臺北，愛丁堡Heriot Watt大學精算數學系及University of Cumbria 藝術系畢業，現為台北當代藝術館展覽組組長。以創作背景出身，於替代／商業展覽空間製作展覽逾10年經驗，曾任双方藝廊策展人，非常廟藝文空間經理、英國badger badger 藝術家空間創始成員。為《海市蜃樓》（Mirage Disused Public Property in Taiwan）英文版譯者。

【參考資料】
1. Busan Biennale 2022–We, on the Rising Wave
http://www.busanbiennale2022.org/en
2. Haeju Kim｜Appointed Artistic Director Of Busan Biennale 2022
https://biennialfoundation.org/2021/12/haeju-kim/
3. 環境∞藝術—台北當代藝術館X釜山現代美術館 (Sustainable Museum: Art and Environment–MoCA Taipei X Museum of Contemporary Art Busan)，2021
https://www.mocataipei.org.tw/tw/ExhibitionAndEvent/Info/環境∞藝術—台北當代藝術館*x*釜山現代美術館

【襯樂】
片頭／片尾：Spy Glass by Kevin MacLeod
Link: https://filmmusic.io/song/4410-spy-glass
License: https://filmmusic.io/standard-license
-
FB：https://www.facebook.com/TaipeiMoCA
聽眾信箱：mocaresearch@mocataipei.org.tw

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贊助單位：財團法人紀慧能藝術文化基金會
特別感謝：臺北市立建成國民中學

Fight without the gun - Russian artists fight against unfreedom and censorship

【Introduction】
How is war depicted through art? In this episode, We invite the Russian artist, director and film festival curator Vladimir Nadein to talk about censorship, dissociation and the unfreedom caused by the war.
The authoritative government that waged war without legitimacy expects the people to halt their thinking and feeling and to engage in lifeless consumption and entertainment. Under the circumstances, how could we break down the disguised “normal” life to create the domain for the interchange and coexistence of different ideas?
Fight without the gun, and that's how artists respond to wars.

Transcript: https://mocatpe.tw/art00taNfb

【Outline】
01:12 Against the war: Leaving the authoritative government that embarrassed Russia
07:33 Censorship: the drastic change in Russian independent film festivals and contemporary art since the war started
18:42 Online game that reflects the reality
19:41 Interrelation between art and history

【Speaker】
Wu Dar Kuen
Artist / Curator, Currently is the Director of Contemporary Art Platform at Taiwan Contemporary Culture Lab (C-LAB) and has been a slashie across artist/curation/teaching/administration/writing. He was the former director of Taipei Artist Village and Treasure Hill Artist Village, chairman of Taiwan Art Space Alliance (TASA), and a curator at Kuandu Museum of Fine Arts. Endeavoring to bridge art and social practices, He not only reflects on the social conditions of Asian countries with his unique artistic language, but also contemplates the ways to embody the philosophy of “art without borders” by treating art as a means under the impact of globalization and neoliberalism.

Vladimir Nadein
Vladimir Nadein (b. 1993, Moscow) is an artist, curator and film producer. A member of the filmmaking duo together with Dina Karaman. Their works were presented at the solo exhibition Deep Play, VT Artsalon and Greater Taipei Biennale. He produced an award-winning film Detours supported by Hubert Bals Fund, received Eurimages Lab Project Award and was shown at Venice Critics' Week, Viennale, Thessaloniki IFF, Berlin Critics' Week, FICUNAM, Jeonju IFF, IndieLisboa, Beldocs, FILMADRID, Camden IFF, TFAI, Barbican Center among others. In 2016 Vladimir co-founded Moscow International Experimental Film Festival and directed it for five editions. He curated special programs and screenings for the 17th Venice Architecture Biennale, Oberhausen International Short Film Festival, Hamburg Short Film Festival, Moscow International Biennale for Young Art, Garage Museum, University of California, Los Angeles and other venues. Vladimir tutored at Moscow School of New Cinema. Now he is based in Taipei, Taiwan.

【Reference】
1. Vladimir Nadein
http://vladimirnadein.com
2. Paracollective: Selected Works (TFAI CINEMA)
https://www.tfai.org.tw/en/program/seriesList/2c95808281fb938901832f9d6f4e0238
3. DEEP PLAY｜by Vladimir Nadein and Dina Karaman at VT Artsalon
https://www.facebook.com/VTARTSALON/posts/6355715611111734/

【Music】
Intro music/Outro music : Spy Glass by Kevin MacLeod
Link: https://filmmusic.io/song/4410-spy-glass
License: https://filmmusic.io/standard-license

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FB：https://www.facebook.com/TaipeiMoCA
Email：mocaresearch@mocataipei.org.tw
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Sponsor: Ji Huei-Neng Art and Culture Foundation
Special Thanks: Jian Cheng Junior High School


沒有煙硝的抵抗—俄羅斯創作者反抗不自由與權利監控
【節目簡介】
戰爭如何被藝術紀錄下來？
本集邀請俄羅斯藝術家、導演兼影展策展人Vladimir Nadein分享戰爭帶來的電檢、游離與不自由。
一個發動戰爭卻又缺乏正當性的專制政府，期待一種斷絕思考與感受的人民，從事著沒有生命力的消費娛樂，如何打破偽裝的如「常」生活，創造異議得以溝通並存的空間？
沒有煙硝的抵抗，是藝術家對於戰爭的回應。

節目

Fight without the gun - Ukraine contemporary art action under Russian-Ukraine War

【Introduction】
How is war depicted through art? In this episode, the Ukraine curator Marta Trotsiuk and three artists Myroslava Bachkur, Anna-Zoriana Savka, and Veronika Cherednychenko share their personal experiences of their art practices during the Russian invasion of Ukraine.
What’s happening on the frontline was never the whole picture of the war. Facing cultural invasion that is hard to be detected yet quietly and continuously intruding into our minds, how could artists and art practitioners wield art and creation as a weapon?
Fight without the gun, and that's how artists respond to wars.

Transcript: https://mocatpe.tw/art00kR6Nr

【Outline】
02:00 Must go to the war— Two other artists' partners who couldn’t come to Taiwan
08:32 “Is that a good time to make art?” A question from family, friends, and by artists themselves
31:37 Culture army: confront the cultural invasion

【Guests Introduction】
Su Yao-Hua
Su Yao-Hua is an art manager, curator, and educator. She is the current chairman of the Association of the Visual Arts (AVAT). She has years of experience in international communication and space management. Moreover, she planned and moderated multiple international seminars, including planning the University Museum International Cooperation Forum in 2012 and moderating the Creative City International Symposium Project in 2014 and the First International Symposium on Art Archives in 2016.

Gallery101 / Ukraine
It started in 2017 when Marta Trotsiuk, now a gallerist and art curator, decided to explore algorithms and business models of art galleries all around the world. The aim was to gain all necessary knowledge and experience and open her own art space in her native city Lviv, Ukraine. Gallery 101 after 100 visits. Now she explored 96 art spaces in 33 countries and 69 cities. Promoting Ukrainian art abroad, popularizing contemporary art and developing the art market in Ukraine. Now Gallery 101 is an online gallery with pop-up exhibitions, art events, consulting services and a series of art educational publications and podcasts.

【Concept of Work】
Frontier of the Memories
In the art exchange program, we work with the topic of memory and its different aspects. Our art research touches on our personal experience as individuals who are living and creating at a certain time of the history of our civilization. On the edge of shifting tectonic plates of human evolution and creation of principles through conflicts. We ourselves were dragged into the epicenter of the process, into war. Living through it, we analyze and reconsider many aspects of our past and future, trying to pay special attention to the present, doing this with a tool of our memory.
The experience of staying in such a distant and different country from our homeland enriches our artistic potential and encourages us to look for new perspectives on things through the prism of cultural experience. Here we create not only our artworks but also memories that now influence the future. Potentially we can scale our experience to the level of the nation, as an example to be Ukrainian in wartime, living through it and passing the personal but somehow nationwide knowledge to others.

【Reference】
1. Gallery101
https://gallery101.com.ua/about/
https://www.instagram.com/gallery101ua/
2. Works exhibited in Taiwan Annual
Zirka Savka: https://gallery101.com.ua/zirka-savka-taiwan-annual/
Myroslava Bachkur: https://gallery101.com.ua/mira-bachkur-taiwan-annual/ Veronika Cherednychenko: https://gallery101.com.ua/veronika-cherednychenko-taiwan-annual/
3. Frontier of the Memories: Presentation of the Residency Project
https://www.facebook.com/taiwanannual/videos/748129569629238

【Music】
Intro music/Outro music: Spy Glass by Kevin MacLeod
Link: https://filmmusic.io/song/4410-spy-glass
License: https://filmmusic.io/standard-license
-
FB：https://www.facebook.com/Tai

【節目簡介】
當作品與個人經營的連結越趨緊密，創作是否還是創作者的本職？
無形、無止，又難以劃定界線，當代社群媒體拉近了人際互動的距離，卻也模糊了隱私與工時。
創作者的勞動成果除了作品本身，情緒的消耗經常被忽略。自由聲音工作者內克與音樂創作者小球以歌手為例，討論非物質勞動者為作品付出額外情緒的報酬、負擔，與自我覺察之必要，嘗試在作品與票房之間創造善的循環。

【大綱標記】
07:19 沒來由的感到不舒適，可能是情感過度勞動
07:42 情感勞動是什麼？
08:24 文化勞動的報酬：累積不一定得到回報的聲望資產與話語權
09:27 自媒體時代—情緒勞動與票房
11:36 打破界線與觀眾做朋友—歌手的本職還是不是做音樂？
17:23 公司歌手與獨立歌手的情緒勞動差異
27:22 粉絲應援：不讓我的勞動成為你的負擔，情感付出也是需要練習的
27:46 善的循環：保有隱私界線地相互回饋，形成健康的情感勞動
33:10 自我覺察：文化工作者常常過度付出而不自覺

【講者介紹】
內克（吳宇軒）
政大傳播碩士，研究歌手情感勞動並獲得文化部優良論文。現職自由聲音工作者與文字寫手，擁有一座廣播金鐘獎、文創產業新聞報導獎與一個專訪創作者的Podcast《告白那一刻》，最新興趣是擁抱各種與五感對話的療癒物品。
小球（莊鵑瑛）
歌手、演員、詞曲作者、占星師、花精療癒師、講師、podcaster，舞台上用藝術和大家交流，舞台下期許自己隱居生活。 個性有些不安、焦躁、憂鬱、自卑，害怕不夠認識自己，不夠真實，於是腦袋的天馬行空從未休眠。

【參考資料】
1. 內克（吳宇軒）
https://www.facebook.com/HereComesDJSnake/
2. 吳宇軒，《我一直都在：歌手情感勞動行為研究》，國立政治大學傳播學院傳播碩士學位學程論文，2021。
https://ndltd.ncl.edu.tw/cgi-bin/gs32/gsweb.cgi/login?o=dnclcdr&s=id=%22109NCCU5375021%22.&searchmode=basic
3. 告白那一刻｜Podcast節目
https://yssnake.firstory.io
4. 小球（莊鵑瑛）
5. 球之不得BallBallROCK｜Podcast節目
https://followyourheart.firstory.io
6. 簡妙如，〈甘願勞動：歌唱選秀節目的遊戲、順從與業餘者明星夢〉，《傳播研究與實踐》5卷1期 (2015 / 01 / 01)，P1- 31。
https://www.airitilibrary.com/Publication/alDetailedMesh?docid=22211411-201501-201502040001-201502040001-1-31

【襯樂】
片頭：HighTech by Sascha Ende®
Link: https://filmmusic.io/song/184-hightech
License: https://filmmusic.io/standard-license
片尾：Inspiring Noir Piano Waltz by MusicLFiles
Link: https://filmmusic.io/song/8785-inspiring-noir-piano-waltz
License: https://filmmusic.io/standard-license

-
FB：https://www.facebook.com/TaipeiMoCA
聽眾信箱：mocaresearch@mocataipei.org.tw
-
贊助單位：財團法人紀慧能藝術文化基金會
特別感謝：臺北市立建成國民中學

【節目簡介】
聽搖滾樂會讓你聯想到勞動嗎？
西方搖滾樂承繼非裔美國人工作之歌而來，台灣早期工作歌謠的香火與我們現在所熟悉的音樂之間卻似乎存在著斷裂。
從黑手那卡西到21世紀無聊男子，橫跨二十年的台灣搖滾樂發展史，楊友仁老師與團員們持續以台語創作；鄭志鵬老師樂觀看待近年台灣獨立音樂的發展與新台語音樂的復興。
跟著同為搖滾樂愛好者兼社會學研究者的兩位來賓，一起期待未來台灣搖滾樂的解殖新能量。

【大綱標記】
02:44沒有擁有生產工具的各位，都是勞動者
05:01西方搖滾音樂史：藍調、民謠與對抗資本主義的左翼工運
08:43台灣的勞動音樂：台語工作歌謠、唱自己的歌、左翼與戒嚴
13:15「伴奏」與「發聲」的差異
19:32抗爭歌曲：樂生那卡西、我等就來唱山歌，如何讓大家都覺得好聽？
38:19台灣藍調：從黑手那卡西到21世紀無聊男子的新嘗試
41:34搖滾樂畢竟是外來的東西，未來台灣搖滾樂如何解殖？
44:15近年台灣獨立樂團發展、母語創作的復興、厭世代與「後厭世」
51:19選擇你認為能夠回應當代的音樂形式，創造你與社會的新關係

【講者介紹】
鄭志鵬
清華大學通識教育中心與社會學研究所合聘副教授。從事學術工作，以台商、台灣中小企業與技職教育為研究對象，但一直沒有離開音樂與影像太遠。在學校開設「搖滾樂與社會」、「藝術經典：搖滾樂」等課程，也曾擔任《我愛高跟鞋》等紀錄片田野顧問。

楊友仁
九零年代上台北讀大學，組過幾次團、發過幾張專輯，沒有任何市場火花但口碑好像不錯。
組了19年的「黑手那卡西」解散後，沉寂了幾年，決定再拿起吉他，當個快樂的斜槓高教工人。
外表比內在有趣，覺得「21世紀無聊男子」的音樂真的很棒！

【參考資料】
1. 鄭志鵬、林浩立（主持）｜清華音樂人PODCAST—當代系列
https://youtube.com/playlist?list=PLfNnBiPBcqcBByKSJ7U2kxRc7GoW_t8_z
2. 21世紀無聊男子 21st Century Bored Guys｜《台灣藍調-工人ê歌》
https://www.facebook.com/21stcenturyboredguys
3. 「報導者／楊祖珺／李雙澤逝世40週年——〈再．見　美麗島〉」
https://www.twreporter.org/a/opinion-li-shuangze-40th-death-anniversary
4. 〈行船人的純情曲〉，原唱：陳一郎，作詞、作曲：夏進在，1982
https://music.youtube.com/watch?v=qrgCPXTGv7k&feature=share
5. 〈煙酒歌〉、〈農村曲〉、〈日日春〉，作詞：陳達儒，作曲：蘇桐
-21世紀無聊男子〈煙酒歌〉Official Music Video
https://www.facebook.com/21stcenturyboredguys/videos/694688338643289/
6. 黑名單工作室，《抓狂歌》，1989
-「馬世芳，10/8耳朵借我：《抓狂歌》三十週年特輯」
https://medium.com/我是馬世芳/blacklist-workshop-d627c1aae323
7. 交工樂隊，《我等就來唱山歌》，1999
-〈水庫係築得屎嘛食得〉
「環境資訊中心／美濃鄉親你好嗎？反水庫運動幾多年」
https://e-info.org.tw/node/26858
-「報導者／永遠的菊花田：交工樂隊、台灣民謠搖滾與黑膠形式」
https://www.twreporter.org/a/bookreview-how-the-night-chrysanthemums-began-to-march-1
8. 諸眾之貌｜《福氣個屁—工人樂隊黑手那卡西Fortunate My Ass- The story of Black Hand's Nakasi Labor band（Full vision）》
https://vimeo.com/channels/multitude/112497729
9. 樂生那卡西｜黑手樂生青年聯盟與樂生院民共組的歌曲創作表演團體
https://streetvoice.com/twbhn/songs/album/8909/
10. 《搖滾樂與社會學》課程大綱
鄭志鵬
https://khub.nthu.edu.tw/document/courses/10710GE__110400.pdf
楊友仁
https://soc.thu.edu.tw/wp-content/uploads/1952.pdf

【襯樂】
片頭：福氣個屁 by黑手那卡西
作詞：陳柏偉
作曲：陳柏偉、