＃展覽 ＃藝術 ＃歷史 ＃跨地域
「關係的藝術歷史：展覽製造與戰爭中的藝術」
時間：2024/10/23(三)11:00~18:10
地點：臺北藝術大學美術系F201、F215
歡迎校外人員參與，
策劃人 / 郭昭蘭
國立臺北藝術大學美術學系藝術史與視覺文化組 副教授
距離二次大戰結束的時間已經將近80年了，有關展覽作為機器與戰爭中的藝術研究，近期獲得研究者越來越多的關注。北藝大藝術史與視覺文化組將於2024年10月23日舉辦「關係的藝術歷史：展覽製造與戰爭中的藝術」系列演講，分別邀請四位獨立研究者，針對「策展及治理實踐」、「黑洞：抽象就是保密」、「二戰下台灣的時局畫」、「移動中的墮落藝術」展開專題演講。四場演講均備有中翻英，英翻中，歡迎舊雨新知蒞臨相聚。請留意場次地點早上在F201,下午在F215.
四個演講主題，分別自不同地域切入展覽製造與戰爭中的藝術課題。包括當代藝術的展覽製造與策展實踐、二戰後自由世界的抽象概念語境下的日本案例、戰爭期間台灣時局畫的多種様態、以及1930年代起被納粹宣傳為墮落藝術的藝術展覧，在不同區域（從慕尼黑到紐約）的接受與傳播。其中特定的展示如何以藝術救援的名義，協助建立戰後抽象藝術的論述。
【上午場】
第一場 11:00-12:30 , 美術系F201
講者：Ronald Kolb
講題：策展即治理實踐：治理星叢中跨地域條件下的後展覽實踐
摘要：我將通過分析展覽實踐作為治理活動建立一個方法學的基礎。我會全面性審視伴隨新博物館學以來，當代策展的論述，以及各種的轉向，進而說明全球（跨地域）在展覽複合體中如何相互的糾纏。本演講將著重探討知識生產與研究實踐在展覽形式編排中的角色，以及討論它在操作上的不同模式。藉著從傅科的治理性的概念以及哈洛維的「處境知識」出發，我的研究提倡從過去常見的，生產普世化知識，轉向考慮伴隨治理性基礎工程而來的一種，更為幽微、考慮特定處境的、網絡化形式。我會介紹「後展覽」概念如何將展覽看作是積極、橫越水平的跨地域社會空間，也就是所謂接觸地帶，它擴展出超越美學自律性限制的藝術場域。這個理論化的框架將以第15屆文件展、我自己以及他人的展覽實踐計畫為例。這個演講是來自我最近出版的論文，內容可以在下面的連結看到。
【下午場】
第二場 13:30-15:00 , 美術系F215
講者：大坂紘一郎
講題：黑洞：抽象即保密
摘要：本演講強調形塑藝術實踐與敘述的意識形態張力，旨在研究文化冷戰對重新組構日本1950年代初期的視覺藝術歷史所產生的作用力。從美國抽象到日本前衛書道，本研究將檢視東京國立近代美術館在文化官員剛部長景擔任館長期間的國際展覽項目，包括日美抽象藝術展覽（1955）、以及由日本基金會籌辦下所參加的聖保羅雙年展（1951-）與威尼斯雙年展（1952-）。這當中許多的展覽空間設計乃是由建築師丹下健三郎所操刀，他是代謝派的領導人物。究竟，意識型態的意圖與外交如何影響這些藝術與知識上的交流？在這些協商的過程中，誰是擔任策展角色的人物？把政治與策展的歷史編撰法擺在一起，這個演講將凸顯，1950年代意識形態的不穩定性與焦慮──這也是影響接下來數十年更廣泛的文化冷戰後果的條件。
關鍵字：文化冷戰、抽象藝術、前衛藝術、全球藝術、墨人會、機構主義（制度論）、郭昭蘭、鄭大衛
第三場 15:00-16:30 ,美術系F215
講者：黃琪惠
講題：二戰下台灣的時局畫
摘要：二戰期間，台灣總督府在1941年引進了日本「聖戰美術展覽會」中的作品來台展出，期間還有奔赴前線描繪戰況的日本從軍畫家途經台灣，也間接推動了描繪戰爭題材的美術發展。「聖戰美術」輸入、日本當局的提倡，都在鼓舞台灣的美術界也要致力在創作上，表現出支持和歌頌日本繼續打這場戰爭的「時局色」。然而，當我們回顧這段時期的台灣美術界，包括在台日本畫家與台灣畫家的創作，雖然都籠罩在戰爭時局的陰影中，但是並不受到激昂的影響而讓自己的創作隨之起舞。面臨「時局色」干涉藝術創作的困境，我們熟悉的台灣畫家們，林玉山、李石樵等畫家，他們究竟是如何描繪與走過這緊繃又艱難的時局呢？本演講將解讀二戰下台灣畫家的經歷與大時代社會相映共振的作品，美術界的迴響，以及作品歷經時代變遷的意義。
第四場 16:40-18:10 , 美術系F215
講者：蔡昕曄
講題：移動中的墮落藝術
摘要：本研究檢視因納粹所製造針對現代藝術進行打壓的「墮落藝術」標籤，在戰爭期間與戰後的跨地域接受史。本論文首先說明「墮落藝術」如何在1930年代的德國，被納粹以具有生物學暗示的概念連結，進而成為藝術展示內容與對象的標籤。儘管概念並不一致，「墮落藝術」相關展覽隨後成為展示不合格藝術的場合，同時也吸引了廣大參觀人潮。接著，論文追蹤「墮落藝術」相關作品與概念在慕尼黑、柏林、奧地利、布拉格、巴黎、倫敦等地的移動軌跡，揭示差異政治條件下，「墮落藝術」不穩定的詮釋效果與展示再現。針對美國對於歐洲表現主義的接受與論述，本論文檢視戰前美國特定政治與經濟條件下對歐洲藝術所抱持的心態、戰爭期間的顧慮、以及戰後美國現代美術館為首的藝術論述，對做為自由表徵的藝術的推廣與宣傳的事實，進而揭示表現主義藝術及其論述，如何與風起雲湧、變動不羈的時空環境，交織出二戰後以個人自由為表徵的藝術理論。
講者簡歷
Ronald Kolb
Ronald Kolb (b. 1978)是研究者，講師，策展人，設計家也是電影攝製者。他主要在德國斯圖加特與瑞士蘇黎世兩地定居。他擁有蘇黎世藝術大與雷丁大學合作的策展實踐博士學程的博士學位。他的博士論文「策展即治理實踐：治理星叢中跨地域條件下的後展覽實踐」透過「治理性」的透鏡，探討當代藝術策展實踐在全球與特定處境脈絡中，再現的力量與參與式操作中兩者的力動學，進而批判性地檢視當代藝術策展實踐。Ronald Kolb的實踐主要特質是展覽的編排與講授作為對特定處境知識脈絡的一種練習。這亦可見於他協同組織的國際研討會與工作坊，例如2018年斯圖加特梅爾茲設計學院的「為生活而學習」藝術節與工作坊。2021年瑞士Migros Museum與香港大館合作的數位事件「處境知識—移動中的藝術與策展」，2022年第15屆文件展的「共同化策展意識與藝術教育」夏日學校、2023年與提森．博內米薩當代藝術基金會TBA21合作的「共同化集體照料」。
大坂紘一郎
大坂紘一郎（生於1979年），獨立策展人與作家。2015年成立ASAKUSA，一個40平方公尺的當代藝術空間，致力推動策展合作與策展實踐。大坂紘一郎帶領獨立後學院0-eA策展研究學會，致力抗拒舊習的創意實踐，促進跨領域的對話、出版刊物與提供駐地計畫。大坂紘一郎是京都藝術大學策展研究的副教授，同時也是京都當代藝術學院（ICA）的計畫主任。他最近策展的展覽包括2019年在紐約e-flux的「新自由機器中的帝國幽靈（想像CIA）」、香港Parasite駐村期間發表的「詛咒真言：如何殺掉工廠的物主」，以及2020年在ASAKUSA展出的「竹林中日本赤軍」展覽，是法國藝術家Eric Baudelaire與孟加拉裔藝術家Naeem Mohaiemen的雙人展。
黃琪惠
國立臺灣大學藝術史研究所博士，國立臺北藝術大學美術學系兼任助理教授。以臺灣美術史的研究、教學與推廣為人生志趣。著有《臺灣美術評論全集：吳天賞．陳春德》(1999)、臺南市美術館研究計畫案《西畫家翁崑德(1915-1995)生平與繪畫之研究》(2022)、《新竹藝術家系列：陳進》(2023)等，策展撰文《嘉邑．故鄉：林玉山110紀念展》(2018)、《手完成的話：時局下的李石樵人物畫》(2022)等，參與撰寫《不朽的青春：臺灣美術再發現》(2021)、《臺灣美術兩百年》(2022)等書。
蔡昕曄
獨立研究者。國立臺北藝術大學美術學系碩士班藝術史與視覺文化研究組畢，現任國立台灣師範大學藝術史研究所助理。
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＃Exhibition ＃Art ＃History ＃Translocality
Relational Art Histories: Exhibition Making and Art in the War
Organizer : Jau-Lan Guo, Associate Professor of Department of Fine Art, Taipei National University of the Arts.
Time: October 23rd, 2024
Place: F301 and F215, Department of Fine Arts, Taipei National University of the Art. No.1 Hsueh-Yuan Rd., Peitou District, Taipei
It has been 80 years since the end of World War II and there has recently been more research on the making of exhibitions and art in the war years, which offers new perspectives on the past and of artistic activity during those years.
On October 23rd a lecture series ‘Relational Art Histories: Exhibition Making and Art in the War’ is held as part of the programme of Art History and Visual Culture of the Department of Fine Arts at TNUA. The series features ‘Curating as Governmental Practice’, ‘Turning Outside In: Abstraction As Secrecy’, ‘The Colour of the Current Situation’ during World War II in Taiwan , and ‘Degenerate Art on the Move’ – in which four independent researchers are invited to deliver and expand on their research. The contributions are translated into Chinese or English, as applicable.
Ronald Kolb
Curating as Governmental Practices
Post-Exhibitionary Practices under Translocal Conditions in Governmental Constellations
Time: 11:00-12:30
Place: F201, Department of Fine Arts, TNUA
In this lecture, I will build upon the methodological proposals from my dissertation tounderstand and analyze exhibitionary practices as governmental activities. I will give
an overview into the contemporary curatorial discourse that has evolved since the advent of new museology and its various “turns”, examining the global (translocal)
entanglements in the exhibitionary complex. The lecture will highlight the role of knowledge production and research practices within exhibitionary formats and discuss its various modes of operation. By engaging with Michel Foucault’s concept of governmentality and Donna Haraway’s idea of situated knowledges, my research advocates for a shift from“conventional”, universalized knowledge production to more nuanced, situated, and networked forms, along with their associated governmental infrastructures.I introduce the concept of the “post-exhibitionary,” viewing exhibitions as active,transversal, and translocal social spaces—contact zones—that extend beyond the confines of the aesthetic “autonomous” art field.This theoretical framework will be illustrated with specific examples from documenta fifteen, my own practice, and projects from other practitioners.The lecture is based on my recently published dissertation, which is accessbile here:https://www.on-curating.org/……/curating-as……
Koichiro Osaka
Turning Outside In: Abstraction As Secrecy
Time: 13:30-15:00
Place: F215, Department of Fine Arts, TNUA
The talk investigates the Cold War’s impact on the (re)formation of visual art history in early 1950s Japan, emphasizing the ideological tensions that shaped artistic practices and narratives. From American abstraction to Japanese ‘avant-garde’ calligraphy, it examines the programs of international exhibitions at MoMAT under the directorship of cultural bureaucrat Nagakage Okabe (1884–1970), including the Japan-US Abstract Art Exhibition (1955), as well as Japan’s participation in the São Paulo Biennales (1951-) and the Venice Biennale (1952-), organized by the Japan Foundation. Many of these exhibitions were spatially designed by architects such as Kenzo Tange, a leading figure in Metabolism. How did ideological intentions and diplomacy influence the coordination of these artistic and intellectual exchanges? Who were the figures that served curatorial roles in these negotiations? By combining both political and curatorial historiography, the lecture aims to highlight the ideological precarity and anxieties of the 1950s—conditions that influenced the wider repercussions of the Cultural Cold War in the following decades.
Keywords: Cultural Cold War, Abstrac Art, avant-garde, global art, Bokujin-kai, Institutionalism (seido-ron), Jau-lan Guo, David Teh.
Chi-Hui Huang
The Colour of the Current Situation’ during World War II in Taiwan
Time: 15:00-16:30
Place: F215, Department of Fine Arts, TNUA
During World War II, the Taiwan Governor-General introduced works from Japan’s “Holy War Art Exhibition” to Taiwan in 1941. During this period, Japanese military painters who went to the front line to depict war conditions passed through Taiwan, which also indirectly promoted the development of art depicting war themes. The import of “Holy War Art” and the promotion of the Japanese authorities have encouraged Taiwan’s art circles to devote themselves to creation to show support and praise Japan’s “current situation” as it continues to fight this war. However, when we look back at the Taiwanese art scene during this period, including the paintings of Japanese and Taiwanese painters in Taiwan, although they were all shrouded in the shadow of the war situation, they were not affected by the excitement and allowed their art works to follow accordingly. Faced with the dilemma of “the color of the current situation” interfering with artistic creation, how did the Taiwanese painters we are familiar with, such as Lin Yushan, Li Shih-Chiao, etc., depict and navigate this tense and difficult current situation? This lecture will explain the experiences of Taiwanese painters during World War II and their works that resonated with society at large, the response from the art world, and the significance of their works through the changes of the times.
Hsin-Yeh Tsai
Degenerate Art on the Move
Time: 16:40-18:10
Place: F215, Department of Fine Arts, TNUA
The reception and the interpretation of modern art have been the attention of western art history. However, in order to explain the debates and reception of modern art during the two world wars and their aftermath, it is important to discuss more about the consequences of its extension and movement across geographic boundaries still. To extend this issue, the thesis examines “the degenerate art,” the suppressed-modern -art label created by the Nazi, and its related art reception history across the geographic boundaries.
The beginning of the thesis explains how “the degenerate art” was related to the biological “degeneration” concept in the 1930s Germany by the Nazi, which became the exhibiting and objects label of modern art. Even though the artistic and biological degenerate concepts are quite different, exhibitions related to the “the degenerate art” became into the occasions for the presentation of substandard art with large audiences. Then, the thesis traces the movement of “the degenerate art” in Munich, Berlin, Austria, Prague, Paris and London, revealing the unstable interpretation and representations of modern art labeled “the degenerate art” under different political conditions.Speaking of the reception and discourse of European Expressionism in the United States, the thesis examines the pre-war USA mentality toward European modern art under specific political and economic conditions, their concerns during the war, and the promotion and interpretation of “modern art(especially Expressionism) as the symbol of liberty,” mainly led by the Museum of Modern Art in New York. In this way, this thesis found how Expressionism and its interpretation manufactured the “Expressionism as the symbol of liberty” art theory in the ever-changing world after the World War II
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