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Observer's Journal - Liu Oi Ki

Updated: Aug 30, 2022


(English Version is down below)


觀察員:劉靄淇 Sally Liu


此次在東南亞性別網絡 2.0 虛實駐村計畫中,選擇觀察的對象是來自 Taiwan B 組的

李文皓和林意淨兩位藝術家。選擇觀察這兩位藝術家的初衷是因為對於他們創作概念

的好奇,但實際在第一次觀察文皓和意淨與他們的協作者张月崎(CHONG Gua Khee)的會議過後,我觀察到了除創作本身之餘更多的其他面向。第一是關於國際交流的對話過程,透過藝術家與協作者的交流過程,會看到國際交流的廣闊性。因參與計劃的人都有著不同國籍的身份背景,彼此之間透過線上平台的方式,讓這種跨國交流變得更有效和直接。藝術家與協作者之間形成跨國的雙向交流,他們相互分享、理解、了解彼此的想法與觀點,在同一個討論的主題或創作概念裡因國籍身份背景的不同,反而促使產生了更廣域的藝術文化連結,甚至這些交流過程帶來的思考產生了更深遠的延續性和發展性。譬如以文皓和意淨他們所研究的鄧麗君為例,這個主題在交流過程中逐漸引發不同東南亞國家的人去好奇鄧麗君在他們自己的國家是扮演什麼樣的角色和形象,為了想要更深入的探討和探索其中的主題,這種交流會從這個計劃平台擴散到更多個人私下的討論,從而將這個主題概念分流到不同國家的藝術文化脈絡下的思考和交流。這種國際交流像是涵蓋不同物質的水流,參與在其中的人,在過程中都種下了不同層面思考的種子,透過這些豐富的水流灌溉,等待著有一天他們帶著他們自身的身份角色與創作理念在不同的國家藝術文化中生根發芽。


另一方面是有關劇場線上化的思考,在文皓、意淨與協作者月崎的會議中有談及到雲端駐村形式上所引發的思考。有趣的是在這種融合了線上和實體的駐村計畫中,其實反而更推動了藝術家重新去思考實體場地或空間對於他們自身的創作方式而言重要與否。雲端駐村的形式打開了線上藝術創作的方式,它提供了更多創作形式發展的可能性,同時也促進藝術家去反思和挑戰自身所熟悉的創作方式應該進行怎樣的轉換和調整,甚至去評估這種運行方式對他們自身的創作而言是更有效還是更困難,從而幫助他們在未來的藝術發展上尋找更適合自身的發展方向,以及激發更多元的創作形式。


東南亞性別網絡 2.0 虛實駐村計畫對我而言像是一個很龐大的互聯網系統,透過這個

系統將來自世界不同區域、不同時差、不同身份角色的藝術工作者迅速的放在同一個

網絡頻道中交流合作。因為它的開放性和多元性,提供了更彈性的思考和交流空間,

但也因此讓參與其中的人需要更強的自主性,不然很容易在這個龐大的系統中迷失和

不知所措,因為它沒有一個固定導向的方向和結果,更多的是自主的參與讓這個系統

可以保持它滾動的運行方式。另一方面因不同年齡層、藝術領域、國籍背景、個人個

性等等的差異,人與人之間在這個平台中所產生的化學反應也各不相同,因此也讓這

個計劃中間所經歷的過程和形成的效果作用變得更有機和有趣。


在 COVID-19 席捲全球的這幾年,線上平台的創作形式也越來越普及,但在重視現場體 感和當下性的表演藝術,線上網路形式仍是一種很大的轉換,對於表演藝術工作者而 言是一種持續的探索和嘗試。雖然對很多其他產業而言,網路平台已經是習以為常的 工作方式,但相較於表演藝術的線上網路發展是相對遲緩的。也因 COVID-19 對表演藝 術產業的重擊,刺激近年線上平台概念的持續發展,就此而言我個人認為東南亞計劃 在藝術產業的推廣和交流上是非常具有前瞻性和挑戰性。在這樣特殊的時期,已然提 前規劃和完成第一版的東南亞計劃,並在短期內以更加成熟的面貌帶來東南亞計劃的 2.0,不免讓人更加期待和好奇這個計劃未來的發展面貌。同時東南亞計劃也挑戰所有 參與其中的藝術工作者如何將表演藝術的產業特性轉換到線上平台,從規劃到執行如 何促成國際交流並有足夠的技術資源與人力支持整個計劃的運行,無疑是非常大的挑 戰和發展野心。與此同時整個計劃也在挑戰藝術家不以作品結果論為前提,而重視交 流過程的分享,這種概念也是值得很多藝術家和藝術文化推廣者去反思的事情,究竟藝術創作和藝術推廣的發展它看重的最終的成品結果,還是建構和成長的過程?


Observer: Sally Liu


I chose to observe two artists LI Wen Hao and LIN Yi Ching from Taiwan B group in this residency. After watching them discussing with their facilitator CHONG Gua Khee in the meeting, I noticed more aspects apart from the creations. One was about the extensiveness of international exchanges and conversations between artists and facilitators. Because of the varied cultural backgrounds among the participants, the conversations had become more direct and efficient via the online platform. They could share, understand and make deeper connections through this two-way exchange between different countries and cultures. LI Wen Hao and LIN Yi Ching took singer Teresa Teng as an example to explore her representations in different South East Asian countries. These conversations will further trigger many discussions among different cultures and create new sparks within their countries. The connection is like a waterflow that carries seeds around us, and they’re ready to grow into various art forms and flourish on their own.


On the one hand, Wen Hao, Yi Ching and the facilitator Gua Khee talked about the online form during their meetings. It was interesting that in this online and onsite residency, it actually drove the artists to rethink the importance and the need of actual space for their creations. Online residency opened up a new way for art creation, challenged the artists to reflect their approaches, and made them revalue and adjust the works along the way.


Connect with SEA (Gender & Sexuality): Residency Onsite & Online was a huge network to me. It connected and opened a portal for the arts practitioners around the world. Due to its openness and diversity, it provided a free space for the participants to communicate with one another. Autonomy mattered in this huge system or you could easily get lost in this network. It was the participants’ active involvement that kept this network moving forward. The chemistry was varied among different individuals, and the experience made this residency more organic and interesting.


During the pandemic, online creations have become more popular. However, arts practitioners are still exploring and experimenting online forms while re-examining the onsite experience of performing arts. Compared with other industries, online form in performing arts is rather new. After the impact of COVID-19, I think it’s challenging and visionary to enact this online form in South East Asia. During this special time, they started the first version of this residency and then introduced version 2.0 within a short time in a more mature and comprehensive way. This project also challenged the participating artists to bring different features in the performing arts industry. They were very ambitious to carry out this project and gather resources internationally through the process. Most importantly, the project was more on the communication between the participants, not on the final works. For the performing arts industry, it’s worthwhile to think about whether we should value the final products or the making and the developing process.




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