§ 《數位荒原》駐站暨群島資料庫計劃 (第一年)，第六場發表
§ NML Residency Project & Nusantara Archive: The Mechanism of “Jiwa”: Jakarta Biennale

作為一個在印尼首都雅加達雙年展駐村的藝術行政，首要面臨的問題並非工作內容是否能勝任，也並非英文能力是否為首要困境，而是如何在不同的文化與語言之間，確認彼此的需求與理解程度。除此之外，不同於藝術家的駐村形式是針對自己個人的創作，藝術行政的位置等同於展覽助理的實習角色，要如何在融入展覽規畫及文化差異的過渡之際，將自己視為策展團隊的一部份並協助照顧藝術家，對於身心適應環境的能力是一項極大的挑戰。這樣的心情也呼應了2017年雅加達雙年展的主題「JIWA」—譯為靈魂或精神—（展題）並非單指鬼魂之意，而是個人內心的思想矛盾與成長，可能會受到外部的影響，例如身體感受、歷史政治、社會規範或其他環境因素。

雅加達雙年展相較於其他印尼城市如日惹、萬隆或望加錫的資源、規模與策展結構都不同，甚至被視為相對優渥。策展團隊如何在前期製作過程中，不仰賴政府資金而向外尋找更支持的方案，在展覽中又可以與政府的博物館合作，同時透過作品批判印尼的策展機制？是一種視藝術為對抗社會機制的精神性。除此之外，雙年展也吸引許多國際媒體與策展人主動參與、報導；在這個印尼熱浪或熱帶藝術的潮流之下，我想趁這次見面會談談身為一個來自台灣的藝術行政，如何透過雅加達雙年展思考台灣藝術與印尼藝術的交織。（＊本駐村計劃為竹圍工作室國際藝術進駐交換計劃徵件 PART III「雅加達雙年展」）

As an art administrator in residence in JIWA: Jakarta Biennale 2017, held in the capital city of Indonesia, the foremost concern for me is not the capacity for the work itself, nor the English proficiency, but the ability to fathom others’ needs and the level of understanding amidst various cultures and languages. Moreover, different from artist residency which centers on personal creation, the position of an art administrator is similar to the role of a trainee as an exhibition assistant, whose task challenges both mental and physical adaptability to identify as a member of the curatorial team and to extend assistance to the artists while attempting to get gist of the exhibition planning and cultural differences. These sentiments happen to echo the conceptual framework of Jakarta Biennale 2017 –”JIWA” – which translates as spirit or life force (the underlying theme) as well as soul and ghost. Essentially, JIWA represents a person’s inner conflict and growth, which may be subject to external influences, including physical sensations, history and politics, social norms and other environmental factors.

Jakarta Biennale is different from the ones in other Indonesian cities such as Yogyakarta, Bandung or Makassar in the aspects of resources, scale, and curatorial structure, sometimes even deemed as the one with relatively more resources. How are the endeavors by the curatorial team, to search outward, rather than depending on governmental funds, for supportive solutions in the preliminary production and to collaborate with government-funded museums while retaining its curatorial function to critique Indonesia through the artworks? Besides, considering the enthusiastic and active participation and coverage by international media and curators drawn by the Biennale, for this talk I would like to share my thoughts, as an art administrator from Taiwan, on the interweaving points of Taiwanese and Indonesian arts amidst the current of tropical art. (This residency program refers to Bamboo Curtain Studio International Exchange Residency Program PART III “Jakarta Biennale”)

§ 講者介紹
§ SPEAKERS

陳沛妤，畢業於台南藝術大學動畫與影像美學研究所影像美學組，畢業論文探討數位藝術與表演藝術的結合，成為當代數位藝術與劇場表演的全新語彙。兩度獲得台北數位藝術節數位藝術評論獎，曾任《藝術觀點》與「台灣數位藝術知識與創作交流平台」（現「台灣數位藝術」）執行主編。關注影像藝術、電影藝術、跨文化藝術、數位藝術、動植物藝術、靈魂與自然等主題。曾於澳洲打工度假二年，期間參訪各畫廊、美術館與工作室並訪問多位國際藝術家，對國際文化交流有濃厚興趣。文章主要發表於《藝術家》雜誌與「台灣數位藝術知識與創作交流平台」。

Pei-yu Chen, graduated from the Graduate Institute of Animation and Film Art (The Film Art Division), Tainan National University of the Arts, Chen’s dissertation delves into the convergence of digital art and performing arts which has become a brand-new vocabulary for contemporary digital art and theatrical performance. Chen has won the Digital Art Criticism Awards of the Digital Art Festival Taipei for two times and had been the Executive Editor for ACT | Art Critique of Taiwan and the platform “Taiwan Digital Art and Information Centre” (currently “DigiArts”). Her focuses lie in visual art, film art, cross-cultural art, digital art, animal/botanical arts, and the themes such as soul, and nature. During the two years of her working holiday in Australia, she had visited various galleries, museums, and studios to interview international artists, which reflects her interest in the international cultural exchange. Her writings are mainly published in the magazine Artist and “DigiArts.”

§ 《數位荒原》駐站暨群島資料庫計劃（第一年）FB
§ 主辦單位：數位荒原（財團法人數位藝術基金會）
§ 協辦單位：在地實驗、打開-當代藝術工作站
§ 觀察團成員：陳湘汶、侯昱寬、賴英泰
（本計劃由「國家文化藝術基金會」贊助）