2015台灣藝術村聯盟年會 ─ 以藝術村作為方法

活動日期:2015年07月5日至2015年7月6日
活動地點:台北國際藝術村、寶藏巖

藝術村(Artist-in-residency)起源於歐洲,過去是貴族邀請文人雅士及藝術家到其鄉間的莊園進行休閒、沙龍聚會,或讓藝術家製作委託的作品的地點。進入21世紀的藝術村參與形式的廣泛多元,深度與廣度也更加精彩。藝術進駐計劃攸關著一個城市/地方的文化測量與歷史紋理,藝術村能帶給一座城市許多可能,大從城市的建築空間環境紋理,小至藝術教育甚至弱勢關懷,種種的文化想像都能透過藝術進駐勾勒出來。在全球化的當代藝術地景中,藝術村扮演越來越重要的角色,它不僅是藝術家主要的創作資源,更扮演著為藝術社群與社會其他不同群體之媒介平台。台灣致力於國際藝術村的研究政策推廣已逾20年,隨著2001年國內第一個公辦藝術村—台北國際藝術村的出現後,中央到地方政府皆積極將藝術村列為文化施政重點。十餘年間裏陸續有地方縣市政府、民間團體利用閒置空間,進行藝術村的規劃和營運。當然,以藝術之名成立的藝術村何其之多,但我們究竟該如何看待台灣多年的藝術村政策發展?每個藝術村的營運者如何用細膩的形式介入在地社群,協同藝術家一起完成創作計劃?後全球化時代的台灣與國際的藝術村之間又該如何彼此分享資源合作串聯?

以藝術村作為方法

藝術村代表的是隨著時代不斷演進的藝術趨動力,我們是否能善誘它,保有它存化的動能,篩濾出貼近真實當下需求的方法?我們認為現今是個適當的時間點回來重新檢視台灣的藝術村政策,「藝術村作為方法」能帶給我們什麼積極的動力?藉著舉辦藝術村年會的難得機會,邀請來自各方的策展人、藝術村營運者、藝術家、媒體朋友集聚一堂。除了透過六位長期致力於藝術村領域的國際專家前會針對以上議題做現身說法經驗分享之外,更以腦力激盪工作坊的方式讓數十位與會夥伴做彼此的深度交流。這六位是分別來自於東京Tokyo Wonder Site的今村有策先生、紐約Residency Unlimited的總監Nathalie Angles、澳洲Asia Link藝術進駐經理Eliza Roberts、來自於美國Alliance of Artist Communities的董事Bruce Rodgers、印度Khoj藝術村策展人暨專案經理Promona Sengupta以及台北藝術進駐前總監蘇瑤華。藉著多位專業講者打開我們對藝術村營運議題的分享,會中也提供了在亞洲、全球各地駐村計劃的最新發展趨勢觀察。讓夥伴們在短時間理解在官方體制資助下的藝術機構如何能在制度中開啓寬廣的營運可能;資源較為缺乏的非政府組織亦能找尋到方式能夠自我開創掙取各方資源的途徑。當然,實際的是透過圓桌工坊腦力激盪來討論各個藝術村的營運困難、政策建議、人員培育與駐村單位之間未來的聯盟可能合作方式。透過本屆年會的舉辦,全台藝術村的夥伴們一致達成共識,由台北藝術村率先肩負起創建聯盟平台的任務,結合全台數十個藝術村的活力與動能,為台灣藝術村聯盟的共同推動努力。從彼此的資源共享到台灣藝術村工作者的進修管道與國際連結網絡,皆是未來聯盟的努力目標。從歐洲到台灣,藝術村本身即是一個對所有文化工作者開放的友善場所。藝術家們藉著當代藝術公眾參與(public engagement)來豐富所有人的藝術想像。這樣充滿活力的藝術行動力所開展的文化自由度與效益是其他官方平台難以促成的。未來的藝術村聯盟將透過新形態的科技、線上群組,以多元滾動的討論開創出藝術公民的想像尺度,以藝術行動來實踐友善的文化場域,並且將這份信念帶到台灣每個藝術村的角落。

Artist Residencies as a Method — 2015 Annual Conference for the Artist Village Alliance of Taiwan

Artist residencies emerged out ofthe Europeans’ practice. They used to bethe manors where the nobles invited lofty-minded literati and renowned artists to spend their leisure time or participate in art salons.They might also be the places for artists to produce the works commissioned by the nobles. As we enter the twenty-first century, artist residencies have evolved into a riotous profusion of participation forms with remarkable depth and breadth. Nowadays, artist-in-residence programs are a matter of cultural landscapes and historical contexts of the residential cities/places. An artist village is not only able to offer a city endless possibilities, but also competent to spark an eclectic mix of cultural imaginations raging from urban and environmental planning to arts education and care for the underprivileged. Accordingly, artist villages play an increasingly important role in the globalized landscape of contemporary art. They are not only the primary resources for artists’ creative practice, but also the intermediary platforms for connecting art communities with other groups in the society. Taiwan has been devoted to shaping and promoting the policy of international artist villages over two decades. Since 2001 when the first government-run artist village in Taiwan, namely Taipei Artist Village, was established, the development of artist villages has become one of the priorities in central and local governments’ cultural administrative policies. In the following decade since the founding of Taipei Artist Village, a number of disused spaces have been utilized by local governments and various civic groups as artist villages of all kinds. There are an impressive number of artist villages run in the name of arts. Nevertheless, the following questions remain unaddressed. How should we review and evaluate the policy evolution regarding artist villages in Taiwan? How can village directors tactfully intervene in local communities and assist artists with the creation of their works? How can the artist villages in Taiwan connect and collaborate with their foreign counterparts in the era of post-globalization?

Artist Residencies as a Method

Artist villages represent the artistic drive that evolves with the course of time. Can we give it a systematic guidance and sustain its momentum, from which we derive a method that is responsive to our pressing needs? We believe that it is the proper point of time to review the evolution of Taiwan’s artist village policy. That is, what kind of forward momentum can “Artist Residencies as a Method” bring us? Seizing this perfect opportunity, we cordially invited curators, artist village directors, artists, and mass media from the four corners of the world to this unparalleled annual conference, where six internationally renowned experts on the development of artist villages offered their insights about the aforementioned issues and exchanged their ideas with the dozens of participants in the form of brainstorming workshops. The six experts include Yusaku Imamura (director of Tokyo Wonder Site), Nathalie Anglès (executive director of Residency Unlimited), Eliza Roberts (Arts Residencies Manager at Asialink), Bruce Rodgers (National Board of Trustees forthe Alliance of Artist Communities), Promona Sengupta (curator and project manager at Khoj International Artists’ Association), and Su Yao-Hua (former executive director of Artist-in-Residence Taipei). The in-depth discussion about artist village management unfolded smoothly with the inspirational talks delivered by these experts. The observations on the trends and latest development of artist-in-residence programs around Asia and the world were also manifested at the conference, which not only enabled the participants to quickly grasp the fundamentals of creating greater possibilities for their art institutions under the system of governmental sponsorship, but also instructed under-resourced non-governmental organizations to gain greater access to vital resources. The brainstorming workshops also achieved their common purposes; to wit, facilitating the participants to discuss the hardships they experienced, put forward policy suggestions, advance personnel incubation, and determine a feasible organizational and structural framework for the future collaboration among the members of the Artist Village Alliance. By virtue of this conference, the participants reached a unanimous consensus that Taipei Artist Village should undertake the delicate task to establish a collaborative platform for the Alliance. Such a platform is expected to integrate the vitality and momenta of the dozens of artist villages in Taiwan, through which we can promote the healthy development of the Artist Village Alliance of Taiwan. On a more specific basis, the primary goals that the Alliance strives for include inter-member resource sharing, continuing education for member staff, and constructing a supportive network of international connections. Whether in Europe or Taiwan, an artist village is always an open, friendly settlement for all cultural workers. Artists stretch people’s artistic imaginations by encouraging public engagement in contemporary art. The degree of cultural freedom and the concomitant benefits yielded by such vigorous artistic agency is undoubtedly beyond the capabilities of other governmental platforms. The Alliance plans to broaden the public horizons of contemporary art by employing innovative technologies, online groups, and pluralistic adaptive discussions. In sum, the Alliance expects not only to create a friendly field of culture with passionate artistic practice, but also to share this unwavering belief with the artist villages in every corner of Taiwan.