Curatography 策展學

國家文化藝術基金會「ARTWAVE-台灣國際藝術網絡平台」自2018年成立以來，在視覺藝術領域以「廣設台灣館」、「Curators’ Intensive Taipei (CIT) 國際論壇暨青年策展工作坊」、「亞洲策展論壇」等計畫對內垂直整合既有的政策工具，對外橫向鏈結國內外的專業工作者及組識。為持續拓展國際網絡連結，本基金會委託籌組「亞洲策展聯盟」並搭建臺灣第一個研究國際當代藝術策展文化的線上書寫平台《策展學(Curatography)》。

《策展學(Curatography)》 主要關注當代藝術及策展文化的生產， 試圖在二十一世紀的當下， 描繪過去、現在與可預期未來之間的通道， 標誌出在地與全球不斷更迭之多元中心的流動軌跡。 由此開展的視野，是從台灣向國際開放，並尋求溝通的互主體文化論述，及以亞洲與東南亞的視覺藝術和策展文化為坐標，透過線上出版的論述空間，關照彼此地理政治的特殊意涵，

並促進區域間的文化對話。

此集體寫作計畫的目的在於，對策展進行反思、促進當代亞洲跨領域知識的發生，並集結對文化生產具有重要影響的策展實踐寫作。二十一世紀的策展實踐，逐漸在社會中扮演著更多不同的角色，其在全球藝術體系之發展位置與軌跡，也不斷替換更迭。無論是在日常生活中還是藝術場域裡， 「策展」作為廣義的展演實踐，已經成為文化中不可或缺的一環。

「策展」一字帶有「治療」與「照料」的意涵， 新創字「策展學」(Curato-graphy)便意味著「照顧與治療的書寫」，不僅因應策展的差異動態，同時，也回溯策展在歷史上，無論是固著抑或是流動變化的意義， 以界定其作為論述的相對位置。最終，我們試圖透過不同的策展方法、技術以及脈絡研究與檢視，針對白盒子展演邏輯中不斷汰舊換新的展覽「失憶」，進行療癒；與此同時，持續探索策展在當代社會中扮演的不同角色，重新界定策展主體／主題的向度。此外，也回應當代藝術與策展基本精神的民主性展現，並且，標榜書寫實踐的原創性及藝術使命。



Curatography is an outgrowth of the achievement of various grants from Taiwan’s National Culture and Arts Foundation (NCAF) in recent decades. In 2018, the NCAF established ARTWAVE – Taiwan International Arts Network platform, which works to integrate Taiwan’s key arts initiatives, including the Taiwan Pavilions Initiative, Curators’ Intensive Taipei (CIT) International Conference, Youth Curatorial Workshop, and the Asian Curatorial Forum to connect with international professionals and organizations. In order to further expand professional networks, the Foundation commissioned to establish “Curating Asia International (CAI)” and build Taiwan’s first online publishing platform with the aim of exploring the global curatorial culture of contemporary art. The result is “Curatography.”

Curatography is an electronic journal, dedicated to the exploration of contemporary art and curatorial culture. The publication examines the geopolitical dimensions of cultural production in East and Southeast Asia, adopting a reflexive stance towards curatorial practice and the way it has generated an interdisciplinary knowledge of Asia today. Curation in the twenty-first century is marked not only by its expanding role in society but also by its changing functions and responsibilities. The neologism “curatography,” is thus born out of the necessity to retroactively define shifting meanings of “curator” and “curation”. The journal will examine curatorial practices across various Asian societies, in order to seek out their different genealogies, resist the “exhibition amnesia” of the white cube, and take a measure of their ontological dimensions. Taiwan’s National Culture and Arts Foundation (NCAF) has supported curatorial practices for more than a decade. NCAF has not only funded numerous international exhibitions and curatorial projects by independent curators, but has also supported conferences, symposiums, and workshops such as the “Curators’ Intensive Taipei 19 (CIT19)” (2019) and conferences in Dhaka and New Delhi (2017, 2019). Curatography was launched in part from the momentum of these grants, and particularly on account of the curators, artists, and scholars, who’ve shown interest in contributing to the field of inter-Asian curatorial culture.