第三屆亞太藝術論壇 Third Asia

第三屆亞太藝術論壇 Third Asia-Pacific Arts Forum

視覺藝術論壇－《偽裝與認同》

Visual Arts Forum-“Disguise and Identity”

主辦單位：國立傳統藝術中心

承辦單位：國立台北藝術大學

執行單位：國立台北藝術大學關渡美術館

展覽地點：台北關渡國立台北藝術大學及宜蘭國立傳統藝術中心

展覽時間：九十四年十月七日～十月三十日

相關資料，請洽詢網址：http://apaf2005.tnua.edu.tw

亞太藝術論壇－視覺藝術論壇系列演講：

日期	內容	地點
10月 4日（二）2:00pm-3:00pm	亞太藝術家講座（I）－巴勒斯坦，艾薩‧帝比 Aissa Deebi	國立台北藝術大學關渡美術館
10 月 5日（三）2:00pm-3:00pm	亞太藝術家講座（II）－印度，馬丹勞 Madan Lal	國立台北藝術大學關渡美術館
10 月 6日（四）2:00pm-3:00pm	亞太藝術家講座（III）－泰國，傑克拉夫‧塔那提拉農 Jakraphun Thanateeranon	國立台北藝術大學關渡美術館
10 月 8日（六）3:00pm-4:20pm	國際視覺藝術圓桌論壇	國立台北藝術大學國際會議廳
10 月 9日（日）2:00pm-3:00pm	亞太藝術家講座（IV）－伊拉克，阿爾法帝 Al Fadhil	國立台北藝術大學關渡美術館
10 月 10日（一） 2:00pm-3:00pm	國際視覺藝術論壇－藝術家對談：「偽裝」與「認同」	國立宜蘭傳統藝術中心
10月13日（四）2:00pm-3:00pm	亞太藝術家講座（V）－新加坡，山卓斯坎 S. Chandrasekan	國立台北藝術大學關渡美術館
10月14日（五）2:00pm-3:00pm	亞太藝術家講座（VI）－澳洲，加尼‧貝格 Zanny Begg	國立台北藝術大學關渡美術館

Artist	Al Fadhil
Title	The Bread Donation
Year	2005
Material	Clay, Straw, Flour, Wood, Water
Description	Communicate through Actions Art, such a fantastic method of expression, it has assumed in all times a fundamental importance in the life especially in the contemporary society, where the industrial and technological development, has created cold societies and alienates individuals. Art tries to give back to the man its dignity. In this sense we have noticed a great engagement of the artists in facing the crescent uneasiness; we have most serious problems caused from politics of profit that governments do not want to resolve: pollution, immigration, social un-justice, poverty, armaments, violence and many other denied aspects. I belong to this generation of artists. I am convinced that art opens up a magnificent way of living, and helping others to live. Not because it resolves our problems, but because it widens the horizons of our imagination. From this point of view, when the USA attacked and occupied Iraq, I invented the mobile pavilion with the words “I’m the Iraq Pavilion at the 50^th Venice Biennale”. Despite the enormity of the disaster created, neither Francesco Bonami nor the curators that he invited made any effort to address this topic. Art in its response to injustice can achieve great things. The art confirms its supremacy on the hegemony of the power. In this Asian art convention, in Attanour project, the donation of the bread does not have to be considered like a pure art work, but it has to be considered an high symbolic communication value. Behind its morphologic aesthetic, there are spiritual meanings. In the frenzy’s progress we have forgotten about ourselves. This work, help us to remember and reflect with its simple aspect, its primitive matter, the heat, the scents and the bread, is an action of indelible love but made by precarious material. Indeed after having donated its energy, it returns to its roots, back again to nature that will dissolve it. Earth to earth.
Selected Biography	Al Fadhil, an artist with multi-disciplinary interests (painting installation, photography, performance, video art), born in Basrah, Iraq, lives in Lugano, Switzerland. He studied at the Institute of Fine Art in Baghdad and in the Academy of Fine Art in Florence, Italy. The artist participated in many international art events and workshop. He was artist in residence at Dubai Art Symposium and at Internationale des Arts, Paris, France. Selected exhibitions: 2005 Emergency Biennale, Palais de Tokyo, Paris, France 2005 “Oh my God! How much longer?” Official Art, Lugano Switrzerland 2004 “Art to Eat,” Swiss Cultural Centre, Milan, Italy. 2004 Rome University Museum, MLAC (Museum Laboratory of Contemporary Art), Italy 2004 “Troubled Time,” Photo Installation, War Museum for peace, Trieste, Italy. 2004 “Baghdad Life Club”, 57^th Locarno International Film Festival, Switzerland 2003 Performance ff, Venice Biennale, Italy 2003 6^th Sharjah Biennale, United Arab of Emirates 2003 Open Air Art International 2003, Ascona Vira, Switzerland 2000 Bonndorf Museum, Germany His videos include: Amer and Nasser 2003. Iraq Diary 2000/2004, Back on Earth 2004. Home 2005. Homepage http://www.iraqpavilion.com

Artist	Zanny Begg
Title	Uniform
Year	2005
Material	Fragments of uniforms and wood
Description	In "Uniforms" I have created a pixilated face (sourced from a family photo album) out of 726 canvases wrapped in various uniforms: school, military, wedding, office, work etc. Up close the viewer notices the textures and colours of the various samples of cloth but as they step backwards a small face slowly emerges into focus. The further back they step the more the eye mixes the colours of the pixels and creates a face. The closer they step the more distinct each canvas becomes and the face slips away. Through this process the viewer "masks" and unmasks" the face. It is transformed from a jumble of different uniforms (which regiment our daily lives) into a distinct and vulnerable individual (a small child). The camouflage that hides the image of the child is the camouflage that we wear on a daily basis as we study, work, marry and age. The inclusion of military camouflage to create aspects of the pixilated face highlights how war is integrated into a global order of control and terror. I am using this work to explore how individuals are constructed by complex social relations that impact on our identity and sense of self. The image of the face slips in and out of view as our sense of self is revealed and disguised. The work is both masculine (combining a pixilated computer generated image with military uniforms) and feminine (with sewing and details of buttons and embroidery).
Selected Biography	Zanny Begg lives and works in Sydney, Australia. She received a BFA Hons (first class) at the Queensland College of Art. She was selected for the Helen Lempriere Travelling Art Scholarship exhibition at Artspace and was short-listed for the Asialink residency to the Philippines. Begg is a director of the artist run space The Wedding Circle in Sydney and is completing her PhD at the College of Fine Arts Sydney. Recent exhibitions: 2005: Helen Lempriere Travelling Art Scholarship, Artspace, Sydney Williamstown Contemporary Arts Prize – Sub Station, Williamstown, Melbourne (April) Limbus – Rocket Art, Newcastle (March) Family Business – The Wedding Circle, (March) Checkpoint (solo show) – Mori Gallery, (January) Placard Project – Mori Gallery, (January) Searching for WMDs – First draft, (January) 2004: Looking for Love (in all the wrong places) – The Wedding Circle, (December). The Western Front [Out of Gallery Project] - Blacktown Arts Centre, (November). Mountains and Molehills – First Draft (November). Live Walls, Kings Cross Arts Festival, Kellet Way, Kings Cross (October). Unholy Matrimony – directors’ show at The Wedding Circle (October). Newcastle Emerging Art Prize – Artspace, Newcastle (October). People and Place - Gasworks Gallery, Melbourne (June). The Interventionists: Art in the Social Sphere – Massachusetts Museum of Contemporary Art - Massachusetts, USA (May). Bottomless Pink – Squatted Cycle Factory – Wisconsin, USA (May). Network – Kudos (May). Snatch (solo show) – Phatspace (May).

Artist	S. Chandrasekan
Title	Bleeding Mandala
Year	2005
Material	Cotton cloth, jute rope, bamboo, buffalo
Description	山卓斯坎，《太空細菌二》，裝置表演藝術，2003 The performance ‘Bleeding of Mandala’ tries to re-map the fragmented notion of self-identity with relation to socio-cultural tensions in a contemporary society: a site through which one examines how inherited cultural identity (rooted space) negotiates its boundaries with received identity (sense of space), and in which it searches for a creative power of ambivalence that lies between rooted space (past) and sense of space (present). This site of enunciation not only provides new orientations toward ‘re-inventing’ notions of identity but also examines the process of ‘re-interpreting’ socio-cultural concerns in relation to traditional ritual/aesthetics as a contemporary visual language.
Selected Biography	S. Chandrasekaran, born in Singapore, is well-known for his performance works since 1983. From 1990-98, he has been lecturing at various art colleges and attended various art conferences. He was the Head of the School of Fine Art at LASALLE-SIA, College of the Arts (Singapore) from 1999-2002. Presently, he is pursing his Doctor of Creative Arts at Curtin University. His research project is titled “Locating Immigrant Space”, and explores the tensions and conflicts between national and cultural identities of an ethnic artist. Chandra has been represented in major shows such as Havana Biennial (Cuba), Asia-Pacific Performance (Canada), International Performance Art Festival (Poland), 49th Venice Biennale, World Sculpture Park (China), Sharjah International Biennial (UAE), Midland Live Art (Australia), National Review of Live Art, Glasgow (UK), and recently he has been invited to attend Lulea Biennial Sweden 2005.

Artist	Aissa Deebi
Title	Via De la Rosa II
Year	2005
Material	Digital photography on metal (aluminum)
Description	艾薩‧帝比，《玫瑰街之一》，2003 I was born 19 years after the 1948 War, 2 years after the 1967 War, I was 4 years during the 1973 war, 13 during the 1982 war, 18 when the first Intifada started, and 30 when the second intifada started. Living all those years in Palestine-Israel drove me nuts. I remember growing up that each Friday I would go to the neighborhood newspaper store, Panina (‘Pearl’), where a very nice Romanian Jewish women in her 60s would keep all the weekend edition newspapers on hold for me—newspapers in Arabic, Hebrew, and sometimes English. If I didn’t have the money to pay at the time, no worries—she would let me pay the following week. Years later when I went to England for art school, I finally realized that I have an obsession for newspapers. I was reading about what I already knew yet I wanted to be sure that it was in print--evident. Perhaps I thought this evidence would become part of our collective memory, so we would never forget what has happened and what is happening. My story is not unique to any one who is from this area, but this is the story of Palestine- Israel. “Via De la Rosa”: It is the photographic image that best expresses the power of memory and identity that impact ‘Israel/Palestine’ at war. Through this project, I wish to address the incongruous nature of biography by revealing this power, and through conferring upon the viewer the position of Witness of Life. Despite the intimacy and depth of self-reflection that may take place within the context of the Israeli/Palestinian conflict, the ultimate tragedy of life is not depicted; yet it is, indeed, an element that is inescapable for the viewer.
Selected Biography	Aissa Deebi, born in Palestine, lives in New York, USA. He studied Visual Art at the University of Haifa, Israel and received his MFA in theory and practice at the University of Liverpool, UK. Deebi was artist-in-residence at Aarau in Switzerland and obtained British Council Israeli-British-Palestinian Art Award in 2001 among other awards. Selected Solo Exhibitions 2004: “Fable”, Umm Al-Fahem Gallery, Israel 2004: “Near”, Arts International, New York, NY 2004: “Double Vision”, Municipal Opera House, Graz, Austria 2003: Retrospective, Haifa University, the Art Gallery, Haifa, Israel 2002: Fitchner and Mizrahi Gallery, Vienna, Austria 2002: Anadil Gallery, Jerusalem 2000: Al-Ard Gallery, Zurich, Switzerland 2000: Aarau Rathhaus, Aarau, Switzerland Selected Group Shows 2002: “Williamsburg Bridge to Palestine”, Williamsburg Art Center, Brooklyn, NY 2002: “DER SCHOCK DES 11. SEPTEMBER – DAS GEHEIMNIS DES ANDEREN”. Berlin, Germany http://www.lettre.de/index2.htm 2002: 35 years, Rosenfield gallery Tel Aviv, Israel 2001: “Untitled”, exhibition, By Aissa Deebi and Yuval Shaul, Touring Exhibition, Tel Aviv, Austria, Germany, France and Italy. 2000: The Israeli Center for Video Art, Tel Aviv, Israel 2000: Contemporary Israeli and Palestinian Art Exhibition, Galway Arts Center, Ireland 1999: International Installation Triennial, Haifa Museum of Contemporary Art, Haifa, Israel

Artist	Madan Lal
Title	Untitled Image (WELL)
Year	2005
Material	Bricks, sand, water
Description	馬丹勞，《井》，2003 “Well” is a series of environmental sculpture, which I first produced with IRON in 2003, now a permanent collection at National Gallery of Modern art, New Delhi, India. This time At APAF 2005 I created a WELL in BRICKS, which is directly related to my cultural background, from my birthplace (Lalganj), a small village rather a rural area. In this work I have created an ancient effect, which is co-related with the images of my childhood memories and concerns with the part of cultural heritages of my country, India. Staring at the water awe as a child I enjoyed the serenity of sunrise and sunset with vast expanse of water turning into splash of gold. I was overwhelmed with the mere desire of becoming a part; though being completely engrossed into I could not part with individuality. And this I suppose is the true philosophy of life one should strive to achieve. Well for me, as well as in Indian context, is as a symbol for life. Asian art is stylistically nearer to physical, eternal, internal and external. Brick/Terracotta /Earth is a pure form of nature which has lent itself to the accomplishment of great many arts/architecture pieces in all times. Here I have tried to sport with the red coloured bricks block as medium. The pure medium forcefully emphasize my expression. In this work thousands of bricks have been put to use according to their construction (the well form), which I have laminated one by one and layer by layer. This effect is mainly achieved through its proximity to nature. The natural light has its own effects, fully expressing the aesthetics. I offer this sculpture in the name of the noble peace lovers and all. I express a lot of happiness that my lotus (untitled-images) in the “Well” is able to spread the fragrance of life.
Biography	Madan Lal, born in Lalganj, Azamgarh (Uttar Pradesh), India. He studied in Varanasi 1973-78, in Baroda 1979-81 and in Tokyo 1986-88. Madan Lal has been teaching sculpture at Faculty of Visual Arts, Banaras Hindu University in Varanasi since 1990. He is the Founder and Life Trustee of Ram Chhatpar Shilp Nyas (India) - (a Trust for Contemporary Sculpture). His work has been collected by 26 different art venues all over the world. Solo Exhibitions 1975, 76’, 80’: Varanasi, India 1977, 78’, 81’, 90’: Kolkata, India 1978: Santiniketan, India 1978: Lucknow, India 1979, 81’, 89’, 97’, 03’: New Delhi, India 1981, 98’: Baroda, India 1987, 87’, 87’, 88’, 96’: Tokyo, Japan 1986, 87’: Osaka, Japan 1990, 92’: Mumbai, India International Group Exhibitions 2004: Contemporary Art International Exchange, Kawasaki, Japan 2003: 1^st International Sculpture Award Exhibition, Yuzi Paradise Guilin, China 2002: Contemporary Art International Exchange Kawasaki, Japan 2001: International Sand Sculpture Exhibition, Shenzen, China 2001: 10^th Triennial India, organized by National Art Academy, New Delhi, India 2000: 1^st Echigo-Tsumari Art Triennial, Organized by Art Front Gallery, Tokyo, Japan

Artist	Jakraphun Thanateeranon
Title	Thai Mural Painting Photo Machine
Year	2003
Material	Interactive photo machine software, computer, printer, web camera
Description	Masking and Unmasking When talking about Asia-Pacific Cultures, especially Thai culture nowadays, it is difficult to identify in our contemporary culture, what is real Thai, and what is imported from abroad. Globalization has made the world smaller. One needs only click on websites worldwide to learn about foreign culture. This situation took place in the past ten years and is still continuing in present days. When I look around in my society I feel that we are all masked by foreign culture. We eat, we live, we wear, we shop, we go, we talk, we see, or even we think by wearing new masks all the time. We have masks from all over the world, which we can choose and change whenever we want. Similar to one of my art project called “Thai Traditional Art Sticker Machine”, to form this project, I started from something that gave a long-lasting effect and ended with a fad with rapid upturns and downfalls. From my point of view, I value the murals of traditional arts on the walls in temple. They are created with great efforts and ancient skills. So the idea is to put more enthusiasm in the value of Thai art in the current context of modern popularity, which became a traditional mural background on a modern Thai sticker machine. For the Thai sticker machine itself also had it mask (the box) for this time showing this art project in Taiwan I would unmask it machine. And will allow the audience to try on the mask of my culture and let them be the masks for my culture in the same time.
Selected Biorgraphy	Jakraphun Thanateeranon, born in Tak, lives in Bangkok, Thailand. He received his BFA at Faculty of Fine and Applied Arts at Chulalongkorn University in Bangkok, and MFA at Faculty of Painting Sculpture and Graphic Art at Silpakorn University, Thailand. He was UNESCO Artist in Residence in Vienna, Austria in 1999. Selected Solo Exhibitions 2005 “Masking” Thailand New Media Arts Festival 2005, Play Ground Department Store, Bangkok “Anty Venus” Thailand New Media Arts Festival 2005, Bed Supper Club, Bangkok 2004 “Mask”, a public art project, 388 Wonder Boutique, Siam Square, Bangkok 2002 "Bangkokian swamp " Jamjuree Art Gallery, Chulalongkorn University, Bangkok 2001 "Transitory", Space of Contemporary Art, Bangkok, Thailand. 2000 “Being”, Bann Bangkok Gallery, Bangkok, Thailand. "Lamps of Life", the underground crossing, a public space on Phayathai Road, Bangkok. 1999 "Subconscious" Heike Curtze Gallery Seilerstatte 15, 1010 Vienna, Austria. "Life Exhibition" Gallery Juttner Millergasse 25, 1060 Vienna, Austria.