2018 AICA International Congress Taiwan: Art Criticism in the Age of Virtuality and Democracy | 誠品線上

2018 AICA International Congress Taiwan: Art Criticism in the Age of Virtuality and Democracy

內容簡介

內容簡介 Art Criticism in the age of Virtuality and DemocracyThe Congress Theme addresses some key issues concerning the role of art criticism related to the new tendencies. Firstly, the virtual is not the opposite of reality but rather an increasing part of our reality. Presently, communities, social relations, everyday life, the body, and even biological life are in the processes of mass virtualization. Life itself has been supposed as an algorithm, AI as a brain without body, while space-time’s relationship is virtualized in VR technology. A virtual enterprise need no longer convene its employees onsite, but rather can delegate work to be done remotely, thus re-articulating the time-space relationship of its workers. Secondly, if we make an observation of a longer duration, there seems to be an unquestionable expansion of democracy which can be confirmed by the democratic transitions beginning in the mid-1970s, which span from Latin America to Taiwan and South Korea, through the end of the cold war, and to following transitions in Eastern Europe, the Color Revolution and the Umbrella Movement in Hong-Kong in the fall of 2014. Nevertheless in more recent years, the phenomenon of the retreat of democracy can also be observed in the uprising of the populism worldwide.Two sub-themes:1.Art criticism in the age of virtuality2.Art discourse facing challenged democracy1.Art criticism in the age of virtuality: How does the situation in which the rapid pace of development in computer and media technologies affect the description, interpretation and evaluation of contemporary art? More precisely, does art criticism develop new methodology and new languages concerning its analysis and new problematics in its debates?2.Art discourse facing challenged democracy: How is art discourse constitutive of the collective representations and imaginary of democracy? In the situation of democracy under challenge, how are these social-political phenomena reflected in new developments of censorship and self-censorship, or post-truth? For new problems brought out by transitional justice, what kind of function can art discourse play?

作者介紹

作者介紹 ■作者簡介中華民國藝評人協會AICAThe International Association of Art Critics (AICA) was founded in 1950 and was admitted in 1951 to the rank of NGO. AICA comprises various experts anxious to develop international cooperation in the fields of artistic creation, dissemination and cultural development.AICA brings together around 5,000 art professionals from 95 countries all over the world, organised into 63 National Sections and an Open Section. The most recent Annual International Congresses to be organised by AICA have held in Poland (2013), Seoul, South Korea (2014), London, England (2015), Havana, Cuba (2016), and Paris, France (2017).The members of AICA includes art critics, art historians and art educators, as well as curators from museums of modern art. Their aim is to compare their point of views concerning the vocation of art criticism, to analyse their responsibility in regard to artists and public, and to outline the particular nature of their contributions in relation to developments in the fields of art history.

產品目錄

產品目錄 Preface／Chi-Ming Lin and the Scientific Committee of AICA TaiwanContributorsForking Democracy／Audrey TangThe Matrix of Visibility and Legitimacy: Art and Democracy in the Age of Digital Participation／Nikos PapastergiadisSeventy Years of AICA, Reflected Through the PRISME Research Project:Some Preliminary Findings from the Archives in Rennes／Henry Meyric HughesThe Poetics and Politics of Shane Cullen’s ‘The Agreement’ Liam KellyTrajective Art Criticism: Boats (Trains, Planes) and Home in the Era of Retreat from Democracy／Richard ReadThe Illusion of Art Without Mediation: Challenging the Challenged Democracy／Rui Gonçalves CepedaOn “Art Criticism in the Age of Virtuality”／Lisbeth BondeTurbulence: How Can Creativity and Art Criticism Respond to Unsettling Times in the Age of Virtuality?／Natalie KingThe Post-Internet Way of Art Criticism／Ewa WójtowiczAesthetic of Protest: The Colorful Revolution／Jovanka Popova and Mira GacinaA Field of Non-Field／Chieh-Jen ChenNotes on the Causes／Chieh-Jen Chen and Chien-Hung HuangTruth or Post-Truth?／Rahma KhazamA Brave New Virtual World?／Elisa RuscaThe Image War of Chiang Kai-shek’s Statues: The State of Exception in the Process of Promoting Transitional Justice in Taiwan／Kang-Jung ChanNo More Professional Writers in the Future?／Agnieszka SuralUnlimited Uncertainty: A Critical Narrative of Art Self-Powered by the Virtual／Lisa Paul StreitfeldPolitics of Performance Art Before and After 1989／Małgorzata KaźmierczakArt as Events with the Virtual: Rethinking about the Democracy and Bureaucracy／Raylin TsaiThe Post-Enlightenment Fallacy: Political Art and the Fate of Aesthetics／Joe NolanWithin Digital Culture: The Hyperimage Perspective on Art and Criticism／Alfredo CramerottiTotal Control and Censorship: Towards a New Humanity?／Bernhard SerexheEco-Democracy and the Romanian Contemporary Public Art／Marilena Preda SancTo the Moon／Laurie Anderson and Hsin-Chien HuangOn “Art Discourse Facing Challenged Democracy”／Bélgica RodríguezExploring Robots／robotlabAICA-USA Online: Being Effective, Virtual, and Real in the Twenty-First Century／Judith E. Stein and Jamie KeeslingHyperallergic: A Model for Art Criticism and Cultural in the Digital Age／Holly CrawfordAn Eco-System of Criticism-Activism to Empower “Overcoming the Past”-Film Discourse and 〈NN 15〉 Community Project of Taiwan’s White Terror Memory／Yu-Juin WangXiao Lu’s Dialogue／Damian SmithArctic Environmental Challenges through Virtuality／Jean BundyContemporary Art, Democratization and Social Change:Politics of Art in Postcolonial Buddhist Sri Lanka／Sabine GrosserA Theater - in Absence／Felix Ho Yuen ChanIn Search of a Critical Conscience／Ernesto Muñoz

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2018年AICA國際大會台灣大會主題：虛擬與民主時代的藝術批評

⓪Chi-Ming Lin和AICA台灣科學委員會



根據對現實世界重要趨勢的觀察，我們想談談一些關鍵關於與這些新發展有關的藝術批評作用的問題。

首先，虛擬不是現實的對立面，而是我們現實中越來越重要的一部分。目前，社區，社會關係，日常生活，身體甚至生物生命都處於大規模虛擬化的過程中。生命本身被認為是一種算法，人工智能是一種沒有身體的大腦，而時空的關係在虛擬現實技術中是虛擬化的。虛擬企業不再需要在現場召集員工，而是可以委託遠程完成工作，從而重新闡明其員工的時空關係。

其次，如果我們觀察一個較長的持續時間，似乎有一個無可置疑的民主擴張，這可以通過從20世紀70年代中期開始的民主過渡來證實，從拉丁美洲到台灣和韓國，直到最後冷戰，以及2014年秋季東歐的轉型，香港的顏色革命和繖形運動。儘管近年來民主的退卻現像也可以在起義中觀察到。全世界的民粹主義。

而且，這兩種傾向可能是相關的。大會主題“虛擬與民主時代的藝術批評”有兩個子主題：

1。虛擬時代的藝術批評

2.面臨民主挑戰的藝術話語



1.“虛擬時代的藝術批評”將解決計算機和媒體技術的快速發展正在創造新的工作環境和藝術的新可能性的情況，每個藝術都有自己特定的問題。這個過程如何影響當代藝術的描述，解釋和評價？更準確地說，藝術批評是否在其辯論中開發了關於其分析和新問題的新方法和新語言？對於藝術和藝術批評來說，新媒體在全世界範圍內吸引新的讀者，通常是“免費”的，這意味著什麼？

2.“面對挑戰民主的藝術話語”將討論以下問題：藝術話語如何構成民主的集體表徵和想像？在面臨挑戰的民主的情況下，這些社會政治現像如何反映在審查和自我審查或後真相的新發展中？對於過渡時期司法帶來的新問題，藝術話語可以起到什麼樣的作用？



承認

AICA台灣特別感謝所有35位貢獻者提交他們令人印象深刻的作品，以及AICA International-LisbethRebolloGonçalves總裁，名譽主席Jacques Leenhardt，秘書長Allthorpe-Guyton Marjorie，財務主管 - Mathilde Roman和辦公室助理Nathalie Rousselle給予了極大的幫助。沒有文化部，科技部，外交部和台灣教育部（ROC）的財政或組織支持，本書是不可能實現的。此外，我們感謝台北市政府，台北美術館，台北教育大學的支持：



NTUE藝術與設計系，當代藝術批判與策展研究，NTUE博物館，音樂系。特別感謝私人協會 - 雪雪基金會，台新控股和文化藝術基金會，國泰世紀保險，白鷺基金會和Bonyu有限公司的讚助。

我們非常感謝“AICA藝術評論傑出貢獻獎”和“青年藝術評論家AICA獎勵獎”評審委員會：賴相林，陳光義，蔣新貞，陳亞春，慈濟-Chieh Chien，Chang-Wen Chang，Yang YEUNG，Nhung WALSH，Chien-Mei LIU，Jeannine TANG，Damian Smith和Mariko Takeuchi。還要特別感謝AICA台灣籌備委員會和科學委員會 - 黃海明，楊顯紅，程水鵬，陳洲新，張慶文，陳立富，蔡琳妍，穆 - 吳清，謝培妮，陳志祥，吳義華，陳洪義，徐曼，林洪華，鄭勝華，趙志勇，黃文浩。此外，我們感謝台灣AICA主席和本書主編林志敏以及編輯工作團隊 - Tien-Han Chang，Shih-Ting Wang，

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