15/09/2026
‼️本週日講座 🧬創造共同體：探索策展與政治🧬
‼️This Weekend 🧬Creating Communities: Exploring Curating and Politics🧬
👉 閱讀十八期文章【繞返及其策展行動】
https://curatography.org/zh/?p=46681&preview=true
🟢🟣《策展學》第十八期【策展與政治】｜專題論壇
▪ 時間｜2026 年 9 月 19 日（週六）14:30 ～ 17:00
▪ 與談人｜耿一偉、羅秀芝、樂諾斯（Lovenose）
▪ 活動地點｜【The Misanthrope Society 厭世會社】
📪臺北市中正區羅斯福路四段40巷1-2號（近捷運公館站）
▪ 主辦單位｜Curatography 策展學
▪ 贊助單位｜國藝會
📝 歡迎免費報名：https://forms.gle/PyLBFp8cw8XN1faE7
🟣🟢講者介紹：
#樂諾斯 （曾瓊慧） 畢業於台灣師範大學美術系藝術行政管理研究所，目前任職財團法人原住民族文化事業基金會。在藝文場域擔任行政管理20多年，研究自日據時代殖民現代性、戰後、原運之百年來原住民藝術演變，近年關注於原住民藝術場域發展，發表《他者中的〈她者〉︰淺談台灣原住民女性藝術》、《理想與美麗︰勞動中的場域生成》等。2012年創辦Pulima藝術獎與Pulima藝術節，以及製作第一個原住民藝術電視節目於2017年播映，2022年擔任第一屆MATA台灣原住民族文化影視節協同策展人。這10年來透過藝術節平台，促成與澳洲明日藝術節、挪威Riddu Riđđu Festival、紐西蘭Auckland Art Gallery等合作，邀請紐西蘭Black Grace與Atamira表演團隊，以及Lisa Reihana等多位藝術家的現地製作。
received her MA in Arts Administration and Management from the Department of Fine Arts at National Taiwan Normal University. She currently works at the Indigenous Peoples Cultural Foundation. With more than two decades of experience in arts administration and cultural management, her research traces the development of Indigenous art in Taiwan from colonial modernity during the Japanese period, through the postwar era, to the Indigenous movement. In recent years, her work has focused on the development of the Indigenous art field in Taiwan. Her published writings include “The Female Other: A Brief Discussion of Indigenous Women Artists in Taiwan” and “Ideals and Beauty: The Formation of a Field through Labor.” In 2012, she founded the Pulima Art Award and Pulima Art Festival, and in 2017 produced the first television program dedicated to Indigenous art in Taiwan. In 2022, she served as co-curator of the inaugural MATA Taiwan Indigenous Film Festival. Over the past decade, through the Pulima platform, she has facilitated collaborations with international arts festivals and institutions, including Yirramboi Festival in Australia, Riddu Riđđu Festival in Norway, and Auckland Art Gallery in New Zealand. She has also invited New Zealand’s Black Grace and Atamira Dance Company, as well as Lisa Reihana and other artists, to participate in co-productions and artist residencies in Taiwan.
🟢🟣講座介紹
在當代策展實踐中， #策展 與 #政治 如何被 #部署、協商與組織，本身就是一項關於方法、權力與倫理的問題。當策展不斷召喚「 #共同體」、「 #地方」、「 #原民性」，或試圖建立跨越國界的「 #全球連結」時，策展人與藝術機構如何避免文化採集、代言，以及體制與地緣政治介入的陷阱？又該如何在不同的地方、文化與政治脈絡之間，建立更具責任感的關係？
本期《 #策展與政治》專題，將從不同尺度與實踐經驗出發，討論策展如何介入政治、回應地方，並進一步思考「共同體」如何在策展行動中被創造。
#耿一偉 將透過「政治干預（PI）」與「政治性表現（PE）」兩條基本公式，分析策展人在機構規模、預算、監督者等多重力量的作用下，如何透過策展機制與溝通主體性，超越對即時政治現象的直接回應，進一步探索議題背後的結構性問題。透過多樣性公眾的參與，使藝術成為說出真理（Parrhesia）以及召喚新共同體的「巴迪歐式事件」。
講者 #樂諾斯 將從「繞返（returns）」與去殖民方法論中的「關係責任（relational accountability）」出發，反思策展如何離開主流美術館的既有框架，深入部落現場、花蓮美感基地與桃園都市原民空間，在曲折的歷史與地方關係中陪伴創作者，將策展轉化為一種建立關係、持續對話的參與式行動。
#羅秀芝 將進一步把視角拉向國際展覽脈絡，從跨國巡展、地緣政治與雙年展機制出發，討論當「共同體」跨越地方與單一族群的邊界後，策展如何面對不同文化體系之間的張力，又如何在跨國流動的過程中，重新想像並形塑一個超越國界的動態共同體。
本場論壇將透過三種不同的策展視角，從去殖民與關係實踐、策展的政治力學，到跨國展覽與全球連結，共同討論：當策展試圖創造一個共同體時，我們究竟正在創造什麼？又是以誰的名義、透過什麼樣的關係與政治條件來創造？
🟣🟢ISSUE 18 "Curating and Politics" Forum
In contemporary curatorial practice, how curating and politics are deployed, negotiated, and organized is itself a question about method, power, and ethics. When curating repeatedly invokes "community," "place," "indigeneity," or attempts to build cross-border "global connections," how can curators and art institutions avoid the traps of cultural extraction, speaking-for-others, and institutional or geopolitical intervention? And how can more responsible relationships be built across different places, cultures, and political contexts? This issue's special feature on "Curating and Politics" will draw on practices and experiences at different scales to discuss how curating intervenes in politics, responds to place, and further consider how "community" is created through curatorial action.
will use two basic formulas—"Political Intervention (PI)" and "Political Expression (PE)"—to analyze how curators, working under multiple forces such as institutional scale, budget, and oversight bodies, use curatorial mechanisms and communicative subjectivity to move beyond direct responses to immediate phenomena and further explore the structural issues behind them. Through the participation of diverse publics, art becomes a "Badiousian event" that speaks truth (parrhesia) and calls forth new communities.
will further extend the perspective to the context of international exhibitions, discussing—through transnational touring exhibitions, geopolitics, and biennial mechanisms—how, once "community" crosses the boundaries of place and single ethnic groups, curating confronts tensions between different cultural systems, and how it might reimagine and reshape a dynamic community that transcends national borders in the process of transnational circulation.
will start from "returns" and the concept of "relational accountabilities" in decolonial methodology, reflecting on how curating can step outside the existing frameworks of mainstream art museums and move into tribal/indigenous community sites, the Hualien Aesthetic Base, and urban spaces in Taoyuan—accompanying creators through winding histories and local relationships, and transforming curating into a participatory action of relationship-building and ongoing dialogue. This forum will bring together three different curatorial perspectives—decolonial and relational practice, the political mechanics of curating, and transnational exhibitions and global connections—to jointly discuss: when curating attempts to create a community, what exactly are we creating? And in whose name, and through what kinds of relationships and political conditions, is it being created?
This forum will bring together three different curatorial perspectives—decolonial and relational practice, the political mechanics of curating, and transnational exhibitions and global connections—to jointly discuss: when curating attempts to create a community, what exactly are we creating? And in whose name, and through what kinds of relationships and political conditions, is it being created?
