Placeholder Image

字幕列表 影片播放

  • What is interesting about this biennial

    這個雙年展有意思的地方是

  • It’s 20 years of the biennial

    它已經舉辦20年了

  • So it has a certain history

    所以它有一定的歷史

  • A certain inscription, too

    也有一定的題詞

  • I was evidently very sensitive

    顯然我對於雙年展

  • To the question of being in the museum

    辦在美術館的問題非常敏感

  • I think you don’t work the same

    我想如果在不同或臨時的地點

  • If you do a biennial in different or temporary places

    舉辦雙年展,做法會有所不同

  • Or places that you would occupy the time of the biennial

    或辦在會佔據雙年展時間的地方

  • Or if youre in a place which has a construction of

    或是在具有美術館的結構

  • Being a museum with a collection

    有著收藏品

  • With a program of exhibition, with different program

    和不同展覽節目的地方

  • The time of the exhibition, which is 5 months

    展覽時間為期五個月

  • And how is this 5-month can be a receptacle

    而這五個月如何能夠容納

  • Of a different trans-artistic proposition

    不同的跨藝術觀點呢?

  • A receptacle which offers space for experimentation

    它提供實驗空間

  • And which is activated all along the 5 months

    實驗進行整整五個月

  • With program of performances

    有表演節目

  • With a symposium, which is cut in three parts

    有分成三個部份的座談會

  • September, November, and January

    在九月、十一月和一月

  • Series of conference every month

    每月有一系列的討論會

  • And a program of screenings

    以及影片放映節目

  • It’s really an aspect of thinking

    這其實是一種思考層面:

  • How the museum position itself

    就雙年展和製作而言

  • In relation to biennial, to production

    美術館如何自我定位?

  • The question of reception, of diffusion, of collection

    還有迴響、普及和收藏的問題

  • And how the biennial can participate to all these aspects

    雙年展如何能參與這所有的層面?

  • So this context had to be sold, for me, too, it’s very important

    所以得接受這脈絡,這對我也很重要

  • You have different modes of existence of archives

    檔案庫有不同的存在形式

  • You can have archive what we call dead

    可能有我們所謂的死的檔案庫

  • Not activated anymore

    再也不被啟用

  • Or in a state of invisibility, or in a state of non-accessibility

    或處於隱形、無法存取的狀態

  • The exhibition is very much emphasizing, I think

    我認為展覽非常強調

  • This notion of not thinking the archive

    不把檔案庫想成是

  • As something belonging only to the past

    只屬於過去的這個想法

  • But an archive, from the moment it’s activated is immediately

    但從啟用那一刻起,檔案庫即是…

  • element, which construct a possibility

    …一個要素,建構了可能性

  • To construct different on the narrative of the present

    建構新當下的不同論述

  • In the anticipation of how the future is

    期許未來的模樣

  • I think it’s very important to emphasize that

    誰來決定特定物品是否應該保留?

  • There is a question of who decides that certain things

    留在哪裡?如何保留?

  • Should be kept or not? And where, and how?

    我認為強調這個問題非常重要

  • And this question of who decide of archive being

    而誰來決定檔案庫是否被視為

  • Considered as meaningful for historical construction

    對歷史、政治和社會架構

  • Or political construction, social construction

    富有意義的這個問題

  • It’s a question of where is all the power

    是誰掌握了權力的問題

  • And that’s evidently a very important point in the exhibition

    這顯然是本展覽非常重要的一點

  • Through these processes, there is an emancipatory aspect to it

    透過這些過程,它具有解放的層面

  • So this alternative narrative is being constructed by artistic gesture

    所以這種另類論述是透過藝術姿態建構

  • It has strongly to do is an emancipatory act

    它與解放行動有強烈的關係

  • This is being shared and it’s an activation

    它為人共享,它啟發了

  • Of the way of thinking our present

    我們思考當下的方式

What is interesting about this biennial

這個雙年展有意思的地方是

字幕與單字

影片操作 你可以在這邊進行「影片」的調整,以及「字幕」的顯示

B1 中級 中文 展覽 美術館 建構 層面 論述 解放

北美館│2016臺北雙年展策展人柯琳. 狄瑟涵專訪 A Interview with Taipei Biennial 2016 Guest Curator, Corinne Diserens. (北美館│2016台北雙年展策展人柯琳.狄瑟涵專訪 A Interview with the Taipei Biennial 2016 Guest Curator, Corinne Diserens)

  • 182 23
    Caurora 發佈於 2021 年 01 月 14 日
影片單字