研討會與論壇 │ Conference & Forum
Zara Stanhpoe《原民性與當代藝術策展實踐－以亞太當代藝術三年展(APT)為例》
「泛‧南‧島：原民性與當代藝術」國際論壇暨策展工作坊
"Pan-Austronesian: Indigeneity and Contemporary Art "Symposium and Curatorial Workshop
專題講座
以亞太當代藝術三年展(APT)策展實踐為例
講師：Zara Stanhope /昆士蘭現代美術館亞太藝術部策展經理
昆士蘭美術館與現代美術館（QAGOMA）以亞太當代藝術三年展（APT，以下簡稱亞太三年展）這一系列自1993年開辦的展覽，獲得國際博物館協會（ICOM）2019年澳洲最佳機構獎的殊榮。得獎引文如此寫道：
「這可能是澳洲唯一足以聲稱其具備全球性重大意義的該類型展覽……它是一個盛大的活動，展出來自亞太地區以及更廣大區域國家的藝術作品。正統的當代作品與源自傳統的、各式原民文化與第一民族（譯註）的作品，並肩展出。它已為藝術家、他們所屬的族群與國家之間，建立起前所未有的串連。」
伴隨著這樣的肯定，我可以說在澳洲布里斯本舉辦的亞太三年展中所呈現的當代藝術，最原初的目的並不在於凸顯原住民與第一民族的藝術，而是重在增加澳洲觀眾對於亞太地區當代藝術的體認。事實上，亞太三年展中原住民或第一民族藝術家的範圍總是相當難以量化，而是超越這樣的身分識別。
這篇文章將討論亞太三年展的目標，並以其展出的藝術作品與計畫為例，去理解亞太三年展中的原民藝術。我主張澳洲原住民藝術對於亞太三年展的發起與含括太平洋藝術 是 重要非常。同時，亞太三年展必須持續深化它對於原民與第一民族藝術的開放性，並期望能在土著居民（aboriginal）、第一民族、少數族群與其他原住民與藝術之間產生更深層的對話。如果亞太三年展能讓它的原初宗旨結合更寬闊的觀點，也就是：去增強文化的認知，去展現如此的文化與各個社會所呈現那具備能動性與變遷能力的本質，並為這個地區當代視覺藝術獨特與多元的觀點，提供一個展示、紀錄與討論的集會所在。
譯註：第一民族（First Nations）數個加拿大境內民族的通稱。
Speech
Indigeneity and Contemporary Art: Taking APT9 as a Case Study.
Zara Stanhope /Curatorial Manager of Asian and Pacific Art、Queensland Art Gallery & Gallery of Modern Art
Queensland Art Gallery|Gallery of Modern Art (QAGOMA) was awarded the ICOM Australia Institutional Award 2019, for the Asia Pacific Triennial (APT) exhibition series which began in 1993. The citation reads:
“This is probably the only exhibition of its type in Australia that can lay claim to being truly globally significant … It is a sprawling event that features work from countries of the Asia-Pacific region and well beyond. Orthodox contemporary works and works that arise from the traditions and forms of a multitude of indigenous cultures and first nation peoples, sit side by side. It has cultivated unprecedented connections between artists, their communities and countries.”
Alongside this recognition, I suggest that the presentation of contemporary art in APT in Brisbane, Australia was not initiated with the primary aim to prioritise indigenous and First Nation art, but mainly to increase the awareness of Australian audiences of contemporary art from Asia and the Pacific. In fact, it is often difficult to quantify the extent of indigenous or first nations artists in the APT beyond those who identify as such.
This paper will discuss the aims of the APT exhibitions and present examples of works and projects to give some insight into indigenous art in the APT series. I proposed that Australian indigenous art is especially key to the initiation of the APT and the inclusion of Pacific art in the series. Also that the APT must continue to deepen its openness to indigenous and first nations art, hopefully generating deeper dialogue between aboriginal, First Nation, minority and other indigenous peoples and art, if the series is to engage with wider aspects of its initial purpose, being: to increase cultural understanding; show the dynamic and changing nature of the culture and societies presented, and provide a forum for exhibition, documentation and discussion of distinctive and diverse views concerning contemporary visual arts of the region.