Fiona Cheng - Academia.edu (original) (raw)
Papers by Fiona Cheng
Body, Space & Technology, 2018
Nu Shu GPS: 25 °21’00.5N, 111°27’17.7E – an interdisciplinary cooperation between dance, calligra... more Nu Shu GPS: 25 °21’00.5N, 111°27’17.7E – an interdisciplinary cooperation between dance, calligraphy, and the body in multimedia performance, began with a diary exchange between the artist and a friend, who shared their thoughts by writing in the same journal. During this ‘diary swapping’ period, they developed a semiotic system that only the two of them could under- stand. Later, the artist came across Nu Shu, the only written language in the world that exclusively women learned to write and read. The artist attempts to explore all the possible metaphors and meanings implied by Nu Shu. The performance Nu Shu GPS: 25 °21’00.5N, 111°27’17 attempts to bring this secret method of communication back to life among modern Chinese women.
This interdisciplinary performance work employs a practical approach to art through a creative collaboration among experts from different fields: choreographers, dancers, lighting designers, programmers, etc. It attempts to apply the three stages of the art creation process (Praxis, Symbol, Presence) as the three different faces for a theory regarding this work.
Please send a request if you need this article.... It is both in English and Chinese. English ve... more Please send a request if you need this article.... It is both in English and Chinese.
English version issued on a.m. post, no.116 (Sep/Oct 2015), p.65
Chinese version issued on Plus-Taiwan no.47 (Sep 2015), p.114
Written by fiona hui-wen cheng
Translated into English by Bernard Yeung
30 year after the lifting of martial law in Taiwan, hardly any young artists/curators still talks about the nation and ideology. From ‘Reverse Niche’ to ‘Beyond the Borderline’, the research of curator Alice Ko is rooted in urban discussion, in the visual and calligraphy. She is one of the few emerging curators who question the national machine with a rather radical attitude within the Taiwanese art scene that keeps an ambiguous enquiry on the border between the society and art.
Exploring the genre of art, introduce 3 cases of participatory art in Bangladesh, Indonesia and T... more Exploring the genre of art, introduce 3 cases of participatory art in Bangladesh, Indonesia and Taiwan. They are Jog art space, lifepatch, g0v.tw
Taishin Artalks Website, Dec 2013
The thesis studies and images the regeneration of places under the globalization context. The cas... more The thesis studies and images the regeneration of places under the globalization context. The case study is Echigo-Tsunami Art Triennale having been held once every three years at the Tōkamachi-shi and Tsunan-machi, Niigata prefecture, Japan since 2000. The research has been conducted by means of document analysis and participant observation. Through analyzing the archive of Echigo-Tsunami Art Triennale on how it began, and participating in the operation of its organization, the researcher studies how Echigo-Tsunami Art Triennale has played as a catalyst in reviving Niigata prefecture with the effects lasting for 18 years since the very beginning of the Triennale.
The research found that the regional policy and political thought behind support and frame Echigo-Tsunami Art Triennale while art and culture only serve as practical methods and symbolic representation, which is to say, the success of Echigo-Tsunami Art Triennale doesn’t rely on art itself but also the policy and environmental thought deeply rooted in the local government . The author also thinks that, essentially, the Echigo-Tsunami Art Triennale is not aimed to resist globalization because it still cannot be excluded from the contexts of globalization and Western-centric art world. Instead, this triennale intends to create a strategy for heterogenization in the midst of global homogenization.
グローバル化の進行はあらゆる社会資本を個人に還元し、都市と地方、農、漁業を有する地域、また山間部や臨海地域における環境を均質化してきた。それに対して、ポストモダンの地域再生の可能性は、本研究の背景である。その中に「魅力ある差異」を創造するために現代美術による活性化事業が始まっている。その背景で、新潟県十日町地域の「大地の芸術祭．越後妻有アートトリエンナーレ（以下大地の芸術祭と略称）」はこれまで１２年間で大きなフェスティバルを三年一度、行っている。
この研究は大地の芸術祭を支えているのはアートワールドのシステムより日本の地域政策と仮説として、文献の分析と、実際のイベントに関与する形での研究方法をとり、下部構造の支援政策とその社会背景を分析したものである。ここでは「里創プラン」、「アートネックレス構想」から２０１２年まで、政策、財源変化、作品との関係を推察した。結果、大地の芸術祭の地域に基づくアートプロジェクトは社会的意義があるが、欧米中心のアートワールドを避けられない。またそういう状態は、ここで抵抗しているグローバリズムの構造的問題をより複雑にしていると主張。
本論文研究背景為全球化情勢之下，後現代地方的再生想像。研究對象為日本新潟縣十日町市與津南町自2000年起每三年舉辦一次的「大地藝術祭．越後妻有藝術三年展」。以質性「文獻分析」與「參與觀察」為研究方法，梳理大地藝術祭的文獻資料，探尋大地藝術祭的誕生背景，並參與組織的運作，研究藝術祭如何扮演地域振興的角色，以及如何從籌備至今持續18年。
本研究發現，地域政策與政治思維是大地藝術祭．越後妻有藝術三年展背後的重要支援架構，文化與藝術則是建立於的實踐手段與表徵方法，也就是說大地藝術祭的成功並不只是藝術方面的成就，還必須有深刻的政策背景與環境思維。作者也認為這場大地藝術祭的本質並不是在抵抗全球化，它仍然無法外於全球化脈絡與西方中心的藝術世界，而是從全球趨同化中開創的趨異對策。
Ever since the translated version of Mapping the Terrain was published in Taiwan, the New Genre P... more Ever since the translated version of Mapping the Terrain was published in Taiwan, the New Genre Public Art has become known as a new pattern of art, deriving both discourses and practices. After governmental constructive involvements and Community Empowerment, it has developed not only western horizontal transplantation but also local significance. This article focuses on the two-year plan "Environmental Art Movement at Plum Tree Creek", which links to the ecological system of Plum Tree Creek to present artistic significance. Criticisms of new genre public all will also be used to discuss how the problems of new genre public art can be solved through this movement.
2004年《量繪形貌》一書的翻譯出版開始，「新類型公共藝術」在臺灣開始以一個新的藝術型態被認知，發生實踐與論述，在臺灣公家單位的積極介入，接續了社區總體營造之發展延伸，發展出不僅是西方橫向論述移植而發展出地方的意義。本文以2010年國家文化藝術基金會視覺藝術策展類補助的二年計畫《樹梅坑溪環境藝術行動》為研究對象，連結以樹梅坑溪為軸的周邊生態，從中討論新類型公共藝術的展示問題，如何輻射出藝術內涵，並且從幾項對新類型公共藝術的批判出發，觀察樹梅坑溪環境藝術行動處理新類型公共藝術問題的方式。
Body, Space & Technology, 2018
Nu Shu GPS: 25 °21’00.5N, 111°27’17.7E – an interdisciplinary cooperation between dance, calligra... more Nu Shu GPS: 25 °21’00.5N, 111°27’17.7E – an interdisciplinary cooperation between dance, calligraphy, and the body in multimedia performance, began with a diary exchange between the artist and a friend, who shared their thoughts by writing in the same journal. During this ‘diary swapping’ period, they developed a semiotic system that only the two of them could under- stand. Later, the artist came across Nu Shu, the only written language in the world that exclusively women learned to write and read. The artist attempts to explore all the possible metaphors and meanings implied by Nu Shu. The performance Nu Shu GPS: 25 °21’00.5N, 111°27’17 attempts to bring this secret method of communication back to life among modern Chinese women.
This interdisciplinary performance work employs a practical approach to art through a creative collaboration among experts from different fields: choreographers, dancers, lighting designers, programmers, etc. It attempts to apply the three stages of the art creation process (Praxis, Symbol, Presence) as the three different faces for a theory regarding this work.
Please send a request if you need this article.... It is both in English and Chinese. English ve... more Please send a request if you need this article.... It is both in English and Chinese.
English version issued on a.m. post, no.116 (Sep/Oct 2015), p.65
Chinese version issued on Plus-Taiwan no.47 (Sep 2015), p.114
Written by fiona hui-wen cheng
Translated into English by Bernard Yeung
30 year after the lifting of martial law in Taiwan, hardly any young artists/curators still talks about the nation and ideology. From ‘Reverse Niche’ to ‘Beyond the Borderline’, the research of curator Alice Ko is rooted in urban discussion, in the visual and calligraphy. She is one of the few emerging curators who question the national machine with a rather radical attitude within the Taiwanese art scene that keeps an ambiguous enquiry on the border between the society and art.
Exploring the genre of art, introduce 3 cases of participatory art in Bangladesh, Indonesia and T... more Exploring the genre of art, introduce 3 cases of participatory art in Bangladesh, Indonesia and Taiwan. They are Jog art space, lifepatch, g0v.tw
Taishin Artalks Website, Dec 2013
The thesis studies and images the regeneration of places under the globalization context. The cas... more The thesis studies and images the regeneration of places under the globalization context. The case study is Echigo-Tsunami Art Triennale having been held once every three years at the Tōkamachi-shi and Tsunan-machi, Niigata prefecture, Japan since 2000. The research has been conducted by means of document analysis and participant observation. Through analyzing the archive of Echigo-Tsunami Art Triennale on how it began, and participating in the operation of its organization, the researcher studies how Echigo-Tsunami Art Triennale has played as a catalyst in reviving Niigata prefecture with the effects lasting for 18 years since the very beginning of the Triennale.
The research found that the regional policy and political thought behind support and frame Echigo-Tsunami Art Triennale while art and culture only serve as practical methods and symbolic representation, which is to say, the success of Echigo-Tsunami Art Triennale doesn’t rely on art itself but also the policy and environmental thought deeply rooted in the local government . The author also thinks that, essentially, the Echigo-Tsunami Art Triennale is not aimed to resist globalization because it still cannot be excluded from the contexts of globalization and Western-centric art world. Instead, this triennale intends to create a strategy for heterogenization in the midst of global homogenization.
グローバル化の進行はあらゆる社会資本を個人に還元し、都市と地方、農、漁業を有する地域、また山間部や臨海地域における環境を均質化してきた。それに対して、ポストモダンの地域再生の可能性は、本研究の背景である。その中に「魅力ある差異」を創造するために現代美術による活性化事業が始まっている。その背景で、新潟県十日町地域の「大地の芸術祭．越後妻有アートトリエンナーレ（以下大地の芸術祭と略称）」はこれまで１２年間で大きなフェスティバルを三年一度、行っている。
この研究は大地の芸術祭を支えているのはアートワールドのシステムより日本の地域政策と仮説として、文献の分析と、実際のイベントに関与する形での研究方法をとり、下部構造の支援政策とその社会背景を分析したものである。ここでは「里創プラン」、「アートネックレス構想」から２０１２年まで、政策、財源変化、作品との関係を推察した。結果、大地の芸術祭の地域に基づくアートプロジェクトは社会的意義があるが、欧米中心のアートワールドを避けられない。またそういう状態は、ここで抵抗しているグローバリズムの構造的問題をより複雑にしていると主張。
本論文研究背景為全球化情勢之下，後現代地方的再生想像。研究對象為日本新潟縣十日町市與津南町自2000年起每三年舉辦一次的「大地藝術祭．越後妻有藝術三年展」。以質性「文獻分析」與「參與觀察」為研究方法，梳理大地藝術祭的文獻資料，探尋大地藝術祭的誕生背景，並參與組織的運作，研究藝術祭如何扮演地域振興的角色，以及如何從籌備至今持續18年。
本研究發現，地域政策與政治思維是大地藝術祭．越後妻有藝術三年展背後的重要支援架構，文化與藝術則是建立於的實踐手段與表徵方法，也就是說大地藝術祭的成功並不只是藝術方面的成就，還必須有深刻的政策背景與環境思維。作者也認為這場大地藝術祭的本質並不是在抵抗全球化，它仍然無法外於全球化脈絡與西方中心的藝術世界，而是從全球趨同化中開創的趨異對策。
Ever since the translated version of Mapping the Terrain was published in Taiwan, the New Genre P... more Ever since the translated version of Mapping the Terrain was published in Taiwan, the New Genre Public Art has become known as a new pattern of art, deriving both discourses and practices. After governmental constructive involvements and Community Empowerment, it has developed not only western horizontal transplantation but also local significance. This article focuses on the two-year plan "Environmental Art Movement at Plum Tree Creek", which links to the ecological system of Plum Tree Creek to present artistic significance. Criticisms of new genre public all will also be used to discuss how the problems of new genre public art can be solved through this movement.
2004年《量繪形貌》一書的翻譯出版開始，「新類型公共藝術」在臺灣開始以一個新的藝術型態被認知，發生實踐與論述，在臺灣公家單位的積極介入，接續了社區總體營造之發展延伸，發展出不僅是西方橫向論述移植而發展出地方的意義。本文以2010年國家文化藝術基金會視覺藝術策展類補助的二年計畫《樹梅坑溪環境藝術行動》為研究對象，連結以樹梅坑溪為軸的周邊生態，從中討論新類型公共藝術的展示問題，如何輻射出藝術內涵，並且從幾項對新類型公共藝術的批判出發，觀察樹梅坑溪環境藝術行動處理新類型公共藝術問題的方式。