《七個身體與會說話的海》探討後人類世的身體政治，藉由工作坊的型態組織一個臨時性社群，鼓勵徵選出的參與者與藝術家們進行新的探索與思辯，涵蓋了各種向內與向外探索身體、意識、心智、媒體與環境的練習，透過藝術家將研究與創作方法轉換成共感經驗的路徑，與會者重新學習、共同演練和翻轉彼此交構的政治空間與關係，在感受力和敏銳度擴延的同時，我們並將眼光投向細菌、苔蘚與更多環境中不顯見之物，去貼近共生與共存於更多維度的可能。
來自亞洲不同國家的藝術家設計了一系列的工作坊，各項主題包括：深度聆聽與迴聲定位、睡眠沙龍、心智皮膚編譜、社會發酵、魔術野餐、遊行與公共空間、遊樂場裝置、關於孤立與團結、關於遷徙、傳送與毅力、電影內觀。
緩步動物與清邁大學藝術學院跨領域藝術學系合作，在其校區及周邊地景舉辦連續五天的創意開發活動，透過藝術家將創作思維重新書寫為共感體驗的方法，知識轉化成超越文字的感知頻率，推出一套藝術實驗教育的範式。
指導單位：文化部
主辦單位：財團法人文化臺灣基金會
計畫協力：SEA plateaus
策劃製作：緩步動物
協辦單位：清邁大學藝術學院跨領域藝術學系
特別感謝：Lanna Rice Research Center、The Land Foundation
行政協力：Thitiphorn Kotham
視覺設計：Shin Shin
影像紀錄：Thiranun Kunatum、Jirawat Tunprasert
藝術家簡歷
lololol （台灣）
藝術團體 lololol 由張欣與林亭君組成。
lololol 是循環的笑聲，0與1構成無盡陰陽變化，同時演示電腦語言的基礎脈動。lololol 悠遊於虛實之間的地平線上，不受限於制定的文化邏輯或角色扮演。由兩位藝術家於2013共同發起，作為藝術團體主要關心科技生活中的身體政治，借鏡道家思想相關科技論去重新思考我們所身處的世界秩序。她們近年的創作擅長各種身體表演性、裝置性的媒材，到VR技術的開拓等，展現出各種身心與科技對應而生的倫理與策略。
https://lololol.net/
吳松吉 Chitti Kasemkitvatana（泰國）
居於曼谷的藝術家、策展人。他在墨爾本 RMIT大學取得藝術學士，在 1997 年協同創辦 About Art Related Activities，活躍於當地藝術場景裡。2001 年毅然出家七年，在泰國北部森林裡修習佛法。重返藝術工作後，其作品轉向以觀念藝術與極簡主義的實踐，在精神生活上構築新的想像，探討在場性與缺席、實在和虛空的互置，並在這些轉換之間觀察到訊息意義在網絡間的生產與傳遞。近年來又協同成立了出版品和計畫性空間 Messy Sky。
他的展覽經驗豐富，曾展出在維也納分離宮、波爾多當代藝術美術館、紐約 PS1、巴黎 Le Plateau, Level One, Kadist、廣州時代美術館等。
https://kasemkitvatana.tumblr.com/
Rafika Lifi（印尼）
還不願定義特定領域的獨立藝術研究者，以多重專業和實踐方案持續拓展藝術實踐的可能性。對寫作的興趣主要從錄像藝術、數位文化、虛擬空間、科技、神經機械學等所知會的理論基礎出發，熱衷發展各種對社會與社群具有影響力意義的想法。目前正作為一個中介角色，協助籌辦 2021年雅加達雙年展。
https://rafikalifi.medium.com
羅子涵 Zihan Loo（新加坡）
羅子涵目前於加州大學柏克萊學院的表演藝術研究所攻讀博士，他的論文將審視新加坡藝術場景中的酷兒姿態與反抗樣貌，關注那些非法性身體和其易失格及變形的記憶之活性路徑，他希望採取反向的策略操作來回應，僵化的檔案是如何靜止或偷竊了生活。雙碩士分別畢業於芝加哥藝術學院以及紐約大學蒂施藝術學院。
羅子涵作為一個在表演、舞蹈、劇場、視覺藝術領域內的教育者和表演者，曾任教於新加坡南洋理工大學藝術學院、2015年獲頒國家藝術基金會的青年藝術家獎，2017年或 M1-The Straits Time Life 的最佳多媒體設計獎。
www.loozihan.com
阮芳伶 Linh Phuong Nguyen （越南）
居於河內的觀念藝術家，阮芳伶的創作實踐媒材跨越裝置、雕塑錄像，作品傳達人類生命中的疏離、非得其所與稍縱即逝。她關注越南的地理文化轉變、傳統根源、碎片化的歷史，而這些也同時是民族、信仰、文化與地理政治交錯織疊的風景，她常透過旅行、田野調查、在各種邊界交換的歷史地點進行撿拾等，來進一步將物質轉化作為理解歷史片段和個人敘事的觀點與詮釋。
她的父親為越南第一個獨立藝術機構 Nha San Studio 的創始人之一，而她也在 2013 年成立 Nha San Collective，以游擊工作的方式來接續已被查封的 Nha San Studio之獨立和實驗精神，她在當地社群裡同時以藝術家和組織者的身份活躍，關注青年藝術世代的互助養成，持續對越南的政治社會、歷史傳統問題，進行新的探索。
陳業亮 Henry Tan（泰國）
現居曼谷的藝術家，曼谷觸角藝術空間的創辦人之一，泰國藝術團體Freaklab的成員，日本藝術團體metaPhorest的成員。2016年上海外灘美術館駐館藝術家，參與台北表演藝術節多項計劃發表。運用生物合成技術與現實、腦部刺激、人工智慧的結合運用，他的創作探索生命與擬態的概念，生命如何在變化的環境中，包括氣候、地緣政治、地緣經濟等，去協調與協商。作品通常透過特定場域和脈絡來進行操作，媒材運用靈活。最新的作品系列以觸覺、嗅覺探討人類的記憶與意識如何轉換在未來的複製人實驗室中。
https://www.henryandpartners.com/
大米釀造姐妹俱樂部 Rice Brewing Sisters Club（韓國，由申賢珍、柳卲玧、孫惠慜三位組成）
大米釀造姐妹俱樂部是一個姐妹團體，他們以「社會發酵」作為一種藝術形式進行試驗，將其視為一個包容了視覺藝術、表演、烹飪、創意寫作、口述歷史、生態思維和母職輩智慧的開放式過程。同樣通過引入各種形式的「社會」元素，我們實驗將感官與關係聯繫起來的方法。我們以年度會員的身份運營，並旨在是超越領域的界限進行協作，透過開放式平台，連結許多不同地區的食米者，過去、現在和將來的居住者，以及其他各種人類和非人類的匯聚並創建協同網絡。
https://www.instagram.com/ricebrewingsistersclub/
王永安 Wang Yung An（台灣）
王永安映射認知神經科學知識脈絡，創作語彙遊走於劇場與視覺的多重介質，以觸覺感官先決的問題意識，推演皮膚之下內部觸感的物質動態，重新部署視覺霸權下的身體符碼、邊界和內感的生命策略，試圖平衡人與非人空間的可能。創作命題從觸覺作為一種觀看方式，進而提問─皮膚作為一種思考器官的藝術實踐企圖。
https://wangyungan.com/
Via a series of workshops, 7 Bodies & the Talking Sea investigated body politics in our post-anthropocene society. In November of 2022, selected participants and artists created a temporary community to collectively create and explore a discursive space via many exercises that embodied an inner journey as well an outward adventure with body and mind, the media and other surroundings. Participants transformed artistic research and creative methodologies into immersive and sensory experiences. By doing so, participants unlearned habitual actions and rehearsed new political relationships and space. While expanding sensibilities and sharpening senses, we learned to lay eyes on many invisible beings, such as bacteria and the growth of moss, to grasp different meanings of symbiosis beyond the human perspective.
Artists created sensible forms of knowledge, and reframed their creative ideas as transmittable frequencies that speak louder than words. Hailing from different Asian countries, these artists shared diverse content and designed various workshop sessions, including: “Deep Listening & Echolocation”, “Sleep Salon”, “Mind-Skin Code”, “Seokkeodoongdoong”, “Magic In Magic Out: The Magic Picnic”, “On Procession and Public Space”, “The Playground”, “On Solitary-Solidarity”, “On Migration, Transmission & Perseverance”, and “Cinema Vipassana”. During these consecutive exercises, a collective performative experience was formed to contemplate everyday experiences, such as gazing, listening, touching, sleeping, and to engage these actions in a generated political paradigm.
Proposed as an experimental art education model, this five-day event which took place in Chiang Mai University and its surrounding landscape was presented by Moss Piglets and co-hosted by the Multidisciplinary Art, Faculty of Fine Arts.
Advised by: Ministry of Culture, Taiwan
Organized by: The Cultural Taiwan Foundation
Co-organized by: SEA plateaus
Produced by: Moss Piglets
Co-hosted by: Multidisciplinary Art, Faculty of Fine Arts, Chiang Mai University
Special thanks to: Lanna Rice Research Center, The Land Foundation
Project Manager: Thitiphorn Kotham
Visual Design: Shin Shin
Photographer: Thiranun Kunatum, Jirawat Tunprasert
Artist Biographies
Chitti Kasemkitvatana
At the center of Kasemkitvatana's work stands a concept of ephemerality and emptiness, of the presence of the absent with particular focus on its permeability. Historical and contemporary sources of his research –– including passages of Thai modernity, scientific proposals and poetical measurement of time –– are brought together to unveil the interconnectedness of current events and the wider tapestry of history in which they unfold. His created objects are devices for reconnecting life, art, environment, politics and the universe. Each are steps forming a spiral staircase that winds round and round through echoes and repetition, circling an empty core.
Artistic, curatorial, educational and publishing work all have an equal footing within Kasemkitvatana's practice. At the turn of the millennium, he worked at VER Magazine and curated exhibitions at About Studio/About Cafe. His recent collaborative and curatorial works include Messy Sky Magazine, Messy Project Space, and The Immeasurable and World’s End (JWD Art Space, 2022). For his artistic practice, he has exhibited in numerous shows including Stories We Tell To Scare Ourselves With (MOCA Taipei, 2019) and Bangkok Art Biennale (The Prelude One Bangkok, 2022). A recipient of the 2014 DAAD Artist-in-Berlin program, Kasemkitvatana currently lives and works in Bangkok.
rlirl
A human[ ]bot — currently running and (re)navigating www.hoppla.id, a hub for (expanded) media uncertainty –– rlirl is living life in a party of confusion and creating a NET (or cult), but not art. Net-with-art is dull and irrelevant teehee. Let's fill in the magical space [ ] between humans and technology. Let’s host a picnic and throw a party of confusion teehee ヽ༼ ຈل͜ຈ༼ ▀̿̿Ĺ̯̿̿▀̿ ̿༽Ɵ͆ل͜Ɵ͆ ༽ﾉ
lololol
lololol is boundless laughter, an endless extension of lol (laugh out loud), an acronym that appears to be constructed by the building blocks of I-Ching and/or computer code. Founded by Xia Lin and Sheryl Cheung in 2013, the artist collective focuses on how emotions and body politics are informed by diverse technology cultures, with a special interest in martial arts and Tao-informed philosophies. Their technological interests range from medicine to ancient knowledge of martial arts, to all kinds of contemporary inventions. Future Tao is the group’s ongoing initiative to engage with Taoist mind and body practices as an alternative approach to technological exploration.
lololol.net
Zihan Loo
Zihan Loo is pursuing a PhD in performance studies at the University of California, Berkeley. He received his MFA in Studio Practice (Filmmaking) from the School of the Art Institute of Chicago, and obtained his MA in Performance Studies at New York University.
His research focuses on performance and resistance in Singapore. He is interested in examining the affinities between queer and ecological dispossession. Beyond academia, Zihan is an educator and artist working in performance, dance, theater and the visual arts. He has taught at various arts institutions including Nanyang Academy of Fine Arts and the School of the Arts, Singapore. He received the Young Artist Award from the National Arts Council in Singapore in 2015.
www.loozihan.com
Phuong Linh Nguyen
Phuong Linh Nguyen is a conceptual artist living and working in Hanoi, Vietnam. Her multidisciplinary practice incorporates video and installation work and is concerned
with geographic cultural shifts, traditional roots, and the fragmented history of Vietnam. Her work contemplates notions of an visible/invisible truth, form and time, while conveying a pervasive sense of dislocation and the ephemeral.
In 2013 Phuong Linh co-founded and co-directed Nhà Sàn Collective, a group of young artists dedicated to pushing the boundaries of expression in Vietnam as well as supporting other young artists in the community. The collective is rooted in the spirit of the Nhà Sàn Studio, the first artist-run space in Vietnam which was co-founded by her father in 1998 in her childhood home, a traditional wooden house on stilts. Phuong Linh received the Pollock Krasner award in 2017, and in 2018 her solo show Trùng Mù - Endless Sightless was exhibited at BACC Bangkok for the Hans Nefkens BACC award. In 2022, the Nhà Sàn Collective presented their practice at Documenta 15 in Kassel.
Rice Brewing Sisters Club
Rice Brewing Sisters Club (RBSC) –– currently composed of Hyemin Son, Aletheia Hyun-Jin Shin, and Soyoon Ryu –– is a collective that experiments with the processes of "social fermentation" as an artistic form. With a participatory practice encompassing visual art, performance, creative writing, oral history, ecological thinking, and auntie wisdom, RBSC seeks to build synergetic networks to connect the sensorial with the relational and co-create visions for the future.
Henry Tan
Henry Tan is an artist based in Bangkok and is co-founder of Tentacles Art Space, a member of Freaklab, Thailand, as well as a member of metaPhorest, Japan. Henry explores various concepts around life and simulation through the investigation of technology. These incorporate ideas around synthetic biology, mixed reality, brain stimulation and artificial intelligence. He is interested in how lifeforms adapt to and negotiate with changing environmental conditions including the climate, geopolitics and geoeconomics.
Henry collaborated with Fablab Hamamatsu and Kornkarn Rungsawang to create The Lunartic Dream Project (2021). This work investigates human interplanetary desires and ideology by combining mythology and advanced technology to materialize the human-non-human dream of spreading life to other planets. In the Young Eel project (2019), Henry combines lab-grown meat, brainwave, sound, and light to reanimate sleepers and transfer consciousness and memories into cloned bodies. Through an exploration of sleep and dreams, he investigates aging society and environmental concerns for human and eel populations.
Wang Yung An
Wang Yung An focuses her research in the context of touch cognitive mechanisms, while expanding her artistic approach through performance and visual language. With an emphasis on deducing inner-material dynamics under the skin, Wang has been developing a touch score/script system to investigate biopolitics via varying body codes, boundaries and interoceptive feelings. Her work touches on the gaps between human and non-human life. Her creative propositions question the haptics of seeing, as well as how skin can act as a thinking organ.
wangyungan.com
