本文分析三個與「南方」相關之策展實踐：「南國．國南－台越藝術家交流計畫」（齁空間與Zero Station，2012-2013）、「南方：問與聽的藝術」（高雄市立美術館，2017）、「南方以南：南迴藝術計畫」（南迴四個鄉鎮多處空間與活動，2018）等，探討台灣作為一個多重殖民歷史的國家，置身於強權環繞的地緣競爭，「製造南方」作為策展方法的驅動力為何？是自我認同之探索，抑或符合政治正確？「南方」概念如何影響當代策展？「南方策展」實踐可能成為翻轉的利器，去動搖傳統慣習呈現邊緣地區藝術的方式，還是僅僅強化全球化藝術世界的現有階級？本文認為曖昧多義的「南方」在當代展覽之中持續現身，這些展覽也不斷拓展「南方」之於台灣的多面向意義：從地理區位到台灣內部的南北不均，到全球南方相關的現代性與生態議題，再到東南亞與南島語系等。
製造南方、台灣當代藝術、策展研究、想像地理
This paper critically examines three exhibitions relating to the idea of "South". In particular, it will analyze a number of case studies, such as South Country, South of Country – Vietnamese & Taiwanese Artists Exchange Project (Howl Space, Tainan, 2012-2013), The South: An Art of Asking and Listening (Kaohsiung Museum of Fine Arts, 2017), The Hidden South (presented in multiple spaces across four towns in the south-link areas, 2018) and so on in order to probe the questions of curating in Taiwan in the context of its multi-layer colonized history, and as a country marked by geopolitical rivalry. What is driving force behind "making south" as a curatorial method? Is it an attempt to explore Taiwan's identity or an expression of political correctness? How does the ambiguity of the idea of the "South" impact on contemporary curating? Could the practice of "Curating the South" become a strategy to unsettle conventional ways of presenting art from the margins, or does it simply reinforce the existing hierarchies of the globalized art world? This paper argues that the ambiguity of the idea of the "South" has frequently emerged in various exhibitions. In the context of Taiwan, a number of exhibitions have expanded the multi-faceted meaning of the "South," marking its geo-cultural and geo-political location as well as defining its uneven internal development between the North and South and its modernity and ecological future as part of the Global South and as aligned with Southeast Asia and Austronesia.
Making South, Taiwan Contemporary Art, Curatorial Studies, Imaged Geography
