國立臺灣美術館

1.娜塔莉．穆恰馬德 Nathalie Muchamad,

簡介

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娜塔莉．穆恰馬德出生於太平洋上的新喀里多尼亞，現居馬約特島。她的創作大多為影片、繪畫、文字，與裝置作品，並且透過對於多樣性的探討觸及相關的地理與歷史議題。娜塔莉．穆恰馬德透過自身印尼爪哇與大洋洲的新喀里多尼亞／卡納克人身份，進一步反思在歷史的追尋之下所解構的身份。藝術家挪用不同的主題與檔案，進而探索殖民主義中的貿易與商品，並且提出香料與植物的歷史研究，畢竟在墾殖世的脈絡中，歐洲海外領土的人口往往與香料與植物的貿易相關。娜塔莉．穆恰馬德的作品已在「科欽－穆齊里斯雙年展」（2022-23）、「第十七屆伊斯坦堡雙年展」的「反抗檔案（2022）」，以及「台北雙年展」（2020）中展出。

Born in New Caledonia - Pacific Ocean and now based in Mayotte, Nathalie Muchamad’s work revolves around videos, drawings, texts, installations, taking into account a geography and its history by exploring the notion of multiplicity. By excavating her origins both from Java, Indonesia and Oceania from New Caledonia/Kanaky she questions the idea of an identity deconstructed through the quest for history. Focusing on the motif and the archive that she reappropriates, Nathalie Muchamad explores the role of trade and commodity in colonialism, proposes research on the history of spices and plants in a Plantationocene context where the conditions of establishment of the populations of European overseas territories are linked to the spice and plant trade. Her work has been previously featured in the “Kochi-Muziris Biennale” (2022-23), “17th Istanbul Biennial” as part of the “Disobedience Archive” (2022) and “Taipei Biennale” (2020).

2 .陶．雷伊．高佛Tao Leigh Goffe

簡介

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陶．雷伊．高佛出生於大英帝國核心、英國首都的倫敦，其作品探索皇室、主權、權力和殖民性等議題。成長於倫敦和紐約皇后區的她，關注島嶼生態，以及海洋與海岸之間所揭露的層疊關係。

高佛關注於聲音混音、雕塑及操演的暫時性遊戲，藉此創造影像、聲音雕塑和裝置，突顯數位工具，並運用「黑樂」（Black music）技術創造出緊密的聲響關係，對疊合交織的歐洲殖民主義進行批判。而以聲音和新媒體技術的結合，檢視詮釋資料及其他分類法是如何成為殖民分類工具的同時，唱片播放（DJing）及運用聲音混疊形構新敘事的涵意，也形塑了她的跨領域實踐。

高佛是紐約新當代藝術美術館（New Museum of Contemporary Art）藝術與科技育成中心「NEW INC」下的「創意科學」路線的計劃成員之一。她於普林斯頓大學畢業後，取得耶魯大學博士學位。目前也在紐約市立大學亨特學院（Hunter College, CUNY）擔任副教授，並主持該校的文化實驗室「亞非小組」（Afro-Asia Group），致力於建立機構體制外的知識社群，透過由理論家和技術專業人士形成的網絡，就主權議題及印尼萬隆市的藍圖，進行以未來性和建構基進結盟為核心的探索。

Born in the metropole of the British Empire in the United Kingdom, Tao Leigh Goffe’s work engages with questions of monarchy, sovereignty, power, and coloniality. Raised between London and Queens, New York, she considers island ecologies and the unfolding relationship of the sea and the shore. 

She is invested in the temporal play of remixing, sculpting, and manipulating sound, creating

videos, sound sculptures, and installations that foreground digital tools as a way of critiquing

overlapping European colonialisms by creating sonic kinship through Black music

technologies. Combining sound and new media technologies to examine how metadata and other taxonomies function as colonial sorting tools, her interdisciplinary practice is shaped by DJing and what it means to mix and layer sound to form a new narrative.

She is a member of the Creative Science track of NEW INC, the New Museum’s incubator for art and technology in New York City. She studied at Princeton University before earning her PhD at Yale University. She is also an Associate Professor at Hunter College, CUNY. On the campus, Tao runs Afro-Asia Group, an organization committed to building intellectual communities beyond institutions. A network of theoreticians and technicians, the lab centres futurity and radical coalition-building towards sovereignty and the blueprint of Bandung.

3王煜松 Wang Yu-Song

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1994出生臺灣花蓮，現居住與創作於花蓮。作品以複合媒材為主，透過自身的生命經驗及個人觀察，在生活中探索各種創作的可能。近期的作品關注於，空間中曾經存在的過去，正在發生的現在，以及可能發生的未來，所發生的事件，透過各種想像拼湊再閱讀，從自身的生活環境、生命經驗擴及到更廣的社會意識、群體關係，試圖探尋虛構及真實之間的曖昧地帶。透過物件，影像，或空間本身，將觀者帶入類似於故事性的場域，使觀者透過各種感官進入其中，自行閱讀及想像。

Born in Hualien in 1994, currently lives and works in Hualien. A mixed-media artist, he aims at exploring various possibilities of creation in everyday lives through lived experience and personal observations. His recent works focus on the “past” that has existed, the “now” that is happening, and the “future” that may take place. Wang likes to explore the ambiguous zone between fiction and reality through his own living environment, lived experience, and to a greater extent, social consciousness and relationships in groups. Through objects, images or particular spatial configurations, his works invite the viewers to open up all their senses and read and interpret the works with their own imagination.

4. 薩歐妲．伊斯瑪伊洛娃Saodat Ismailova

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生於烏茲別克，現居於巴黎。薩歐妲．伊斯瑪伊洛娃的電影涵蓋了記憶、靈性、不朽和滅絕等主題。作為中亞最重要的聲音之一，伊斯瑪伊洛娃的作品曾在「第十五屆卡塞爾文獻展」、2022年「威尼斯雙年展」、2023年柏林世界文化宮以及2023年「沙迦雙年展」中展出。

Born in Uzbekistan, lives in Paris. Saodat Ismailova’s films encompass themes of memory, spirituality, immortality, and extinction. One of the most important voices coming from Central Asia, Ismailova’s works have been featured at “Documenta fifteen”, “Venice Biennale” 2022, Haus der Kulturen der Welt (2023), Berlin; “Sharjah Biennial” (2023)

5. 陳愛瓊 Sharon Chin

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藝術家陳愛瓊（1980年生於八打靈再也）目前居住於馬來西亞波德申。她的作品包含版畫、插畫、裝置，以及協作表演計畫，曾於馬來西亞和世界各地展出。她也是「新加坡雙年展」（2013、2019）和「亞太當代藝術三年展」（布里斯本，2015）的參展藝術家。新加坡美術館和昆士蘭美術館｜現代藝術館都將她的作品納入常設館藏。她是克勞斯王子基金會文化藝術回應環境危機指導獎（CAREC）和英國文化協會文化連結獎助金的得主。近期，她關注人類、土地與處所之間關係的修復，並且聚焦於波德申地區藝術、生態與社區組織之間的交集。

Sharon Chin (b. 1980, Petaling Jaya) is an artist living in Port Dickson, Malaysia. Her work includes printmaking, illustration, installation and collaborative performance projects, and has been shown in Malaysia and around the world. She participated in the “Singapore Biennale” (2013, 2019) and the “Asia Pacific Triennial of Contemporary Art” (Brisbane, 2015). Her work is in the permanent collections of Singapore Art Museum and Queensland Art Gallery | Gallery of Modern Art. She is a current recipient of the Prince Claus Mentorship Award for Cultural and Artistic Responses to the Environmental Crisis (CAREC), as well as the British Council Connections Through Culture Grant. Recently, she has been concerned with healing the relationship between humans, land and place, focusing on the intersection of art, ecology and community organizing in Port Dickson.