「2025 觀察者論壇」旨在匯聚來自不同國家的藝評人，透過觀點交流與經驗分享，共同探討當代藝文現象的多元面貌。本次臺灣與會平台／單位包括劇評人協會、藝評人協會、國藝會、台新銀行文化藝術基金會、放映週報與CREATORS觀察團等。論壇期望深化東南亞藝評界與臺灣藝文生態的相互理解，提昇評論領域的國際能見度，並藉此創造更多的關注與合作契機。
The 2025 Observers Forum brings together arts critics from diverse national backgrounds to exchange perspectives and share experiences, collectively exploring the multifaceted nature of contemporary arts and culture. Participating Taiwanese organizations include IACT TW, AICA Taiwan, National Culture and Arts Foundation, Taishin Bank Foundation for Arts and Culture, Funscreen, and CREATORS Reviewing Observer Collective. The forum seeks to deepen mutual understanding between Southeast Asian critics and Taiwan’s cultural scene, raise the international visibility of the field of arts criticism, and create new opportunities for dialogue, recognition, and collaboration.
場次1 / 東南亞藝術與文化評論現況
Session 1 / The Contemporary Landscape of Art and Cultural Criticism in Southeast Asia
講者 speakers / 講題內容 Content
▶拜爾蓋絲・希賈斯 Bilqis Hijjas (Malaysia)
作為舞蹈評論家，拜爾蓋絲・希賈斯常看到富有才華、重要的舞蹈家在年齡偏見下離開舞台。在ArtsEquator的研究計畫中，她發表一系列文章，彰顯資深表演者的貢獻，並呼籲資深大馬舞者應以勇氣、誠實、創新來應對。她認為只專注於傳授舞蹈技巧的教育界應擔起責任，應該理解並傳達技巧只不過是舞蹈藝術、舞者養成的眾多要素之一。
As a dance critic in Malaysia, Bilqis Hijjas has often witnessed talented, valuable dance artists retiring from the stage because they have internalized a prejudice against older dancers. For her Arts Equator Fellowship, she wrote a series of articles highlighting the continuing contributions of older performers, and ended with a manifesto advocating courage, honesty, and innovation for aging Malaysian dancers. She believes the onus falls on leaders in dance education, who are often preoccupied with coaching towards technical mastery, to comprehend and communicate that technique is really only one of many elements that makes an interesting dance and a watchable dancer.
▶陳霖靈 Corrie Tan (Singapore)
陳霖靈將從專業發展及政治意涵兩方面來討論長篇藝評在新加坡的現況。是獨立數位雜誌Jom的藝術編輯，近期以研究海線東南亞表演評論的新典範和曲徑取得戲劇和表演研究博士學位。她將在論壇分享過去15年對新加坡表演藝術環境的深度觀察，以及作為藝評，如何與其筆下所面對的藝術家和讀者們共同成長。
Corrie Tan will discuss the state of long-form arts criticism in Singapore, both in terms of its professional development and its political implications. Corrie is the arts editor of Jom, an independent digital magazine covering culture, society, politics and more in Singapore, and also recently completed her PhD in Theatre and Performance Studies on new paradigms and approaches to performance criticism in archipelagic South-east Asia. Her sharing will address what it means to be deeply attentive to a local performing arts scene over the course of 15 years, and how a critic might grow together with the artists and audiences she writes for.
▶寶琳・米蘭達 Pauline Miranda (Philippines)
作家和編輯，現居馬尼拉，2019 年起在 Nolisoli發表劇評，同時也是 Surely Support Group 播客節目製作人/共同主持人，負責報導馬尼拉戲劇界。她認為，社群媒體和數位化固然有助劇場行銷，但因體制和財務支持匱乏，尚有很大努力空間。她將討論產業相關(包含非學術性)檔案/數據無法取得的問題。寶琳・米蘭達女士在為期 6 個月的 ArtsEquator的獎助期間，研究了菲律賓劇場過去幾年的發展趨勢、疫後業界的成長，並訪談關鍵人物以瞭解劇場界的狀況、挑戰和機會。
Pauline Miranda is a Manila-based writer and editor, publishing theater reviews on Nolisoli.ph since 2019 and a producer/co-host of the Surely Support Group Podcast, covering Manila’s theater scene. Pauline believes that while social media and digitalization has helped in improving theater marketing, there’s still a lot of work to be done, as institutional and financial support is still lacking. Her presentation will also discuss a lack of accessible (and non-academic) documentation/data on the industry. During her 6-month ArtsEquator Fellowship, Pauline examined the trends in Filipono theatre from the past years, looked at the growth of the industry post-pandemic, and conducted interviews with a few key players in the industry to get a pulse on the state of the theater scene, the challenges, and opportunities.
▶拉卡・易卜拉欣 Raka Ibrahim (Indonesia)
拉卡・易卜拉欣將以「地球已忘了季節」(The Earth Has Forgotten Its Seasons)為題進行簡報。從遙遠的海岸到邊陲的海洋文明，印尼群島的藝術形式多樣，但卻能以一個概念貫穿：它不曾以實體方式出現，而是存在認同、儀式和土地這些更大的力量裡。將先分享幾個案例，最後聚焦被大火燒毀的布魯島，介紹當地的文化工作者如何透過書寫、影像及田野錄音，保存正在消失的藝術形式。如同印尼群島上許多的藝術書寫案例，藝術工作者必需應對美學之外的力量，因為寫作和紀錄藝術的行動使他們與既有身份對立，面對當前的社會政治議題，甚至陷入部落衝突。
Raka Ibrahim will share his presentation titled BUMINE WIS LALI MONGSO // The Earth Has Forgotten Its Seasons. From distant shores to remote outposts of coastal civilization, the Indonesian archipelago's art takes on many forms but is united by one mantra: it is never an entity in of itself, rather it is embedded within larger forces of identity, ritual, and land. He will look at several examples before resting our gaze in the fireswept island of Buru - where a motley crew of cultural activists use writing, videos, and guerrilla field recording to preserve a perishing art form.As with many instances of art writing around the archipelago, it forces art practitioners to contend with forces beyond aesthetics, as the very act of writing and remembering art puts them in opposition with long-held identities, taking on contemporary socio-political issues, and even wading into tribal conflicts.
▶圖敏妙 Thu Myint Myat (Burmese)
圖敏妙擅長評析藝術和電影， 2021 年獲得SOUTHEAST OF NOW 的新銳作家獎助， 2023 年獲選ArtsEquator 學人。 她將在論壇中分享在緬甸作為年輕女性書寫者的經驗、其致力提升各界對緬甸藝術環境理解的努力，以及希望在東南亞能做更多事情的動力。
Thu Myint Myat is a writer from Myanmar who specializes in creative writing, in-depth analysis and commentary in arts and film. She received the Emerging Writers Fellowship from SOUTHEAST OF NOW in 2021 and ArtsEquator Fellowship 2023. She will share her experience as a young female writer in Myanmar, her commitment to bringing understanding to the arts landscape in her country and her motivation to do more within Southeast Asia.
▶沃拉科恩・比利・魯泰瓦尼奇庫爾 Vorakorn ‘Billy’ Ruetaivanichkul (Thai)
比利將討論湄公河域藝評發展的限制，並凸顯以數位工具促進對話的可能性。 現於格里菲斯電影學院(Griffith Film School)攻讀碩士，研究以AI編劇進行區域敘事。其為泰國日報(Thairath)和 The Mission 撰稿，分享跨國電影製作經驗，以透過電影探索湄公河虛構敘事之計畫獲得ArtsEquator獎助。
Vorakorn Ruetaivanichkul will discuss the limited opportunities for the development of Mekong arts criticism platforms and highlight the potential for digital tools to enhance dialogue. Vorakorn is a Thai writer and researcher currently completing his Master of Philosophy at Griffith Film School, researching AI screenwriting for regional narratives. He writes for Thairath and themissionth.co, sharing his experience in transnational filmmaking and later exploring Mekong speculative fiction through film for his ArtsEquator Fellowship project.
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場次2 / 機構與平台的角色—臺灣藝術暨文化評論生態觀察
Session 2 / The Role of Institutions and Platforms: An Observational Study of the Ecosystem of Art and Cultural Criticism in Taiwan
講者 speakers / 講題 Topic / 講題內容 Content
▶王聖閎 Sheng-hung WANG
藝術計畫的潛存性與文化實驗中的觀察書寫
The Latency of Art Projects and Observational Writing in Cultural Experiments
本場次的分享將觸及三項議題：1. 空總「CREATORS計畫」對觀察員的設置，以及「文化實驗」不以成果為導向的特性，為評論書寫帶來哪些新的課題？2.觀察員在創研過程的前、中期就進場與藝術家展開對話。這種「參與觀察」有哪些寫作倫理問題必須詳加考慮？3. 觀察員的寫作如何在語言文字的固著化作用，以及計畫執行的偶然、機遇及流變之間來回斟酌？
This session will explore three key topics : 1. How does the C-LAB "CREATORS Program" assign observers, and how does the non-outcome-driven nature of "cultural experiments" introduce new challenges for critical writing? 2. Observers engage in dialogue with artists from the early to mid-stages of the creative research process. What ethical considerations must be addressed in this form of "participatory observation" writing? 3. How can observers navigate between the fixity of language and text and the contingency, opportunities, and fluidity inherent in project execution?
▶余岱融 Tai-Jung YU
後紙本時代的表演評論與檔案
Performance Criticism and Archives in the Post-Print Era
2024年，臺灣歷史最悠久的劇場刊物《PAR表演藝術雜誌》，於發行31年後停止刊印，宣告了臺灣表演評論的全面數位化。虛擬比現實更符合現實的時代，表演評論的公共空間有什麼變化？眾所期盼的表演檔案庫又在哪裡？
In 2024, Taiwan’s longest-running theatre magazine, Performing arts redefined, ceased publication after 31 years. This reflects the declining presence of theatre criticism in Taiwan. As digital and virtual platforms become dominant, how have theatre criticism and its public space transformed? What are the new forms of performance criticism?
▶秦雅君 Ya-chun CHIN
關於藝術評論，國藝會做過與持續在做的「 」
Reflections on Arts Criticism—What Have National Culture and Arts Foundation Done and Sustained?
以藝術評論領域為範疇，簡介財團法人國家文化藝術基金會歷來所策劃、執行過的各項計畫。
This talk will examine the National Culture and Arts Foundation’s past initiatives in fostering arts criticism. It will present case studies on supported projects and discuss future directions for institutional arts criticism funding.
▶陳 晞 Sid CHEN
重新思考藝術評論的意義網絡：AICA Taiwan的視角
Rethinking the Network of Meaning in Art Criticism: The Perspective of AICA Taiwan
希望以藝評人協會的視角，淺談藝術評論目前在國際交流與國內對話時，如何面對如今機構自媒體與社群化的現狀。
From the perspective of the 「AICA Taiwan」 , this talk will explore the current state of arts criticism in international exchanges and within Taiwan. It will also discuss how institutions can create an ecosystem for the development of self-organized arts criticism.
▶葉人瑜 Ren-yu YE
ARTalks與台新藝術獎
ARTalks and the Taishin Arts Award
「台新藝術獎」於2002 年開辦，關照台灣視覺、表演及跨領域藝術創作，首創主動提名及跨域評選機制，以及隨獎項建立持恆的評論發表。2013年成立ARTalks網路平台，除了提名觀察人發表藝術觀點與觀察，亦建立公眾參與的評論管道，期待「藝術跨越疆界，產生溝通力量；談論引動思辯，傳達豐盛訊息」。
In 2002, the Foundation established the Taishin Arts Award, focusing on performing and visual arts in Taiwan. It actively promotes and records contemporary art development. In 2013, the ARTalks platform was launched to provide both professional critique and public discussion. This talk will explore how ARTalks enhances public engagement in art discourse through interviews, written critiques, and communication strategies.
▶蔡曉松 Hsiao-Sung TSAI
機構內的獨立評論平台—當代電影評論的特殊性觀察
The Unique Observations of Independent Review Platforms within Institutions—A Case Study of Contemporary Film Criticism
臺灣電影評論生態多變，評論書寫策略亦常隨刊載平台不同而相互影響。在「影評」概念愈發模糊的當下，本次短講將以《放映週報》經驗，分享機構下的評論平台，如何理解並實踐獨立性價值，以及當前臺灣電影評論之挑戰。
Taiwanese film criticism has evolved into a diverse ecosystem, with film critics frequently publishing across different platforms, often adjusting their perspectives accordingly. This talk will focus on the experience of "Funscreen," a independent review platform within an institution, discussing its uniqueness, editorial approach, and Taiwan’s current film criticism landscape.
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Online registration required. Free admission.
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