2020台北雙年展參與者及參與團隊名單

Michael ARMITAGE 麥可．阿米泰吉

June BALTHAZARD and Pierre PAUZE 雋．巴爾達扎＋皮耶．保茲

Hicham BERRADA 伊山．貝哈達

Nikola BOJIĆ with Damir GAMULIN and Miro ROMAN 尼可拉．波伊奇＋達米爾．蓋姆林＋米羅．羅曼

Huai-Wen CHANG and MAS (Micro Architecture Studio) 張懷文＋MAS微建築研究室

CHANG Yung-Ta 張永達

CHEN Yin-Ju 陳瀅如

CHIN Cheng-Te, LEE Chia-Hung, LIN Chuan-Kai, and CHEN Yi-Chun 秦政德＋李佳泓＋林傳凱＋陳怡君

Cooking Sections (Daniel FERNÁNDEZ PASCUAL & Alon SCHWABE) 食事提案（丹尼爾．費南多．巴斯克瓦 & 阿隆．夏貝）

CUI Jie 崔潔

FabLab Dynamic 動態自造實驗室

Anne-Charlotte FINEL 安－夏洛特．芬內

Jean-Michel FRODON and Rasha SALTI with COLLECTIVE 讓－米歇．弗東＋拉夏．莎提；COLLECTIVE

Joana HADJITHOMAS & Khalil JOREIGE 喬安娜．哈吉托馬斯 & 哈利爾．喬雷吉

DJ HATFIELD and Siki Sufin with Rahic Talif 施永德＋希巨．蘇飛＋拉黑子．達立夫

Femke HERREGRAVEN 范柯．荷瑞古拉芬

James T. HONG 洪子健

HUANG Hai-Hsin 黃海欣

Pierre HUYGHE 皮耶．雨格

Hamedine KANE, Stéphane VERLET-BOTTÉRO, and Nathalie MUCHAMAD with Olivia ANANI and Lou MO 亞梅定．肯內＋史帝芬．維列－波特羅＋納塔莉．姆什瑪；歐利、莫奴

Jean KATAMBAYI MUKENDI 讓．卡通百伊．姆肯迪

Aruwai KAUMAKAN 武玉玲

Navine G. KHAN-DOSSOS 納薇恩．康－多叟

Franck LEIBOVICI & Julien SEROUSSI 法蘭克．列布維奇 & 朱利安．塞胡西

LIU Chuang 劉窗

MILLIØNS (Zeina KOREITEM & John MAY) with Kiel MOE and Peter OSBORNE MILLIØNS建築工作室（澤娜．柯瑞騰 & 約翰．梅）；基爾．莫＋彼得．奧斯伯恩

Marianne MORILD 瑪利安．莫里

Uriel ORLOW 尤利．奧羅

Fernando PALMA RODRÍGUEZ 費南多．帕馬．羅迪給茲

Mika ROTTENBERG 蜜卡．羅登伯格

Jonas STAAL 尤拿斯．史塔

Daniel STEEGMANN MANGRANÉ 丹尼爾．史帝曼．孟加聶

SU Yu-Hsin 蘇郁心

Cemelesai TAKIVALET 峨塞．達給伐歷得

Territorial Agency (John PALMESINO & Ann-Sofi RÖNNSKOG) 領土仲介所（約翰．帕爾曼西諾 & 安－蘇菲．瑢絲克）

Nomeda & Gediminas URBONAS 諾梅達 & 吉帝米納斯．烏爾伯納斯

Antonio VEGA MACOTELA 安東尼奧．維佳．馬克提拉

Stéphane VERLET-BOTTÉRO with Margaret SHIU and Ming-Jiun TSAI 史帝芬．維列－波特羅＋蕭麗虹＋蔡明君

Munem WASIF 慕尼．瓦希夫

YAO Jui-Chung 姚瑞中

臺北市立美術館（北美館）創立於1983年，全館樓層面積達23,784平方公尺，為臺灣第一座現、當代美術館。在過去數十年中，北美館不僅促進了臺灣近現代藝術的活絡，也持續與國際當代藝術的脈動同步。

為更積極地參與國際當代藝壇，北美館自1995年開始參加威尼斯藝術雙年展，並於1998年開始舉辦台北雙年展，邀請國際知名策展人、藝術家與臺灣藝術家合作。2020年臺北雙年展邀請法國著名學者，巴黎政治學院政治藝術學程榮譽教授布魯諾．拉圖，以及獨立策展人馬汀．圭納策畫《你我住在不同的星球上：外交新碰撞》，將臺灣帶入全球藝術網絡的舞台，持續建立與國際藝術網絡連結與對話。

作為臺灣及全球藝術交流的平台，北美館多次舉辦大型國際展覽，展出重要亞洲當代藝術家回顧展，且持續關注臺灣現當代藝術發展，規劃歷史時序性的典藏作品展，近年展出包括《蔡國強 泡美術館》（2009）、《艾未未‧缺席》（2011）、《觀‧點 －李元佳回顧展》（2014）、徐冰首次大型回顧展《徐冰：回顧展》（2014），以及《台灣製造•製造台灣：臺北市立美術館典藏展》（2015）等。同時，為持續發掘並鼓勵臺灣當代藝術創作，所舉辦《臺北美術獎》由1969年發展累積至今，已成為臺灣藝壇新秀崛起的指標性獎項。

Founded in 1983, Taipei Fine Arts Museum (TFAM) is Taiwan’s first museum of modern and contemporary art. Located in Taipei, the museum occupies over 20,000 square meters of space, of which 11,741 square meters are devoted to exhibitions. The inception of the TFAM was a response to the budding movement of modern art in Taiwan. Over the past decades, TFAM has dedicated itself to the development of modern art in Taiwan while staying abreast of ongoing trends in contemporary art.

TFAM has been participating La Biennale di Venezia since 1995. On the other hand. the museum has been hosting the Taipei Biennial since 1998, inviting internationally-renowned curators and artists to cooperate with the local artistic circle. The shows held over the past decades have increased the visibility of Taiwan and expanded the global networks on the world stage.

Over the past decades, TFAM has not only served as a platform to showcase exceptional works from both domestic and foreign artists, but also long become an incubator to engage in-depth exchanges between the Taiwanese and international art ecology. In the recent years, major retrospective of internationally renowned artists from Asia and chronological exhibitions of TFAM collection were held, these include Cai Guo-Qiang: Hanging Out in the Museum in 2009, Ai Weiwei Absent in 2011, View–Point: A Retrospective Exhibition of Li Yuan-chia, Xu Bing: A Retrospective in 2014, and Formosa in Formation: Selected works from the Taipei Fine Arts Museum Collection in 2015.

策展單位｜臺北市立美術館 TAIPEI FINE ARTS MUSEUM

1998年，臺北市立美術館首次邀請外籍策展人策劃台北美術雙年展並更名為「台北雙年展」。舉辦十二屆以來，不僅提升了台灣當代藝術在國際間的能見度，更成功地將台北納入亞洲乃至全球當代藝術的網絡，成為促進國際文化對話的驅動力。

「台北雙年展」從簡單的意義上解讀，是一個有關「當代」藝術安置在某種擴大的「全球社會」的概念裡的手段。這個大轉型歷經了二十餘年的時間，十二屆的「台北雙年展」就跟這座城市一樣，經歷着一段評估、改變、擴充與成長的時光。

長期以來，「台北雙年展」試圖建立一個聯結本地和國際社群的直接網絡，一個以美學、道德、社會、經濟為共同出發點，不帶任何意識形態

或預設立場或既定目標的社群網絡，同時藉由國際性的展覽平台積極地從深度、廣度兩方面回應當代藝術之趨勢與潮流，創造雙向溝通的對話機制。

從「新展望」、「台北美術雙年展」到當下，臺北市立美術館在構思台北雙年展計畫方面，將一本對所有可能性均採取完全開放、彈性靈活的態度。「台北雙年展」未來的目標在於擴大對話網絡，思想交流，意見交換，並在本地氛圍中尋找有效路徑，創造更豐富的交流契機。

The Taipei Biennial is the most important exhibition for promoting contemporary art held by the Taipei Fine Arts Museum.

Between 1984 and 1991, the Taipei Fine Arts Museum hosted the exhibition projects "Contemporary Art trends in the R.O.C" and "An Exhibition of Contemporary Chinese Sculpture in the Republic of China" on alternate years. In 1992, these two exhibitions were consolidated to form The Taipei Biennial of Contemporary Art, which was the precursor to today's Taipei Biennial. In its early years the artists participating in the exhibition were selected through an open judging process.

In 1998, after more than a decade of changes, and in order to adapt to the 'biennial' trend, and to promote Taiwan's contemporary art internationally, the Taipei Fine Arts Museum began to invite internationally-renowned curators to cooperate with curators from Taiwan. Since then, the Taipei Biennial has introduced new artistic ideas from around the world that act as a driver of dialogue between Taiwan and other cultures, becoming a primary symbol of Taiwan's contemporary art development and international artistic exchange.

策展單位｜台北雙年展 TAIPEI BIENNIAL

1947年生於法國博訥（Beaune）。現為巴黎政治學院（Sciences Po Paris）政治藝術學程（the Program in Political Arts, SPEAP）及媒體實驗室（Médialab）榮譽教授。自2018年1月至今常駐德國卡斯魯爾（Karlsruhe），分別於ZKM媒體藝術中心（Zentrum für Kunst und Media, ZKM）擔任為期兩年的訪問學者，並於卡斯魯爾藝術設計大學（Karlsruhe University of Arts and Design, HfG）擔任教授。拉圖同時身任多所學術機構學者身分並擁有六個榮譽博士學位，另於2013年榮獲挪威霍爾堡獎（Holberg Prize）。曾撰著主編書籍20餘本、正式出版文章超過150篇。拉圖曾策畫重要國際展覽包含：2002年與彼得．韋伯（Peter Weibel）共同策劃「打破偶像：科學、宗教和藝術的圖像的製造與摧毀」（Iconoclash: Beyond the Image Wars in Science, Religion and Art），2005年獨立策劃「讓物件公共化：民主的氛圍」（Making Things Public: Atmosphere of Democracy），以及2016年「重置現代性！」（Reset Modernity!）。3個展覽的專書由MIT Press出版。目前參與ZKM中心展覽「臨界區：地球政治的觀測站」（Critical Zones, Observatory for Earthly Politics）之策劃委員會，擔任客座策展人。

Born in 1947 in Beaune, France, Bruno Latour is now professor emeritus associated with the médialab and the program in political arts (SPEAP) of Sciences Po Paris. Since January 2018 he has been a fellow at the Zentrum für Kunst und Media (ZKM) and professor at the Karlsruhe University of Arts and Design (HfG), both in Karlsruhe, Germany. A member of several academies and recipient of six honorary doctorates, he received the Holberg Prize in 2013. He has written and edited more than twenty books and published more than 150 articles. The major international exhibitions he has curated are: Iconoclash Beyond the Image Wars in Science, Religion and Art with Peter Weibel in 2002, Making Things Public: Atmospheres of Democracy in 2005, and Reset Modernity! in 2016. The catalogs of all three exhibitions are published by MIT Press. He is now a member of curatorial committee at ZKM for the ongoing exhibition Critical Zones, Observatory for Earthly Politics.

策展人｜布魯諾．拉圖 Bruno LATOUR

獨立策展人，現居巴黎。具視覺藝術與藝術史研究背景，曾多次參與以生態型變（ecological mutation）為題的跨領域計畫。圭納已數度與拉圖合作國際策展，如2016年ZKM中心「重置現代性！」（Reset Modernity!）；以及隨後該計畫以工作坊形式於另外兩地的延伸，包含於中國策劃執行「重置現代性！上海站」（Reset Modernity! Shanghai Perspective）作為2016「Shanghai Project | 上海種子」的子計畫；以及與伊朗佩吉曼基金會（Pejman Foundation）的雷札．黑里（Reza Haeri）、德黑蘭大學科技史研究中心（Institute of History of Science of Tehran University）共同發展的系列計畫「重置現代性！德黑蘭站」（Reset Modernity! Tehran Perspective）。目前參與ZKM中心展覽「臨界區：地球政治的觀測站」（Critical Zones, Observatory for Earthly Politics）之策劃委員會，擔任客座策展人。

Martin Guinard is an independent curator based in Paris, with a background in visual arts and art history. He has worked on several interdisciplinary projects dealing with the topic of ecological mutation. He has collaborated with Bruno Latour on several international projects over the last few years, including Reset Modernity! at ZKM in 2016 as well as a reiteration of the project through two workshop platforms in different geographical contexts: the first in China, Reset Modernity! Shanghai Perspective as part of the 2016 Shanghai Project; the second in Iran, Reset Modernity! Tehran Perspective curated with Reza Haeri at the Pejman Foundation and the Institute of History of Science of Tehran University. He is now a member of curatorial committee at ZKM for the ongoing exhibition Critical Zones, Observatory for Earthly Politics.

策展人｜馬汀．圭納 Martin Guinard

擅長跳脫常規展域，進行跨文化領域的實驗性操演，關注藝術的在地實踐，延展藝術能動性與作用力。近期策展包含2017年映像節「破壞控制」、2018年「南方以南」南迴藝術計畫、2019年北埔藝術小鎮「未來的昔日」、2019年「池田亮司個展」（與蕭淑文共同策展）、2020第七屆台灣國際錄像藝術展「ANIMA」（共同策展人游崴）。現任山冶計畫藝術總監。

Eva Lin is an independent curator known for curating at unconventional venues to engage in experiments that constitute her interdisciplinary practice. Lin’s dynamic interests drive her into alternative thinking and response to cultural production in diverse forms in order to extend the agency and force of art. Her recent curatorial projects include Parallax: Damage Control (2017), The Hidden South (2018), The Upcoming Past (2019), Ryoji Ikeda Solo Exhibition (with Jo HSIAO; 2019) and the 7th Taiwan International Video Art Exhibition – ANIMA (with Wei YU; 2020). She is now the art director of mt.project.

公眾計畫策展人 | 林怡華 Eva LIN

《Xi mo matlazacan ce cehce》Xi mo matlazacan ce cehce

《士兵（紅）》Soldado (red)

《士兵（藍）》Soldado (azul)

《豹人》Nahuales

《羽蛇神》Quetzalcóatl

《宇宙生成器（AP）》Cosmic Generator (AP)

《Simultium》Simultium

《Yllux》Yllux

《Lester》Lester

《小確幸之河》River of Little Happiness

《巴塞爾藝術展後》After Art Basel

《穆遵古（那些兜圈兜個不停的人）》Muzungu (those who go round and round in circles)

《波格洛》Bogoro

《陳列》On Displays

《九張像素化的證人照》9 Pixelated Witnesses

《瘋狂地圖（丑角哈勒奎）Folly Map (Harlequin)》Folly Map (Harlequin)

《理想淨土(Shambala)》Shambala

《大地的邊界(Fines Terrae)》Fines Terrae

《桃花源(Mahoroba)》Mahoroba

《裂谷(Rift)》Rift

《幸福之地(Cloud 9)》Cloud 9

《茶漬目(Lecanorales)》Lecanorales

《極北國(Hyperborea)》Hyperborea

《人間福地(Schlaraffenland)》Schlaraffenland

《建築的鬼田》The Ghost Acres of Architecture

《鉸接碰撞──人類為何哭泣》Hinged Collisions—Why Humans Weep

《鉸接碰撞──休眠的菌株》Hinged Collisions—Dormant Strain

《亞秒級群集──當沒有一人留下僅你孤傲地獨自飛翔》Subsecond Flocks—When There Is No One Left and You Fly on in Proud Solitude

《燃燒的地景 六》Burning Landscape VI

《燃燒的地景 二》Burning Landscape II

《燃燒的地景 三》Burning Landscape III

《預兆》Présage

《新北市政府大樓，新北市》New Taipei City Hall, New Taipei City

《中部非洲國家銀行，雅溫德》Bank of Central African States, Yaounde

《薩拉姆塔，杜哈》Salam Tower, Doha

《西方城門，貝爾格勒》Western City Gate, Belgrade

《羅威爾公寓，新加坡》Rowell Court, Singapore

《在冷戰裡生火》Making Friends/ Fire

《史蒂夫．班農：宣傳大業的梳理與回顧》Steve Bannon: A Propaganda Retrospective

《我的敵人的敵人是我的朋友》The Enemy of My Enemy is My Friend

《腐敗的空氣》Corrupted Air

《鉸接碰撞──被喚醒的病灶》Hinged Collisions—Awoken Lesion

《腐敗的空氣──第六幕》Corrupted Air—Act VI

《液態》Aqua

《scape.unseen_model-T》scape.unseen_model T

《scape.unseen_meta-T》scape.unseen_meta-T

《scape.unseen_sample T》scape.unseen_sample T

《參照系 I》Frame of Reference I

《參照系 II》Frame of Reference II

《向苦艾學習》Learning from Artemisia

《瘧疾、剛果與比利時人》Malaria, Congo and the Belgians

《喀坦加的非洲苦艾》Artemesia afra in Katanga

《植物系列》Plant Series

《鋰礦湖與複音孤島》Lithium Lake and the Lonely Island of Polyphony

《暗流》Deep Loop

《牡蠣間》Oystering Room

《變動中的海洋》Oceans in Transformation

《種子將解放我們 II》Seeds Shall Set Us Free II

《冷河河床下》Under the Cold River Bed

《山林中的藤蔓》Vines in the Mountains

《生命軸》The Axis of Life

《我自己》Myself

《悲傷菇農》Triste champignonniste

《病毒系列》Virus Series

《跨物種影像交會》Interspecies Cinematic Encounters

《沼澤智慧》Swamp Intelligence

《共生地球：琳恩．馬古利斯如何打破常規及開啟科學革命》Symbiotic Earth: How Lynn Margulis rocked the boat and started a scientific revolution

《奇異果實》Strange Fruit

《蓋婭圖表：地球系統與反饋迴路》Diagram of Gaia: The Earth system and feedback loop

《⧜》

《儲回大地的藝術》Arts of Coming Down to Earth

《美術館作為你我的第三層皮膚》Museum as a Third Skin

《地震外交學院》The School of Earthquake Diplomacy

《屠學錶》Liquidation Maps

《Mass（質量／彌撒）》Mass

《不同地吸引力：流客》A Different Gravity: Held by the River

《巨神連線》Incarnation

《宇宙政治學的建築》Architecture of Cosmopolitics

《顛動地球》Moving Earths

濱線運動放映影片 Selection of Shoreline Movements

《體外心靈（深水）》Exomind (Deep Water)

《變異派學校》The School of Mutants

你我不住在同一星球上
You and I Don’t Live on the Same Planets

台北雙年展的訪客，如果我們問你生活在哪顆行星上，你恐怕會覺得這問題好奇怪，答案顯然就是：地球！然而要過著現代人的生活可不是這麼一回事。現代人生活在一顆脆弱又有限的行星，卻要用掉六顆行星的資源。

當前，民主國家的民粹主義正在抬頭，獨裁國家的威脅又愈來愈迫近，在這樣的背景下，我們提出一個假設：氣候變遷不只是眾多問題中的一個，它將會完全主導政治討論的走向。關於如何讓世界保持宜居，人們的分歧愈來愈大，這不只是因為大家政治意見不同，更關鍵的原因在於，我們對大地究竟由何構成，似乎毫無共識。今天有些人可能甚至認為世界是平的呢！

這看起來便像是出現了好幾種版本的地球，每種地球的性質和容量都大不相同，彷彿一顆顆截然有別的行星。這些行星的引力強烈影響著你如何感覺、如何生活，當然，也影響你預測未來的方式。

如果只能簡短地介紹這座虛構的星象廳，我們可以說，這裡有一顆行星，上頭的居民不顧行星的界限，仍想繼續邁向現代化（全球化星球）。但對於那些覺得遭到現行經濟體制背叛的人來說，這顆行星並不具吸引力，他們為求自保，反而認為應該要躲在民族國家的圍牆後面（維安星球）。不過，我們還得提到那些擁有超級特權的少數科技怪客，他們財力雄厚，相信自己終將逃到火星去（脱逃星球）。若要常保繁榮，同時又務實生活在行星的極限內，需要的是一顆實地星球，但在進行討論的當前，生活在此星球上的方式尚待被發明。

每一個版本的世界都意味著不同的生活型態與表現形式。為探索其間的不同，我們要感謝藝術家、科學家和行動倡議人士，他們透過直覺抓到某些東西，幫助我們更有感於當前奇怪的處境。星座裡還有多少其他的行星？此問題仍有待探索。在這座虛構的星象廳裡，臺灣位於何處，而訪客你又站在哪裡？這問題，我們則留給你回答，此時是該捫心自問，到底想要住在哪一顆行星了。為此，我們必須要發明一些新的設置，讓不同行星的居民能夠從事政治討論，也因此必須想像出一種「外交新碰撞」。

If we asked you, the visitor to this biennial, on which planet you live, you might find the question bizarre and the answer obvious: Earth! And yet, it is not the same thing to live like Moderns who use the resources of six planets and to live within the confines of a single, fragile, and limited one.

In a context where democracies are seeing a rise of populism while dictatorships are presenting more and more pressing threats, our hypothesis is that climate change will not be simply one question among others but will likely frame the political discussion entirely. And there is increasing disagreement on how to keep the world inhabitable, not only because political opinions diverge, but more crucially because we don’t seem to agree on what the earth is made of. Some today may even think the world is flat!

It is as if there were several versions of Earth, with properties and capacities that are so different that they are like distinctive planets. Their gravitational pull immensely influences the way you feel, the way you behave, and, of course, the way you predict your future.

If we had to present briefly our fictional planetarium, we could say that there is the planet of the ones who want to keep modernizing regardless of the planetary boundaries (planet GLOBALIZATION). But this planet seems to have little traction for those who feel betrayed by the current economic system and need to hide behind the walls of their nation state to protect themselves (planet SECURITY). This is without mentioning those few, hyper- privileged techno-geeks who can afford to think they will escape to Mars (planet ESCAPE).  This discussion is occurring while the way of life on a planet TERRESTRIAL that could reconcile forms of prosperity while keeping in the planetary limits has yet to be invented.

Each of these versions of the world implies a different lifestyle and a different representation, which we explore thanks to artists, scientists, and activists who intuitively grasp something that helps us become sensitive to this strange situation. How many other planets exist in this constellation is a question that is up for grabs. And where is Taiwan in this fictional planetarium, or where do you, the visitor, stand, is a question we leave up to you: it is time to think of which planet you want to inhabit. This creates the need to invent a new set up for political discussions between the inhabitants of these different planets, the need to imagine “new diplomatic encounters.

2020台北雙年展:「你我不住在同一星球上」

2020台北雙年展:「你我不住在同一星球上」（館內展區）

2020台北雙年展:「你我不住在同一星球上」（館外展區）

實地星球 Planet Terrestrial
接近實地：臨界區 Approaching the Terrestrial: Critical Zone

2019–2020
典藏級噴墨輸出於Hahnemühle紙，70×100 cm ×2件
Archival pigment prints on Hahnemühle paper, 70×100 cm ×2 pcs

贊助支持：Pro Helvetia 瑞士文化基金會
Supported by the Swiss Arts Council Pro Helvetia

藝術家、巴黎Mor Charpentier畫廊提供
Courtesy of the artist and Mor Charpentier, Paris

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