Taking Risks in Arts & Audiences

1Next Wave 2010: Riding RiskJeff Khan Interview

臺北藝術中心

專業展演場館營運

暨策劃講座

主辦單位｜臺北市政府文化局

承辦單位｜臺北藝術中心籌備辦公室

執行單位｜社團法人台灣技術劇場協會

冒險搏出大藝

界

Taking Risks in Arts & Audiences

洪伊奇︱主視覺暨排版設計

1

邀請雪梨 Performance Space 藝術總監 Jeff Khan、雲門舞集執行總監葉芠芠與臺北藝術中心主任王孟超深度對談創作

企劃的前瞻性，以及帶領觀眾扭轉認知，重新發現藝術領

域關於專業營運與策劃的多樣可能。

Discussions with

Jeff Khan onTaking Risks

講座認知

10/8 Wed. 14:00-16:30

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臺北藝術中心

Taipei PerformingArts Center (TPAC)

座落於劍潭捷運站旁，將於2016年啟用營運。由大都會建築師事務所（OMA）設

計，「劇場魔術方塊」的創意建築結構讓內含的三個劇場各自獨立，其中兩個劇場可

打通創造出第四個表演空間，空間運用的彈性給予創作者更多想像與發揮，以使用者

需求為導向的各項管理服務機制，將是臺北藝術中心的特色。公共空間透明穿透提供

民眾生活休憩與遊客旅遊的選擇，臺北藝術中心期待成為劇場人、觀眾和一般大眾，

在工作與家庭外的第三個生活空間的最佳選項。

Scheduled to open in 2016, Taipei Performing Arts Center (TPAC) sits on the belt of the most

popular tourist route including the famous Shihlin Night Market, National Palace Museum,

National Taiwan Science Education Center and Digital Arts Center. The dynamic and diverse

neighborhood makes TPAC one of the most anticipated cultural landmarks in Taipei.

The architecture of TPAC is designed by OMA, led by renowned architects Rem Koolhaas and

Ole Scheeren. TPAC includes three spaces, one of 1500 seats and two of 800 capacity, which can

function autonomously or allow flexibility in combining into an innovative super theatre. TPAC’s

Public Loop is designed as a high-walk trajectory through the spaces to enable general public in

“walking” through the theatres aside from attending performances below.

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無論有意無意，藝術家們長期將自己的身體心智置於險境，有時甚至連觀眾的身

體心智亦連帶處於危險之中。藝術家們因此惹惱了評論家、觀眾、政府、君王或獨裁

者等當權者，並且失去了收入與發揮的舞台。

二十世紀大多數時間，冒險這件事都被濃縮包裝在形式上和政治上皆另闢蹊徑的

前衛概念中。時至二十一世紀，上述現象的前衛概念被為數眾多、實踐變革的新型態

藝術節所取代，這些藝術節極力主張冒險的權利既是美學上的特權，且具有追求烏托

邦的底蘊。漸趨國際化的墨爾本下一波藝術節正是其中之一，藝術節活動由年輕人

規劃策展，也以年輕人為目標觀眾；而這是第二次由永遠活力充沛且目光精準的 Jeff

Khan 策劃主導此一藝術節。

在一個藝術宣言已被營運計畫書篡代，且社會逐漸趨向保守、慣打安全牌的年代

（矛盾的是，同一時間人們卻以自由市場為名，恣意肆虐環境與破壞經濟秩序），對

於實驗／實驗性的需求日益增加。雖說在藝術中冒險稱不上是嶄新的概念，但現今藝

術家們冒險的方式，已經演化至與現代派前衛藝術家們所使用的手法大相逕庭。我請

墨爾本2010下一波藝術節

藝術節總監 Jeff Khan 訪談

無險不涉

訪問人／Keith Gallasch

＊本文經由原文作者 Keith Gallasch 及出版方 RealTime Open City Inc 同意刊載與中譯。

　原文刊載於澳洲 RealTime Arts 第96期 2010年4-5月號

　www.realtimearts.net.

4 無險不涉

Jeff Khan 訪談

教 Khan 今年藝術節的作品傳達了何種風險。

墨爾本2010年下一波藝術節的主題揭示了一面大旗「無險不涉」（No Risk Too

Great）。紙上談兵當然是很容易的，不過在你的節目規劃中，實際置身險境的是何

人何事何物？

藝術圈內或圈外人都漸趨保守而「迴避風險」，因此我們希望能夠在藝術節中

有個空間，從不同的觀點角度來縝密審視何謂風險，包括從更為廣義的文化脈絡來

檢視對於我們自身及個人行為的微觀管理（micro-management）──職場公衛安全

（Occupational Health &Safety，OH&S）、對於犯罪的憂慮等，其所強調的都是小我、

個人權利，與私人財產。我們必須以超越我們所處的焦慮年代的觀點，從環境危機、

從無法永續維持的總體機制的角度來看待這個問題。我們必須成為能夠跨出自身舒適

圈的成熟公民。

你不僅透過藝術創作，也藉由舉辦講座與討論會來傳達這個的概念。

從中我們可以深入這個主題，探討風險的複雜性。

美學的冒險？

創作的每個過程都是冒險──因為創作從無中生有，發展成特定立場。趨避風險

的文化與藝術創作歷程是背道而馳，甚至影響藝術家的創作企圖心與作品規模。

至少從1970至80年代開始，冒險被視為一種跨藝術形式、跨文化與多媒體的呈現，也

因此產生了新的表演者與觀眾之間的互動關係，並普遍廣泛地擁抱媒體科技。墨爾本

2010下一波藝術節涉及哪些美學上的冒險？

當然包括消融不同藝術形式之間的界線，結合互補、有時甚至是互斥的創作手

法，特別是在非藝術脈絡中呈現藝術。其中最令我興奮的是，本屆藝術節的環境劇場

作品數量，及其介入公共場域的衝突性都有長足的增加。

5無險不涉

Jeff Khan 訪談

環境劇場作品牽涉到哪些風險？

其介入公共場域的行為是否有意義，當然部份風險來自於環境劇場作品在與非藝

文觀眾溝通之際，亦同時與藝術觀眾進行交流。

這需要勇氣，或是有勇無謀的傻勁。而這兩者都可說是冒險的不同面向。

我們選擇哪些公共空間作為作品的場域也成為重要的創作條件。今年的運動俱樂

部計畫（Sports Club Project）從上屆藝術節以夜店為演出空間的想法衍伸出來，在今

年有不同的變化。這一次我們與兩個運動俱樂部型的場地密切合作：其一是喬治諾特

田徑公園（George Knott Athletics Reserve），為一郊區田徑訓練設施，其二則是墨爾

本板球場（Melbourne Cricket Ground，MCG），為澳洲最具代表性的運動場之一。要

忠於藝術信念且具意義性地介入這些場地與之互動是一大挑戰。藝術家每週一次分別

造訪兩個場地的準備工作持續了六個星期，這不僅是為了了解硬體建築，更是為了直

接與運動員及其他關係人──運動俱樂部行政管理人員、小型田徑社團、保全警衛人

員、場地管理人員等──面對面，從實際運作與文化這兩個層面來理解這些空間的機

能。如此藝術家們的創作才會是對於這些場所的真實反饋。

現在藝術家們已經了解熟悉這些場地，他們將會在這些空間有何發揮？

在兩個場地將分別有從下午開始長達八小時的持續性活動，包括移動式及定點型

的表演，每個角落也都會設置媒體藝術作品。人們可以在任何時間點自由來去且感到

自己完全融入這個改造過的空間環境。

體驗、感官刺激或削弱、一對一表演、長時間持續的活動、不尋常的地點，這些

現象在在都指出藝術家們給自己的課題是將觀眾置於作品之中，藉以吸引或挑戰觀

眾。

部分作品是非常身臨其境型，或說體驗型的，例如《Great Heights》。該作品陳

設在墨爾本地區的建物屋頂上。愛希莉．戴爾（Ashley Dyer）的《And Something Fell

On My Head》則是直接肢體接觸型的作品。觀眾配戴安全護目鏡及安全帽的進場，

整場演出由物品以經過設計安排的方式自天花板向觀眾掉落。有些作品則以觀眾處

於不熟悉的場所中，直接成為作品參與者的呈現方式。墨爾本新媒體藝術團體Tape

Projects的《100 Proofs the Earth is not a Globe》實質上是一場維多利亞宇宙科學教育中

6 無險不涉

Jeff Khan 訪談

心（Victorian Space Science Education Centre）的導覽，而以融合表演、影像與聲效的方

式，轉化了教育性工具的原有樣貌。這樣的作品不僅需要觀眾的好奇心，也需要真正

的冒險精神才能完成。許多藝術節中的計畫／作品都具有跨入未知領域的意圖。

我們已經習於表演者冒險挑釁命運，就如極端的肢體劇場一般，但現在有不同型態

的風險浮上檯面。可以談談米希．葛利果（Mish Grigor）與傑克森．卡斯特格李奧尼

（Jackson Castiglione）的作品《The Short Message Service》﹝與拉克蘭．泰德羅史都華

（Lachlan Tetlow-Stuart）以及莉亞．薛爾頓（Leah Shelton）共同合作﹞嗎？在該作品

中，表演者必須執行觀眾用簡訊傳送給他們的指令；在行為藝術上，這種手段有時會

威脅演出者的人身安全。

這部作品的成功與否將繫於米希與傑克森的一無所懼，以及他們如何處理觀眾的

指示簡訊。這樣的表演風險建立在可能造成平凡庸俗或完全失控的後果的前提假設，

而要抵銷此一風險端賴表演者的膽大無畏、及其精熟於將觀眾的指令轉化為創造出具

有戲劇效果、又自然合理情境的本事。

無疑地，他們即興地詮釋指令的技巧有助於消除此一風險。

當然我們有極為複雜的技術與媒體系統來支撐這部作品，但畫龍點睛的還是這兩

位表演者的演出功力。

我對於《Dangerous Melbourne》這個討論如何面對處理這個城市的危險因素的諮商對

談非常好奇。

此對談採用社區交流夜的形式，將橫跨墨爾本地區的數個市鎮集會所舉行；這些

場地也通常是舉辦鄰里守望相助會議的地方。該活動既是攝影展，也是表演。寶拉．

凡．畢克（Paula van Beek）持續進行調查研究，試圖找出墨爾本地區居民認為這個城

市危險之處的樣本。她的攝影作品有時具體反應、有時抽象詮釋了這些恐懼。參與者

會戴上名牌，一邊享用茶或咖啡，一邊觀看這部既精準地重現了他們的恐懼，又嘲笑

了集體意識中無限上綱的非理性恐懼的投影片。

這種現實與虛構的交疊非常引人入勝。《Doomsday Vanitas》同樣也處理了恐懼的真

7無險不涉

Jeff Khan 訪談

實性。它將藝術作品陳設在墨爾本巷道：讓「清晰、如同全像攝影（Hologram）的投

影創造出許多預示惡兆的靜物」散落在「如同電動遊戲的迷宮」中。

這與《Dangerous Melbourne》有一個美妙的共鳴，因為該藝術家妮可．布里頓

（Nicole Breedon）從文學、電影、以及電腦遊戲中大量汲取圖像象徵──觀眾在參觀

作品時所「蒐集」到的圖像都是每天日常生活中的物品，但卻成為在這巷弄間觀眾的

生存武器與工具。《Dangerous Melbourne》與《Doomsday Vanitas》所論述的主題都是

我們雖然被自身的恐懼所桎梏，亦在周遭世界崩解失序時，為其所娛樂。打個比方，

好比最近冰島的火山噴發有可能引發哪些哥德式奇幻故事？

經營管理規模日趨龐大的墨爾本下一波藝術節的行為本身必定也牽涉到風險。你的跨

國計畫便很適切地以「架構一致性」（Structural Integrity）為題。

《架構一致性》（Structural Integrity）是墨爾本下一波藝術節歷年來最大的跨國藝

術家交流計劃。我們邀請十一個由亞太地區藝術家主導的企劃方案或共同藝術創作進

駐肉品市場區。每個企劃／創作都將各自打造一座展館來展現或代表新興藝術在其所

在地理區域的樣貌。這被視為一場陰鬱的世界博覽會（笑），而非展現國力的藝術市

集。重點在於草根文化如何找到其藝術呈現與地緣政治學上的平衡，而我們可以在這

個計畫中看到不同的手法。來自新加坡的NGO組織Post-Museum與墨爾本地區的二十

個非營利組織──包括氣候變遷、反家暴等相信自己可以使這個世界變的更美好的藝

術團體與公益組織──接洽討論，以擬定共同行動計畫來決定其展館的一致架構。此

一烏托邦式的群體行動一方面反映了Post-Museum這個團體在新加坡支持藝術計畫與

現場藝術（live art）的立場，同時也是一個藝術與政治的交會點，可供社會運動組織

一同展開對話。

對於規避風險的問題，此一追尋理想國的面向看起來是一劑相當吸引人的解藥。

在《架構一致性》（Structural Integrity）一系列的藝術集體創作與藝術家主導的計

畫中有一強烈的企圖便是提供一種社會結構的替代方案。這個專案的規模雖猶勝舞台

劇《賓漢》，但目前效果看來十分令人驚豔。

╳╳╳

8 無險不涉

Jeff Khan 訪談

在一場關於墨爾本2010下一波藝術節的演講中，Jeff Khan 引述了法國哲學家西蒙

娜．韋伊（Simone Weil）一段鼓舞人心的文字，她在1943年寫道「冒險乃是靈魂的基

本需求，缺乏風險所造成的百無聊賴會以一種異於恐懼、但程度幾乎同等嚴重的方式

癱瘓我們的心智。」下一波藝術節邀請觀眾前來接受令人興奮又心驚膽戰的挑戰──

進入非比尋常的藝術空間、成為作品中重要的一部分或創意的代行者、敞開心胸面對

新形式與體驗、在《Risk Talker》計畫中談論風險／危險，並將冒險視為一種藝術。

要完成這些挑戰有時需要過人的毅力耐心：在聯邦廣場（Federation Square）大

螢幕呈現的《Ultimate Time Lapse Megamix》，是一部長達八小時，從黃昏持續到清

晨的影像藝術馬拉松，匯集了來自澳洲與亞太地區的創作。有時則需要私密交流：

如《Private Dances》的觀眾會在享用豐盛的饗宴之後進入一連串的私人房間，與某

些澳洲最優秀的年輕舞者有一對一的近身接觸。更為特異的是藝術家班奈特．米勒

（Bennett Miller）的作品《Dachshund UN》將召開一場聯合國人權會議，但與會者

全都是活生生的臘腸狗。而《I Thought A Musical Was Being Made》則預告將在羅素

（Russell）與隆斯達爾（Lonsdale）這兩條街道交會的十字路口進行規模盛大的演

出，觀眾將會從街道兩旁的建物窗戶居高臨下觀賞街道上的活動。或者觀眾也可以選

擇在海耶斯姐妹（Sisters Hayes）的作品《A Good Death》中的教堂地窖顫慄難安，又

或是發現自己確實親身處於《Hole in the Wall》的演出中。鼓起勇氣迎向藝術節的挑戰

吧。◆

9

Riding Risk

NextWave2010:

CONSCIOUSLY OR NOT, ARTISTS HAVE LONG PUT AT RISK THEIR BODIES AND

SOULS, AND SOMETIMES THOSE OF THEIR AUDIENCES. THEY HAVE TEMPTED THE

DISFAVOUR OF CRITICS, AUDIENCES, GOVERNMENTS, MONARCHS AND DICTATORS

AND LOST INCOME AND CAREERS.

For much of the 20th century, risk-taking was encapsulated in the notion of a formally

and politically disruptive avant garde. In the 21st century the avant garde has been replaced

by a multiplicity of agents for change, now busily reclaiming the right to risk as an aesthetic

prerogative, and with utopian potential. Such an agent is Melbourne's increasingly international

Keith Gallasch: Interview, Jeff Khan

* Originally published on RealTime Arts Issue #96 April-May 2010

10 Next Wave 2010: Riding Risk Jeff Khan Interview

Next Wave Festival, for and by young adults, directed, for the second time, by the ever energetic

and clear-sighted Jeff Khan.

In an era when the artistic manifesto has been usurped by the business plan and society

has become increasingly risk-averse (while contrarily wreaking environmental and financial

destruction in the name of the free market), the call to experimentation is growing. If hardly a

new concept for the arts, the ways in which artistic risk are being realised are evolving differently

from their Modernist avant-garde antecedents. I asked Khan about the kinds of risk entailed in

the works in this year's festival.

The theme of the 2010 Next Wave Festival is, rather grandly, "No Risk Too Great." It's easy to say, but

who and what are at risk in your program?

People inside and outside of the arts have become increasingly 'risk averse' so we wanted to

open up a space within the festival to critically look at risk from many different angles, including

the micro-management of ourselves and our behaviour in a broader cultural context—OH&S,

fear of crime and all of that, which are focused on the individual, our rights, our property. We need

to look beyond that in our fraught times, of environmental meltdown, of the big systems which

are proving to be untenable. We need to be citizens who can step outside of our own comfort

zones.

You're doing this through art but also through talks and discussions.

Where we can drill down into the subject and address the complexity of risk.

Aesthetic risk?

Every act of creation is a risk—starting with nothing and taking a position. A risk averse culture

is contrary to the artistic process putting at risk, in turn, the scale and ambition of artists' projects.

Since at least the 1970s and 80s risk has increasingly manifested as cross-artform, intercultural and

multimedia, entailing new performer-audience relationships and a pervasive engagement with media

technologies. What kinds of aesthetic risks are being taken in Next Wave 2010?


It's definitely about the dissolution of boundaries between artforms, collaborations between

complementary and sometimes contradictory practices, and especially the engagement with

art in a non-art context. One of the things that most excites me has been a real ramp up, for this

festival, in the number and rigour of site works that make interventions into the public arena.

What are the risks for site-specific work?

It's about making meaningful interventions but it's also about speaking to a non-arts audience

at the same time as to an arts audience.

It takes courage as well, or foolhardiness. Both are aspects of risk-taking.

It's also about the choice of sites, of public spaces. This year's Sports Club Project evolved out

of using night clubs as sites in the last festival. This time we're establishing a deep engagement

with two sports club spaces: George Knott Athletics Reserve, which is a suburban track and

field training facility and the MCG, one of the most iconic sports venues in Australia. To really

meaningfully intervene in these spaces with integrity is a huge challenge. The artists visited each

venue once a week for six weeks, not only getting to know the architecture, but meeting with the

sports people and the stakeholders—sports administrators, little athletics clubs, security guards,

operations people—to learn about the function of the space both in an operational and a cultural

sense. So the artists' works will be genuine responses to these sites.

Now they've assimilated these places, what will they then do in them?

There'll be a durational event in each venue over eight hours beginning in the afternoon and

comprising roving and spot performances and media art works installed in nooks and crannies.

People can come and go at any time and will find themselves immersed in these altered

environments.

Immersion, sensory deprivation or amplification, one-on-one performances, mass durational

events, unusual locations—these are increasingly indicative of the tasks artists set themselves to

attract or challenge audiences, to build them into the work.


Parts of the program are very immersive, very experiential, like Great Heights, which is staged

across Melbourne rooftops. There are performances which are very physically confronting—

Ashley Dyer's And Something Fell On My Head is a full-length performance made entirely of

objects that are choreographed to fall from the ceiling of the space towards the audience who

are fitted out with safety goggles and hard hats. There are also works where audiences will

become participants in unfamiliar places. The Melbourne new media arts collective Tape Projects'

100 Proofs the Earth is not a Globe is essentially a tour of the Victorian Space Science Education

Centre with performance, video and sound, transforming the educational tools. It's a work that

requires the curiosity of the audience as well as a real sense of adventure. A lot of the festival's

projects have a sense of stepping into the unknown.

We're used to the idea of performers tempting fate, as in physical theatre, but now different kinds

of risks are being broached. What about Mish Grigor and Jackson Castiglione in The Short Message

Service (a collaboration with Lachlan Tetlow-Stuart and Leah Shelton), where the audience text the

performers instructions they must carry out? In performance art this kind of approach has sometimes

been physically dangerous for the performer.

The success of the show will depend on the fearlessness of Mish and Jackson and how they

handle the SMS commands from the audience. The risk is that the premise could result in

something banal or something completely out of control, but what tempers it is that fearlessness

and the performers' incredible proficiency in channelling the instructions into creating situations

that are dramatic and spontaneous.

And doubtless their skills at improvisation in interpreting the commands.

There's such a complicated backend tech and media system which underpins the

performance, but what elevates it is the quality of the two performers.

I'm intrigued by Dangerous Melbourne, an advisory session on how to handle the city's perils.

It follows the format of a community information night and will be presented in a series of

town halls across Melbourne where Neighborhood Watch meetings might normally happen.


It's equally a photography and performance event. Paula van Beek's been doing surveys and

research to establish what various samples of the Melbourne population find dangerous about

the city. Her photography is a sometimes literal, sometimes abstract interpretation of those fears.

People will be given tea or coffee and name tags and a slide show which will accurately represent

their fears but also poke fun at big irrational fears in the collective consciousness.

This criss-crossing of fact and fiction is fascinating. Doomsday Vanitas likewise engages with the

facticity of fear by being located in Melbourne laneways inhabited by works of art: "sharp, hologram-

like projections [creating] a series of ominous still lives" in "a video game-like labyrinth."

There's a lovely connection with Dangerous Melbourne here, because Nicole Breedon takes

iconography from literature, film and largely computer gaming culture—the icons you 'collect'

on your visit are everyday objects but become weapons and tools of survival. Both Dangerous

Melbourne and Doomsday Vanitas are about being held in thrall by our fears but also about being

entertained by them while the world around us melts. What kind of gothic fantasies, for example,

will be spun out of the recent volcanic eruption in Iceland?

Managing the growing scale of Next Wave must in itself involve risks. It see that your international

project is aptly titled Structural Integrity.

Structural Integrity is the biggest exchange that Next wave has undertaken, with artists from

the Asia-Pacific region in residence at the Meat Market. We've brought together 11 artist run

initiatives and art collectives from across Australia and around Asia. Each is building a pavilion

structure to house or represent emerging art in their region. It's been conceived as a melancholic

world fair [LAUGHS] rather then celebrating the values of nationalism. It looks at how grassroots

cultures balance their work with their geopolitical position. There'll be different takes on this. Post-

Museum from Singapore are apparently meeting with 20 non-profit organisations from around

Melbourne—climate change, anti-domestic violence, arts groups and charities who all believe

they can change the world for the better—to organise a collective action which will determine

the structure of their pavilion. It's a utopian collectivity which really reflects the group's position

in Singapore where they support arts projects and live art but also provide a meeting point for

activist organisations, as an intersection of art and politics.


The utopian aspect looks like a seriously appealing antidote to risk-aversion.

There's a strong sense in Structural Integrity of art collectives and artist-run initiatives as

providing an alternative social structure. The project is bigger than Ben Hur but it's looking pretty

stunning at the moment.

╳╳╳

In a speech about Next Wave 2010, Jeff Khan cited as inspirational the words of French

philosopher Simone Weil who in 1943 wrote of risk as an "essential need of the soul," arguing

that "[t]he absence of risk produces a type of boredom which paralyses in a different way from

fear, but almost as much." Next Wave invites its audiences to accept exciting and unnerving

challenges—to enter unusual non-art spaces, to become essential ingredients in or agents of

creation, to be open to new forms and experiences and to talk risk, in the Risk Talkers program, as

well as engage with it as art.

The demands are sometimes epic: Ultimate Time Lapse Megamix is an eight-hour dusk-til-

dawn video art marathon on Federation Square’s big screen with works from Australia, Asia

and the Pacific. Others are intimate: in Private Dances "audiences will be indulged with a lavish

banquet and immersed in a series of private rooms, for one-on-one encounters with some of

Australia’s most brilliant young dance artists." Stranger is Bennett Miller's Dachshund UN which

will "convene a meeting of the UN Commission on Human Rights populated entirely by live

dachshunds." While I Thought A Musical Was Being Made promises "a large-scale performance on

the intersection of Russell and Lonsdale Streets that the audience will watch from windows high

above the on-street action." Or you might choose to be spooked in a church crypt by the Sisters

Hayes' A Good Death or find yourself literally inside the performance of Hole in the Wall (RT95).

Dive in.◆

※ This interview is from RealTime 96, April-May 2010,reproduced with the permission of the writer, Keith Gallasch, and the publisher of

RealTime [www.realtimearts.net] Open City Inc.

15

涉獵表演、舞蹈、視覺藝術，本身既是策展人也是作家的Jeff Khan，尤致力於跨

界、特定場域、與大眾發生關聯的文化藝術實踐。他曾任職於多所當代藝術機構與

藝術節。自2006年至2010年，Khan擔任墨爾本下一波藝術節(Next Wave Festival)藝術總

監，策劃2008年下一波藝術節「Close together」以及2010年的「No Risk Too Great」。

Khan也曾任澳洲當代藝術中心、澳洲當代藝術博物館等展覽的策展人，現任雪梨

跨界表演藝術機構Performance Space藝術總監。他在Performance Space策劃展覽包含

Sonic Social (2013),Local Positioning Systems (2012)以及SEXES藝術節。

Jeff Khan亦曾任職於墨爾本葛楚當代藝術中心、伯斯當代藝術中心、伯斯約翰庫丁

畫廊，和紐約古根漢美術館。他更發表許多文章於澳洲的藝術節、展覽、現代藝術雜

誌和國際專刊。2009到2011年，Khan擔任澳洲文化藝術委員會舞蹈類董事成員之一，

目前則為澳洲知名的塊動舞團(Chunky Move)之董事，可謂澳洲當代文化藝術圈的前瞻

影響人物。

Performance Space

Performance Space是非常多元的當代表演藝術空間和策展機構，除了讓藝術家進駐

創作表演、展覽之外，也有跨文化跨界的活動模式，訴求與觀眾建立緊密互動，開發

各種場域的可能性，包含劇場、非劇場空間、藝廊、特定場域等。

Jeff Khan

Artistic Director, Performance Space

雪梨跨界表演藝術機構 Performance Space 藝術總監

16 Jeff Khan

Jeff Khan is a curator and writer working across performance, dance and the visual arts, with a

particular interest in interdisciplinary projects and site-specific and socially-engaged practices.

From 2006–2010, Khan was Artistic Director of Melbourne’s Next Wave Festival, overseeing

the development and delivery of the 2008 Next Wave Festival: CLOSER TOGETHER and the 2010

Next Wave Festival: NO RISK TOO GREAT. Khan was Guest Curator of NEW12 at the Australian

Centre for Contemporary Art (2012) and of Primavera 09 at the Museum of Contemporary Art

(2009).

His recent curatorial projects for Performance Space include Sonic Social (2013, with Tulleah

Pearce) and Local Positioning Systems (2012, with Bec Dean) at the Museum of Contemporary

Art Australia; Micro Parks (2013); Sarah-Jane Norman's Unsettling Suite (2013); and the SEXES

festival, co-curated with Bec Dean and Deborah Kelly (2012).

Previously, Khan has held roles at Gertrude Contemporary, Melbourne, Perth Institute of

Contemporary Arts and John Curtin Gallery (Perth), and the Solomon R. Guggenheim Museum

(New York). As a writer, Khan has contributed texts to numerous exhibition catalogues, magazines

and artists’ projects including essays for the Art Gallery of NSW, Art & Australia, the Australian

Centre for Contemporary Art, the Adelaide Biennale of Australian Art, and many others. He was a

member of the Dance Board of the Australia Council for the Arts (2009-2011) and currently sits on

the Board of Chunky Move.

Performance Space

Performance Space is a cultural agency that facilitates new artistic projects and connects

them with audiences across many different sites and venues: from theatres and galleries to non-

traditional spaces and site-specific projects.

17

雲門舞集文教基金會執行總監，紐約市立大學布魯克林學院表演藝術管理碩士。

大學主修表演，1983年接受雲門實驗劇場舞台監督訓練，1984年擔任台北藝術大學

舞蹈系助教。1986年赴紐約進修，並在劇團、舞團、百老匯製作公司工作。1991年雲

門復出後，出任舞團經理，1998年升任舞團執行總監，2003年起成為雲門舞集文教基

金會執行總監。2008年雲門排練場遭逢祝融，擔負起雲門淡水園區的興建與營運規

畫。

1991年至今，和雲門同仁並肩規劃執行超過2,454場在台灣及海外的專業演出。與

林懷民工作超過30年。

葉芠芠YEH Wen-wen雲門舞集文教基金會執行總監

Executive Director

Cloud Gate Dance Foundation

18 Wang, Mang-Chao

One of the most experienced and senior performing arts managers in Taiwan, Yeh Wen-

wen holds a Master of Fine Arts in Performing Arts Management from Brooklyn College, City

University of New York.

Yeh joined Cloud Gate Dance Theatre of Taiwan in 1991 as Company Manager and was

promoted to General Manager in 1998. In 2003, she became the Executive Director of Cloud

Gate Dance Foundation, providing direction and leadership to two companies in achieving Cloud

Gate’s mission, strategies and annual goals. Yeh has been entrusted with the responsibility of

building Cloud Gate's new home, Cloud Gate Theatre, since the old studio was destroyed by fire in

2008.

Working side-by-side with master choreographer, Lin Hwai-min, for more than 30 years, Yeh

together with Cloud Gate’s professional team have presented more than 2,454 performances in

Taiwan and overseas since 1991.

19

對文本的領悟轉化、對科技的尖端追求可謂王孟超的拿手絕技，堆疊起捭闔多變

的旋轉舞台、甚或一片平鋪稻米的空台，都在他的一念之間。劇場永遠那麼的好玩，

他如同施予魔法般變幻出一個又一個的驚喜。生為劇場人，這是一個打定主意在劇場

奉獻一生、也註定從中遊玩一生的設計師。

1980年畢業於輔大英文系，進入雲門小劇場研習劇場製作技術，之後留學美國，獲

南加州大學舞台燈光設計碩士，投入劇場近三十年。王孟超的文學底子使得他成為台

灣劇場設計界中少數嫻熟英語、大量閱讀的設計者。對文字語言的敏感，使他可以與

劇作家討論劇本，同時對自己的設計理念侃侃而談。

同業眼中的他，外表重視服裝品味，十足瀟灑雅士，內心則是個無可救藥的浪漫

主義者，對舞台設計總有無限宏圖的理念和想像。然而技術實務的工作經驗，又讓他

在最後一刻，總會以實際執行為考量。最早他是雲門的資深舞台監督和舞台設計師，

為雲門設計的舞台作品包括：《陳映真‧風景》、《烟》、《竹夢》、《水月》、

《流浪者之歌》、《悲歌交響曲》。其中《流浪者之歌》是雲門海外巡迴最頻繁的作

王孟超WANG,Mang-Chao,Austin臺北藝術中心主任

Director, Taipei Performing Arts Center, Taiwan

20 YEH, Wen-wen

品，16年間走過19個國家、海外巡迴場次超過160場。

廣泛閱讀的王孟超，對傳統戲曲的舞台空間也有獨到見解。他認為中國傳統文化

向來講求意境，不強調具象；戲曲由美麗音韻、詞句、身段舞姿所構成，舞台設計不

應喧賓奪主；而將現代極簡主義的設計語彙引入崑曲舞台，讓傳統戲曲有了貼切的現

代空間詮釋。

曾為「雲門舞集」技術顧問，王孟超也是「創作社」劇團核心團員，不管「創作

社」眾多鬼才導演黎煥雄、魏瑛娟、周慧玲導演，編劇紀蔚然等如何出題，王孟超都

能為他們的創作打造舞台空間，視覺意象推陳出新，充滿現代感性。代表性的作品

有：《夜夜夜麻》、《一張床四人睡》、《天亮以前我要你》、《無可奉告》、《記

憶相簿》、《瘋狂場景》、《驚異派對》、《少年金釵男孟母》，以及「幾米《地下

鐵》：一個音樂的旅程」。

王孟超也為台灣許多知名劇團或舞蹈家設計舞台、燈光，或擔任他們的海外巡迴

技術指導，如表演工作坊、屏風表演班、當代傳奇劇場、明華園的作品，和知名舞蹈

家陶馥蘭、羅曼菲、蕭渥廷、游好彥、吳義芳的舞展。同時也是2009年台北聽障奧運

會開幕的舞台設計總監；2007年代表台灣擔任布拉格劇場四年展評審委員及台灣參展

召集人，台灣館榮獲劇場技術金牌大獎；2004年於波蘭華沙總統官邸獲頒「雪樹國際

成就獎」；甫獲2014國家文藝獎。

With a profound understanding of literature and the ability to exploit modern technology,

Austin Wang graces the theatre playground with his humor, insight and exuberance. Be it a

rotating stage or a simple stage covered only with a thin sheet of rice, nothing is too unusual for

this mischievous magician as he pulls excitement and surprises out of his bag one after another.

He is born a theatre soul and lives to prove it true.

As a keen reader with a good understanding of language, Wang is one of a handful of theatre

designers who could directly communicate with playwrights and convey his designing philosophy

precisely with eloquence. Austin Wang may look like a model of sophistication, but deep down

there is a hopeless romantic hidden within. Sky may be the limit of the world, but definitely not

this genius’ imagination.

Austin Wang received a BIAA award in Warsaw in 2004. In 2007, he sat on the judging panel

of Prague Quadrennial of Performance Design and Space (PQ) and acted as the convener of

the Taiwan team. The Taiwan Exhibition won Theatre Technology Award that year. He was the

director of stage design at 2009 Deaflympics in Taipei.

21

在劇場以及國際合作上擁有豐富的經驗，擔任獨立劇場製作人與行銷顧問期間，

合作過中外團隊與藝術節跨越戲劇、舞蹈、兒童戲劇、傳統以及現代音樂領域。目前

更擔任台灣第一個藝術行政組織「PANDA表演藝術網絡發展協會」的理事成員。

Kathy Hong is a senior arts manager with intensive experiences in theatre and international

collaborations. She holds a MBA degree from National Taiwan University and has served as

independent marketing professional/ producer for prominent groups and artists in modern

theatre, dance, children's theatre, traditional and modern music fields. She currently sits on

the board of Taiwan’s premiere arts managers association, the Performing Arts Development

Network Association.

洪凱西Kathy HongOISTAT 國際劇場組織執行長

Executive Director

OISTAT- International Organisation of Scenographers, Theatre Architects and Technicians

Documents

Taking Risks in Arts & Audiences