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策展工器
當代語境中對策展的詮釋往往不僅止於單義，在如何引領展示、策展物件的言說以及空間調度的設計等等美學思考之外，面對當下公共流通課題之意識應變，以不同思辨進行的揭示方法，在在拉開策展的思敘座標，創設現下語境的聯動思考，藉策展作為論述實踐的向度，並盤整總體藝術生態之中的特定美學拓撲關係。
此次開放策展學校的年度主題《策展工器》提陳「思」的重要性，微觀當代議題之中不同層次的梳理，寄寓於批判性思辨，以建立策展視野的在場及其思想介面的完備。借力於與來自國內外不同領域背景的策展人及研究者之交流，一層一層地推開討論的範疇，藉建立對話以推陳視域，並展開思想場域的拓野，在對當前社經處境的反思之中，檢驗思考模式，回應文化與機制的環境生態，以此構築多重結構的策展工器。
工作坊＃1 Maria Bordorff／Art is Good – A Lot of Art is Very Good
工作坊＃2 陳煒智／純愛．夢．歲月：瓊瑤的電影與瓊瑤的時代
工作坊＃3 Binna Choi／生命機制（可能性？可行性？或如何被慾望？）
工作坊＃4 周安曼／從全觀體驗性到探索性推演
開放策展學校
在當代藝術的觀念脈絡中，每一位「獨立策展人」本身就是一個移動性的、自主性的且獨立作業性的一人機構（one person institute），其所具有的臨時與流動特質，反映於自身機制上的高度彈性，並依工作所需進行著橫向組織與縱向連結的調度。「開放策展學校」之精神以及其興起目標主要欲針對潛力策展人建立起一個體制外另一種推廣平台，因應學院與學院系統間缺乏對話平台，造成學院間無法產出有效的討論，因此建置一個跨學院理論實踐平台與討論空間，使潛力策展人們能在學院之外得到平行研習的機會。
在起始於2011年的「及時策展」策展教育前哨計畫以及歷經2014「開放策展工作坊」、2015「開放策展學校」的策展教育平台計畫之推進後，寄希以工作模式（Practicing）與串聯概念（Networking）發展此策展教育平台，創造培力學程的兩大焦點平行結構，搭建一個兼具研究、論述、展示、教育、媒合的學習介面，將台灣長期以來國際交流的資源，化為有效的培力計畫，對本地的藝術知識生產發揮效益；同時主動邀集國際的策展人、論述者、機構館長前來與台灣研究者、策展人所發展的論述與藝術家等建立對話，創造國際交流上知識的交換 。
本次活動特別感謝打開-當代工作站
Curatorial Instruments in Speculation
In contemporary discourse, interpretations of curating are far from unequivocal. Beyond selection, display and exhibition design, curating is individual and conscious act to confront relevant public concerns. As a discursive practice, curating organizes certain aesthetic and topological relationships that circulate within artistic and other cultural practices.
Approaching this through the lens of speculation, we can reveal hidden layers of the curatorial, and gear our thoughts to current and future issues in our culture and society at large. The theme Curatorial Instruments in Speculation is a crucial approach to “thinking curating”. By exploring contemporary issues alongside critical thinking, it speculates on distinct curatorial perspectives through exchanges between curators and researchers working locally and internationally. Their reactions to, and reflections on their own socio-economic circumstances, are a means to propose new modes of thinking. In responding to cultural and institutional production, this edition of Open Curatorial School builds a conceptual toolkit of curatorial instruments that are site, context, and time specific.
Workshop＃1 Maria Bordorff / Art is Good – A Lot of Art is Very Good
Workshop＃2 EDWIN W. CHEN / True love, dreams and glory: The age of Chiung Yao movies
Workshop＃3 Binna Choi／Institution of Life (Possible? Doable? Or even Desirable?)
Workshop＃4 Freya Chou／From immersive to discursive
Open Curatorial School
The Open Curatorial School is TCAC’s alternative education platform. Each edition takes a unique approach to address a current theme in curating. It engaged its participants through lectures by international curators and mentors, as well as tutorials, site visits, and field research. The program also developed independent thinking in peer critique, with a focus on socially-engaged practices. Two parallel structures support the Open Curatorial School: “practicing” and “networking” as approaches to research, discourse and display. Previous Open Curatorial School include Curating in Time (2011), Curatorial Methodology (2014) and The Seven Relations in Exhibition-Making and Beyond (2015).
Special thanks to Open Contemporary Art Center
