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混亂時局下，藝術家如何敢於摧毀？法國新寫實主義先鋒阿曼回顧展登台於金馬賓館：《阿曼：思考物件》In the end of the year, reveal all the chaos: ALIEN Art Centre presents “Arman: Think Things” and “Jean Claude Wouters: Light of Void”

尤其在疫情過後，當踏進建築、環境、光影與視覺藝術合為一的場域時，前往的朋友們便將再次理解到實體展覽的存在意義。

藝文應比照一般產業？險遭刪3億紓困預算，文化部長李永得：「產業結構不同，僅靠幾次演出支撐整年」”Most of the art and performance team, need the whole year budget for only few show.”: We almost lost 3 hundred million grants from Ministry of Culture of Taiwan.

By: ART PRESS Editorial June 15, 2021December 5, 2022

立方計畫空間, 藝文紓困4.0, 藝文紓困方案, 表演藝術, 表演藝術產業, TheCube Project Space, 吳其育, 嘉義市立美術館, 文化部紓困, 文化部長李永得, 文化部藝文紓困, 方慶綿, 李永得Leave a Comment

「這是因為藝文工作者的產業結構，一年就靠那幾次的演出，來作為他整年的收入。」文化部長李永得說。

暴力發生時人們觀看，那藝術家呢？性、肉體、實況訊號，來自蘇匯宇／鄭先喻〈復仇現場〉的 3個提問 When violence happen people watch with digital device, how about artists? Gender, sex, body, and live, 3 questions by “Revenge Scenes” by Su Hui-Yu and Cheng Hsien-Yu

透過科技影像輔助，這是精準的靈性升級，還是另一次的自我監視、暴露與「透明社會」？