2018 曼谷雙年展 Bangkok Biennale(台灣場)
多元成展亞洲交流-因性稱異:宗教 性別 藝術
DIVERSITY VIA NATURE: RELIGION, GENDER, OR, ART ?
展覽時間:2018/07/21~2018/08/12
地點:Pon Ding 朋丁藝術空間 (台北市中山區中山北路一段53巷6號 / 近捷運中山站1號出口)
參展藝術家:巴魯.瑪迪霖(泰國場次才展)、余政達、黃漢明(新加坡)、侯俊明、陳漢聲、黃向藝(馬來西亞)、劉星佑、緣定(韓國)、磯村暖(日本)、Kongpob Areerat(泰國)、Naraphat Sakarthornsap(泰國)、Titapa Rongruangvanich(泰國)。
地點:Pon Ding 朋丁藝術空間 (台北市中山區中山北路一段53巷6號 / 近捷運中山站1號出口)
參展藝術家:巴魯.瑪迪霖(泰國場次才展)、余政達、黃漢明(新加坡)、侯俊明、陳漢聲、黃向藝(馬來西亞)、劉星佑、緣定(韓國)、磯村暖(日本)、Kongpob Areerat(泰國)、Naraphat Sakarthornsap(泰國)、Titapa Rongruangvanich(泰國)。
展覽簡介:
台灣司法院於2017年公布同婚釋憲結果,亞洲第一聲同性婚禮的鐘聲,可望在台灣敲響。多元成展Coexist Exhibition為一策展團隊,於2014年開始動員,秉持每年至少一檔實體展的自我期許,呼應多元成家的議題,召集關心性別與婚姻平權的視覺藝術家,以及願意在性別政治議題下討論的作者與作品,透過實體策展,藉藝術推廣,更期待讓差異個體得以被看見。
今年六月「無用政治/非關暴力」一展中,邀請藝術家歐靜雲(台)、黃至正(台)、緣定(韓)於曼谷展出,策展團隊成立至今的第八檔展覽「因性稱異—宗教?性別?藝術?」環繞信仰政治、性別政治乃至於個人生命政治的表述,擴大邀請的藝術家以及展覽的類型與相關活動,串聯泰國曼谷雙年展分別在七月與八月,於臺北朋丁與曼谷Tentacles展出,參與藝術家包含侯俊明(台)、Baru Madiljin(台)、余政達(台)+黃漢明(新加坡)、黃向藝(馬來西亞)、緣定(韓國)、磯村暖(日本)、Kongpob Areerat(泰國)、Naraphat Sakarthornsap(泰國)與Titapa Rongruangvanich(泰國)陳漢聲(台)與劉星佑(台)。
藝術不等於宗教,然而尊重差異做為兩者的共同點,是最為難得可貴的地方,信仰與實踐才有機會成為生命中重要的認同。參與「因性稱異?」一展的藝術家,並非傳達自己的宗教選擇,或是表達自己的性取向,而是在已存的文化中,意識到被社會忽略,甚至是被否定的部分,並將之轉化與展示;存在即是差異的開始,尊重存在才有機會包容差異。
They look like unassailable truth when we mention rationality and objectivity; however, the status of “irreligious but afraid of ghosts” reveals the real humanity- everlasting skepticism, and unwilling being lonely occasionally. The religion is not equivalent to art, but both are sharing the same desire of freedom, embracing their own “evidences” and “nonsense” which cannot be understood by others forever. Participating artists at this exhibition “Diversity Via Nature” are not conveying their religious preference; instead, they are selecting the scenes they tend to see in this existing religious culture. Does “evidence” always refer to rationality and science? Is “nonsense” always equivalent to sensibility and art? Within this exhibition “Diversity Via Nature” we attempt to emphasize the existence of diversity through artworks.
台灣司法院於2017年公布同婚釋憲結果,亞洲第一聲同性婚禮的鐘聲,可望在台灣敲響。多元成展Coexist Exhibition為一策展團隊,於2014年開始動員,秉持每年至少一檔實體展的自我期許,呼應多元成家的議題,召集關心性別與婚姻平權的視覺藝術家,以及願意在性別政治議題下討論的作者與作品,透過實體策展,藉藝術推廣,更期待讓差異個體得以被看見。
今年六月「無用政治/非關暴力」一展中,邀請藝術家歐靜雲(台)、黃至正(台)、緣定(韓)於曼谷展出,策展團隊成立至今的第八檔展覽「因性稱異—宗教?性別?藝術?」環繞信仰政治、性別政治乃至於個人生命政治的表述,擴大邀請的藝術家以及展覽的類型與相關活動,串聯泰國曼谷雙年展分別在七月與八月,於臺北朋丁與曼谷Tentacles展出,參與藝術家包含侯俊明(台)、Baru Madiljin(台)、余政達(台)+黃漢明(新加坡)、黃向藝(馬來西亞)、緣定(韓國)、磯村暖(日本)、Kongpob Areerat(泰國)、Naraphat Sakarthornsap(泰國)與Titapa Rongruangvanich(泰國)陳漢聲(台)與劉星佑(台)。
藝術不等於宗教,然而尊重差異做為兩者的共同點,是最為難得可貴的地方,信仰與實踐才有機會成為生命中重要的認同。參與「因性稱異?」一展的藝術家,並非傳達自己的宗教選擇,或是表達自己的性取向,而是在已存的文化中,意識到被社會忽略,甚至是被否定的部分,並將之轉化與展示;存在即是差異的開始,尊重存在才有機會包容差異。
They look like unassailable truth when we mention rationality and objectivity; however, the status of “irreligious but afraid of ghosts” reveals the real humanity- everlasting skepticism, and unwilling being lonely occasionally. The religion is not equivalent to art, but both are sharing the same desire of freedom, embracing their own “evidences” and “nonsense” which cannot be understood by others forever. Participating artists at this exhibition “Diversity Via Nature” are not conveying their religious preference; instead, they are selecting the scenes they tend to see in this existing religious culture. Does “evidence” always refer to rationality and science? Is “nonsense” always equivalent to sensibility and art? Within this exhibition “Diversity Via Nature” we attempt to emphasize the existence of diversity through artworks.
作品介紹
Being interweaved the continual transformation of gender consciousness in tribes and the cultural conflict in gender issue, the double social pressure has deteriorated the gender discrimination within Paiwan community in Taiwan. The repression and neglect of the gender issue in the tribe community and the family has not only impacted the indigenous teenager’s imagination of gender, but also hindered the indigenous community to gender identity and development. Under the development of gender diversity in Taiwan, since the indigenous communities do not belong to the majority, the people need to confront the pressure. It means when people are fighting for the right of gender diversity, the indigenous people need to deal with the issue of racism as well.
藝術家:黃向藝(馬來西亞)
作品:黑色風景Black Landscape、無題:繡球花Untitled: Blue Wave、抓迷藏Hide and Seek|水墨、膠彩、絹本
作品:黑色風景Black Landscape、無題:繡球花Untitled: Blue Wave、抓迷藏Hide and Seek|水墨、膠彩、絹本
《黑色風景》 (2014)人物著重比例誇張的延伸變形,試圖以此顯現胴體的柔韌,中和陽剛的氣息,提煉出陰柔的氣質。畫面以嚴肅的黑色作為整體基調,再以紅色輕點局部、細節,嘗試以紅色暗示畫面一些挑逗性的元素。 《無題:繡球花》(2015)側重思考顏料的厚度與紙張柔軟朦朧質感的關係,用各自顏料的特性展現人物的隱晦以及氣氛的凝重。現部分壁畫因時間洗煉導致顏料剝落,露出顏料下畫師們的線描草稿。這些線條因修正的原因不斷地重疊,而後又被顏料覆蓋。這種線條的重疊以及顏料覆蓋層層思慮後的草稿關係,讓我重新省思顏料、紙張以及繪畫手法在對於畫面呈現上相互交錯後的關係。 經過上一年的反覆實驗後成果,對於利用各種紙張以及媒材的靈活交錯使用,使得在2017得以呈現《抓迷藏》。人物造型上更為收斂,以松煙與油煙墨色相互交疊來統一畫面以及隱晦的變化。
The character in ‘Black Landscape’ (2014) emphasises the exaggerated extension and deformation, trying to show the flexibility of the body, neutralise the masculinity, and refine the feminine elegance. The serious black set the tone, the colour red embellishes the details and implies some tantalise elements in the picture. ‘Untitled: Blue Wave’ (2015) focuses on the relationship between the pigment’s thickness and paper’s hazy texture, demonstrating the character’s concealment and the atmosphere’s dignity with the features of the particular pigments. The paint on the frescoes flaked off with time, revealing the line draft under the colour. These lines are continually overlapping for correction. Such a draft layered with overlapping and coverage makes me rethink the interlaced relationship among pigments, paper, and painting techniques on the screen presentation. After the results of the previous year's repeated experiments, the flexible use of various papers and media has made it possible to present 'Hide and Seek' in 2017. In the picture, the character model is more convergent, and pine-wood soot or lampblack ink overlap concealing with each other to unify the image.
The character in ‘Black Landscape’ (2014) emphasises the exaggerated extension and deformation, trying to show the flexibility of the body, neutralise the masculinity, and refine the feminine elegance. The serious black set the tone, the colour red embellishes the details and implies some tantalise elements in the picture. ‘Untitled: Blue Wave’ (2015) focuses on the relationship between the pigment’s thickness and paper’s hazy texture, demonstrating the character’s concealment and the atmosphere’s dignity with the features of the particular pigments. The paint on the frescoes flaked off with time, revealing the line draft under the colour. These lines are continually overlapping for correction. Such a draft layered with overlapping and coverage makes me rethink the interlaced relationship among pigments, paper, and painting techniques on the screen presentation. After the results of the previous year's repeated experiments, the flexible use of various papers and media has made it possible to present 'Hide and Seek' in 2017. In the picture, the character model is more convergent, and pine-wood soot or lampblack ink overlap concealing with each other to unify the image.
藝術家:Naraphat Sakarthornsap(泰國)、
作品:Gushing Out My Confession (2015) 吐出我的懺悔 在我的生活走下坡路的那段時間裡,找到快樂比其他任何事情都困難。 我回頭看自己,決定再次用自己喜歡的東西來做藝術:鮮花。 我回到了我生命中的重要人物,從我兒時的朋友,我過去的老師到我愛的同事,邀請他們進入我的空間,以照片為媒介。 當我拍照時,他們會告訴我他們生活的故事。 他們是那些在那裡聽我不得不說的話的人,秘密地講述了這項工作一年的過程。 我覺得自己的感情得到了恢復,我與這些人談話後又回到了同一個老人身邊,回到我的藝術作品上,回到我喜歡的花朵。 這個系列就像我赤裸裸的照片以及模特。 不同之處在於模特的身體被剝奪了,但我的心被剝奪了。
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During the period where my life went downhill, finding happiness is harder than anything else. I looked back on myself and decided to work on my art again, with the thing that I love: flowers. I went back to the important people in my life, from my childhood friend, my past teachers to the colleagues that I love, inviting them to be in my space, having the photographs as the medium. While I was taking their pictures, they would tell me the stories of their life. They are the people who are there to listen to the things I had to say, secretly told over of the course of one year of this work’s process. I feel like my feelings were revived and I turned back to be the same old person by the talks with these persons, going back to work on my art and going back to the flower that I love. This series is like pictures of me bare naked as well as the models. The difference is that the models got their body stripped but I got my heart stripped.
Description of the work: The ‘traces’ of Chinese culture comes under the spotlight when resident in Thailand and Hong Kong. How to preserve culture in transformation and how to revitalise the culture while conserving; the observation and reproduction mechanism of traces become part of the creative method. The potted decoration took on the task of cultural inheritance during the Chinese New Year, which is the existing evidence of cultural practice in the crowded apartment in Hong Kong. Besides, in the faith of Chinese around Chaoshan areas, the words ‘Heaven and Earth are the parents’ can be seen everywhere and this word also has some impression with gender issues during the stay in Bangkok. Nature has its exceptional beauty and says nothing? Nature has its blemish and talking nonsense?
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藝術家:劉星佑
作品:天地父母 Heavenly Fathers or Mothers|攝影、書法、霓虹燈、現成物 在泰國與香港駐村時,華人文化的「痕跡」為關注重點。文化如何在轉化中被保存,如何在保存中被轉化,關於痕跡的觀察與再現機制,成為創作方法的一部分。過年期間的盆插裝飾,在香港擁擠的公寓裡,擔起了文化繼承的任務,那是實踐文化的在世證據;另外潮汕地區的華人信仰中,「天地父母」字樣可以說是隨處可見,而該字樣在曼谷駐村期間,也引發了對於性別議題的聯想;天地有大美而不言?天地有非美而靠爸靠母?
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藝術家:余政達+黃漢明(新加坡)Yu Cheng-Ta and Ming Wong
作品:西瓜緣Watermelon Love|錄像|2017 用西瓜的意象向蔡明亮《天邊一朵雲》致敬,與其說性別議題,不如說在余政達與黃漢明合作的影像創作「西瓜緣」中,如何沿用傳統戲曲中的男扮女裝,並在去性慾化的反串展演中,看到幽默的力量。
The image of watermelon that Yu Cheng-Ta and Ming Wong used in collaborative work - ‘‘Watermelon Love’ - is paying tribute to Tsai Ming-Liang's ‘The Wayward Cloud’. Obtain the female impersonator from traditional opera is not so much a gender issue as a sense of humour in desexualised cross-gender performances. |
藝術家:緣定Yeonjeong(韓國)
作品:<Re”formance3: Cloud loves cloud_Tsai Ming liang 蔡明亮>, HD video, 25min, color, sound 這是一個喜歡其他雲的雲。 在不同的天空中,雲正在缺少另一個雲。 當云層失去深深的悲傷時,雲層的淚水正在下雨。 在蔡明亮的電影“任性的雲”中,人們對水的渴望正在乾涸,這意味著人們正在渴望著渴望的愛情。 它結合了室內性能和視頻拍攝關於台灣Kaioshing的“任性雲”的空間,並完成了2年多的並置與雲,西瓜,龍虎塔,雨傘等各種比喻,也是對它的敬意。 蔡明亮的“任性的雲”和我對朋友的友誼,就像喜歡其他雲的雲。 人類深刻的嚮往和渴望基本上就是愛。
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Here is a cloud who loves the other cloud. In the different skies, a cloud is missing the other cloud. When the cloud gets the deep sorrow with missing, it is raining by the tears of the cloud. In the movie <The wayward cloud> of Tsai Ming liang, people are drying with the hunger for water, it means that people are drying with the pain for yearning love. It combines the indoor performance and the video shooting about the spaces of <The wayward cloud> in Kaioshing of Taiwan and completed over 2 years juxtaposing with various metaphors like cloud, watermelon, Dragon and tiger pagoda, umbrella, etc Also it is an homage for <The wayward cloud> of Tsai Ming liang and my friendship for my friends like clouds who love other clouds. The profound yearning and desire of human is basically just love.
藝術家:侯俊明 Hou Chun-Ming
作品:20150428 宜婷/仙人掌20150428 Yi-Ting/Cactus|2015、2017,油性粉彩紙本|一組兩張,每張H237╳W55公分。白色圖面皆為受訪者圖繪。White drawing by interviewees. 身體圖探索的是關於我們的慾望、匱乏與追尋。關於記憶、祕密與窺視。在訪談中我會問受訪者,性愛是什麼?有些受訪者告訴我,性愛讓他們髒掉了。尤其是在第一次性愛之後,他們覺得他們自己髒掉了,不再純潔。可是,也正因為他發現自己髒掉了,所以他可以把自己從完美形象裡釋放出來,獲得自由。身體圖的訪談,談的都是非常私密的個人經驗,甚至是祕密。在訪談中,我不只是個祕密的傾聽者、知情見證者,我還是一座能回應祕密的山谷。我們用創作轉化祕密,讓它變成強而有力的表達,獲得救贖。
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‘Body Map’ explores our desire, deficiency and pursuit; about memory, secret and peek. In the interview, I will ask the respondent what sex is? Some interviewees told me that sex made them feel dirty, especially after the first sex, they think no longer pure. However, as a result of that, he can free himself from the ideal and gain freedom. Conversations with ‘Body Map’ are all about private experiences and secrets. During the interview, I am not just a listener and an informed witness but also a valley that can respond to secrets. We transform the secret via , make it a powerful expression and get redemption.
藝術家:陳漢聲Chen Han-Sheng
作品:兔兒神計畫 Consecrate or Enlightenment|現成物、攝影、金箔|2018 曾幾何時,兔子被奉為神明之餘,還掌管了同性戀的愛情。〈子不語•卷十九•兔兒神〉、〈滄海拾遺 卷二十九•兔兒爺〉等文學作品裡的描述,故事不管真假,都不及走訪北京,在胡同裡遇見可愛的兔爺來得有趣。延續「湖底田」的採集創作,將墓地被棄置的水泥土地神塑像,開光化成一尊尊待開發的鑲金兔兒神。
Description of the work: Once upon a time, the rabbit was regarded as a god and also in charge of gay love. Based on the stories in the literary works such as ‘Tu Er Shen’ in Zibuyu, What the Master Would Not Discuss-Chapter Nineteen, and ‘Tu Er Ye’ in an ancient book. It is not as attractive as visiting Beijing to meet the cute Tu Er Ye in hutongs whether the story is real. Continuing the collection of ‘Hu Di Tien’, this work consecrate the abandoned Groundskeeper God statue as a gilded Tu Er Shen, waited for taken.
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參展人:康世明Kongpob Areerat(泰國)、
作品:Gazing at the moon 隨著全球LGBTI社區的響亮歡呼,台灣最高法院於2017年5月裁定,目前的婚姻民法無效,為同性婚姻合法化鋪平了道路。有傳言稱現任台灣總統蔡英文也支持同性戀婚姻,LGBTI社區的勝利似乎已接近尾聲。許多台灣人 - 東南亞人夫婦希望,一旦修改法律,他們就能結婚並組建家庭,儘管法律上可能會限制跨國夫婦合法登記結婚證。然而,由於政治錯綜複雜,台灣同性婚姻問題引發台灣基督教團體帶頭的保守派的政治反彈,危及同性戀婚姻的命運。對於長期存在的事情,許多台灣 - 東南亞的LGBTI夫婦仍在等待機會鞏固他們的聯盟,因為他們注視著月亮並希望獲得持久的愛情。
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With the resounding cheer of the LGBTI community around the globe, the top court of Taiwan’s in May 2017 ruled that the current civil code on marriage is invalid, paving the way to the legalization of same-sex marriage. With the rumour that Tsai Ing-Wen, the current president of Taiwan, is also supportive of gay marriage, the victory of the LGBTI community seems near. Many Taiwanese-Southeast Asians couples hope that once the law is amended, they would be able to get married and form a family despite the legal complications which might restrict transnational couples to legally register their marriage certificate. However, with political intricacy at play, the issue on same sex marriage in Taiwan triggered a political backlash from Taiwan’s conservatives spearheaded by Christian groups, jeopardizing the fate of gay marriage. For everlong that may be, many Taiwanese-Southeast Asians LGBTI couples are still waiting for a chance to solidify their union as they gaze at the moon and hope for the long-lasting love.
藝術家:Titapa Rongruangvanich(泰國)
作品:Fertility|玻璃 Titapa Roungruangvanich(曼谷,1991)對從繁殖期到人類受精過程中細胞分裂的男女關係感興趣。 作為一個分娩的母親,Titapa經歷了婚姻生活的永無止境的循環,涉及身體的相互作用,敏感性和精神脆弱性,以及受精,胚胎細胞在懷孕期間的分裂。 這是她尋找展示她的雕塑作品的過程的主要靈感。
Titapa Roungruangvanich (Bangkok, 1991) is interested in the relations between women and men from the period of the reproduction until the cell division during the human fertilization. As a mother who had given birth, Titapa has experienced the never ending cycle of the married life which involves physical interactions, sensitivity and mental fragility, as well as the fertilization, the division of the embryo cell whilst pregnancy. This was the main inspiration for her to look for the process to present her sculpture works.
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藝術家:磯村暖Dan Isomura(日本)
作品:“Joss Paper for the lovers”�紙紮戀人 一系列“戀人的紙”是在台灣的居住計劃(2017-2018)期間製作的,指的是紙張(紙紮:模仿金錢或日常必需品的紙張或紙製工藝品。人們燒焦紙在節日和特殊場合,如葬禮,以便崇拜並將這些必需品送到死靈。 你可以找到現代的紙張,例如模仿新iPhone的紙張,紙張已經與時俱進。即使靈魂在他們還活著的時候從未獲得過這些東西,你也可以把那些現代的東西送到死靈。為了回應台灣同性戀婚姻的合法化,並對雅克•皮庫斯的自殺深表同情,丹創造了新型的喬斯為同性戀婚姻合法化之前去世的LGBTQ人分享婚姻證明和家庭同性戀婚姻的紙張。在台灣以外的每個亞洲國家,同性婚姻仍然是非法的。丹創造了結婚證書,以供崇拜,但與此同時,他認為這是非常醜陋,因為他不希望今天的人在他們去世後接受這個。
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�A series of “Joss Paper for the lovers” is made during the residency program in Taiwan(2017-2018), referring to joss paper (紙紮:sheets of paper or paper crafts which imitate money or daily necessities. People burn joss paper on holidays and special occasions like funeral in order to worship and send those necessities to dead spirits). �As you can find modern joss paper such as one imitating a new iPhone, joss paper has been updated with the times. And you can send those contemporary stuffs to dead spirits even if the spirits had never acquired those things while they were alive.� Responding to the legalization of Gay Marriage in Taiwan and deeply sympathizing with the Suicide of Jacques Picoux, Dan made new types of Joss Paper which imitate marriage certificate and home for gay couples, in order to share the new legal right to LGBTQ people who have passed away before the legalization of gay marriage.� Gay marriage is still illegal in every Asian countries outside Taiwan. Dan created the joss paper of marriage certificate to worship, but at the same time he thinks this is really ugly because he doesn’t want people of today to receive this after their death.
簡介:
泰國向世人呈現對於性別的開放,被(誤)認為是東南亞的同志天堂,事實上,多份國際人權報告均指出,泰國LGBT性少數族群,面臨嚴重的就業、求學歧視,而泰國同性伴侶法案,曾在2013年底曾進行國會討論,但民選政府在2014年遭軍事政變推翻後,便不再進行相關討論,雖然泰國軍政府屢次傳出將可能通過同性伴侶法,在政治不穩定的局勢下,仍充滿變數。
深刻影響泰國民眾生活及思想的上座部佛教(Theravada Buddhism),對於同性戀者,有觀點認為是業力果報,乃至今生要受同性情慾之苦,泰國佛教對於同性戀態度寬容,社會卻仍帶有壓抑及歧視,2018年由走路草農藝/團主辦的同志平權藝術展「多元成展」,今年以亞洲跨國創作為主題,將於台北、曼谷兩地進行展出,邀請泰國公民記者Kongpob Areerat、泰國藝術家Naraphat Sakarthornsap、Titapa Rongruangvanich、韓國藝術家緣定、日本藝術家磯村暖、馬來西亞藝術家黃向藝、新加坡藝術家黃漢明、台灣藝術家侯俊明、余政達、陳漢聲、劉星佑,活動開幕講座邀請泰國長期進行同志運動的出家人Shine,進行開幕演講,另邀請長期支持性別平等的釋昭慧法師,進行對談分享。
【泰國講者】-
泰國上座部佛教(Theravada Buddhism)法師Shine(Ven. Shine Waradhammo),出家修行超過28年,現於泰國巴吞他尼府Kietket寺修行,除長期參與同志平權運動,也為泰國同志雜誌Attitude發表多篇專欄文章,撰寫泰國佛教、情慾及同性戀議題超過17年,也是泰國公開出櫃的同性戀出家人,將於講座分享泰國佛教對於性別及同性戀看法,以及當代泰國同志運動。
【對談】-釋昭慧法師
昭慧法師出生於緬甸仰光,為佛教弘誓學院創辦人,現為玄奘大學宗教學系教授兼系主任,長期從事女性主義、同性婚姻合法化、保護動物、反賭博合法化等社會運動,也是全球第一個公開為女同性戀者證婚的佛教法師,
泰國向世人呈現對於性別的開放,被(誤)認為是東南亞的同志天堂,事實上,多份國際人權報告均指出,泰國LGBT性少數族群,面臨嚴重的就業、求學歧視,而泰國同性伴侶法案,曾在2013年底曾進行國會討論,但民選政府在2014年遭軍事政變推翻後,便不再進行相關討論,雖然泰國軍政府屢次傳出將可能通過同性伴侶法,在政治不穩定的局勢下,仍充滿變數。
深刻影響泰國民眾生活及思想的上座部佛教(Theravada Buddhism),對於同性戀者,有觀點認為是業力果報,乃至今生要受同性情慾之苦,泰國佛教對於同性戀態度寬容,社會卻仍帶有壓抑及歧視,2018年由走路草農藝/團主辦的同志平權藝術展「多元成展」,今年以亞洲跨國創作為主題,將於台北、曼谷兩地進行展出,邀請泰國公民記者Kongpob Areerat、泰國藝術家Naraphat Sakarthornsap、Titapa Rongruangvanich、韓國藝術家緣定、日本藝術家磯村暖、馬來西亞藝術家黃向藝、新加坡藝術家黃漢明、台灣藝術家侯俊明、余政達、陳漢聲、劉星佑,活動開幕講座邀請泰國長期進行同志運動的出家人Shine,進行開幕演講,另邀請長期支持性別平等的釋昭慧法師,進行對談分享。
【泰國講者】-
泰國上座部佛教(Theravada Buddhism)法師Shine(Ven. Shine Waradhammo),出家修行超過28年,現於泰國巴吞他尼府Kietket寺修行,除長期參與同志平權運動,也為泰國同志雜誌Attitude發表多篇專欄文章,撰寫泰國佛教、情慾及同性戀議題超過17年,也是泰國公開出櫃的同性戀出家人,將於講座分享泰國佛教對於性別及同性戀看法,以及當代泰國同志運動。
【對談】-釋昭慧法師
昭慧法師出生於緬甸仰光,為佛教弘誓學院創辦人,現為玄奘大學宗教學系教授兼系主任,長期從事女性主義、同性婚姻合法化、保護動物、反賭博合法化等社會運動,也是全球第一個公開為女同性戀者證婚的佛教法師,
指導贊助單位/ 文化部 Ministry of Culture, Taiwan
補助單位/ 財團法人臺灣民主基金會 Taiwan Foundation for Democracy
開幕講座贊助/ 看見泰國 VISION THAI、關鍵評論網 The News Lens
宣傳協力/ 好料 Hao Liao Creative
補助單位/ 財團法人臺灣民主基金會 Taiwan Foundation for Democracy
開幕講座贊助/ 看見泰國 VISION THAI、關鍵評論網 The News Lens
宣傳協力/ 好料 Hao Liao Creative