最早追朔回 1565 年，馬尼拉郵輪連接著中國、墨西哥和西班牙。百年前，馬尼拉與宿霧分別建立社區，並是來自於中國的人民，以及現在的泰國，越南，柬埔寨，印度尼西亞和馬來西亞的部分；並且是為伊斯蘭教，佛教，印度語，水蚤，馬來文化影響的入口點。
2007 年，考古學家的一個多國研究小組發現，“從台灣東部源綠色軟玉被用來做兩個人分發的耳墜非常具體的形式，公元前 500 間和公元 500 年，在菲律賓，東馬來西亞，越南南部和半島泰國，形成圍繞中國南海的南部和東部海岸一公里的直徑 3000 的光環。“台灣來源田玉耳墜成立的證明海基貿易網絡廣泛的早期網絡連接東南亞國家的東北亞。我們希望，在藝術表現高雄作品將在溝通和重鋪路面，我們之間的連接不真實和微量元素的思想成長在我們的時代。
In 2016, Art Kaohsiung’s fourth year, a curatorial platform is provided to the Philippines and South Korea, in its continuing program to bridge Northeast and Southeast Asia. Last year, on its first attempt, it successfully featured art from Japan and Malaysia. This year, Kaohsiung, a port city, and the entry of goods from Southeast Asia to Northeast Asia during the onset of World War II, will host Philippine art from Manila and Cebu; two historical port cities that like it, connected the Philippines with Southeast and Northeast Asia, as well as the rest of the world.
From as early as 1565, both cities linked the Philippines with China, Mexico and Spain through the galleon trade. Centuries prior to that, Manila and Cebu were among the established communities that traded with peoples from China, and parts of what is now Thailand, Vietnam, Cambodia, Indonesia, and Malaysia; and were the entry points for Islamic, Buddhist, Indic, Sinic, Malay cultural influences. With the subsequent colonization, they also were the centers from which Christian, European, Japanese and American cultural influences radiated to the rest of the country. Like Kaohsiung, Manila and Cebu were areas where not only material goods got exchanged, but also, where ideas, cultures and traditions interflowed, connected, merged, diverged and transformed; giving birth to lively intellectual discourse and a colorful culture that is accepting of change and yet, resilient in maintaining its own identity amidst the constant exchange. These influences continue to flow to this day, and at a much accelerated pace through pop culture, global trade, and the internet. Along with the diverse indigenous cultures of the Philippines marked by more than one hundred ethnolinguistic groups, this confluence of cultures and ideas is the matrix where the multitude of Philippine visual artforms sprout from.
To provide a platform to showcase Philippine art, a selection was made from the eight galleries presenting the works of Philippine artists during the fair. The result is a mix that identifies with different themes which influence shared local and global identity. Myth, religion, trade, pop culture and city life figure in the many works that define the impetus for the select artists in creating their art. Art that speaks more to the individual artists’ reactions to the times is evident; as these forms are deemed more appropriate for the art fair, to the exclusion of the other forms evident in the Philippines such as social justice-oriented art, community art, participatory art, performances and process-based arts. Historic art, academic and modern art, have also given way to contemporary expressions, to sense the pulse of the moment. These limitations though, are circumvented by the multiplicity of forms that will be presented, which speak of the manifold issues evident in Philippine contemporary art. No attempt at presenting common themes will be made, but rather, through multiplicity, universal issues which confront urban dwellers, particularly port cities like Kaohsiung, Manila and Cebu, are raised.
In 2007, a multi-nation team of archeologists found that “green nephrite from a source in eastern Taiwan was used to make two very specific forms of ear pendant that were distributed, between 500 B.C. and 500 A.D., through the Philippines, East Malaysia, southern Vietnam, and peninsular Thailand, forming a 3,000-km-diameter halo around the southern and eastern coastlines of the South China Sea.” The Taiwan-sourced nephrite ear pendants established proof of an extensive early network of sea-based trade network that connected countries of Southeast Asia with Northeast Asia. Hopefully, artworks exhibited in Art Kaohsiung will be artefactual in communicating and resurfacing connections between us and trace the growth of ideas in our time.
(文: Ricky Francisco, 譯：大苑藝術)
(From: ART UNDERGROUND)
(From: NOVA GALLERY MANILA)
(From: GALERIE FRANCESCA)
(From: Galerie Stephanie)
(From: GALERIE JOAQUIN)