第四屆高雄藝術博覽會特展區,邀請菲律賓及南韓參加，延續了東南亞與東北亞的橋梁。去年，首次嘗試並非常成功的精選於日本和馬來西亞。今年，高雄，港邊的城市，是於第二次世界大戰，貨物進出東南亞與東北亞的入口，會舉行來自菲律賓馬尼拉與宿霧的藝術，兩個如高雄一樣，歷史悠久的港都城市。連結著菲律賓與東北亞與東南亞更與全世界。
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。
隨著殖民化，他們還分別從基督教，歐洲，日本和美國文化放射性的影響到全國其他地區的中心。
像高雄，馬尼拉和宿務兩地，不僅物質產品得到交換，而且，無論在創意，文化和傳統的互通，互聯，合併，分流和轉化區;產生了活潑知識分子的話語和被接受的變化，不只一個豐富多彩的文化，有彈性保持自己的身份之中不斷的交流。
這些影響繼續流向現代的時間，在通過流行文化，全球貿易和互聯網大大加快了步伐。
隨著由一百多個民族、語言、群體標誌著菲律賓的各種土著文化，這種文化融合和思想就是菲律賓的視覺藝術形式的群眾從萌芽矩陣。
為了提供一個平台，展示菲律賓藝術，選擇從八個展區，於展會期間展示菲律賓藝術家的作品的。其結論是混合了不同身分與不同主題，使其影響共享地方和全球的身份。神話，宗教，貿易，流行文化和城市生活的雛形，在很多作品當中促進了定義他們的藝術和創造許多作品。藝術是講更多的藝術家個人的反應，時間是顯而易見的;因為這些形式被認為更適合於藝術博覽會，以其他形式在菲律賓很明顯，如面向社會正義的藝術，社區藝術，藝術的參與性，表演和過程紀錄的藝術。歷史悠久的藝術，學術和現代藝術，也讓位給當代的表現方式，感受那一刻的脈搏。這些限制雖然，由形式的多樣性將呈現規避，這說明，菲律賓當代藝術明顯歧管問題。
在提出共同的主題並沒有試圖將作出，而是經過多重性，其中面對城市居民，尤其是港口城市高雄一樣，馬尼拉和宿務的普遍問題，復活。
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:Qube Gallery)
(From: NOVA GALLERY MANILA)
(From: GALERIE FRANCESCA)
(From: Galerie Stephanie)
(From: GALERIE JOAQUIN)
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