嘉賓介紹：Berno Odo Polzer＆Santhosh Sadanandan

＊工作坊招募正在進行中，詳情請點擊「工作坊招募｜Latento－隱諭：潛在的當代時刻」

＊工作坊往期嘉賓介紹，詳情請點擊「Latento工作坊｜嘉賓介紹：趙德利 & Prasad Shetty」

Berno Odo Polzer

伯恩諾·歐多·波澤爾 (1974年生於奧地利)，策展人，劇作家。其研究領域涵蓋當代音樂、聲音藝術，行為藝術。曾在維也納學習考古學,音樂理論, 哲學和德國文學，目前工作生活於布魯塞爾和柏林。

他跨學科的實踐聯合了藝術，理論，戲劇和策展的方法。作為一名策展人，他一直致力於探索與當代音樂、政治理論、建築、媒介歷史、神經科學、舞蹈、表演以及視覺藝術相關的跨學科形式與方案，他還與Kunstenfestivaldesarts、 布魯塞爾Kaaitheater、Tanzquartier Wien、威尼斯世界論壇（World Venice Forum）、steirischerherbst、維也納音樂廳（Wiener Konzerthaus）、達姆施塔特Ferienkurse für Neue Musik以及法蘭克福 Alte Oper 等多家藝術機構展開合作。他與Jér?me Bel, Xavier Le Roy, Philipp Gehmacher, PierreLeguillon, tat ort Wien, Eszter Salamon, Jan Ritsema, Sarah Vanhee等藝術家協作完成了眾多藝術和戲劇項目。

2000年至2006年間，他專註於策展人的工作；2007至2009年間，他擔任維也納現代音樂節國際當代音樂節（部分）的藝術總監。他目前擔任柏林音樂節MaerzMusik的藝術總監，為此，他構思了一個關於時間的政治的跨學科研究計劃，計劃的副標題為「關於時間問題的節慶」（Festival for Time Issues），目前正在進行當中。

Berno Odo Polzer(born in 1974 in Austria) is a curator, dramaturge and researcher in the fieldsof contemporary music, sound-related art and performance. He studied archaeology, musicology, philosophy and German literature in Vienna und currently lives andworks in Brussels and Berlin.

His interdisciplinary practice combines artistic, theory-related, dramaturgical and curatorial approaches. As a curator he has been developing interdisciplinary formats and projects relating to contemporary music, political theory, architecture, media history neuroscience,dance and performance as well as visualarts, working with institutions such as Kunstenfestivaldesarts, Kaaitheater Brussels, Tanzquartier Wien, World Venice Forum, steirischerherbst, Wiener Konzerthaus,Darmst?dter Ferienkursefür Neue Musik and Alte Oper Frankfurt. Artisticand dramaturgical collaborations comprise projects with Jér?me Bel, Xavier Le Roy, Philipp Gehmacher, Pierre Leguillon, tat ort Wien, Eszter Salamon, Jan Ritsema, Sarah Vanheeandothers.

From 2000 to 2006 he was curator, and from 2007 to 2009 artistic director of the international contemporary music festival Wien Modern. He is currentlyartistic director of Berliner Festspiele s festival MaerzMusik which heconceived as an ongoing trans-disciplinary research project on the politics oftime under the subtitle Festival for Time Issues.

工作坊「源料」

我將呈現我正在進行的「時間的政治」的項目材料，使用我們的工作坊作為語境來一起思考，同時通過交談、採訪、閱讀、篩選來拓展研究。或許，我們可以自覺並清晰地意識到，潛於這場聚集群體中多元和分歧的暫時性，並將它和正在進行中的根本性轉變聯繫起來。

換句話說，我想提出一種關於聚焦與思考暫時之事的日常時刻，透過時間/暫時性的稜鏡來觀察我們的處境：通過概念、體現時間的理論和實踐，它們的政治譜系以及它們的政治潛能。這的確是一個複雜而又廣闊的領域，但我相信，我們這些日益生成的時間晶體，能在抽象和具體之間建起紐帶。

另外，我還想建議一種「一起聆聽」的時刻——對聲音難以捉摸的物質性的共同體驗與反思。我對「聆聽」的政治性也很感興趣。希望你們可以帶來任何你們喜歡或覺得重要的聲音——可以是音樂也可以是取證音頻。我也會帶來一些材料，期待去聆聽那些未知或者不可知的。

I would like to bring material from my ongoing work on the politics of time – and use our context for thinking together and continuing this investigation by way of talks and interviews, readings and screenings – public or not. Maybe we can render conscious and explicit – at least partially – the multiple and divergent temporalities this group inhabits, and draw relations to the ongoing, fundamental transformations Monica addressed.

In other words, I』d like to propose a daily moment of focus, of considering things temporal, of looking onto our situation through the lens of time/temporality: through concepts, embodied theories and practices of time, their political genealogies as well astheir political potentiality. This is indeed a complex and all too vast fieldto consider, but I trust that – growing time crystals that we are – bridges canbe built between the abstract and the concrete.

Another thing I』d like to propose is a moment of listening together – a shared experiencing of and reflection upon the elusive materiality of the sonic. I am interested in thepolitics of listening. It would be great if you could bring sounds you like or find important – anything, really, from music to sound forensics. I』ll bring some stuff and would be eager to listen to the yet unknown or the unknowable.

Santhosh Sadanandan

印度德里安德貝卡大學文化與創意學院的助理教授。他在巴羅達的薩亞基勞王公大學藝術學院取得藝術史與藝術批評的學士與碩士學位。他為藝術期刊、藝術目錄和其他重要學術出版物撰寫文章，他的研究興趣涵蓋媒體與文學理論、哲學、後殖民研究，庶民階級、種族問題、性別與少數民族研究、城市研究、電影與文學等領域。目前他也是德里安德貝卡大學的博士生，博士研究方向為文化建制化的各方面以及種姓和性別等在現代印度藝術生產結構中的作用。

他在巴羅達的薩亞基勞王公大學藝術學院教授過兩年藝術史課程，也在德里尼赫魯大學藝術與美學學院擔任藝術史客座教授。此外，他曾在安德貝卡大學的文化創意學院任助理教授，此前為該校的學術研究員。

Santhosh Sadanandan is Assistant Professor, School of Culture and Creative Expressions, Ambedkar UniversityDelhi, India. He trained in Art History and Criticism with BFA and MFA degrees from the Faculty of Fine Arts,Maharaja Sayajirao University of Baroda. He has also contributed essays to artjournals, catalogues, and other important academic publications. His areas ofinterest are Media and Literary Theory, Philosophy, Postcolonial Studies,Dalit, Race, Gender and Minority Studies, Urban Studies, Cinema and Literature.He is currently also a PhD candidate at the School where he teaches. His PhD research examines various aspects of the institutionalization of culture andthe role of categories such as caste and gender in the structuration ofartistic production in modern India.

He has taught Art History fortwo years at the Department of Art History and Aesthetics, Faculty of Fine Arts, M.S. University of Baroda. He has also taught Art History for two yearsas guest faculty at the School of Art and Aesthetics, Jawaharlal Nehru University, New Delhi. He also worked as an Academic Fellow for the School of Culture and Creative Expressions, AUD, before joining as an Assistant Professorin the same School.

工作坊「源料」

分配教學法

我們何以想像藝術生產與實踐的過程，或將其概念化？這不一定要有具體的作用但至少要略微觸及政治性。從集體或機構的層面而言，是什麼構成了這樣的（此種）能動性？我的報告會從我主導的兩個教學計劃中提取一些線索，並試圖挑戰一些植根於藝術創作領域的問題。或許，本次報告也會指出，在藝術教育中呈現出的被動性會危及藝術的「公共性」， 這超出了這一領域的所有支柱。根據朗西埃的觀點，分裂或共享的視覺藝術教學也意味著藝術實踐，它們在視覺領域同時暴露出我們所共享的內容，在視覺中施行切割，並在可見和不可見之間進行分隔。

A Pedagogy ofPartage

How do we imagine or conceptualise a process of art making orpractice of art without being instrumental in character but at least tangentially political? In acollective, or institutional level what constitutes such an initiative? Taking some cues from two pedagogical initiatives that I was an integral part of, my presentation attempts to engage with some of the problematics embedded in the field of artistic production. This presentation may suggest that more than anypillars of the field, the passivity sedimented in art pedagogy will end angerthe 『commons』 in/of art. In a Rancierian sense, a visual art pedagogy of partage or sharing envisions artisticpractices which simultaneously disclose in the visual fields what we share,operate divisions within the visual, and partition between the visible andinvisible.

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