第四場「移動時代的觀光客劇場」，來自日本的內野儀教授從哲學家東浩紀的著作《觀光客的哲學》開始進行解說。他透過觀光客的「miss-delivery」消滅篩選機制，重整僵化的權力部署。他主要探討日本的劇場編導神里雄大與新加坡新媒體藝術家徐家輝的作品，前者豐厚文學基底的文本編寫與破敗的表演風格，正好與後者被他稱之為「觀光客—藝術家」的美學和方法，呈現出鮮明的對比，突顯從傳統價值體系轉向表演在個別觀眾心中各具意義的空間建構。內野儀樂見於藝術家的「miss-delivery」，因為所謂的正確和真實，正是由國家和語言約束的社會文化系統維持，而當它被miss-delivery，體制才有機會面對自己的失效。
The 2018 Taipei Arts Festival arranged “Think Bar” this summer, a brand new activity featuring four lectures about exhibition curation at TNUA. Teachers and student from TNUA’s Graduate Institute of Dance helped arrange the talks, which featured three speakers: Mr. Florian Malzacher from Germany; Ms. Joanna Warsza from Poland; and Prof. Tadashi Uchino from Japan.
The first was Mr. Malzacher’s lecture, “Theatre as Assembly: Spheres of Radical Imagination and Pragmatic Utopias,” which showed contradictory aesthetic and political positions in the use of theatre is united by the aim to expand the field of theatre, to push its very means and possibilities, to find ways of engaging with the social and political issues of our time, thus giving inspiration to activism and political thinking beyond the artistic realm.
The second talk, “Empty Stages, Crowded Flats: Performativity as Curatorial Strategy,” was jointly given by Mr. Malzacher and Ms. Warsza. They examined an array of staged situations – from choreographed exhibitions, immaterial museums, theatres of negotiation, and discursive marathons, to street carnivals and subversive public art projects – asking how “theatre-like” strategies and techniques can, in fact, enable “reality making” situations in art, and how, as a consequence, curating itself becomes staged, dramatized, choreographed, and composed. The third lecture, “Public Space in Private Rooms: Curating in the Public Sphere,” was given by Ms. Warsza alone.
The talk outlined the evolution of site-specific and context-specific curating, where art and artists address burning issues of our times, in response to socio-economic conditions of the given place. Prof. Uchino gave the fourth talk, “Theatre of the Tourist in the Age of Mobility,” examined artists working in and around Japan who use the critical strategy of the “tourist.” The lecture drew visual material from Yudai Kamisato’s “The Story of Descending the Long Slopes of Valparaiso,” Choy Ka Fai’s “Soft Machine” and “Unbearable Darkness,” and asked how and what their work deliberately “mis-deliver.”