帳號:guest(34.207.247.69)          離開系統
字體大小: 字級放大   字級縮小   預設字形  

詳目顯示

以作者查詢圖書館館藏以作者查詢臺灣博碩士以作者查詢全國書目勘誤回報
作者:吳君儀
作者(英文):Ng, Krystie Kun-Ee
論文名稱(中文):馬來西亞當代藝術實踐中協作的政治:以茨廠街社區藝術計劃和龐克搖滾舍為例
論文名稱(英文):The Politics of Collaboration in Malaysian Contemporary Art Practice: Case Studies of Petaling Street Community Art Project and Pangrok Sulap
指導教授(中文):劉紀蕙
指導教授(英文):Liu, Joyce Chi-Hui
口試委員:呂佩怡
高傑
口試委員(英文):Lu, Pei-Yi
Koh, Jay
學位類別:碩士
校院名稱:國立交通大學
系所名稱:亞際文化研究國際碩士學位學程(臺灣聯合大學系統)
學號:0559902
出版年(民國):109
畢業學年度:108
語文別:英文
論文頁數:141
中文關鍵詞:協作協作式藝術gotong-royong藝術政治感性分享
外文關鍵詞:collaborationcollaborative art practicegotong-royongpolitics of artredistribution of the sensible
相關次數:
  • 推薦推薦:0
  • 點閱點閱:114
  • 評分評分:*****
  • 下載下載:0
  • 收藏收藏:0
協作的實踐在馬來西亞當代藝術中越發流行。現有關於協作的討論主要從西方世界發展出來,並且以西方觀點為中心。在馬來西亞,協作的發展與源自爪哇農業社會中的一種互助系統 gotong-royong 的推行更有關。然而,隨著城市化地景和經濟活動的變化,gotong-royong 也出現遞減之趨勢,因此當代藝術中推行的gotong-royong實踐,即是對傳統價值的活化,也是對於當前形式的新詮釋。
本研究以兩個藝術家自組織為研討對象,他們提倡串連跨族群、宗教、專業和意識型態的群體,形成網絡並進行協作。這兩個考察對象分別為吉隆坡蘇丹街面對徵地事件時組成的「茨廠街藝術計畫」(Petaling Street Community Art Project)和長期在沙巴偏遠社區進行集體木刻創作的「龐克搖滾舍」(Pangrok Sulap)。他們所採取的行動看似企圖干預現有的社會架構,以及在國家主流論述中提出關於族群關係和階級矛盾的另類陳述,但在馬來西亞相對於這類型藝術項目的落實卻沒有出現同等的批判。
以當地的脈絡論述以人為主體的藝術項目,大多止於描述項目的進行方式和過程,鮮少以批判社會架構和它們對族群關係的影響為討論。由於缺乏在地觀點針對協作式實踐的論述,使得這類藝術停滯於類似歡樂型活動,卻難以介入當前的社會架構,更不可能對現有社會問題的提出另類論述或解決方案。因此,通過採用洪席耶提議的藝術審美體制(aesthetic regime of art)學說,本研究企圖提出一個理解當代協作式藝術實踐的框架,並針對馬來西亞的協作實踐進行批判性的回顧。
The practice of collaboration is getting more and more prevalent in contemporary art in Malaysia today. While existing discussions of collaboration are mainly developed from the West and is Western centrism, the formation of collaboration in Malaysia is more related to the common practice of gotong-royong, a mutual aid system originated from agrarian society in Central Java. However, the practice of gotong-royong has an obvious diminution due to urbanised landscape and the change of economic activity, therefore the application of gotong-royong in contemporary art practices are both revitalisation of traditional ethos from the past and new interpretation of the present.
This research studies two artist initiatives that establish networks and form collaborations among groups of various ethnicities, religions, professions and ideology stands, they are the Petaling Street Community Art Project (PSCAP) formed out of the land expropriation on Jalan Sultan in Kuala Lumpur, and Pangrok Sulap that worked with rural communities by adopting collective woodcut making in the interiors of Sabah respectively. While they seem to intervene in existing social structure and national discourse regarding ethnic relations and class issues, we do not see equivalent critique on such practices.
To date, existing literature on art projects that involve humans as subjects from the local perspectives are limited to reviews on method and process conducted, but criticism on the social structure and its impact on ethnic relations are rarely discussed. Since there is a lack of theoretical discourse available in understanding collaborative practices in the local contexts, we need to construct a framework for identifying these undertakings and the values of these projects. Therefore, by adopting the aesthetic regime of art coined by Ranciere in The Politics of Aesthetics, this research suggests a framework to understand the concept of collaboration in contemporary art practices, and take a critical review on the practice of art in Malaysia.
Abstract ……………………………………………………………………………………… I
Acknowledgement …………………………………………………………………… III
Table of Contents ……………………………………………………………… IV
List of Figures …………………………………………………………………… VI

Chapter One
The Popularization of Collaboration and its Subsequences
1.1 Research Background ……………………………………………… 1
1.2 Research Objective ………………………………………………… 4
1.3 Research Question …………………………………………………… 7
1.4 Key Concepts ………………………………………………………………… 8
1.5 Research Project ……………………………………………………… 21
1.6 Research Methodology …………………………………………… 23
1.7 Chapter Division ……………………………………………………… 24
1.8 Research Contribution ………………………………………… 25

Chapter Two
From Gotong-Royong to Collaboration: The Development of Collaboration in Malaysian Art and Its Correlative Politics ……………………………………………………………………………………………………………… 27
2.1 The Development of Collaboration in Malaysian Art and Its Challenges ……………………………………………………………………… 28
2.2 The Formulation of Gotong-Royong and Its Mobilisation
2.2.1 Charity, Volunteerism or Forced Volunteerism? ………………………………………………………………………………………………………………… 40
2.2.2 Spontaneous Organization, Authoritative Policy or Paid Volunteerism? …………………………………………………………………………… 43
2.2.3 Unity, Conviviality and The Great Beneficiary ………………………………………………………………………………………………………………… 45
2.3 The Politics of Collaboration ……………………… 48

Chapter Three
Cross-Ethnicity Alliance Under Urban Regeneration: Art Activism by Petaling Street Community Art Project ………………………………………………………………………………………………………………… 54
3.1 Jalan Sultan Land Expropriation and the Petaling Street Community Art Project ……………………………………………………… 55
3.2 Threatened Historical and Cultural Heritage under Neoliberalism: The Cultural Heritage Trail to Endangered Sites ………………………………………………………………………………………………… 60
3.3 Many a Little Makes a Mickle: Chap Goh Meh – Light A Lantern, Save Jalan Sultan ………………………………………… 66
3.4 Capturing the Last Splendor: The Old Street of Kuala Lumpur Photography Exhibition ………………………………… 74
3.5 Coda ………………………………………………………………………………………… 79

Chapter Four
Woodcut as a Tool of Resistance and Media of the People: Gotong-Royong and Collective Art Making by Pangrok Sulap ………………………………………………………………………………………………………………… 86
4.1 A Seed Grows from Gotong-Royong and the Medium of Woodcut …………………………………………………………………………………………… 87
4.2 Resistance Against Hatred Towards Illegal Migrant: Rokok, Sigup dan Kirai Asli Series ………………………………………………………………………………………………………………… 93
4.3 Defending Ancestral Land Against Developmentalism: Stop Kaiduan Dam, Save Ulu Papar! …………………………………… 98
4.4 Woodcut as Medium of Utterance and Media of the People: Sabah Tanah Air-Ku …………………………………………………………… 105
4.5 Coda ……………………………………………………………………………………… 113

Chapter Five
The Politics of Aesthetics in Collaboration: The Making and Unmaking of PSCAP and Pangrok Sulap ……………… 120
5.1 The Influence of Gotong-Royong and Its Relevencies ……………………………………………………………………………………………………………… 120
5.2 The Significance of Collaboration ………… 122
5.3 The Politics of Aesthetics …………………………… 125
5.4 Conclusion ……………………………………………………………………… 127

Bibliography …………………………………………………………………………… 131
Abdullah, Sarena (2012). “Art Criticism Versus Art Writing: The Malaysian Situation”, Kemanusiaan, Vol. 19, No. 2 (2012), p. 63-78.
Abrams, M.H. (1953). Mirror and the lamp: Romantic Theory and the Critical Tradition. Oxford: Oxford University Press.
Ali, Hussein Syed (2015). Ethnic Relations in Malaysia – Harmony and Conflict. Selangor: Strategic Information and Research Development Centre.
Aqilah, Ili. (March 23, 2019). “Art collectives band together”. The Star. Retrieved from https://www.thestar.com.my/metro/metro-news/2019/03/23/art-collectives-band-together/. Accessed April 2019.
Argenti, Gili; Dias, Dini Sri Istining (2018). "Soekarno's Political Thinking about Guided Democracry". Jurnal Politikom Indoneisana, 3 (2). Retrieved from https://www.researchgate.net/publication/340646504_SOEKARNO'S_POLITICAL_THINKING_ABOUT_GUIDED_DEMOCRACY. Accessed June 2020.
Atkins, Robert (1997). Artspeak: A Guide to Contemporary Ideas, Movements, and Buzzwords, 1945 to the Present. New York: Abbeville Press.
Atkins, Robert (2008). “Politics, Participation and Meaning in the Age of Mass Media”. In Atkins, Robert, Frieling, Rudolf, Groys, Boris & Manovich, Lev (Eds.), The Art of Participation: 1950 To Now (pp. 50-64). New York and London: Thames & Hudson.
Bell, David (2015). “The Politics of Participatory Art”. Political Studies Review. Retrieved from http://eprints.whiterose.ac.uk/86339/4/WRRO_86339.pdf. Accessed June 2020.
Bishop, Claire. (2004), “Antagonism and Relational Aesthetics”, October, 110, pp.51-79.
Bishop, Claire (2006a). “Claire Bishop Responds”, Artforum, 44 (9). Retrieved from https://www.thefreelibrary.com/Another+turn.-a0145872665. Accessed May 2020.
Bishop, Claire (2006b). “Introduction: Viewers as Producers”. In Bishop, Claire (Ed.), Participation (pp.10-17). London: Whitechapel.
Bishop, Claire (2006c). “The Social Turn: Collaboration and Its Discontents”. ArtForum, 44 (6), pp. 178-183.
Bishop, Claire (2012). Artificial Hells: Participatory Art and the Politics of Spectatorship. Verso.
Bourriaud, Nicolas (2009). “Precarious Constructions: Answer to Jacques Rancière on Art and Politics”, Open!: Platform for Art, Culture & the Public Domain. Retrieved from https://www.onlineopen.org/precarious-constructions. Accessed May 2020.
Bowen, John R. (1986). “On the Political Construction of Tradition: Gotong-Royong in Indonesia”. The Journal of Asian Studies, 45 (3), pp. 545-561.
Butcher, John Griffin (2001). “May 13: A Review of Some Controversies in Accounts of the Riots”. In K.S. Jomo (Ed.), Reinventing Malaysia: reflections on its past and future (pp. 35-56). Selangor: Penerbit Universiti Kebangsaan Malaysia. Retrieved from https://research-repository.griffith.edu.au/handle/10072/868. Accessed May 2020.
Butler, Diana (June 2016). Enlivening Cultural Environments Through Sharing and Gotong Royong (Mutual Cooperation). Heritage of Nusantara: International Journal of Religious Literature and Heritage, Vol. 5 No. 1, pp. 1-22.
Charnley, Kim (2011). "Dissensus and the Politics of Collaborative Practice". Art & The Public Sphere, 1 (1), p. 37-53. Retrieved from https://www.researchgate.net/publication/233505716_Dissensus_and_the_Politics_of_Collaborative_Practice. Accessed June 2020.
Chia, Josephine (2013). Kampong Spirit: Gotong Royong: Life in Potong Pasir, 1955 to 1965. Singapore: Marshall Cavendish International (Asia) Pte Ltd.
Chin, Sharon (2016). “When Everyone Does Everything: Crossing Disciplines and the Predicament of Wearing Many Hats in Malaysian Art”. In Yong, B., Khairuddin, N. H., Joseph, R. & Ibrahim, T. S. (Eds.). Narratives in Malaysian Art Volume 3: Infrastructures (pp. 431-436). Kuala Lumpur: RogueArt.
Danto, Arthur Coleman (1986). After the End of Art: Contemporary Art and the Pale of History. New Jersey: Princeton University Press.
Editorial Team (1999). Reassessment of Urban Planning and Development Regulations in Asian Cities. UN-HABITAT (pp. 34-35). Retrieved from https://books.google.co.uk/books?id=p6XUOGEvEcgC&source=gbs_navlinks_s. Accessed by June 2020.
Editorial Team (2019). Hasanah Arts Fund Book 2018-2019 . Retrieved from https://issuu.com/yayasanhasanah/docs/arts_fund_book_2018-digital. Accessed April 2019.
Eswar, Harold Reagan (2018). Lopung is Dead! Pangrok Sulap. Kuala Lumpur: A+ Works of Art. Retrieved from https://issuu.com/aplusart.asia/docs/pangroksulap-catalogue-9_final_web. Accessed June 2020.
Frreeyya (2015). “Post A: Marjinal – Indonesia’s Punk Activists”. Retrieved from https://indonesiadesignstudio.blog/2015/04/29/post-a-marjinal-indonesian-punk-activism/ Accessed May 2020.
Gablik, Suzy (1996). “Connective Aesthetics: Art After Individualism”. In Lacy, Suzanne (Ed.), Mapping the Terrain: New Genre Public Art 1995 (pp. 74-87). Seattle: Bay Press. (First published in 1995)
Geertz, Clifford (1965). The Social History of an Indonesian Town. Cambridge: MIT Press.
Geertz, Clifford (October 2009). Ritual and Social Change: A Javanese Example. American Anthropologist, 59 (1), pp. 32-54.
George McT. Kahin. (1993). In Memoriam: Mohammad Natsir (1907-1993). Indonesia, (56), pp. 159-165. Retrieved from https://www.jstor.org/stable/3351203?seq=1. Accessed June 2020.
Guillamet, Laia & Roca, David (2013). “The Double Face of Collaborative Art: The Exchange of Theory and Practice”. Interartive. Retrieved from https://interartive.org/2013/10/collaborative-art. Accessed March 2019.
Huang, Min Chi (2018), “Incomprehensible Tropics: The Duplication and Division of the Punk Spirit“, An Atypical Investigative Article, Arts Observer Field Archive. Retrived from https://aofa.tw/?p=3037. Accessed May 2020.
Ishak Surin and Soleh (8 February 2020). Petaling Street Community Art Project (Interviewed by Ng, Krystie).
Iskandar, Pranoto (2016). “The Pancasila Delusion”. Routledge Journal of Contemporary Asia, 46 (4), pp. 723-735. Retrieved from https://www.tandfonline.com/doi/abs/10.1080/00472336.2016.1195430. Accessed May 2020.
Jit, Krishen (2013). “New Art, New Voices: Krishen Jit Talks to Wong Hoy Cheong on Contemporary Malaysian Art”. In Khairuddin, Nur Hanim & Yong, Beverly (Eds.), Narratives in Malaysian Art Vol. 2: Reactions – New Critical Strategies (pp. 146-153). Kuala Lumpur: RogueArt.
Kelly, Michael (2014), Encyclopedia of Aesthetics, Vol. 1. New York, Oxford: Oxford University Press.
Kester, Grant (2004). Conversation Pieces: The Role of Dialogue in Socially-Engaged Art. California: Regents of the University of California.
Kester, Grant (2006). “Another Turn: A Response to Claire Bishop’s ‘The Social Turn’”, Artforum, 44 (9). Retrieved from https://www.thefreelibrary.com/Another+turn.-a0145872665. Accessed May 2020.
Kester, Grant (2011). The One and the Many: Contemporary Collaborative Art in a Global Context. Durham: Duke University Press.
Khairuddin, Nur Hanim (2016). “Art in the Margins of Society”. In Yong, Beverly, Khairuddin, Nur Hanim, Joseph, Rahel & Ibrahim, Tengku Sabri (Eds.), Narratives in Malaysian Art Vol. 3 :Infrastructure (pp. 155-160). Kuala Lumpur: RogueArt.
Kobayashi, Kazuo (2007). “The ‘Invention of Tradition’ in Java under the Japanese Occupation: The Tonarigumi System and Gotong Royong”. Working Paper Series, 31. Shiga: African Centre for Peace and Development Studies, Ryukoku University. Retrieved from https://www.afrasia.ryukoku.ac.jp/data/deliverables1/105-1.pdf. Accessed May 2020.
Koentjaraningrat (2007). “The Village in Indonesia Today”. In Koentjaraningrat (Ed.), Villages in Indonesia (386-405). Singapore: Equinox Publishing (Asia). (First published in 1967).
Koentjaraningrat (2009). Gotong-Rojong: Some Social-anthropological Observations on Practices in Two Villages of Central Java. Translated from Bahasa to English by Claire Holt. Singapore: Equinox Publishing (Asia).
Kua, Kia Soong (2007). May 13: Declassified Documents on the Malaysian Riots of 1969. Kuala Lumpur: Suaram Komunikasi.
Kuroda, Raiji & Igarashi, Rina (2018). Blaze Carved in Darkness: Woodcut Movements in Asia 1930s - 2010s. Fukuoka: Fukuoka Asian Art Museum.
Lacy, Suzanne (1996). “Introduction: Cultural Pilgrimages and Metaphoric Journeys”. In Lacy, Suzanne (Ed.), Mapping the Terrain: New Genre Public Art (pp. 19-47). Seattle: Bay Press. (First published in 1995)
Lee, Patrick. “MRT the death knell for Chinatown?”, August 11, 2011. Retrieved from https://www.freemalaysiatoday.com/2011/08/11/mrt-the-death-knell-for-chinatown/. Accessed March 2020.
Leong, Rizo & Jack, Memeto (9 November 2019). Pangrok Sulap II (Interviewed by Ng, Krystie).
Li, Chu (2013). “Nirmala Dutt Shanmughalingam: A Review – The Making of An Artist as Social Commentator”. In Khairuddin, Nur Hanim & Yong, Beverly (Eds.), Narratives in Malaysian Art Vol. 2: Reactions – New Critical Strategies (pp. 127-129). Kuala Lumpur: RogueArt.
Lind, Maria (2004). “Actualization of Space: The Case of Oda Projesi”. In Doherty, Claire (Ed.), Contemporary Art: From Studio to Situation (p. 109-121). London: Black Dog.
Lind, Maria (2009). “Complications: On Collaboration, Agency and Contemporary Art”. In Montmann, Nina (Ed.), New Communities (p. 53-73). Toronto: The Power Plant and Public Books.
London, Scott (December 2012). “Building Collaborative Communities”. In Bak Mortensen, Marie & Nesbitt, Judith (Eds.), On Collaboration. London: Tate.
Loo, Yat-Ming (2012). “No Chinatown, please!: Contesting race, identity and postcolonial memory in Kuala Lumpur”, The Journal of Architecture, 17:6, 847-870. Retrieved from https://www.tandfonline.com/doi/abs/10.1080/13602365.2012.746025.Accessed June 2020.
Mohammad, Mahathir (1991). “The Way Forward – Vision 2020”. Retrieved from http://unpan1.un.org. Accessed February 2019.
Muryanti (2014). “Revitalisasi Gotong Royong: Penguat Persaudaraan Masyarakat Muslim di Pedesaan”. Sosiologi Reflektif, 9 (1), pp. 63-81. Retrieved from http://ejournal.uin-suka.ac.id/isoshum/sosiologireflektif/article/view/1130/1041. Accessed May 2020.
My Art Memory Project. Retrieved from https://myartmemoryproject.com/censorship/. Accessed April 2020.
Mydans, Seth. (December 10, 2007). “A Growing Source of Fear for Migrants in Malaysia”. The New York Times. Retrieved from https://www.nytimes.com/2007/12/10/world/asia/10malaysia.html. Accessed March 2019.
Ng, Krystie & Okui Lala (2016). Art Map Malaysia. Kuala Lumpur: Rogue Art.
Nollert, Angelika (2005). “Art is Life, Life is Art”. Catalogue, Kassel: Kunsthalle Fridericianum. Cited from Lind, Maria (2009). “Complications: On Collaboration, Agency and Contemporary Art”. In Montmann, Nina (Ed.), New Communities (p. 53-73). Toronto: The Power Plant and Public Books.
Patrick, Tracy. “Dam Go-Ahead Shocks Sabah Villagers”. 4 August 2018. Retrieved from https://www.freemalaysiatoday.com/category/nation/2018/08/04/dam-go-ahead-shocks-sabah-villagers/ Accessed April 2020.
Piyadasa, Redza & Esa, Suleiman (2013). “Towards a Mystical Reality: A Documentation of Jointly Initiated Experiences by Redza Piyadasa and Suleiman Esa”. In Khairuddin, Nur Hanim & Yong, Beverly (Eds.), Narratives in Malaysian Art Vol. 2: Reactions – New Critical Strategies (pp.33). Kuala Lumpur: RogueArt.
Rancière, Jacques (2004). The Politics of Aesthetics: The Distribution of the Sensible (Rockhill, Gabriel, Trans.). New York: Continuum. (First published in 2006)
Rancière, Jacques (2011). The Emancipated Spectator (Elliot, Gregory, Trans.). London: Verso. (First published in French in 2008)
Rancière, Jacques (2013). Aisthesis: Scenes From the Aesthetic Regime of Art (Paul, Zakir, Trans.). London: Verso. (First published in French in 2011)
Roschelle, Jeremy & Teasley, Stephanie (1995). “The Construction of Shared Knowledge in Collaborative Problem Solving”. Retrived from https://www.researchgate.net/publication/243778765_The_Construction_of_Shared_Knowledge_in_Collaborative_Problem_Solving. Accessed June 2020.
See, Yee Wen (25 May 2020). Petaling Street Community Art Project II (Interviewed by Ng, Krystie).
Seng, Yu-Jin (2017). “Descent to the Everyday: The Emergence of Critical Exhibition in Southeast Asia in the 1970s”, Journal of TFAM, No.34, Taipei: Taipei National Fine Art Museum. Retrieved from https://www.tfam.museum/File/Journal/Content/1/20171221165506974213.pdf Accessed in May 2020.
Silaen, Parulian & Smark, Ciorstan J (2006). “The Culture System in Dutch Indonesia 1830-1870: How Rawls’s Original Position Ethics were Violated”. Faculty of Commerce – Papers (archive), Wollongong: University of Wollongong. Retrieved from https://ro.uow.edu.au/commpapers/135/. Accessed June 2020.
Soon, Simon (2013). “Four Currencies in Contemporary Practice”. In Khairuddin, Nur Hanim & Yong, Beverly (Eds.), Narratives in Malaysian Art Vol. 2: Reactions – New Critical Strategies (pp.319-333). Kuala Lumpur: RogueArt.
Wan Mohd Isa, Wan Abdul Rahim; Hakim Suhaimi, Ahmad Iqbal; Noordin, Nurulhuda; Harun, Afdallyna Fathiyah; Ismail, Juhaida; Abdullah, Famie Izudin (2019). “Cultural Dimensions of Malay Cultures: Performance of IT Professionals”. International Journal of Recent Technology and Engineering (IJRTE), 8 (2S2). Retrieved from https://www.ijrte.org/wp-content/uploads/papers/v8i2S2/B10040782S219.pdf. Accessed June 2020.
Weiss, Jeff & Hughes, Jonathan (2005). “Want Collaboration?: Accept—and Actively Manage—Conflict”. Harvard Business Review. Retrieved from https://hbr.org/2005/03/want-collaboration-accept-and-actively-manage-conflict. Accessed June 2020.
Wójcik, Anna (2015). “The Politics of Art: An interview with Jacques Rancière”. Versobooks.com. Retrieved from https://www.versobooks.com/blogs/2320-the-politics-of-art-an-interview-with-jacques-ranciere. Accessed April 2019.
Yeoh, Lian Heng (10 March 2020). Petaling Street Community Art Project I (Interviewed by Ng, Krystie).
Yeoh, Lian Heng (1 June 2020). Petaling Street Community Art Project II (Interviewed by Ng, Krystie).
Yeoh, Lian Heng (2016). “Petaling Street Community Art Project”. In Lee, Chun Fung (ed.), Wooferten's Art/Activist in Residence (pp. 108-111). Hong Kong: Wooferten.
Yew, Kuan Yee (1 June 2020), Old Street of Kuala Lumpur Photography Exhibition (Interviewed by Ng, K.).
Zurairi, A.R. "Japan Foundation slammed for allowing ‘censorship’ at art exhibition", Malay Mail, 15 Mar 2017. Retrieved from https://www.malaymail.com/news/malaysia/2017/03/15/japan-foundation-slammed-for-allowing-censorship-at-art-exhibition-video/1335001. Accessed April 2020.
“MRT2 tunnelling works to be improved with new TBM machines”. 28 September, 2017. Retrieved from https://www.nst.com.my/news/nation/2017/09/285264/mrt2-tunnelling-works-be-improved-new-tbm-machines. Accessed March 2020.
“What About Malaysia?”. Hofstede Insights. Retrieved from https://www.hofstede-insights.com/country/malaysia/#:~:text=Malaysia%2C%20with%20a%20score%20of,other%20societal%20rules%20and%20regulations. Accessed June 2020.
廖詩弦, “走入吉隆坡“非法”木屋區”, 當今大馬. Retrieved from https://www.malaysiakini.com/columns/327157. Accessed June 2020.
张吉安. “从「灯佑苏丹街」到「茨厂街年味节」”, 2019-02-03, 星洲網. Retrieved from https://www.sinchew.com.my/content/2019-02/03/content_2006848.html. Accessed May 2020.
王志亮 (2017). “參與式藝術的審美與政治——畢曉普、鮑瑞奧德和凱斯特之間的話語爭鋒(上)”. 西西弗斯藝術小組. Retrieved from https://mp.weixin.qq.com/s?__biz=MzAxOTIyMzMzMA==&mid=2650412291&idx=1&sn=c85671c4b3064f9f00ddfe23cbda573e&chksm=83c4f34eb4b37a58c8408dc69bbeb4c6c80edbb2fcaf118c27695ff65c1cf4e33a3155378534&scene=21#wechat_redirect. Accessed June 2020.
董維琇 (2019). 美學逆襲:當代藝術的社會實踐. 台北:藝術家出版社.
蔡長璜 (2016). “未經說明的狀況:想像另一類的馬來西亞當代藝術”. In 蔣伯欣 & 詹彩芸 (Eds.), 現代美術學報, 32. 台北:臺北市立美術.Retrieved from https://www.tfam.museum/research/PublishingDetail.aspx?id=1047&ddlLang=zh-tw. Accessed May 2020.
(本資料20220806開放外部瀏覽)
電子全文
 
 
 
 
第一頁 上一頁 下一頁 最後一頁 top
* *