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{% block main %} {% block main %}
<div class="about"> <div class="about">
<h1 class="font-bold">The video art programme of the Asia Art Biennial.</h1> <h1 class="font-bold">The video art programme of the Asia Art Biennial.</h1>
<h1 class="font-bold">亞洲藝術雙年展錄像計畫</h1>
<div>Curated by Anushka Rajendran</div> <div>Curated by Anushka Rajendran</div>
<p>策展人 安努舒卡．拉堅德蘭</p> <p>策展人 安努舒卡．拉堅德蘭</p>
<div>Presented online by Pad.ma</div> <div>Presented online by Pad.ma</div>
<p>藝術家 Pad.ma</p> <p>網站製作團隊 Pad.ma</p>
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<p>Curated by Anushka Rajendran, “Phantasmapolis: Looking back to the future” considers alterities and futurisms whose traces endure in our present—often inherited from the past—that were denied existence, or threatened by various dominant apparatuses of power. A series of moving image works articulate their concerns in the grammatical premise determined by the future-past tense, excavating the cyclical nature of time and latencies residing in the interstices of time as experienced in the contemporary.</p> <p>Curated by Anushka Rajendran, “Phantasmapolis: Looking back to the future” considers alterities and futurisms whose traces endure in our present—often inherited from the past—that were denied existence, or threatened by various dominant apparatuses of power. A series of moving image works articulate their concerns in the grammatical premise determined by the future-past tense, excavating the cyclical nature of time and latencies residing in the interstices of time as experienced in the contemporary.</p>
<p>The artworks present in this exhibition, even as they maintain scepticism towards techno-fetishistic, development-philic, heteronormative, non-inclusive paradigms for the future, propelled in the interest of capital and by the anaemic premise inscribed by the idea of progress, they do not deny the possibility of reorienting civilizational creativity and resilience towards reconsiderations.</p> <p>The artworks present in this exhibition, even as they maintain scepticism towards techno-fetishistic, development-philic, heteronormative, non-inclusive paradigms for the future, propelled in the interest of capital and by the anaemic premise inscribed by the idea of progress, they do not deny the possibility of reorienting civilizational creativity and resilience towards reconsiderations.</p>
<p>The online platform that hosts this exhibition conceptualized and drawn from <a href="https://pad.ma" class="font-family-wrong">pad.ma</a> proposes alternative ways of deepening the connectivity and democratic possibilities that can exist vis-à-vis the internet towards ethical digital infrastructures to engage intimately with art.</p>
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<p>雖然展覽中的作品對於科技迷戀、發展導向、異性戀觀點、對未來的排他敘事、受資本驅動、進步導向的貧乏敘事提出質疑，藝術家仍然願意透過文明創造力與韌性，重新探索不同未來可能。</p> <p>雖然展覽中的作品對於科技迷戀、發展導向、異性戀觀點、對未來的排他敘事、受資本驅動、進步導向的貧乏敘事提出質疑，藝術家仍然願意透過文明創造力與韌性，重新探索不同未來可能。</p>
<p>呈現此計畫的網路平台之發想與概念來自 pad.ma，該平台提倡以另類的方式，讓數位介面的藝術體驗更具有連結性也更民主。</p> <p>呈現此計畫的網路平台之發想與概念來自 pad.ma，該平台提倡以另類的方式，讓數位介面的藝術體驗更具有連結性也更民主。</p>
<p>呈現此計畫的網路平台之發想與概念來自 <a href="https://pad.ma" class="font-family-wrong">pad.ma</a>，該平台提倡以另類的方式，讓數位介面的藝術體驗更具有連結性也更民主。</p>
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