總策展人：林平
客座策展人：高森信男

Chief Curator: Ping Lin
Guest Curator: Takamori Nobuo


藝術家（按展場順序）：
石原紫山、鄧南光、許武勇、何德來、朱鳴岡、梅丁衍、郭雪湖、馬白水、劉其偉、洪救國、席德進、許家維、蔡草如、謝里法、李勇志、王金成、何家良、劉抗、陳文希、鐘泗濱、貢薩雷斯．帕爾馬、桑托斯．阿濡．喬托、羅德立奎茲．奇彥、儒巴度．雷達那、帕西雅．孟海、蟬尼雅．梅西雅．巴第亞、姚瑞中＆鄭鴻展、區秀詒、林輝華、全會華、邱承宏、張恩滿、黃海昌、蘇育賢、伊旺．安美特＆蒂塔．薩利娜
Artists:
Ishihara Shisan, Deng Nan Guang, Hsu Wu Yung, Ho Te Lai, Zhu Ming Gang, Mei Dean E, Kuo Hsueh Hu, Ma Pai Sui, Liu Max C. W., Ang Kiukok, Shyi Der Jinn, Hsu Chia Wei, Tsai Tsao Ju, Shaih Lifa, Lee Yung Chih, Ong Kim Seng, Ho Kah Leong, Liu Kang, Chen Wen Hsi, Cheong Soo Pieng, Luis González Palma, Santos Arzú Quioto, José Alfredo Rodríguez Guillén, Manuel Zumbado Retana, Priscilla Monge, Xenia Mejia Padilla, Yao Jui Chung & Hank Cheng, Au Sow Yee, Lim Hooi Hwa, Chuan Hui Hua, Chiu Chen Hung, Chang En Man, Wong Hoy Cheong, So Yo Hen, Irwan Ahmett & Tita Salina


文獻研究員（按展場順序）：
黃義雄、陳湘汶、許元豪、鄭文琦
Archive researchers:
Huang Yi Hsiung, Chen Hsiang Wen, Koh Nguang How, Rikey Tenn Bun Ki


特別感謝（按中文筆畫順）：
中央通訊社、美聯社資料庫、英國百代電影公司資料庫、財團法人原住民族文化事業基金會、財團法人席德進基金會、財團法人楊英風藝術教育基金會、高雄市立美術館、郭雪湖基金會、國立自然科學博物館、國立臺灣圖書館、國立臺灣博物館、國立臺灣美術館、國立臺灣歷史博物館、國立歷史博物館、國家電影及視聽文化中心、國家發展委員會檔案管理局、荷蘭「Eye」電影博物館、臺北市立圖書館、辛友仁、林書楷、陳飛豪、許芳慈、劉抗家屬、唐娜維．恰卜瑞帝、泰莎．瑪莉亞．奎松、賴英泰
Acknowledgements:
AP Archive , British Pathé, Central News Agency, Eye Filmmuseum, Indigenous Peoples Cultural Foundation, Kaohsiung Museum of Fine Arts, Kuo Hsueh-Hu Foundation, National Archives Administration, National Development Council, National Museum of History, National Museum of Natural Science, National Museum of Taiwan History, National Taiwan Museum, National Taiwan Museum of Fine Arts, National Taiwan Library , Shyi Der-Jinn Foundation, Taiwan Film and Audiovisual Institute, Yuyu Yang Art Education Foundation, Chen Fei Hao, Taipei Public Library, Thanavi Chotpradit, Tessa Maria Guazon, Hsu Fang Tze, Lai Ying Tai, Lin Shu Kai, Liu Kang’s Family, Seng Yu Jin

林平、高森信男

策展單位簡介｜

總策展人：林平

客座策展人：高森信男

臺北市立美術館

達魯拉克的難民（比島作戰從軍紀念） Refugees in Tarla

終戰 Post War

十字路（臺灣） The Cross Street (Taiwan)

戰後在臺日人拍賣家當 The End of an Era

食攤－臺灣生活組畫 Foodstall - Life in Taiwan

朱門外－臺灣生活組畫 Outside the Home of the Wealthy - Life in Taiwan

三代－臺灣生活組畫 Three Generations - Life in Taiwan

太太這隻肥（市場一角）－臺灣生活組畫 This Is the Largest Chicken I Have, Ma'am (Market Scene) - Life in Taiwan

過年的準備 Preparing for New Year

爭取生存的空間－臺灣生活組畫 Striving for Living Space - Life in Taiwan

迫害－臺灣生活組畫 Persecution - Life in Taiwan

燦柱 Brilliant Post

拉茄米神和祂的膜拜者（中南半島一頁史詩） Lakshmi Surrounded by Worshipers

潑水節（中南半島一頁史詩） Songkran Festival

吳哥窟的月色（中南半島一頁史詩） Angkor Wat in Moonlight

涇婆神（中南半島一頁史詩） Shiva

生命的金丹（中南半島一頁史詩） Essence of Life

廟院初曉（中南半島一頁史詩） Dawn at the Temple

阿曾莎拉斯女神（中南半島一頁史詩） Apsaras, the Goddess

火之儀式（中南半島一頁史詩） Ritual of Fire at Angkor Wat

湄公河（中南半島一頁史詩） River Mekong

大城遺跡（泰國） Ayutthaya Ruins

水鄉櫓聲（泰國） Water Village and Sculling Sound of Sculling

泰國水鄉 Water Village in Thailand

熱舞 Hot Dance

泰國最南端寫生 South Most Tip of Thailand

馬尼拉落日 Sunset in Manila

靜物 Still Life

停泊在湄公河上的醫務船（越戰） The Medical Ship Anchored in the Mekong River

斑馬 Black + White

中南半島（泰國） Indochina Peninsula, Thailand

中南半島（西貢） Indochina Peninsula, Saigon

中南半島（西貢河） Indochina Peninsula, Saigon River

食物掛鉤 Skull Hook

婆羅洲的淘金夢－自畫像 Self-Portrait

女童玩球 Little Girl Playing with a Ball

屋 Houses

長髮藍三角褲青年 Young Man with Long Hair

菲律濱漁夫 Filipino Fisherman

白色大樓－貢奈 White Building - Kong Nay

白色大樓－姊妹 White Building - Sisters

白色大樓－天台 White Building - Rooftop

白色大樓－猴子舞 White Building - SvaPul

風景 Landscape with Church

菲律賓南方漁船 Philippines Fishing Boat

曼谷大理石佛寺 Wat Benchama Bopit, Bangkok

水鄉 Water Village

泰國菩提寺 Thailand Buddha Temple(Wat Pho)

情報局紀念所 Memorial Chamber of the Intelligence Bureau

回莫村－國防部1920區光武部隊大陸工作組 Huai Mo Village – District 1920 Guangwu Troop Department of Defense Chinese Affairs Team

廢墟情報局 Ruins of the Intelligence Bureau

回莫村 Huai Mo Village

軍旗 Chess Flag

戰爭與和平－6E War and Peace - 6E

戰爭與和平－8 War and Peace - 8

戰爭與和平－5A War and Peace - 5A

交個朋友吧 Let’s Make a Friend

交個朋友吧 Square Relationship

新加坡風景 Singaporean Landscape

馬來甘榜 Malay Kampung

江從山間過 River Flowing through Mountains

古木騰猿圖 Monkeys

母與子 Mother and Son

通俗的靈感 Popular Inspiration

回力鏢 Boomerangs

化妝課 The Makeup Lesson

上尉 Captain

無題 Untitled

衰退的理想 Down of the Ideal

浮在沈默中的沈默 Silence Floats in Silence

憂鬱的解剖 Anatomy of Melancholy

焦距80毫米，光圈5.6 80mm, f5.6

晚安之IV Good Night IV

未知透視NO.1 See Through the Unknown No.1

未知透視NO.2 See Through the Unknown No.2

討海人的命運 Life for the People of the Sea

破船 Broken Ship (Perahu Retak)

馬來西亞女傭 Maid in Malaysia

競技場 Arena

大理石廠工人 The Marble Workers

灑鹽於海、壽、同意／否決／未定 Salting the Sea. Longevity. Agreed/Disagreed/Unsure

中國寶塔（金夏沙恩色拉總統農工業園區） Chinese Pagoda (Domaine Agro - Industriel Présidentiel de la N’Sele)

克里斯計畫番外篇：北辰南星黑蝙蝠 Kris Project+: Polaris, Southern Stars and the Darken Bats

克里斯計畫II：If the Party Goes On Kris Project II: If the Party Goes On

東京之夜：克里斯計畫III的想像調查 A Night in Tokyo: An Imaginary Investigation into Kris Project III

序：To the Party Prelude: To the Party

哀敦砥悌 I-DEN-TI-TY

吳哥城遺址 Angkor Thom

《異域》 Alien Lands

「全球南方」泛指在地圖上一連串由開發中國家、前殖民地及非西方文化區所組成的空間，由東南亞、南亞、西亞、非洲、拉丁美洲及太平洋群島所構成。臺灣在這當中處於一個尷尬的位置：一方面臺灣的現實處境確實為位處亞洲的開發中國家，卻因戰後的政治處境，並未參與自1955年亞非會議以來的一連串文化及政治運動，導致在心理層次上，「全球南方」之於臺灣似乎是個遙遠的議題。
The “Global South” roughly refers to a set of developing countries, former colonies and non-Western cultural regions, most of which are in Southeast Asia, South Asia, West Asia, Africa, Latin America and the Pacific Islands. Taiwan finds itself in a rather paradoxical position in this regard: although Taiwan is undeniably a developing country in Asia, it has been prevented from participating in a series of cultural and political movements since the Asian-African Conference of 1955 due to the postwar political context. As a result, psychologically, the “Global South” is viewed as a remote issue for the people of the island.


 然而這種中介角色，卻似乎是臺灣歷史上反覆出現的主題：從日治時期扮演日本南侵的跳板、冷戰時期的後勤角色，一直到在艱困的外交環境中尋找盟友。本展包含了1940年代的日治時期戰爭畫、1950年代郭雪湖拜訪泰國所繪的膠彩畫、1960年代劉其偉參與越戰期間的手稿、1970年代席德進描繪的菲律賓風采、1980年代入藏，由菲律賓藝術家洪救國、新加坡藝術家鍾泗濱等重要東南亞藝術家所繪的畫作、1990年代重要中美洲藝術家的裝置作品以及二十一世紀由臺灣及各國藝術家針對歷史或當代處境所發展的作品。本展同時展出多筆來自臺灣及新加坡的文獻檔案資料，為關心本議題的研究者錨定相關的研究索引。
From serving as a springboard for the Japanese invasion of Southeast Asia during the period of Japanese rule, to providing logistics facilities during the Cold War, and then looking for allies despite its difficult diplomatic situation, the role as a go-between seems to be a recurrent theme in the history of Taiwan. The various works in the exhibition include the following: war paintings produced during the Japanese rule in the 1940s, Nihonga paintings by Kuo Hsueh Hu after his visit to Thailand in the 1950s, Liu Max C. W.’s sketches during his participation in the Vietnam War in the 1960s, Shiy De Jinn’s portrayals of the Philippines in the 1970s, paintings as part of the museum collection in the 1980s by leading Southeast Asian artists such as Ang Kiukok (the Philippines) and Cheong Soo Pieng (Singapore), installation works by important Central American artists in the 1990s, and 21st-century works by artists from Taiwan and other countries addressing historical or contemporary situations. Punctuated by numerous archives and documents from Taiwan and Singapore, the exhibition provides an index for researchers who are interested in this subject.

本次展出的作品多為美術館典藏作品，半數來自本館，其他則主要來自臺灣各美術館及基金會。許多展出作品於過去因缺乏相關脈絡的展覽機會，而長期收納於庫房之中；因此，本展除了呈現臺灣與「全球南方」戰後藝術交流史的面貌，同時亦可一窺臺灣美術館收藏中所標示的南方樣態。
Most of the works on exhibit are from museum collections, with half coming from the Taipei Fine Arts Museum and the remainder from different museums and foundations in Taiwan. Many works have sat in museum storage for the past decades, never going on display due to an absence of relevant exhibition topics. In a way, this exhibition not only features the history of post-war artistic exchanges between Taiwan and the Global South, but also offers a glimpse into art from the South in museum collections in Taiwan.

秘密南方：典藏作品中的冷戰視角及全球南方

水彩、粉彩、紙
watercolor and pastel on paper
50 × 65 cm
1966

國立臺灣美術館藏
National Taiwan Museum of Fine Arts Collection
--
該作於《中南半島行腳畫集》中之作品名為《送水節》，於該書中之引文如下：「取材自柬埔寨民俗，當五月湄公河水落，百姓聚一國之佛，送水為國王沐浴，巫師祭祀天地，舞姬為王祝福。」
The work is entitled Water-Spilling Festival in May, 1967 in the Painting Trails of Indo-China, with the description that reads: “The work draws its source from Cambodian customs: in May when the Mekong River drops to its lowest level, people will gather at temples, bringing water to bathe their king, the priests praying to heaven and earth, and the dancers presenting blessings to the king.”