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ISSUE 31:

When Memories Collide

在記憶抵觸時

March, 2017 策劃： Tenn, Bun-ki / 刊頭： Frédéric Dialynas Sanchez

Historical Oblivion and Digital Memorial: Interview with FX Harsono

歷史健忘與數位墓誌：專訪印尼藝術家胡丰文，鄭文琦

Necropolis For those Without Sleep: Interview with Bani Haykal

不眠者的公墓：專訪新加坡藝術家巴尼海卡爾，許芳慈

Sound Route: Three Notes on Geography

聲線計劃：地理記事三則，吳其育

Connecting the Dots: How to Listen to the Sound of Collective Memories?

由點而線：如何聽見集體記憶的聲音？，鄭文琦

When Memories Collide: Revisiting War in Vietnam and the Diaspora

武洪章臺選譯—在記憶抵觸時：重訪越南的征戰及離散（註1），Võ Hồng Chương-Đài，鄭文琦 (翻譯)

ISSUE 30:

The Recursive Days of Learning

January, 2017 策劃： Tenn, Bun-ki / 刊頭： Tentacles

A New Prosthetic of Historical Experience: Some Thoughts on Detention

歷史感受的新義肢：「返校」而來的一些聯想，史惟筑

Turing the Camera to the Crack of Historical Reality: Interview with IM Heung-Soon

以攝影機照看歷史現實的狹隙—專訪〈工業園區〉導演任興淳，謝以萱 (採訪、整理)

2016 Taipei Biennial: The Emancipative and Resonant Curating Method

2016台北雙年展釋放與共振的策展方法—觀視歷史，造形歷史，吳宜樺

Peter L. Galison: The Refusal of Time

Peter L. Galison選譯—時間的否決，鄭文琦 (翻譯)

Thousand Islands: The 4th Arkipel International Documentary & Experimental Film Festival

如何觀看「千島」？記第四屆ARKIPEL雅加達國際紀錄片與實驗影展，鄭文琦

Between the Unidentified Objects and the Unknown History: A Conversation with Nguyen Trinh Thi

之間：無法指認之物和歷史的未明（與阮純詩的對話），區秀詒

How to Become an Island? Interview with Hoo Fan Chon, Run Amok

成為一座島嶼的方法 —專訪冉阿末（Run Amok）創辦人符芳俊，鄭文琦

A Carnal Look at the “Imaginary Body”

《Second Body》：如何觀看一個「想像的身體」？，鄭文琦

ISSUE 29:

THE OTHER DOCUMENTS

November, 2016 策劃：許芳慈 / 刊頭： Nadav Assor

1990: L.A., “The Gold Field”

1990：洛杉磯，〈金色大地〉，Felix Gonzalez-Torres，Futoshi Miyagi (選文)，林冠妤 (翻譯)

All Quiet on Jurong Road: Nanyang University and Radical Vision in Singapore [excerpt]

裕廊路水靜河飛：南洋大學與新加坡的激進之夢 (節錄) ，饒世藻，區秀詒 (翻譯)，Lucy Davis (節選)

The Intimacies of Other Humanities – Lisa Lowe in conversation with Hong-Kai Wang, Oct. 2015

他者間之親密性—王虹凱與駱里山（Lisa Lowe）於2015年10月的對談，Lisa Lowe，林書全 (校潤)，王虹凱 (審稿)

UNCOMPOSITION.COM (excerpt)

沒構圖部位，劉吉雄

“We Real Cool”

「我們真的很酷」，Jun Yang，許芳慈 (翻譯)

機遇詩歌，NGUYEN Trinh-Thi，許芳慈 (翻譯)

10 Years after “Familiar Digits For an Unknown Telephone”

用十年談一件1分31秒的事，林怡秀

On Dirty Cartography and the problem with Modern Maps

論污鄙地誌學與現代繪測之問題，陳柏維 (翻譯)，許芳慈 (潤稿)

ISSUE 28:

NO WORK, NO ART?

藝術家會失業嗎？

September, 2016 策劃：詹育杰 / 刊頭：侯怡亭

Interview with Jan Ritsema, Founder of Performing Arts Forum

專訪法國「表演藝術論壇」發起人楊．利策馬（Jan Ritsema），詹育杰

Post-Work in the State of Precarious Normalcy

組織常態不穩定下的「後」工作，詹育杰

Isabell Lorey: Governmentality and Self-Precarization

Isabell Lorey選譯—治理術與自我遊動化，戚育瑄 (翻譯)，林書全 (校訂)

The Atypical as Normalcy: Labors in Arts

做為常態的非典型：藝術工作者的勞動，林怡秀

Alienation of the Labor Market of Performing Arts

表演藝術的勞動市場異形化，黃佩蔚

Virtual Residency: Huang, Po-Chih + Huang, Chien-Yu

線上進駐—黃博志、黃千瑜，鄭文琦

ISSUE 27:

FILM AND THE INHUMAN EYE

電影與非人之眼

July, 2016 策劃：鄭文琦 / 刊頭：吳俊輝

The Memory, Resurrection and Rebirth of Films: Interview with Wu, Chun-hui, part 1

膠卷的記憶、甦醒，與重生：專訪實驗電影導演吳俊輝(上) ，陳平浩，曾芷筠

The Memory, Resurrection and Rebirth of Films: Interview with Wu, Chun-hui, part 2

膠卷的記憶、甦醒，與重生：專訪實驗電影導演吳俊輝(下) ，陳平浩，曾芷筠

Sleepwalker that Ruminates on Time: Apichatpong and the King’s Tomb

反芻時間的夢遊者─阿比查邦與國王的陵墓，林怡秀

Splendid “Fireworks”: Heading Towards the Images Left in Memories

閃燃的〈煙火〉—朝向記憶存有的影像，印卡

The Meanings of Imagery in Literature in Le Moulin

《日曜日式散步者》的文學影像意義，陳佳琦

Production of Body Images and Physical Labor: Review on Hou, I-Ting’s Sewing Fields

從身體圖像生產到勞動身體：侯怡亭的「複體」、「代工繡場」與「繡像檯」系列，吳嘉瑄

ISSUE 26:

“Don’t Panic”

給未來讀者的線上指南

May, 2016 策劃：鄭文琦 / 刊頭：吳宜曄

“Cyborg” as an Image to Negotiate with the History

賽伯格作為介入歷史的意象，許芳慈

A Field Guide to Getting Lost

《實地迷路指南》線上導覽，李彥儀

How Chen, Che-Wei’s Deals with Memory Structure in CHILDHOOD

《童年》如何處理記憶的結構與流傳問題？，王柏偉

To An Equally Sober and Immoral Generation

致一個清醒與敗德等量齊觀的世代，鄭文琦

What Does Art Have to Do with the Public? The Institution

藝術如何與大眾相干？試答藝術館所的兩難，王冠婷

Art in Production 1: Media Artist Ku, Kuang-yi

生產(中)的藝術1：媒體藝術家顧廣毅，顧廣毅，簡婉竹 (整理)

Art in Production 1: Chen, Bo-wu aka Wetboy

生產(中)的藝術1：潤滑液男孩陳柏屼，陳柏屼，鄭文琦 (整理)

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