30/12/2025
#專訪分享
謝謝學長J. A. Holland 特別為展覽製作同名聲音作品以及專訪我們。
Big thanks to J. A. Holland for creating a brand-new sound piece for the exhibition and giving our Shibboleth team an exclusive interview!
🛸：https://youtu.be/gqzNP-Lxx4E?si=q1IhaNsJoAbMA7ML
⠀
若想知道更多展覽背後的故事，歡迎大家點開連結閱讀最新一期的Southerly!
Curious about the stories behind the Shibboleth exhibition? Check out the latest issue of Southerly!
🔗：https://drive.google.com/file/d/1EErswuYx3x-1WpXX2WEDVGZ2Y7U3nRH7/view?usp=sharing
⠀
Southerly is an art writing and criticism platform run by the MA in Critical and Curatorial Studies of Contemporary Art (CCSCA) program at National Taipei University of Education (NTUE).
Southerly是由國立臺北教育大學（NTUE）當代藝術批評與策展研究碩士（CCSCA）課程主導的藝術寫作與評論平台。
⠀
Southerly has returned! Please find the link to the e-journal in the comment.
It has been four years since the first issue of Southerly. As a platform for art writing and criticism under the MA in Critical and Curatorial Studies of Contemporary Art (CCSCA) program at National Taipei University of Education (NTUE), Southerly continues to grow alongside the program itself. This second issue is committed to engaging students with diverse backgrounds and interests, as well as faculty members, with a particular focus on publishing students’ writings, artworks, and activities produced within the program in 2025.
This issue brings together selected writings from courses offered in the Spring Semester 2025, each nominated by the respective instructors: ‘Postnotes on “Residue of the Residents”’ by Tseng Che-Wei (Lu Pei-Yi, Art and the Public Sphere); ‘Beyond the White Cube: Lina Bo Bardi and the Opening of the Picture Gallery at MASP (São Paulo Museum of Art) in 1968’ by Sai Siew Min (Nobuo Takamori, Exhibition History); ‘Bridging Perspectives: A Review of Umwelt: The Embodied World(s)’ by Eldrick Yuji Raphael S. Los Baños (Vivian Ting, Museum Studies); and ‘Rethinking Immersion: Surface and Membrane in the Works of Janet Laurence and Phi Phi Oanh’ by Le Huu Hoang Anh (Thanavi Chotpradit, Art Writing and Criticism).
Students’ academic achievements are further represented through a collection of abstracts from theses completed this year. As graduation theses in the program may be submitted either as a research paper or as a practice-oriented exhibition report, this issue includes two contributions that reflect these two formats: ‘A Visualisation of the Intangible Legacies of Dutch Formosa: Hsu Chia-wei’s Samurai and Deer (2019)’ by Gena Catharina Haensel, and ‘What Carries Us Exhibition’ by Daisy Bailey.
Southerly opens its pages to creative practices by CCSCA students. Andrew Sinclair contributes artworks Time to Go (2024) and Moment of Rest (2025) to the Artist’s Page. J. A. Holland presents the sound piece Shibboleth, created in conjunction with an interview with the Shibboleth curatorial team (Tseng Che-Wei, Eldrick Yuji Raphael S. Los Baños, Chong Hui Shien, Voon Xin Jie, and Irene Canovas). Shibboleth was a student-curated exhibition developed in the course Exhibition Practice and held at Nanhai Gallery, Taipei (September 12-October 12).
This issue includes two study trip reports. The overseas study trip to Seoul, South Korea (August) is documented by Lee ChiShon, while the study trip to Xinzhuang Temple Street in Taipei, conducted as part of the course ‘Cultural History of Taiwan’ (September), is collectively reflected upon by the first-year students.
As this issue marks a wrap-up of the year, Southerly stands as a record of learning, experimentation, and collective effort. Above all, the journal remains student-focused: it is a space where students are encouraged to think critically, write rigorously, take creative tasks, and see their works situated within broader conversations in art and curating. We hope this issue reflects not only the outcomes of a year of study, but also the spirit of curiosity, experimentation, and commitment that continues to shape the CCSCA community.
