數位荒原
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「數位荒原」是一個持續自我重組中的媒體平台,它的自我定位是在當代藝術、科技、表演、敘事與想像的邊陲地帶,並以「網路」、「文本」與「社群」三者的創意性連結及循環為實踐方法。數位荒原更試圖透過地緣關係及去中心化的媒體操演,連結馬來西亞、泰國、菲律賓等地的藝術現場,邀請觀者模擬一種與全球化/單一資本市場中的主流藝術協商的巧妙取徑。

「數位荒原」最早是由數位藝術基金會從2011年11月開始贊助的網路書寫計畫,並且陸續開展「見面會」(2013, 1~)、「荒原小報」(2014, 8~)等不同溝通界面。「數位荒原」在2014年發起《 Project Glocal亞洲城市串流》連結東南亞場景,並在2015年在檳城合作策劃了「馬來西亞DA+C藝術節」的國際交流單元《歷史上的今天》。

No Man’s Land is a media platform that continues to reorganize itself. NML positions itself peripherally in the field of contemporary art, technology, performance, narrative and imagination by utilizing creative connections and circulations among “networking/internet", “discourse" and “art community" as practice. In light of geographical proximity, NML aims to connect the art scenes in Malaysia, Thailand and the Philippines through decentralized media maneuvers. It invites the audience to take a turn on the monopolized perception of mainstream contemporary art under globalization/single capital market.

No Man’s Land was established as an online writing project since November 2011 (sponsored by Digital Art Foundation), and has diversified itself into media such as Meeting NML (since 2013, Jan) and NML Profile (since 2014, Aug). In 2014 No Man’s Land launched “Project Glocal Taipei" (curated by Dayang Yraola) to build connections to the Southeast Asia art scenes. In 2015, NML co-curated “Hari Ini Dalam Sejarah" for DA+C Festival (Penang), as the art exchange platform for Taiwanese artists and local artists.