{"id":89,"date":"2026-10-14T18:10:14","date_gmt":"2026-10-14T16:10:14","guid":{"rendered":"https:\/\/shelterofarts.com\/?p=89"},"modified":"2026-10-23T16:41:25","modified_gmt":"2026-10-23T14:41:25","slug":"%e8%a9%95%e8%ab%96%e6%96%87%e7%ab%a0%e4%b8%80","status":"publish","type":"post","link":"https:\/\/shelterofarts.com\/?p=89","title":{"rendered":"\u7576\u5e87\u8b77\u8d85\u8d8a\u7a7a\u9593\uff1a\u4e0d\u7a69\u5b9a\u6642\u4ee3\u4e2d\u7684\u85dd\u8853\u9032\u99d0\u672a\u4f86\u601d\u8fa8 When Shelter Exceeds Space: Rethinking the Future of Artist Residencies in an Age of Instability"},"content":{"rendered":"\n<p class=\"has-text-align-right wp-block-paragraph\">Author\uff1a\u6731\u7b71\u742a <strong>Hsiao-Chi Chu<\/strong><\/p>\n\n\n\n<p class=\"wp-block-paragraph\">\u8a72\u7bc7\u6587\u7ae02026.10.22\u520a\u8f09\u65bc\u570b\u85dd\u6703\u7dda\u4e0a\u8a8c <em>This article was published in NCAFe on Oct 22, 2026:<\/em> <a href=\"https:\/\/mag.ncafroc.org.tw\/article_detail?sid=1091\">https:\/\/mag.ncafroc.org.tw\/article_detail?sid=1091<\/a><\/p>\n\n\n\n<p class=\"wp-block-paragraph\">(English is below.)<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">\u4e00\u5c01\u9080\u8acb\u51fd\u3001\u4ea4\u901a\u88dc\u52a9\u3001\u7814\u7a76\u8eab\u5206\u6216\u53ef\u4fe1\u4efb\u7684\u5f15\u4ecb\uff0c\u90fd\u53ef\u80fd\u8b93\u5371\u6a5f\u4e2d\u7684\u4eba\u591a\u4e00\u500b\u9078\u64c7\u3002\u5e87\u8b77\u4e0d\u53ea\u662f\u62b5\u9054\uff0c\u800c\u662f\u80fd\u4e0d\u80fd\u5728\u4e0d\u540c\u7bc0\u9ede\u4e4b\u9593\u7e7c\u7e8c\u5f80\u524d\u8d70\u2026\u2026<\/p>\n\n\n\n<figure class=\"wp-block-image size-large\"><img data-recalc-dims=\"1\" fetchpriority=\"high\" decoding=\"async\" width=\"760\" height=\"461\" data-attachment-id=\"231\" data-permalink=\"https:\/\/shelterofarts.com\/?attachment_id=231\" data-orig-file=\"https:\/\/i0.wp.com\/shelterofarts.com\/wp-content\/uploads\/2026\/10\/Neon-Island-Embrace_-Shelter-of-Arts-1.png?fit=1610%2C977&amp;ssl=1\" data-orig-size=\"1610,977\" data-comments-opened=\"0\" data-image-title=\"Neon Island Embrace_ Shelter of Arts\" data-image-description=\"\" data-image-caption=\"\" data-large-file=\"https:\/\/i0.wp.com\/shelterofarts.com\/wp-content\/uploads\/2026\/10\/Neon-Island-Embrace_-Shelter-of-Arts-1.png?fit=760%2C461&amp;ssl=1\" src=\"https:\/\/i0.wp.com\/shelterofarts.com\/wp-content\/uploads\/2026\/10\/Neon-Island-Embrace_-Shelter-of-Arts-1.png?resize=760%2C461&#038;ssl=1\" alt=\"\" class=\"wp-image-231\" srcset=\"https:\/\/i0.wp.com\/shelterofarts.com\/wp-content\/uploads\/2026\/10\/Neon-Island-Embrace_-Shelter-of-Arts-1.png?resize=1024%2C621&amp;ssl=1 1024w, https:\/\/i0.wp.com\/shelterofarts.com\/wp-content\/uploads\/2026\/10\/Neon-Island-Embrace_-Shelter-of-Arts-1.png?resize=300%2C182&amp;ssl=1 300w, https:\/\/i0.wp.com\/shelterofarts.com\/wp-content\/uploads\/2026\/10\/Neon-Island-Embrace_-Shelter-of-Arts-1.png?resize=768%2C466&amp;ssl=1 768w, https:\/\/i0.wp.com\/shelterofarts.com\/wp-content\/uploads\/2026\/10\/Neon-Island-Embrace_-Shelter-of-Arts-1.png?resize=1536%2C932&amp;ssl=1 1536w, https:\/\/i0.wp.com\/shelterofarts.com\/wp-content\/uploads\/2026\/10\/Neon-Island-Embrace_-Shelter-of-Arts-1.png?w=1610&amp;ssl=1 1610w\" sizes=\"(max-width: 760px) 100vw, 760px\" \/><\/figure>\n\n\n\n<p class=\"wp-block-paragraph\">2024\u5e74\u79cb\u5929\uff0c\u6211\u5728\u53f0\u6771\u9047\u898b\u4e00\u4f4d\u7121\u6cd5\u8fd4\u570b\u3001\u6b63\u5c0b\u6c42\u8de8\u570b\u5e87\u8b77\u7684\u7dec\u7538\u85dd\u8853\u5bb6\uff1b\u9694\u5e74\u8d70\u8a2a\u6b50\u6d32\u5e87\u8b77\u6a5f\u69cb\u6642\uff0c\u53e6\u4e00\u4f4d\u6d41\u4ea1\u5275\u4f5c\u8005\u4e5f\u8ac7\u8d77\uff1a\u300c\u6211\u73fe\u5728\u53ea\u505a\u653e\u5f97\u9032\u96a8\u8eab\u884c\u674e\u88e1\u7684\u6771\u897f\u3002\u300d\u9019\u4e26\u975e\u55ae\u7d14\u7f8e\u5b78\u98a8\u683c\u7684\u9078\u64c7\uff0c\u800c\u662f\u751f\u5b58\u73fe\u5be6\u64e0\u58d3\u4e0b\u7684\u7121\u5948\u59a5\u5354\u3002\u9019\u6a23\u7684\u8655\u5883\u5f62\u5851\u4e86\u4ed6\u5011\u7684\u975e\u610f\u9858\u79fb\u52d5\uff0c\u5275\u4f5c\u5f62\u5f0f\u8f49\u5411\u8f15\u4fbf\u53ef\u651c\u3001\u8a9e\u8a00\u5e36\u8457\u81ea\u6211\u5be9\u67e5\u7684\u96b1\u6666\uff0c\u6216\u85c9\u7531\u7576\u4ee3\u79d1\u6280\u62fc\u6e4a\u65e9\u5df2\u96e3\u4ee5\u4f01\u53ca\u7684\u6545\u9109\u3002<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">\u53e6\u4e00\u6bb5\u96e3\u5fd8\u7684\u8a18\u61b6\u843d\u5728\u540c\u5e74\u82b1\u84ee<a href=\"https:\/\/den.ncdr.nat.gov.tw\/special\/%E9%A6%AC%E5%A4%AA%E9%9E%8D\/index.html\" target=\"_blank\" rel=\"noopener\">\u99ac\u592a\u978d<\/a>\u707d\u5f8c\u73fe\u5834\u3002\u4f86\u5230\u73fe\u5834\u7684\u85dd\u8853\u5de5\u4f5c\u8005\u900f\u904e\u85dd\u8853\u5728\u707d\u5340\u966a\u8457\u53d7\u707d\u5c45\u6c11\u68b3\u7406\u5275\u50b7\u3002\u9019\u4e9b\u76f8\u9694\u6578\u5343\u516c\u91cc\u7684\u5883\u9047\u770b\u4f3c\u5404\u7570\uff0c\u537b\u5f7c\u6b64\u547c\u61c9\u8457\uff1a\u300c\u7576\u5371\u6a5f\u964d\u81e8\uff0c\u85dd\u8853\u7a7a\u9593\uff08\u5305\u62ec\u85dd\u8853\u9032\u99d0\uff09\u8207\u85dd\u6587\u5de5\u4f5c\u8005\uff0c\u7a76\u7adf\u80fd\u505a\u4e9b\u4ec0\u9ebc\uff1f\u300d<\/p>\n\n\n\n<figure class=\"wp-block-image\"><img data-recalc-dims=\"1\" decoding=\"async\" src=\"https:\/\/i0.wp.com\/mag.ncafroc.org.tw\/admin\/files\/article\/20261021\/2e545676eccc468495da56730924af10\/2e545676eccc468495da56730924af10.jpg?w=760&#038;ssl=1\" alt=\"\u570b\u969b\u5021\u8b70\u7d44\u7e54Artists at Risk\uff08AR\uff09\u81ea2013\u5e74\u8d77\u63a8\u52d5\u85dd\u8853\u5e87\u8b77\u8a08\u756b\uff0c\u4e32\u806f\u5404\u570b\u85dd\u6587\u6a5f\u69cb\u5a92\u5408\u5b89\u7f6e\u53d7\u8feb\u5bb3\u7684\u5275\u4f5c\u8005\u3002\uff08\u5716\u7247\u4f86\u6e90\uff0fArtists at Risk\u5b98\u7db2\uff09\"\/><\/figure>\n\n\n\n<p class=\"wp-block-paragraph\">\u570b\u969b\u5021\u8b70\u7d44\u7e54Artists at Risk\uff08AR\uff09\u81ea2013\u5e74\u8d77\u63a8\u52d5\u85dd\u8853\u5e87\u8b77\u8a08\u756b\uff0c\u4e32\u806f\u5404\u570b\u85dd\u6587\u6a5f\u69cb\u5a92\u5408\u5b89\u7f6e\u53d7\u8feb\u5bb3\u7684\u5275\u4f5c\u8005\u3002\uff08\u5716\u7247\u4f86\u6e90\uff0fArtists at Risk\u5b98\u7db2\uff09<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">\u9019\u662f\u6211\u5728\u4e0d\u540c\u7530\u91ce\u73fe\u5834\u89aa\u8eab\u611f\u53d7\u5230\u7684\u771f\u5be6\u60c5\u5883\u3002\u82e5\u5c07\u9019\u4e9b\u7d93\u9a57\u653e\u56de\u5230\u300c\u6587\u5316\u6d41\u52d5\u300d\uff08cultural mobility\uff09\u7684\u8996\u91ce\u5be9\u8996\uff0c\u79fb\u52d5\u6307\u6d89\u7684\u4e0d\u50c5\u662f\u8eab\u9ad4\u79fb\u52d5\uff0c\u66f4\u95dc\u4e4e\u77e5\u8b58\u3001\u95dc\u4fc2\u3001\u8cc7\u6e90\u8207\u5275\u4f5c\u5be6\u8e10\u5982\u4f55\u5728\u9077\u5f99\u8ecc\u8de1\u4e2d\u91cd\u65b0\u7d44\u88dd\u3002\u53f2\u8482\u82ac\uff0e\u683c\u6797\u5e03\u62c9\u7279\uff08Stephen Greenblatt\uff09\u7b49\u4eba\u5c07\u6587\u5316\u6d41\u52d5\u7406\u89e3\u70ba\u6587\u5316\u5728\u79fb\u52d5\u3001\u63a5\u89f8\u8207\u4ea4\u63db\u4e2d\u6301\u7e8c\u751f\u6210\u7684\u904e\u7a0b\u3002<sup>1<\/sup>\u6cbf\u6b64\u89c0\u9ede\uff0c\u672c\u6587\u5c07\u85dd\u8853\u9032\u99d0\u8996\u70ba\u6587\u5316\u6d41\u52d5\u7684\u4e00\u7a2e\u5236\u5ea6\u5316\u5be6\u8e10\uff0c\u9032\u99d0\u6a5f\u69cb\u63d0\u4f9b\u5de5\u4f5c\u5ba4\u3001\u4f4f\u5bbf\u3001\u6642\u9593\u9918\u88d5\u8207\u8cc7\u91d1\u652f\u6301\uff0c\u4f7f\u5275\u4f5c\u8005\u5f97\u4ee5\u7f6e\u8eab\u4e0d\u540c\u8a9e\u5883\u5c55\u958b\u4ea4\u6d41\uff0c\u4e26\u53cd\u601d\u81ea\u8eab\u7684\u5275\u4f5c\u8108\u7d61\u3002<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">\u8fd1\u5341\u5e74\u4f86\uff0c\u6230\u4e82\u885d\u7a81\u3001\u88ab\u8feb\u6d41\u96e2\u3001\u653f\u6cbb\u8feb\u5bb3\u3001\u6c23\u5019\u707d\u96e3\u8207\u7d93\u6fdf\u52d5\u76ea\u63a5\u9023\u767c\u751f\uff0c\u85dd\u8853\u9032\u99d0\u539f\u6709\u652f\u6301\u7684\u79fb\u52d5\u8def\u5f91\u8207\u6a5f\u5236\u4e5f\u9010\u6f38\u6539\u8b8a\u3002\u5c0d\u8a31\u591a\u9762\u81e8\u8feb\u5bb3\u7684\u85dd\u6587\u5de5\u4f5c\u8005\u800c\u8a00\uff0c\u8feb\u5207\u7684\u63d0\u554f\u65e9\u5df2\u8d85\u8d8a\u300c\u4f55\u8655\u53ef\u5275\u4f5c\u300d\uff0c\u800c\u662f\u7576\u65e5\u5e38\u8207\u5de5\u4f5c\u689d\u4ef6\u74e6\u89e3\u6642\uff0c\u5982\u4f55\u7e7c\u7e8c\u751f\u6d3b\u3001\u78ba\u4fdd\u5b89\u5168\uff0c\u4e26\u7dad\u6301\u9023\u7d50\uff1f\u7576\u5275\u4f5c\u8005\u62b5\u9054\u65b0\u7684\u843d\u8173\u8655\uff0c\u9032\u99d0\u55ae\u4f4d\u8207\u5728\u5730\u793e\u7fa4\u53c8\u8a72\u5982\u4f55\u5354\u52a9\u4ed6\u5011\u5ef6\u7e8c\u5275\u4f5c\u8207\u5c08\u696d\u5be6\u8e10\uff1f<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">\u5371\u6a5f\u4e5f\u8b93\u85dd\u8853\u9032\u99d0\u7684\u89d2\u8272\u51fa\u73fe\u4e0d\u540c\u53ef\u80fd\uff0c\u539f\u672c\u4ee5\u77ed\u671f\u505c\u7559\u8207\u5275\u4f5c\u4ea4\u6d41\u70ba\u4e3b\u7684\u7a7a\u9593\uff0c\u53ef\u80fd\u6210\u70ba\u81e8\u6642\u5e87\u8b77\u6240\u3001\u8cc7\u8a0a\u7a97\u53e3\uff0c\u6216\u9023\u7d50\u6cd5\u5f8b\u3001\u8cc7\u91d1\u8207\u4eba\u9053\u6551\u63f4\u7684\u4e2d\u7e7c\u7bc0\u9ede\u3002\u5de5\u4f5c\u4eba\u54e1\u4e5f\u5f9e\u85dd\u8853\u5bb6\u63a5\u5f85\uff0c\u5ef6\u4f38\u5230\u4ea4\u901a\u3001\u7c3d\u8b49\u3001\u4f4f\u5bbf\u5354\u8abf\u3001\u5f15\u4ecb\u8207\u966a\u4f34\u3002\u9019\u8b93\u300c\u5e87\u8b77\u300d\uff08shelter\uff09<sup>2<\/sup>\u7684\u610f\u6db5\uff0c\u5f9e\u5be6\u9ad4\u5b89\u5168\u4e4b\u6240\u5ef6\u4f38\u70ba\u66f4\u8907\u96dc\u7684\u652f\u6301\u7db2\u7d61\u3002<sup>3<\/sup><\/p>\n\n\n\n<figure class=\"wp-block-image\"><img data-recalc-dims=\"1\" decoding=\"async\" src=\"https:\/\/i0.wp.com\/mag.ncafroc.org.tw\/admin\/files\/article\/20261021\/6926ce4c02ea4c46b7f36482c69e0591\/6926ce4c02ea4c46b7f36482c69e0591.jpg?w=760&#038;ssl=1\" alt=\"\u570b\u969b\u7d44\u7e54ARC\uff08Artists at Risk Connection\uff09\u65bc2017\u5e74\u6210\u7acb\uff0c\u81f3\u4eca\u5df2\u5354\u52a9\u5168\u7403\u903e2300\u4f4d\u85dd\u6587\u5de5\u4f5c\u8005\u3002\uff08\u5716\u7247\u4f86\u6e90\uff0fARC\u5b98\u7db2\uff09\"\/><\/figure>\n\n\n\n<p class=\"wp-block-paragraph\">\u570b\u969b\u7d44\u7e54ARC\uff08Artists at Risk Connection\uff09\u65bc2017\u5e74\u6210\u7acb\uff0c\u81f3\u4eca\u5df2\u5354\u52a9\u5168\u7403\u903e2300\u4f4d\u85dd\u6587\u5de5\u4f5c\u8005\u3002\uff08\u5716\u7247\u4f86\u6e90\uff0fARC\u5b98\u7db2\uff09<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">\u4e0d\u904e\uff0c\u85dd\u8853\u5e87\u8b77\u4ecd\u9700\u8981\u548c\u65e2\u6709\u7684\u96e3\u6c11\u4fdd\u8b77\u8def\u5f91\u5340\u5206\u3002\u806f\u5408\u570b\u96e3\u6c11\u7f72\uff08UNHCR\uff09\u5c07\u7b2c\u4e09\u570b\u5b89\u7f6e\uff08resettlement\uff09\u8207\u88dc\u5145\u6027\u8def\u5f91\uff08complementary pathways\uff09\u8996\u70ba\u56de\u61c9\u96e3\u6c11\u4e0d\u540c\u4fdd\u8b77\u9700\u6c42\u7684\u91cd\u8981\u6a5f\u5236\u3002\u85dd\u8853\u5e87\u8b77\u5247\u591a\u5f9e\u85dd\u8853\u9032\u99d0\u3001\u6587\u5316\u7d44\u7e54\u3001\u9ad8\u7b49\u9662\u6821\u8207\u8de8\u570b\u7db2\u7d61\u51fa\u767c\uff0c\u5728\u6b63\u5f0f\u5236\u5ea6\u7e2b\u9699\u4e2d\u88dc\u4e0a\u4e00\u5c64\u6c11\u9593\u652f\u6301\u3002<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">\u6b63\u662f\u5728\u9019\u6a23\u7684\u9ad4\u5236\u908a\u7de3\u8207\u6587\u5316\u5be6\u8e10\u7684\u5f35\u529b\u9593\uff0c\u672c\u6587\u4ee5\u300c\uff08\u8de8\uff09\u57fa\u790e\u8a2d\u65bd\u7684\u5e87\u8b77\u5be6\u8e10\u300d\uff08sheltering as (trans-)infrastructure\uff09\u4f5c\u70ba\u5206\u6790\u8996\u89d2\uff0c\u95dc\u6ce8\u652f\u6301\u5982\u4f55\u5728\u4e0d\u540c\u6a5f\u69cb\u3001\u57ce\u5e02\u3001\u570b\u5bb6\u8207\u5c08\u696d\u793e\u7fa4\u9593\u4e32\u806f\uff0c\u5f62\u6210\u79fb\u52d5\u8def\u5f91\uff0c\u4e26\u5728\u62b5\u9054\u4e4b\u5f8c\u7e7c\u7e8c\u652f\u6490\u5176\u5275\u4f5c\u8207\u751f\u6d3b\uff1b\u518d\u56de\u671b\u53f0\u7063\uff0c\u601d\u8003\u85dd\u8853\u7a7a\u9593\u5728\u5371\u6a5f\u3001\u707d\u5f8c\u6587\u5316\u5be6\u8e10\u8207\u6587\u5316\u63f4\u52a9\u4e2d\u7684\u89d2\u8272\u3002<\/p>\n\n\n\n<p class=\"wp-block-paragraph\"><strong>\uff08\u8de8\uff09\u57fa\u790e\u8a2d\u65bd\u7684\u5e87\u8b77\u5be6\u8e10<\/strong><\/p>\n\n\n\n<p class=\"wp-block-paragraph\">\u8fd1\u5e74\u7576\u91cd\u65b0\u5be9\u8996\u4e0d\u7a69\u5b9a\u6642\u4ee3\u4e2d\u7684\u85dd\u8853\u9032\u99d0\u6a5f\u5236\u6642\uff0c\u6211\u5e38\u8ffd\u554f\uff1a\u300c\u7a76\u7adf\u662f\u8ab0\u5728\u5e87\u8b77\u8ab0\uff1f\u5275\u4f5c\u8005\u6b63\u76f4\u9762\u4f55\u7a2e\u5371\u6a5f\uff1f\u9019\u4e9b\u652f\u6301\u7db2\u7d61\u4f9d\u5faa\u600e\u6a23\u7684\u95dc\u4fc2\u800c\u751f\uff0c\u53c8\u80fd\u5ef6\u7e8c\u591a\u4e45\uff1f\u300d<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">\u8207\u5176\u5c07\u300c\u5e87\u8b77\u300d\u7a84\u5316\u70ba\u7279\u5b9a\u5834\u57df\u6216\u5c08\u6848\uff0c\u6211\u50be\u5411\u5c07\u300c\u5e87\u8b77\u5be6\u8e10\u300d\uff08sheltering\uff09\u7406\u89e3\u70ba\u6301\u7e8c\u6f14\u9032\u7684\u52d5\u614b\u6b77\u7a0b\u3002\u5b83\u975e\u55ae\u4e00\u6a5f\u69cb\u6240\u80fd\u627f\u64d4\uff0c\u800c\u662f\u7531\u4eba\u969b\u3001\u7a7a\u9593\u3001\u8cc7\u8a0a\u3001\u6d41\u52d5\u6027\u3001\u8cc7\u91d1\u3001\u4fe1\u4efb\u8207\u7167\u8b77\u4ea4\u7e54\u800c\u6210\u3002\u85dd\u8853\u9032\u99d0\u4e0d\u6703\u55ae\u56e0\u63d0\u4f9b\u5e8a\u4f4d\u5c31\u8f49\u70ba\u907f\u96e3\u6240\uff0c\u66f4\u95dc\u9375\u7684\u662f\u6587\u5316\u7a7a\u9593\u8207\u7db2\u7d61\u5982\u4f55\u5728\u7279\u5b9a\u60c5\u5883\u4e0b\u767c\u63ee\u57fa\u790e\u8a2d\u65bd\u822c\u7684\u652f\u6490\u6a5f\u80fd\u3002<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">\u9019\u8207\u57fa\u790e\u8a2d\u65bd\u7814\u7a76\uff08infrastructure studies\uff09\u7684\u89c0\u9ede\u7dca\u5bc6\u547c\u61c9\u3002\u57fa\u790e\u8a2d\u65bd\u6df1\u690d\u65bc\u5177\u9ad4\u5be6\u8e10\uff0c\u8207\u5de5\u4f5c\u7fd2\u6163\u3001\u793e\u7fa4\u9023\u5e36\u53ca\u4f7f\u7528\u60c5\u5883\u5bc6\u4e0d\u53ef\u5206\u3002<sup>4<\/sup>\u4ea6\u6709\u7814\u7a76\u8005\u5f37\u8abf\u5176\u653f\u6cbb\u3001\u6587\u5316\u8207\u8c61\u5fb5\u610f\u6db5\u3002<sup>5<\/sup>\u8fd1\u5e74\u7684\u6587\u5316\u57fa\u790e\u8a2d\u65bd\u7814\u7a76\u66f4\u5c07\u8996\u91ce\u64f4\u5c55\u81f3\u7d44\u7e54\u67b6\u69cb\u3001\u77e5\u8b58\u751f\u7522\u3001\u4eba\u969b\u7db2\u7d61\u8207\u6cbb\u7406\u6a5f\u5236\u3002<sup>6<\/sup><\/p>\n\n\n\n<p class=\"wp-block-paragraph\">\u5faa\u6b64\u8108\u7d61\uff0c\u672c\u6587\u6240\u63d0\u51fa\u7684\u300c\uff08\u8de8\uff09\u57fa\u790e\u8a2d\u65bd\u7684\u5e87\u8b77\u5be6\u8e10\u300d\uff0c\u8a66\u5716\u63cf\u8ff0\u5e87\u8b77\uff08sheltering\uff09\u5982\u4f55\u900f\u904e\u4e0d\u540c\u7684\u4eba\u3001\u7d44\u7e54\u3001\u5236\u5ea6\u3001\u5730\u57df\u8207\u90e8\u9580\u4e4b\u9593\u7684\u9023\u7d50\uff0c\u4e00\u9ede\u4e00\u9ede\u88ab\u7d44\u6210\u4e26\u7dad\u7e6b\u3002\u9019\u88e1\u6240\u8aaa\u7684\u300c\u57fa\u790e\u8a2d\u65bd\u300d\uff08infrastructure\uff09\uff0c\u4e0d\u53ea\u6307\u6b63\u5f0f\u5236\u5ea6\u6216\u786c\u9ad4\u8a2d\u65bd\uff0c\u4e5f\u5305\u62ec\u4fe1\u4efb\u95dc\u4fc2\u3001\u975e\u6b63\u5f0f\u8f49\u4ecb\u3001\u8cc7\u6e90\u6d41\u52d5\u3001\u7167\u8b77\u5de5\u4f5c\u3001\u77e5\u8b58\u4ea4\u63db\uff0c\u4ee5\u53ca\u8de8\u7d44\u7e54\u5354\u4f5c\u3002\u5176\u4e2d\u7684\u300c\u8de8\u300d\uff08trans-\uff09\u5247\u5f37\u8abf\u5e87\u8b77\u5982\u4f55\u7a7f\u68ad\u65bc\u85dd\u8853\u5275\u4f5c\u8207\u4eba\u9053\u6551\u63f4\u3001\u6b63\u5f0f\u5236\u5ea6\u8207\u975e\u6b63\u5f0f\u95dc\u4fc2\u3001\u5728\u5730\u652f\u63f4\u8207\u8de8\u570b\u6d41\u52d5\uff0c\u4ee5\u53ca\u7dca\u6025\u5b89\u5168\u8207\u5c08\u696d\u5ef6\u7e8c\u4e4b\u9593\u3002<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">\u56e0\u6b64\uff0c\u672c\u6587\u5c07\u5e87\u8b77\u5be6\u8e10\u7406\u89e3\u70ba\u4e00\u7a2e\u5177\u6709\u95dc\u4fc2\u6027\u3001\u8de8\u5c3a\u5ea6\u4e14\u6301\u7e8c\u904b\u4f5c\u7684\u6587\u5316\u652f\u6301\u57fa\u790e\u8a2d\u65bd\uff0c\u8a66\u5716\u770b\u898b\u6563\u843d\u5728\u4e0d\u540c\u5730\u65b9\u7684\u884c\u52d5\uff0c\u5982\u4f55\u900f\u904e\u4fe1\u4efb\u3001\u7db2\u7d61\u8207\u5be6\u8e10\u5f7c\u6b64\u4e32\u63a5\uff0c\u5728\u5236\u5ea6\u7e2b\u9699\u8207\u5371\u6a5f\u65b7\u5c64\u4e4b\u9593\uff0c\u5f62\u6210\u5177\u97cc\u6027\u4e14\u53ef\u5ef6\u7e8c\u7684\u79fb\u52d5\u8207\u652f\u6301\u8def\u5f91\uff0c\u800c\u4e0d\u53ea\u662f\u5371\u6a5f\u767c\u751f\u6642\u7684\u81e8\u6642\u5b89\u7f6e\u3002<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">\u8eab\u8655\u8feb\u5bb3\u4e2d\u7684\u85dd\u8853\u5bb6\uff0c\u5176\u79fb\u52d5\u8ecc\u8de1\u9bae\u5c11\u662f\u4e00\u5834\u7531\u300c\u5371\u96aa\u300d\u76f4\u62b5\u300c\u5b89\u5168\u300d\u7684\u7dda\u6027\u65c5\u7a0b\u3002\u6709\u4eba\u7559\u6eef\u539f\u5730\uff0c\u6709\u4eba\u8f3e\u8f49\u9130\u570b\uff0c\u4e5f\u6709\u4eba\u85c9\u77ed\u671f\u9032\u99d0\u722d\u53d6\u5598\u606f\uff0c\u518d\u63a2\u5c0b\u8f03\u9577\u671f\u7684\u843d\u8173\u53ef\u80fd\u3002\u8207\u5176\u5c07\u5e87\u8b77\u7406\u89e3\u70ba\u975c\u614b\u7684\u300c\u907f\u98a8\u6e2f\u300d\uff0c\u300c\u8def\u5f91\u300d\uff08pathway\uff09\u6216\u8a31\u66f4\u5207\u4e2d\u73fe\u5be6\u3002\u5b89\u5168\u7a7a\u9593\u56fa\u7136\u91cd\u8981\uff0c\u4f46\u82e5\u7f3a\u4e4f\u5408\u6cd5\u5c45\u7559\u3001\u8cc7\u8a0a\u3001\u8cc7\u91d1\u8207\u5c08\u696d\u7db2\u7d61\u8f49\u4ecb\uff0c\u5bb9\u6613\u53ea\u6210\u70ba\u77ed\u66ab\u843d\u8173\u8655\u3002\u76f8\u53cd\u5730\uff0c\u4e00\u5c01\u9080\u8acb\u51fd\u3001\u4ea4\u901a\u88dc\u52a9\u3001\u7814\u7a76\u8eab\u5206\u6216\u53ef\u4fe1\u4efb\u7684\u5f15\u4ecb\uff0c\u90fd\u53ef\u80fd\u8b93\u5371\u6a5f\u4e2d\u7684\u4eba\u591a\u4e00\u500b\u9078\u64c7\u3002\u5e87\u8b77\u4e0d\u53ea\u662f\u62b5\u9054\uff0c\u800c\u662f\u80fd\u4e0d\u80fd\u5728\u4e0d\u540c\u7bc0\u9ede\u4e4b\u9593\u7e7c\u7e8c\u5f80\u524d\u8d70\u3002<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">\u5f9e\u300c\uff08\u8de8\uff09\u57fa\u790e\u8a2d\u65bd\u7684\u5e87\u8b77\u5be6\u8e10\u300d\u5207\u5165\uff0c\u91cd\u8981\u7684\u4e0d\u53ea\u662f\u8de8\u8d8a\u570b\u754c\uff0c\u800c\u662f\u652f\u6301\u5982\u4f55\u8de8\u8d8a\u9ad4\u5236\u8207\u5c08\u696d\u908a\u754c\u3002\u5408\u6cd5\u505c\u7559\u4f9d\u9644\u653f\u5e9c\u6cd5\u5236\uff0c\u4f4f\u5bbf\u4f86\u81ea\u85dd\u8853\u7a7a\u9593\uff0c\u7d93\u8cbb\u4ef0\u8cf4\u57fa\u91d1\u6703\uff0c\u4e0b\u4e00\u500b\u5275\u4f5c\u6a5f\u6703\u5247\u53ef\u80fd\u6e90\u81ea\u7b56\u5c55\u4eba\u3001\u5b78\u9662\u6216\u8de8\u570b\u7db2\u7d61\u3002\u5e87\u8b77\u56e0\u6b64\u662f\u5728\u4e92\u4e0d\u96b8\u5c6c\u7684\u7bc0\u9ede\u9593\u6301\u7e8c\u300c\u7d44\u88dd\u300d\uff08assembling\uff09\u800c\u6210\u3002<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">\u9019\u7a2e\u300c\u8def\u5f91\u300d\u601d\u8003\u4e5f\u53cd\u6620\u65bc\u8fd1\u5e74\u6b50\u6d32\u7684\u884c\u52d5\u30022023\u5e74\u6b50\u76df\u56de\u61c9\u5982\u4f55\u7167\u61c9\u53d7\u5a01\u8105\u8207\u6d41\u96e2\u85dd\u8853\u5bb6\u6642\uff0c\u9664\u4e86\u9f13\u52f5\u589e\u52a0\u5b89\u5168\u6e2f\uff08safe havens\uff09\u3001\u5e87\u8b77\u57ce\u5e02\uff08cities of refuge\uff09\u8207\u7dca\u6025\u99d0\u7559\u8a08\u756b\uff08emergency residencies\uff09\uff0c\u4e5f\u5f37\u8abf\u8de8\u570b\u7db2\u7d61\u3001\u8cc7\u8a0a\u4ea4\u63db\u8207\u9577\u671f\u5c08\u696d\u5be6\u8e10\u7684\u9023\u7d50\u3002\u4fc4\u7f85\u65af\u5168\u9762\u5165\u4fb5\u70cf\u514b\u862d\u5f8c\uff0c\u6cd5\u5f8b\u5c64\u9762\u7531\u6b50\u76df\u300a\u81e8\u6642\u4fdd\u8b77\u6307\u4ee4\u300b\uff08<a href=\"https:\/\/en.wikipedia.org\/wiki\/Temporary_Protection_Directive\" target=\"_blank\" rel=\"noopener\">Temporary Protection Directive<\/a>\uff09\u8655\u7406\u5c45\u7559\u8207\u57fa\u672c\u6b0a\u76ca\uff0c\u6587\u5316\u90e8\u9580\u5247\u56de\u61c9\u300c\u5b89\u5168\u4e4b\u5f8c\uff0c\u5982\u4f55\u7e7c\u7e8c\u5275\u4f5c\u300d\u3002<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">\u9664\u4e86\u5236\u5ea6\u4e0a\u7684\u652f\u6301\uff0c\u8de8\u570b\u85dd\u6587\u7db2\u7d61\u4e5f\u9010\u6f38\u5f62\u6210\u9577\u671f\u4ea4\u63db\u7d93\u9a57\u8207\u8cc7\u6e90\u7684\u5e73\u53f0\u3002\u7531 \u300c\u5b89\u5168\u907f\u98a8\u6e2f\uff0e\u81ea\u7531\u5c0d\u8ac7\u300d\uff08<a href=\"https:\/\/sh-ft.org\/\" target=\"_blank\" rel=\"noopener\">Safe Havens Freedom Talks<\/a>\uff0cSH|FT\uff09\u81ea2013\u5e74\u767c\u5c55\u81f3\u4eca\u7684\u300c\u5b89\u5168\u6e2f\u6703\u8b70\u300d\uff08<a href=\"https:\/\/www.mekongculturalhub.org\/news\/2026\/03\/safe-havens-2026\/\" target=\"_blank\" rel=\"noopener\">Safe Havens Meeting<\/a>\uff09\uff0c\u4fbf\u6301\u7e8c\u8b93\u85dd\u8853\u5bb6\u3001\u6587\u5316\u5de5\u4f5c\u8005\u3001\u4eba\u6b0a\u7d44\u7e54\u3001\u6cd5\u5f8b\u5de5\u4f5c\u8005\u8207\u570b\u969b\u7d44\u7e54\u805a\u96c6\uff0c\u8a0e\u8ad6\u85dd\u8853\u81ea\u7531\u3001\u53d7\u5a01\u8105\u5275\u4f5c\u8005\u8207\u76f8\u95dc\u652f\u6301\u6a5f\u5236\u30022026\u5e74\uff0c\u9019\u9805\u9577\u671f\u5728\u6b50\u6d32\u767c\u5c55\u7684\u6703\u8b70\u5c07\u9032\u4e00\u6b65\u79fb\u5f80\u4e9e\u6d32\uff0c\u5728\u67ec\u57d4\u5be8\u66b9\u7c92\u8209\u884c\u300c\u63db\u500b\u89d2\u5ea6\u770b\u6771\u5357\u4e9e\uff1a\u5f9e\u4e9e\u6d32\u8996\u89d2\u770b\u85dd\u8853\u81ea\u7531\u300d\uff08<a href=\"https:\/\/www.cambodianlivingarts.org\/en\/events-2\/sea-differently-an-asian-lens-on-artistic-freedom\/\" target=\"_blank\" rel=\"noopener\">SEA Differently: An Asian Lens on Artistic Freedom<\/a>\uff09\uff0c\u7531\u6e44\u516c\u6cb3\u6587\u5316\u4e2d\u5fc3\uff08Mekong Cultural Hub\uff0c\u570b\u969b\u751f\u6d3b\u85dd\u8853\u7d44\u7e54\u3014Living Arts International\u3015\u5728\u6771\u5357\u4e9e\u7684\u4e3b\u8981\u8a08\u756b\u4e4b\u4e00\uff09\u7b49\u55ae\u4f4d\u53c3\u8207\u7c4c\u8fa6\uff0c\u8a66\u5716\u628a\u5168\u7403\u85dd\u8853\u81ea\u7531\u7db2\u7d61\u8207\u6771\u5357\u4e9e\u65e2\u6709\u7684\u6587\u5316\u95dc\u4fc2\u9023\u7d50\u8d77\u4f86\uff0c\u5f62\u6210\u5176\u9577\u671f\u7db2\u7d61\u5411\u4e9e\u6d32\u5ef6\u4f38\u7684\u91cd\u8981\u6848\u4f8b\u3002\u9019\u6a23\u7684\u8f49\u5411\u4e5f\u8aaa\u660e\uff0c\u300c\u8def\u5f91\u300d\u4e0d\u53ea\u5b58\u5728\u65bc\u85dd\u8853\u5bb6\u7684\u5be6\u969b\u79fb\u52d5\u4e4b\u4e2d\uff0c\u4e5f\u5b58\u5728\u65bc\u4e0d\u540c\u5340\u57df\u4e4b\u9593\u5982\u4f55\u9010\u6b65\u5efa\u7acb\u8cc7\u8a0a\u3001\u4fe1\u4efb\u8207\u8f49\u4ecb\u95dc\u4fc2\u3002<\/p>\n\n\n\n<figure class=\"wp-block-image\"><img data-recalc-dims=\"1\" decoding=\"async\" src=\"https:\/\/i0.wp.com\/mag.ncafroc.org.tw\/admin\/files\/article\/20261021\/0850aa70f07a4b7cbf38ec2bbd4bd85d\/0850aa70f07a4b7cbf38ec2bbd4bd85d.jpg?w=760&#038;ssl=1\" alt=\"2026\u5e74\u65bc\u67ec\u57d4\u5be8\u66b9\u7c92\u8209\u8fa6\u7684\u300c\u5b89\u5168\u6e2f\u6703\u8b70\u300d\u3002\uff08\u5716\u7247\u4f86\u6e90\uff0fCambodian Living Arts\u5b98\u7db2\uff09\"\/><\/figure>\n\n\n\n<p class=\"wp-block-paragraph\">2026\u5e74\u65bc\u67ec\u57d4\u5be8\u66b9\u7c92\u8209\u8fa6\u7684\u300c\u5b89\u5168\u6e2f\u6703\u8b70\u300d\u3002\uff08\u5716\u7247\u4f86\u6e90\uff0fCambodian Living Arts\u5b98\u7db2\uff09<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">2020\u5e74\uff0c\u70cf\u514b\u862d\u8de8\u6a5f\u69cb\u8a08\u756b\u300cZapravka\u300d\uff08\u70cf\u514b\u862d\u8a9e\u610f\u70ba\u300c\u52a0\u6cb9\u7ad9\u300d\uff09\u7531\u70cf\u514b\u862d\u5b78\u9662\uff08Ukrainian Institute\uff09\u3001\u70cf\u514b\u862d\u6587\u5316\u57fa\u91d1\u6703\uff08Ukrainian Cultural Foundation\uff09\u8207\u6b50\u6d32\u4e4b\u5bb6\uff08House of Europe\uff09\u767c\u8d77\uff0c\u6700\u521d\u76e4\u9ede\u85dd\u8853\u9032\u99d0\u8cc7\u6e90\u4e26\u9023\u7d50TransArtists\u7db2\u7d61\u3002\u6230\u722d\u5168\u9762\u7206\u767c\u5f8c\uff0c\u539f\u672c\u70ba\u6587\u5316\u6d41\u52d5\u5efa\u7acb\u7684\u95dc\u4fc2\u7db2\u88ab\u91cd\u65b0\u52d5\u54e1\u70ba\u5e87\u8b77\u8cc7\u6e90\u3002Zapravka\u65bc2023\u5e74\u63a8\u51fa\u70cf\u514b\u862d\u6587\u7248\u300a\u5982\u4f55\u5728\u70cf\u514b\u862d\u6253\u9020\u85dd\u8853\u99d0\u7559\u8a08\u756b\u300b\uff08<a href=\"https:\/\/ui.org.ua\/wp-content\/uploads\/2026\/06\/toolkit-by-zapravka_22.pdf\" target=\"_blank\" rel=\"noopener\">How to Make an Art Residency in Ukraine<\/a>\uff09\uff1b2026\u5e74TransArtists\u9032\u4e00\u6b65\u4ecb\u7d39\u5176\u82f1\u6587\u7248\u53ca\u6230\u6642\u5be6\u8e10\u3002\u4e14\u5373\u4f7f\u6230\u722d\u6301\u7e8c\uff0c\u70cf\u514b\u862d\u7684\u90e8\u5206\u85dd\u8853\u7a7a\u9593\u4ecd\u7dad\u6301\u63a5\u5f85\u3002\u9019\u8b93\u4eba\u770b\u5230\uff0c\u5371\u6a5f\u4e2d\u7684\u57fa\u790e\u8a2d\u65bd\u5f80\u5f80\u4e0d\u662f\u4e8b\u5f8c\u5f9e\u96f6\u5efa\u7acb\uff0c\u800c\u662f\u5e73\u6642\u7d2f\u7a4d\u7684\u5408\u4f5c\u3001\u77e5\u8b58\u8207\u4fe1\u4efb\uff0c\u5728\u9700\u8981\u6642\u88ab\u91cd\u65b0\u555f\u52d5\u3002<\/p>\n\n\n\n<figure class=\"wp-block-image\"><img data-recalc-dims=\"1\" decoding=\"async\" src=\"https:\/\/i0.wp.com\/mag.ncafroc.org.tw\/admin\/files\/article\/20261021\/89743052fe344b18aae171b5b86729fa\/89743052fe344b18aae171b5b86729fa.jpg?w=760&#038;ssl=1\" alt=\"\u300cZapravka\u300d\u8a08\u756b\u8fd1\u5e74\u767c\u5e03\u7684\u300a\u5982\u4f55\u5728\u70cf\u514b\u862d\u6253\u9020\u85dd\u8853\u99d0\u7559\u8a08\u756b\u300b\u5de5\u5177\u66f8\u3002\uff08\u5716\u7247\u4f86\u6e90\uff0fUkrainian Institute\u5b98\u7db2\uff09\"\/><\/figure>\n\n\n\n<p class=\"wp-block-paragraph\">\u300cZapravka\u300d\u8a08\u756b\u8fd1\u5e74\u767c\u5e03\u7684\u300a\u5982\u4f55\u5728\u70cf\u514b\u862d\u6253\u9020\u85dd\u8853\u99d0\u7559\u8a08\u756b\u300b\u5de5\u5177\u66f8\u3002\uff08\u5716\u7247\u4f86\u6e90\uff0fUkrainian Institute\u5b98\u7db2\uff09<\/p>\n\n\n\n<p class=\"wp-block-paragraph\"><strong>\u4e9e\u6d32\u4e0d\u5747\u52fb\u7684\u6d41\u52d5\u8207\u53f0\u7063\u7684\u8def\u5f91<\/strong><\/p>\n\n\n\n<p class=\"wp-block-paragraph\">\u7136\u800c\uff0c\u4e0a\u8ff0\u8def\u5f91\u5728\u5404\u5340\u57df\u7684\u5f62\u6210\u65b9\u5f0f\u4e26\u4e0d\u76f8\u540c\u3002\u7576\u8996\u7dda\u79fb\u5411\u4e9e\u6d32\uff0c\u53ef\u4ee5\u770b\u5230\u66f4\u96f6\u6563\u3001\u4ef0\u8cf4\u975e\u6b63\u5f0f\u95dc\u4fc2\u7684\u652f\u6301\u7cfb\u7d71\u3002\u4f46\u9019\u4e0d\u80fd\u5316\u7d04\u70ba\u300c\u6b50\u6d32\u6709\u5236\u5ea6\u3001\u4e9e\u6d32\u6c92\u6709\u5236\u5ea6\u300d\uff0c\u66f4\u503c\u5f97\u89c0\u5bdf\u7684\u662f\u5236\u5ea6\u5316\u7a0b\u5ea6\u7684\u4e0d\u5747\u3002\u96d6\u7136\u5df2\u6709\u56fa\u5b9a\u9810\u7b97\u8207\u8f49\u4ecb\u7ba1\u9053\uff0c\u66f4\u591a\u60c5\u5883\u4ecd\u501a\u8cf4\u79c1\u4eba\u4fe1\u4efb\u3001\u5c0f\u578b\u7368\u7acb\u7a7a\u9593\u8207\u81e8\u6642\u5354\u8abf\u3002\u7576\u7b2c\u4e00\u500b\u652f\u6301\u7bc0\u9ede\u7684\u52d5\u80fd\u8017\u76e1\u6642\uff0c\u4e0b\u4e00\u500b\u8db3\u4ee5\u63a5\u61c9\u7684\u7bc0\u9ede\u7a76\u7adf\u662f\u5426\u5b58\u5728\uff1f<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">\u85dd\u8853\u5bb6\u5371\u6a5f\u63f4\u52a9\u7db2\u7d61\uff08<a href=\"https:\/\/artistsatriskconnection.org\/\" target=\"_blank\" rel=\"noopener\">Artists at Risk Connection<\/a>\uff09\u7684\u300aArresting Art\u300b\uff082021\uff09\u8207\u300aConnecting the Dots\u300b\uff082022\uff09\u8a18\u9304\u4e86\u4e9e\u6d32\u5275\u4f5c\u8005\u9762\u5c0d\u7684\u8a00\u8ad6\u5be9\u67e5\u8207\u653f\u6cbb\u58d3\u529b\uff0c\u4e26\u6307\u51fa\u300c\u5340\u57df\u5167\u90e8\u5b89\u7f6e\u300d\u7684\u91cd\u8981\u6027\u3002ArtsEquator\u7684\u300c\u6771\u5357\u4e9e\u85dd\u8853\u5be9\u67e5\u8cc7\u6599\u5eab\u300d\uff08Southeast Asian Arts Censorship Database\uff09\u53ca\u300c\u6771\u5357\u4e9e\u85dd\u8853\u81ea\u7531\u96f7\u9054\u300d\uff08<a href=\"https:\/\/artsfreedomradar.com\/\" target=\"_blank\" rel=\"noopener\">Southeast Asia Artistic Freedom RADAR<\/a>\uff09\uff0c\u4e5f\u6301\u7e8c\u68b3\u7406\u6771\u5357\u4e9e\u85dd\u8853\u81ea\u7531\u53d7\u9650\u6848\u4f8b\u3002\u5c0d\u6d41\u96e2\u85dd\u8853\u5bb6\u800c\u8a00\uff0c\u5728\u9130\u8fd1\u5730\u5340\u66ab\u6642\u505c\u7559\uff0c\u80fd\u964d\u4f4e\u8ca1\u52d9\u8207\u884c\u653f\u9580\u6abb\uff0c\u4e26\u4fdd\u7559\u5728\u719f\u6089\u7684\u6587\u5316\u8108\u7d61\u4e2d\u3002<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">\u5f9e\u9019\u500b\u89d2\u5ea6\u56de\u770b\u53f0\u7063\uff0c\u554f\u984c\u4e0d\u5728\u65bc\u8907\u88fd\u6b50\u6d32\u7684\u5b89\u5168\u6e2f\u6a21\u5f0f\uff0c\u800c\u662f\u5982\u4f55\u628a\u65e2\u6709\u689d\u4ef6\u8207\u95dc\u4fc2\u63a5\u8d77\u4f86\u3002\u9577\u4e45\u4ee5\u4f86\uff0c\u53f0\u7063\u7684\u85dd\u8853\u9032\u99d0\u591a\u8457\u91cd\u300c\u8d70\u51fa\u53bb\u300d\uff0c\u76f8\u8f03\u4e4b\u4e0b\uff0c\u98a8\u96aa\u6e96\u5099\u3001\u5371\u6a5f\u652f\u63f4\u3001\u8fd4\u570b\u5f8c\u7684\u5c08\u696d\u929c\u63a5\uff0c\u4ee5\u53ca\u9130\u8fd1\u5730\u5340\u85dd\u8853\u5bb6\u7121\u6cd5\u8fd4\u9109\u6642\u7684\u63a5\u5f85\u652f\u6301\uff0c\u4ecd\u8f03\u5c11\u88ab\u653e\u5728\u540c\u4e00\u8108\u7d61\u4e2d\u8a0e\u8ad6\u3002\u81ea1971\u5e74\u9000\u51fa\u806f\u5408\u570b\u9ad4\u7cfb\u5f8c\uff0c\u53f0\u7063\u5728\u53c3\u8207\u90e8\u5206\u570b\u969b\u516c\u7d04\u8207\u96e3\u6c11\u6a5f\u5236\u6642\u4ea6\u9762\u81e8\u5236\u5ea6\u6027\u9650\u5236\u3002\u52a0\u4e0a\u5730\u7de3\u653f\u6cbb\u74b0\u5883\u9ad8\u5ea6\u4e0d\u78ba\u5b9a\uff0c\u53f0\u7063\u5728\u601d\u8003\u5982\u4f55\u63a5\u4f4f\u4ed6\u4eba\u7684\u540c\u6642\uff0c\u4e5f\u5fc5\u9808\u610f\u8b58\u5230\u81ea\u8eab\u540c\u6a23\u53ef\u80fd\u8eab\u8655\u5371\u6a5f\u4e4b\u4e2d\u3002\u9019\u689d\u8def\u5f91\u56e0\u6b64\u4e0d\u53ea\u662f\u300c\u53f0\u7063\u63a5\u4f4f\u5225\u4eba\u300d\uff0c\u4e5f\u5305\u62ec\u6587\u5316\u5de5\u4f5c\u8005\u672a\u4f86\u5411\u5916\u79fb\u52d5\u3001\u5c0b\u627e\u652f\u6301\u8207\u5ef6\u7e8c\u5c08\u696d\u5be6\u8e10\u7684\u53ef\u80fd\u3002<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">\u5982\u4f55\u76e4\u9ede\u4e26\u4e32\u63a5\u65e2\u6709\u8cc7\u6e90\uff0c\u5247\u53ef\u53c3\u8003On the Move\u63a8\u52d5\u7684\u300c\u79fb\u52d5\u8cc7\u8a0a\u7ad9\u300d\uff08<a href=\"https:\/\/on-the-move.org\/network\/working-groups\/mobility-information-points\" target=\"_blank\" rel=\"noopener\">Mobility Information Points<\/a>\uff0cMIPs\uff09\u8a08\u756b\u3002\u5728\u76e4\u9ede\u7368\u7acb\u85dd\u8853\u7a7a\u9593\u3001\u5927\u5c08\u9662\u6821\u3001\u4eba\u6b0a\u5718\u9ad4\u3001\u57fa\u91d1\u6703\u3001\u6587\u5316\u6a5f\u69cb\u8207\u85dd\u6587\u5f9e\u696d\u8005\u7684\u540c\u6642\uff0c\u4e5f\u540c\u6b65\u638c\u63e1\u4f4f\u5bbf\u3001\u6cd5\u5f8b\u8207\u79fb\u6c11\u8cc7\u8a0a\u3001\u8cc7\u91d1\u652f\u6301\u3001\u5730\u65b9\u793e\u7fa4\u9023\u7d50\u8207\u8de8\u570b\u8f49\u4ecb\u7b49\u8cc7\u6e90\uff0c\u9010\u6b65\u5f62\u6210\u53ef\u6301\u7e8c\u66f4\u65b0\u8207\u8f49\u4ecb\u7684\u652f\u6301\u7db2\u7d61\u3002\u7576\u9019\u4e9b\u539f\u672c\u5206\u6563\u7684\u689d\u4ef6\u88ab\u4e32\u63a5\u8d77\u4f86\uff0c\u4e26\u5728\u6301\u7e8c\u66f4\u65b0\u4e2d\u5efa\u7acb\u4fe1\u4efb\uff0c\u8de8\u570b\u7db2\u7d61\u4fbf\u4e0d\u53ea\u662f\u63a5\u5f85\u4ed6\u4eba\u7684\u80fd\u529b\uff0c\u66f4\u662f\u70ba\u81ea\u8eab\u4fdd\u7559\u4e0b\u4e00\u500b\u53ef\u80fd\u7684\u7bc0\u9ede\uff0c\u4f7f\u66f4\u5177\u5f48\u6027\u8207\u97cc\u6027\u7684\u79fb\u52d5\u8def\u5f91\u9010\u6f38\u5f62\u6210\u3002<\/p>\n\n\n\n<figure class=\"wp-block-image\"><img data-recalc-dims=\"1\" decoding=\"async\" src=\"https:\/\/i0.wp.com\/mag.ncafroc.org.tw\/admin\/files\/article\/20261021\/ac3d278468ee4d97858eb75557df3a6e\/ac3d278468ee4d97858eb75557df3a6e.jpg?w=760&#038;ssl=1\" alt=\"\u9762\u5c0d\u5168\u7403\u6587\u5316\u79fb\u52d5\u8cc7\u6e90\u50be\u659c\u7684\u7d50\u69cb\u4e0d\u5e73\u7b49\uff0c\u300c\u85dd\u8853\u7a7a\u9593\u5e87\u8b77\u7db2\u7d61\u300d\u7684\u601d\u8003\u56de\u61c9\u517c\u5177\u5e73\u6642\u4e32\u806f\u6a1e\u7d10\u8207\u5371\u6a5f\u7dca\u6025\u6d41\u52d5\u901a\u9053\u4e4b\u96d9\u91cd\u529f\u80fd\u3002\uff08\u4f5c\u8005\u88fd\u5716\uff09\"\/><\/figure>\n\n\n\n<p class=\"wp-block-paragraph\">\u9762\u5c0d\u5168\u7403\u6587\u5316\u79fb\u52d5\u8cc7\u6e90\u50be\u659c\u7684\u7d50\u69cb\u4e0d\u5e73\u7b49\uff0c\u300c\u85dd\u8853\u7a7a\u9593\u5e87\u8b77\u7db2\u7d61\u300d\u7684\u601d\u8003\u56de\u61c9\u517c\u5177\u5e73\u6642\u4e32\u806f\u6a1e\u7d10\u8207\u5371\u6a5f\u7dca\u6025\u6d41\u52d5\u901a\u9053\u4e4b\u96d9\u91cd\u529f\u80fd\u3002\uff08\u4f5c\u8005\u88fd\u5716\uff09<\/p>\n\n\n\n<p class=\"wp-block-paragraph\"><strong>\u8b93\u652f\u6301\u6210\u70ba\u52d5\u614b\u85dd\u8853\u751f\u614b\u7cfb\u7d71\u7684\u4e00\u90e8\u5206<\/strong><\/p>\n\n\n\n<p 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class=\"wp-block-paragraph\">\u5f9e\u9019\u88e1\u518d\u56de\u770b\u300c\u5728\u5b89\u5168\u4e4b\u5f8c\uff0c\u7a76\u7adf\u8a72\u5982\u4f55\u5ef6\u7e8c\u300d\uff0c\u554f\u984c\u4e5f\u4e0d\u53ea\u5c6c\u65bc\u6d41\u96e2\u7570\u9109\u7684\u85dd\u8853\u5bb6\u3002\u707d\u96e3\u904e\u5f8c\uff0c\u4e00\u500b\u5730\u65b9\u540c\u6a23\u53ef\u80fd\u5931\u53bb\u6587\u5316\u7a7a\u9593\u3001\u65e5\u5e38\u95dc\u4fc2\u8207\u96c6\u9ad4\u8a18\u61b6\u3002\u300c\u4ee5\u5e87\u8b77\u5be6\u8e10\u6c38\u7e8c\u300d\uff08sheltering as sustainability\uff09\u6240\u95dc\u5fc3\u7684\u300c\u5ef6\u7e8c\u300d\uff0c\u4e5f\u5f15\u5c0e\u6211\u5011\u7406\u89e3\u5371\u6a5f\u5f8c\u54ea\u4e9b\u95dc\u4fc2\u3001\u8a18\u61b6\u8207\u6587\u5316\u5be6\u8e10\u4ecd\u9700\u8981\u88ab\u7dad\u6301\u3002\u56de\u5230\u300c\u5e87\u8b77\u300d\uff0c\u554f\u984c\u5df2\u4e0d\u53ea\u662f\u6709\u6c92\u6709\u5b89\u5168\u7a7a\u9593\uff0c\u800c\u662f\u652f\u6301\u95dc\u4fc2\u80fd\u4e0d\u80fd\u88ab\u63a5\u7e8c\u4e0b\u53bb\u3002<\/p>\n\n\n\n<figure class=\"wp-block-image\"><img data-recalc-dims=\"1\" decoding=\"async\" src=\"https:\/\/i0.wp.com\/mag.ncafroc.org.tw\/admin\/files\/article\/20261021\/1801788462ce42b590155fbd7207872e\/1801788462ce42b590155fbd7207872e.jpg?w=760&#038;ssl=1\" alt=\"\u85dd\u8853\u9032\u99d0\u7a7a\u9593\u4f5c\u70ba\u6587\u5316\u63f4\u52a9\u7db2\u7d61\u6a1e\u7d10\uff08AIR Space as Cultural Relief Network Hub\uff09\uff0c\u5c55\u73fe\u5176\u300c\u5411\u5916\u6a4b\u63a5\u300d\u6d41\u4ea1\u85dd\u8853\u5bb6\u4e4b\u8de8\u570b\u5e87\u8b77\uff0c\u8207\u300c\u5411\u5167\u5b88\u8b77\u300d\u5728\u5730\u793e\u7fa4\u4e4b\u6587\u5316\u907f\u98a8\u6e2f\u7684\u96d9\u91cd\u5411\u5ea6\u3002\uff08\u4f5c\u8005\u88fd\u5716\uff09\"\/><\/figure>\n\n\n\n<p class=\"wp-block-paragraph\">\u85dd\u8853\u9032\u99d0\u7a7a\u9593\u4f5c\u70ba\u6587\u5316\u63f4\u52a9\u7db2\u7d61\u6a1e\u7d10\uff08AIR Space as Cultural Relief Network Hub\uff09\uff0c\u5c55\u73fe\u5176\u300c\u5411\u5916\u6a4b\u63a5\u300d\u6d41\u4ea1\u85dd\u8853\u5bb6\u4e4b\u8de8\u570b\u5e87\u8b77\uff0c\u8207\u300c\u5411\u5167\u5b88\u8b77\u300d\u5728\u5730\u793e\u7fa4\u4e4b\u6587\u5316\u907f\u98a8\u6e2f\u7684\u96d9\u91cd\u5411\u5ea6\u3002\uff08\u4f5c\u8005\u88fd\u5716\uff09<\/p>\n\n\n\n<p class=\"wp-block-paragraph\"><strong>\u7d50\u8a9e\uff1a\u7576\u5e87\u8b77\u8d85\u8d8a\u7a7a\u9593<\/strong><\/p>\n\n\n\n<p class=\"wp-block-paragraph\">\u8eab\u8655\u4e0d\u7a69\u5b9a\u7684\u6642\u4ee3\uff0c\u4e26\u4e0d\u610f\u5473\u8457\u85dd\u8853\u9032\u99d0\u5fc5\u9808\u653e\u68c4\u539f\u672c\u89d2\u8272\uff0c\u8f49\u800c\u6210\u70ba\u53e6\u4e00\u5957\u4eba\u9053\u6551\u63f4\u7cfb\u7d71\u3002\u771f\u6b63\u9700\u8981\u91cd\u65b0\u601d\u8003\u7684\uff0c\u662f\u6211\u5011\u5982\u4f55\u7406\u89e3\u7576\u4ee3\u7684\u300c\u6587\u5316\u6d41\u52d5\u300d\u8207\u300c\u652f\u6301\u300d\u3002\u5de5\u4f5c\u5ba4\u3001\u5c45\u6240\u8207\u5275\u4f5c\u6642\u9593\u4f9d\u7136\u91cd\u8981\uff0c\u53ea\u662f\u7576\u5371\u6a5f\u6ef2\u5165\u65e5\u5e38\uff0c\u4eba\u8eab\u5b89\u5168\u3001\u5408\u6cd5\u6d41\u52d5\u3001\u4fe1\u4efb\u3001\u5c08\u696d\u5ef6\u7e8c\u8207\u5730\u65b9\u95dc\u4fc2\uff0c\u4e5f\u6210\u70ba\u85dd\u8853\u9032\u99d0\u7121\u53ef\u8ff4\u907f\u7684\u7dad\u5ea6\u3002<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">\u7576\u5e87\u8b77\u8d85\u8d8a\u7a7a\u9593\uff0c\u6211\u5011\u8ffd\u554f\u7684\u4e0d\u518d\u53ea\u662f\u67d0\u500b\u5834\u57df\u662f\u5426\u8db3\u4ee5\u88ab\u7a31\u4f5c\u300c\u5b89\u5168\u6e2f\u300d\uff0c\u800c\u662f\u4e0d\u540c\u652f\u6301\u5982\u4f55\u88ab\u4e32\u63a5\u8207\u5ef6\u7e8c\u3002\u300c\uff08\u8de8\uff09\u57fa\u790e\u8a2d\u65bd\u7684\u5e87\u8b77\u5be6\u8e10\u300d\uff08sheltering as (trans-)infrastructure\uff09\u662f\u4e00\u7a2e\u91cd\u65b0\u89c0\u770b\u7684\u65b9\u6cd5\u3002\u300c\u4ee5\u5e87\u8b77\u5be6\u8e10\u6c38\u7e8c\u300d\uff08sheltering as sustainability\uff09\u5247\u63d0\u9192\u6211\u5011\uff0c\u771f\u6b63\u9700\u8981\u7dad\u7e6b\u7684\u662f\u85dd\u8853\u5bb6\u3001\u6587\u5316\u5de5\u4f5c\u8005\u8207\u5730\u65b9\u793e\u7fa4\u5728\u5371\u6a5f\u5f8c\u662f\u5426\u4ecd\u6709\u689d\u4ef6\u7e7c\u7e8c\u5275\u4f5c\u3001\u751f\u6d3b\u8207\u91cd\u65b0\u9023\u7d50\u3002<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">\u5c0d\u53f0\u7063\u800c\u8a00\uff0c\u9019\u6216\u8a31\u6b63\u662f\u65b0\u5be6\u8e10\u8def\u5f91\u7684\u8d77\u9ede\u3002\u76e4\u9ede\u73fe\u6709\u8cc7\u6e90\u8207\u95dc\u4fc2\uff0c\u8b93\u7bc0\u9ede\u5f62\u6210\u7db2\u7d61\u3001\u4ea4\u63db\u8cc7\u8a0a\uff0c\u65e2\u53ef\u80fd\u63a5\u4f4f\u7570\u5730\u6d41\u96e2\u7684\u85dd\u8853\u5bb6\uff0c\u4e5f\u80fd\u5728\u5371\u6a5f\u4f86\u81e8\u6642\uff0c\u6210\u70ba\u53f0\u7063\u6587\u5316\u5de5\u4f5c\u8005\u5411\u5916\u79fb\u52d5\u6642\u53ef\u4ee5\u4f9d\u9760\u7684\u7db2\u7d61\u3002\u5e87\u8b77\u56e0\u6b64\u4e0d\u662f\u7d42\u9ede\uff0c\u4e5f\u4e0d\u53ea\u662f\u4e00\u500b\u5be6\u9ad4\u5b89\u5168\u7a7a\u9593\u3002\u66f4\u91cd\u8981\u7684\u662f\uff0c\u7576\u4e00\u500b\u4eba\u3001\u793e\u7fa4\u6216\u6587\u5316\u5be6\u8e10\u88ab\u5371\u6a5f\u6253\u65b7\u5f8c\uff0c\u662f\u5426\u4ecd\u6709\u4eba\u3001\u6709\u95dc\u4fc2\uff0c\u4e5f\u6709\u4e0b\u4e00\u500b\u53ef\u4ee5\u524d\u5f80\u7684\u5730\u65b9\uff0c\u8b93\u751f\u6d3b\u5f97\u4ee5\u91cd\u65b0\u5b89\u653e\uff0c\u8b93\u6587\u5316\u8207\u601d\u8003\u7e7c\u7e8c\u5ef6\u7e8c\u3002<\/p>\n\n\n\n<hr class=\"wp-block-separator has-alpha-channel-opacity\"\/>\n\n\n\n<p class=\"wp-block-paragraph\">In the autumn of 2024, I met a Myanmar artist in Taitung who was unable to return home and was seeking possibilities for transnational shelter. The following year, while visiting sheltering organisations in Europe, another artist living in exile told me, \u201cI now only make things that can fit into my carry-on luggage.\u201d<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">This was not simply an aesthetic choice. It was a compromise shaped by the pressures of survival. Such circumstances directly influenced the forms their practices could take: materials became lighter and more portable; language grew more indirect under self-censorship; digital technologies were used to piece together geographies of home that had become increasingly difficult to reach.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Another memory from the same period takes me back to the aftermath of the Matai\u2019an disaster in Hualien. An arts worker involved in the local response described spending time with affected residents, making things by hand while slowly working through experiences of trauma. These situations, separated by thousands of kilometres and shaped by very different conditions, nonetheless raised a similar question: <strong>when crisis arrives, what can cultural spaces, including artist residencies, and cultural workers actually do?<\/strong><\/p>\n\n\n\n<p class=\"wp-block-paragraph\">This is not an academic question constructed in abstraction. It emerged from situations I encountered and felt directly while moving between different fields of research.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">If these fragmented experiences of survival are situated within the broader perspective of <strong>cultural mobility<\/strong>, movement is no longer simply the physical relocation of bodies from one place to another. It also concerns how knowledge, relationships, resources, and creative practices are reassembled along trajectories of movement. Stephen Greenblatt and his collaborators (2009) understand cultural mobility as a process through which culture is continuously produced through movement, contact, and exchange. Following this perspective, I approach the <strong>artist residency<\/strong> as an institutionalised form of cultural mobility: residencies provide studios, accommodation, time, and financial support, allowing artists to enter different contexts, encounter others, and reflect on their own practices.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Over the past decade, however, war, forced displacement, political persecution, climate disasters, and prolonged economic instability have increasingly reshaped the routes and support mechanisms traditionally associated with artist residencies. For many cultural practitioners facing persecution, the urgent question is no longer simply where they can make work. It is how they can continue living, remain safe, and sustain relationships when the conditions of everyday and professional life begin to collapse. Once an artist reaches a new place, another question follows: how can residency organisations and local communities help them continue their creative and professional practices?<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Crisis has therefore opened up different possibilities for the role of artist residencies. Spaces originally designed for temporary stays and artistic exchange may become temporary shelters, information points, or intermediary nodes connecting people with legal assistance, funding, and humanitarian support. Staff members whose work usually centres on hosting artists may suddenly find themselves coordinating transportation, visas, accommodation, referrals, and forms of accompaniment. In this process, the meaning of <strong>shelter<\/strong> expands from a physically safe place into a much more complex support network (Artists at Risk, 2017; M\u00fcller, 2019; Yazaji, 2025).<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Artistic sheltering, however, needs to be distinguished from existing refugee protection pathways. UNHCR identifies <strong>resettlement<\/strong> and <strong>complementary pathways<\/strong> as important mechanisms for responding to different protection needs among refugees (UNHCR, n.d.-a, n.d.-b). Artistic sheltering more often emerges through artist residencies, cultural organisations, higher education institutions, and transnational networks, adding a layer of civil-society support within the gaps of formal systems.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">It is precisely within this tension between institutional margins and cultural practice that I have begun to rethink artistic sheltering as something more than the question of where a person is physically accommodated. This article proposes <strong>sheltering as (trans-)infrastructure<\/strong> as an interpretive lens. It asks how forms of support connect across institutions, cities, countries, and professional communities to form pathways of mobility, and how those relationships continue to sustain creative and everyday life after arrival. Moving between Europe, Asia, and Taiwan, I also consider the role cultural spaces might play in moments of crisis, post-disaster cultural practice, and cultural aid.<\/p>\n\n\n\n<h2 class=\"wp-block-heading\">Sheltering as (Trans-)Infrastructure<\/h2>\n\n\n\n<p class=\"wp-block-paragraph\">In reconsidering artist residency mechanisms in an uncertain era, I have increasingly found myself asking: <strong>Who is sheltering whom? What kinds of crisis are artists confronting? Through what relationships do these networks of support emerge, and how long can they last?<\/strong><\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Rather than reducing shelter to a particular place or a clearly bounded programme, I understand <strong>sheltering<\/strong> as a dynamic and evolving process. It cannot be carried by a single institution. It is woven through people, spaces, information, mobility, funding, trust, and care. An artist residency does not become a shelter simply because it provides a bed. What matters more is how cultural spaces and networks can, under particular circumstances, function as forms of infrastructure.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">This understanding closely resonates with infrastructure studies. Star and Ruhleder (1996) argue that infrastructure is embedded in practice and inseparable from working routines, communities, and contexts of use. Larkin (2013) further emphasises the political, cultural, and symbolic dimensions of infrastructure. More recent research on cultural infrastructure has expanded this perspective beyond buildings to include organisational structures, knowledge production, interpersonal networks, and mechanisms of governance (Bain &amp; Podmore, 2023).<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Building on these perspectives, I extend the infrastructural lens into the context of artistic sheltering and propose <strong>sheltering as (trans-)infrastructure<\/strong> as an analytical framework. This is not a fixed term directly proposed by the literature above. Here, the prefix <strong>trans-<\/strong> refers not only to crossing national borders, but also to the ways sheltering moves between artistic practice and humanitarian response, formal systems and informal relationships, local support and transnational mobility, immediate safety and longer-term professional continuity.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">The aim is not to outline a standardised system of artist protection. Rather, it is to make visible how dispersed actions become connected through trust, networks, and practice, and how they may form resilient and workable pathways through institutional gaps and moments of crisis.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">For artists facing persecution, movement is rarely a linear journey from \u201cdanger\u201d to \u201csafety.\u201d Some remain where they are. Others move temporarily to neighbouring countries. Some first enter a short-term residency to gain breathing space before searching for a more sustainable place to stay. Rather than understanding shelter as a static <strong>safe haven<\/strong>, the idea of a <strong>pathway<\/strong> may be closer to lived reality.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">A safe space is undoubtedly important. But without legal status, information, financial resources, professional networks, and onward referrals, it can easily remain only a temporary place to stay. Conversely, an invitation letter, a travel grant, a visiting research affiliation, or a trusted referral may create one more possible route for someone in crisis. Sheltering is therefore not simply about arrival. It is about whether someone can continue moving between different nodes.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Seen through the lens of sheltering as (trans-)infrastructure, the important movement is not only that of the artist across national borders, but also that of support across institutional and professional boundaries. Legal residence may depend on a government system; accommodation may come from an arts organisation; funding may come from a foundation; and the next creative opportunity may emerge through a curator, university, or transnational network. Sheltering is continuously <strong>assembled<\/strong> across nodes that do not necessarily belong to the same institutional structure.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">This pathway-based thinking is also visible in recent European cultural practice. In responding to at-risk and displaced artists, the European Union\u2019s 2023 Council Conclusions encouraged not only the expansion of <strong>safe havens, cities of refuge, and emergency residencies<\/strong>, but also stronger transnational networks, information exchange, and connections to artists\u2019 longer-term professional practices (Council of the European Union, 2023).<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Following Russia\u2019s full-scale invasion of Ukraine, the European Union activated the <strong>Temporary Protection Directive<\/strong> in 2022, providing rights related to residence, employment, accommodation, social welfare, healthcare, and education (European Commission, 2026). The cultural sector, meanwhile, began responding to another question: <strong>after safety, how can creative practice continue?<\/strong><\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Alongside institutional support, transnational cultural networks have increasingly become platforms for exchanging experience and resources over the longer term. Since 2013, the <strong>Safe Havens Meeting<\/strong> has gradually developed into an international networking platform connecting artists, cultural workers, human rights organisations, legal practitioners, and international organisations (Safe Havens Freedom Talks, n.d.). In 2026, the meeting will take place in Siem Reap, Cambodia, under the title <em>SEA Differently: An Asian Lens on Artistic Freedom<\/em>, co-convened by SH|FT and Living Arts International, with Mekong Cultural Hub participating as part of the collaboration. This marks an important extension of the network\u2019s long-standing work into Asia (Mekong Cultural Hub, 2026).<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Such developments suggest that pathways exist not only in the physical journeys of artists, but also in the gradual building of information, trust, and referral relationships between regions.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Another example is <strong>Zapravka<\/strong>, an inter-institutional Ukrainian initiative launched in 2020 by the Ukrainian Institute, Ukrainian Cultural Foundation, and House of Europe. The initiative, whose Ukrainian name means \u201cgas station,\u201d initially mapped residency resources and connected Ukrainian residencies with the international TransArtists network (Ukrainian Institute, 2020).<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Based on currently available material, the relationships built for cultural mobility before the full-scale war had the potential to be reactivated as resources for support and shelter once the war began, although their actual operation requires further case-based research. In 2023, Zapravka published the Ukrainian-language edition of <em>How to Make an Art Residency in Ukraine<\/em>. In 2026, TransArtists introduced the English-language version and its online launch (TransArtists, 2026).<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">This demonstrates that infrastructure in crisis is often not created from nothing after the crisis begins. Rather, cooperation, knowledge, and trust accumulated in ordinary times can be reactivated when they are most needed.<\/p>\n\n\n\n<h2 class=\"wp-block-heading\">Uneven Mobility in Asia and Possible Pathways for Taiwan<\/h2>\n\n\n\n<p class=\"wp-block-paragraph\">These pathways do not emerge in the same way everywhere. When the perspective shifts from Europe to Asia, a more fragmented support landscape appears, one that often relies more heavily on informal relationships.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Artists at Risk Connection\u2019s <em>Arresting Art<\/em> (2021) and <em>Connecting the Dots<\/em> (2022) document censorship, political pressure, and legal restrictions faced by artists across Asia, while also highlighting the importance of <strong>intra-regional relocation<\/strong> (Artists at Risk Connection, 2021, 2022). The <strong>Southeast Asian Arts Censorship Database<\/strong>, developed by ArtsEquator and Five Arts Centre, together with the later <strong>Southeast Asia Artistic Freedom RADAR<\/strong>, has continued to document restrictions on artistic freedom across Southeast Asia (ArtsEquator &amp; Five Arts Centre, 2022\u2013present; Rowland, 2023, 2025).<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">For many artists, temporary relocation within a neighbouring region can reduce financial and administrative barriers while making it more possible to remain within familiar cultural and social contexts. Yet this should not be reduced to a simple contrast in which \u201cEurope has systems and Asia does not.\u201d What deserves closer attention is the uneven degree of institutionalisation.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Some forms of support operate with established budgets and referral mechanisms. In many other cases, support still depends on personal trust, small independent spaces, and temporary arrangements. From a (trans-)infrastructural perspective, the crucial question is what happens when the first node of support runs out of capacity. <strong>Is there another node able to receive what comes next?<\/strong><\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Seen from Taiwan, the question is therefore not whether a European safe haven model can be replicated. It is what conditions already exist, and which relationships might be connected more intentionally.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">For a long time, artist residencies and cultural exchange in Taiwan have largely focused on <strong>going outward<\/strong>. Comparatively less attention has been given to risk preparation before departure, support during crisis, professional continuity after returning home, or how Taiwan might receive and support artists from neighbouring regions who are temporarily unable to return to their own countries.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">At the same time, the Ministry of Foreign Affairs, Republic of China (Taiwan) notes that since leaving the United Nations in 1971, Taiwan has been unable to formally participate in many meetings, mechanisms, conventions, and activities led by the UN and its specialised agencies (Ministry of Foreign Affairs, Republic of China [Taiwan], 2026). Taiwan itself is also situated within a highly uncertain geopolitical environment. This means that while considering how Taiwan might receive others, it cannot imagine itself as a permanently secure centre standing outside crisis.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">For this reason, rather than positioning Taiwan immediately as a hub for artistic sheltering in Asia, it may be more useful to begin by mapping resources and networks that already exist.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Independent art spaces, universities, human rights organisations, foundations, public and private cultural institutions, curators, researchers, and arts workers already hold different forms of capacity: temporary accommodation, legal and migration information, funding, connections with local communities, and possibilities for transnational referral. What Taiwan needs to consider is how these existing conditions might gradually be connected.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Only when information can be updated, trusted, and referred onward can a flexible and resilient pathway begin to emerge.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">More importantly, such a pathway should not be imagined solely as <strong>Taiwan receiving others<\/strong>. Within an unstable geopolitical environment, Taiwanese artists and cultural workers may themselves one day need to move outward or continue their professional lives elsewhere. Transnational relationships and networks built over time therefore represent more than a capacity to host others. They also preserve possible future nodes of support for ourselves.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">At one moment Taiwan may be able to provide space. At another, it may need to be received elsewhere.<\/p>\n\n\n\n<h2 class=\"wp-block-heading\">Sheltering as Sustainability: Making Support Part of a Dynamic Art Ecosystem<\/h2>\n\n\n\n<p class=\"wp-block-paragraph\">Even when nodes and pathways exist, sheltering does not end when someone reaches safety. The more difficult question is whether those relationships can continue to support everyday and professional life after arrival.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Displacement does not only mean losing a place to live or work. It may also mean losing a studio, income, audiences, professional relationships, and a position accumulated over years of practice.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Yazaji (2025) points out that at-risk and displaced artists continue to face long-term challenges of social, economic, and professional integration after emergency relocation. For arts workers, professional continuity is not an additional benefit. It is part of rebuilding a life.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">The ability to continue creating, maintain relationships with existing peers, and still be recognised as an artist rather than being permanently defined through the identity of an \u201cat-risk person\u201d all influence how far a sheltering relationship can actually go.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">It is in this sense that I extend <strong>sheltering<\/strong> toward a practice of <strong>sustainability<\/strong>.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Sustainability here does not mean asking one organisation to host someone indefinitely. It means asking whether creative practice, relationships, professional identities, and cultural knowledge can continue after crisis.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Cultural sustainability similarly concerns how cultural practices, knowledge, and relationships can be maintained over time (Soini &amp; Birkeland, 2014; Soini &amp; Dessein, 2016; Dessein et al., 2015). Within the context of artist residencies, what needs to be protected is therefore not simply a studio or a period of residence, but the conditions that allow creative practice to continue.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Artist residencies also need to be understood as part of a <strong>dynamic art ecosystem<\/strong>. An artist\u2019s career is never sustained by a single residency. It is connected to art spaces, universities, funders, curators, peers, human rights organisations, local communities, and policy environments.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">When information, resources, and referrals become connected, a network begins to function as infrastructure. Sustainability therefore does not primarily concern how long one shelter can survive, but whether the wider art ecosystem retains the capacity to respond to different needs during crisis.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">At the same time, transnational sheltering networks cannot remain sustainable if they depend only on the goodwill of a small number of individuals.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Much support work is undertaken by art spaces, curators, and cultural workers on top of their existing responsibilities: finding accommodation, checking documents, contacting the next institution, making referrals, and accompanying people through unfamiliar systems. These practices remind us that when cultural organisations take on social responsibilities, they often face tensions between artistic value, public responsibility, and resource allocation (Belfiore &amp; Bennett, 2008; Belfiore, 2015).<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">The critical dimension of <strong>sheltering as (trans-)infrastructure<\/strong>, therefore, is not simply about connecting more nodes into a network. When support depends for too long on private relationships and invisible additional labour, it may continue to function temporarily without ever becoming sustainable infrastructure.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">The capacity for support to be shared, referred, and carried forward is itself part of sheltering.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">When this concern with continuity is brought back to the local level, similar questions can already be found within Taiwan\u2019s post-disaster cultural practices.<\/p>\n\n\n\n<h2 class=\"wp-block-heading\">Receiving Displacement Outward, Sustaining Place Inward<\/h2>\n\n\n\n<p class=\"wp-block-paragraph\">When we shift our attention from artistic sheltering across borders back to local contexts, another possible role for cultural spaces begins to emerge.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">In Taiwan, <strong>artistic sheltering<\/strong> may not yet be an everyday concept familiar to most art spaces. Yet crises also emerge through earthquakes, floods, climate disasters, and other events capable of interrupting the everyday life of communities. Many arts workers and cultural spaces in Taiwan have taken part in post-disaster work, prompting me to reconsider the role cultural spaces may play during crisis.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">For the purposes of this article, I provisionally describe these practices as <strong>cultural disaster preparedness<\/strong>.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">From theatre and local storytelling following the 1999 Jiji Earthquake to more recent forms of post-disaster artistic accompaniment, trauma writing, and the preservation of cultural memory, artistic practices have often entered after the immediate emergency response, responding to the slower processes through which people repair social ties and rebuild relationships with place (Ministry of Culture, Republic of China [Taiwan], 2019; Council for Cultural Affairs, Executive Yuan, 2010).<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Here, cultural disaster preparedness is not limited to the rescue of artefacts or the repair of cultural buildings. It also concerns the ways cultural workers and cultural spaces may participate in community mitigation, preparedness, response, and recovery (Council for Cultural Affairs, Executive Yuan, 2010).<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">When an art space ordinarily hosts exhibitions, rehearsals, or artist residencies, could it also become a site for exchanging information, gathering communities, preserving local memory, or rebuilding social relationships when disaster occurs?<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">This does not mean turning art institutions into disaster-response command centres. Rather, it means recognising that cultural spaces are already embedded within local relationships, and that during crisis these relationships may enable them to take on forms of support that were never originally planned.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">If these experiences are discussed alongside artistic sheltering for displaced artists abroad, the two should not be treated as equivalent. They involve different forms of work. Yet both confront the ways crisis interrupts everyday life and cultural practice.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">From a (trans-)infrastructural perspective, both reveal that relationships, knowledge, and trust accumulated by cultural spaces in ordinary times can become capacities that are reactivated during crisis.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Artistic sheltering addresses how artists might find new places from which to live and continue creating. Post-disaster cultural work addresses how everyday life, community relationships, and collective memory may be restored in a particular place.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Their professional methods and responsibilities differ, and neither can substitute for the other. Yet both demonstrate that support is often built upon relationships that already existed before crisis began.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">It is at this point of intersection that I have begun to think of <strong>cultural aid<\/strong> as a practical perspective shared between the two.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">For artists displaced abroad, cultural aid may mean enabling creative practice to continue and helping rebuild professional relationships. For local communities, it may take the form of accompaniment, memory preservation, storytelling, and the repair of relationships.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">These forms of work are usually not part of the immediate frontline emergency response. Instead, they often begin once basic safety has been partially stabilised, addressing the easily overlooked conditions that determine whether everyday life can continue.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Artistic sheltering and cultural disaster preparedness do not need to be merged into a single system. But they can share one question:<\/p>\n\n\n\n<p class=\"wp-block-paragraph\"><strong>After crisis interrupts everyday life, how can cultural spaces and cultural practitioners help cultural practices and relationships continue to exist?<\/strong><\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Seen from this perspective, the question of what happens <strong>after safety<\/strong> does not belong only to artists displaced abroad.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">After disaster, a place may also lose cultural spaces, everyday relationships, and collective memory. The concern with continuity embedded in <strong>sheltering as sustainability<\/strong> can therefore also help us understand what relationships, memories, and cultural practices need to be sustained after crisis.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Returning once again to sheltering, the question is no longer only whether a safe place exists. It is whether relationships of support can continue.<\/p>\n\n\n\n<h2 class=\"wp-block-heading\">Conclusion: When Shelter Extends Beyond Space<\/h2>\n\n\n\n<p class=\"wp-block-paragraph\">Living in uncertain times does not mean that artist residencies must abandon their existing roles and transform themselves into another humanitarian relief system.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">What needs to be reconsidered is how we understand contemporary <strong>cultural mobility<\/strong> and <strong>support<\/strong>.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Studios, places to stay, and time for creative work remain important. But as crisis increasingly enters everyday life, personal safety, legal mobility, trust, professional continuity, and relationships with place have also become dimensions that artist residencies can no longer ignore.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">When shelter extends beyond space, the question is no longer simply whether a particular place qualifies as a <strong>safe haven<\/strong>, but how different forms of support can be connected and sustained.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\"><strong>Sheltering as (trans-)infrastructure<\/strong> is not a blueprint for a new institution. It is a way of seeing differently.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\"><strong>Sheltering as sustainability<\/strong>, meanwhile, reminds us that what needs to be sustained is not merely a one-off relocation, but the conditions through which artists, cultural workers, and local communities can continue creating, living, and reconnecting after crisis.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">For Taiwan, this may be the beginning of a new pathway of practice.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">The first step may be to map existing resources and relationships, allowing different nodes to form networks and exchange information. Such networks may help receive artists displaced from elsewhere, while also becoming relationships that Taiwanese artists and cultural workers themselves could rely on should they one day need to move outward during crisis.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Sheltering is therefore not an endpoint, nor is it only a physically safe space.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">What matters more is whether, after a person, a community, or a cultural practice has been interrupted by crisis, there are still people, relationships, and another possible place to go, so that life can be resettled and culture and thought can continue.<\/p>\n\n\n\n<hr class=\"wp-block-separator has-alpha-channel-opacity\"\/>\n\n\n\n<p class=\"wp-block-paragraph\">\u8a3b1\uff5cGreenblatt, S., \u017dupanov, I. G., Meyer-Kalkus, R., Paul, H., Ny\u00edri, P., &amp; Pannewick, F. (Eds.). <a href=\"https:\/\/doi.org\/10.1017\/CBO9780511804663\" target=\"_blank\" rel=\"noopener\"><em>Cultural mobility: A manifesto.<\/em><\/a> Cambridge University Press. 2009.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">\u8a3b2\uff5c\u672c\u6587\u6240\u7a31\u7684\u300c\u5e87\u8b77\u300d\uff08shelter\uff09\u4e26\u4e0d\u7b49\u540c\u65bcasylum\u3001refuge\u6216emergency shelter\u3002Asylum\u901a\u5e38\u6d89\u53ca\u6cd5\u5f8b\u8207\u79fb\u6c11\u5236\u5ea6\u4e2d\u7684\u5e87\u8b77\u7533\u8acb\u8207\u4fdd\u8b77\u8eab\u5206\uff1brefuge\u8f03\u504f\u5411\u9003\u96e2\u5371\u96aa\u5f8c\u7372\u5f97\u5b89\u5168\u8207\u4fdd\u8b77\u7684\u72c0\u614b\uff1bemergency shelter\u5247\u591a\u6307\u5371\u6a5f\u60c5\u5883\u4e0b\u63d0\u4f9b\u7684\u77ed\u671f\u3001\u5373\u6642\u6027\u5b89\u7f6e\u3002\u672c\u6587\u4f7f\u7528\u300c\u5e87\u8b77\u300d\u4e00\u8a5e\uff0c\u5247\u66f4\u5ee3\u6cdb\u6307\u6d89\u4f7f\u8655\u65bc\u98a8\u96aa\u3001\u6d41\u96e2\u6216\u9077\u5f99\u4e2d\u7684\u85dd\u8853\u8207\u6587\u5316\u5de5\u4f5c\u8005\u5f97\u4ee5\u66ab\u6642\u6216\u6301\u7e8c\u7dad\u6301\u5b89\u5168\u3001\u751f\u6d3b\u3001\u5275\u4f5c\u8207\u884c\u52d5\u80fd\u529b\u7684\u652f\u6301\u689d\u4ef6\uff0c\u5176\u5167\u5bb9\u4e0d\u50c5\u5305\u62ec\u5be6\u9ad4\u7a7a\u9593\uff0c\u4e5f\u53ef\u80fd\u6db5\u84cb\u7167\u8b77\u3001\u8cc7\u8a0a\u3001\u8cc7\u6e90\u3001\u6cd5\u5f8b\u5354\u52a9\u3001\u5fc3\u7406\u652f\u6301\u3001\u5c08\u696d\u5ef6\u7e8c\u8207\u793e\u7fa4\u9023\u7d50\u7b49\u3002<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">\u8a3b3\uff5cArtists at Risk. <a href=\"https:\/\/artistsatrisk.org\/2017\/12\/11\/publication-artist-safety-safe-haven-hosting\/\" target=\"_blank\" rel=\"noopener\"><em>Artist Safety \/ Safe Haven Hosting.<\/em><\/a> 2017.<br>M\u00fcller, M. (Ed.). <a href=\"https:\/\/www.ifa.de\/en\/publications\/results\/temporary-shelter-and-relocation-initiatives-1\/\" target=\"_blank\" rel=\"noopener\">Temporary shelter and relocation initiatives: Perspectives of managers and participants.<\/a> ifa Edition Culture and Foreign Policy \/ Martin Roth-Initiative. 2019.<br>Yazaji, R. <a href=\"https:\/\/www.on-the-move.org\/resources\/library\/intersecting-temporalities-risk-and-displaced-artists-transition-volume-1-scoping\" target=\"_blank\" rel=\"noopener\">Intersecting temporalities: At-risk and displaced artists in transition (Vol. 1: Scoping review).<\/a> On the Move. 2025.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">\u8a3b4\uff5cStar, S. L., &amp; Ruhleder, K. <a href=\"https:\/\/pubsonline.informs.org\/doi\/10.1287\/isre.7.1.111\" target=\"_blank\" rel=\"noopener\">Steps toward an ecology of infrastructure: Design and access for large information spaces.<\/a><em>Information Systems Research,<\/em> 7(1), 111\u2013134. 1996.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">\u8a3b5\uff5cLarkin, B. <a href=\"https:\/\/doi.org\/10.1146\/annurev-anthro-092412-155522\" target=\"_blank\" rel=\"noopener\">The politics and poetics of infrastructure.<\/a><em>Annual Review of Anthropology<\/em>, 42, 327\u2013343. 2013.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">\u8a3b6\uff5cBain, A. L., &amp; Podmore, J. A. (Eds.). <a href=\"https:\/\/doi.org\/10.2307\/jj.4688122\" target=\"_blank\" rel=\"noopener\"><em>The Cultural Infrastructure of Cities.<\/em><\/a> Agenda Publishing. 2023.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">\u8a3b7\uff5cYazaji, R. <a href=\"https:\/\/www.on-the-move.org\/resources\/library\/intersecting-temporalities-risk-and-displaced-artists-transition-volume-1-scoping\" target=\"_blank\" rel=\"noopener\">Intersecting temporalities: At-risk and displaced artists in transition (Vol. 1: Scoping review).<\/a> On the Move. 2025.<\/p>\n","protected":false},"excerpt":{"rendered":"<p>Author\uff1a\u6731\u7b71\u742a Hsiao-Chi Chu \u8a72\u7bc7\u6587\u7ae02026.10.22\u520a\u8f09\u65bc\u570b\u85dd\u6703\u7dda\u4e0a\u8a8c This article was published in NCAFe on Oct 22, 2026: <a href=\"https:\/\/mag.ncafroc.org.tw\/article_detail?sid=1091\" rel=\"nofollow\">https:\/\/mag.ncafroc.org.tw\/article_detail?sid=1091<\/a> (English is below.) \u4e00\u5c01\u9080\u8acb\u51fd\u3001\u4ea4\u901a\u88dc\u52a9\u3001\u7814\u7a76\u8eab\u5206\u6216\u53ef\u4fe1\u4efb\u7684\u5f15\u4ecb\uff0c\u90fd\u53ef\u80fd\u8b93\u5371\u6a5f\u4e2d\u7684\u4eba\u591a\u4e00\u500b\u9078\u64c7\u3002\u5e87\u8b77\u4e0d\u53ea\u662f\u62b5\u9054\uff0c\u800c\u662f\u80fd\u4e0d\u80fd\u5728\u4e0d\u540c\u7bc0\u9ede\u4e4b\u9593\u7e7c\u7e8c\u5f80\u524d\u8d70\u2026\u2026 2024\u5e74\u79cb\u5929\uff0c\u6211\u5728\u53f0\u6771\u9047\u898b\u4e00\u4f4d\u7121\u6cd5\u8fd4\u570b\u3001\u6b63\u5c0b\u6c42\u8de8\u570b\u5e87\u8b77\u7684\u7dec\u7538\u85dd\u8853\u5bb6\uff1b\u9694\u5e74\u8d70\u8a2a\u6b50\u6d32\u5e87\u8b77\u6a5f\u69cb\u6642\uff0c\u53e6\u4e00\u4f4d\u6d41\u4ea1\u5275\u4f5c\u8005\u4e5f\u8ac7\u8d77\uff1a\u300c\u6211\u73fe\u5728\u53ea\u505a\u653e\u5f97\u9032\u96a8\u8eab\u884c\u674e\u88e1\u7684\u6771\u897f\u3002\u300d\u9019\u4e26\u975e\u55ae\u7d14\u7f8e\u5b78\u98a8\u683c\u7684\u9078\u64c7\uff0c\u800c\u662f\u751f\u5b58\u73fe\u5be6\u64e0\u58d3\u4e0b\u7684\u7121\u5948\u59a5\u5354\u3002\u9019\u6a23\u7684\u8655\u5883\u5f62\u5851\u4e86\u4ed6\u5011\u7684\u975e\u610f\u9858\u79fb\u52d5\uff0c\u5275\u4f5c\u5f62\u5f0f\u8f49\u5411\u8f15\u4fbf\u53ef\u651c\u3001\u8a9e\u8a00\u5e36\u8457\u81ea\u6211\u5be9\u67e5\u7684\u96b1\u6666\uff0c\u6216\u85c9\u7531\u7576\u4ee3\u79d1\u6280\u62fc\u6e4a\u65e9\u5df2\u96e3\u4ee5\u4f01\u53ca\u7684\u6545\u9109\u3002 \u53e6\u4e00\u6bb5\u96e3\u5fd8\u7684\u8a18\u61b6\u843d\u5728\u540c\u5e74\u82b1\u84ee\u99ac\u592a\u978d\u707d\u5f8c\u73fe\u5834\u3002\u4f86\u5230\u73fe\u5834\u7684\u85dd\u8853\u5de5\u4f5c\u8005\u900f\u904e\u85dd\u8853\u5728\u707d\u5340\u966a\u8457\u53d7\u707d\u5c45\u6c11\u68b3\u7406\u5275\u50b7\u3002\u9019\u4e9b\u76f8\u9694\u6578\u5343\u516c\u91cc\u7684\u5883\u9047\u770b\u4f3c\u5404\u7570\uff0c\u537b\u5f7c\u6b64\u547c\u61c9\u8457\uff1a\u300c\u7576\u5371\u6a5f\u964d\u81e8\uff0c\u85dd\u8853\u7a7a\u9593\uff08\u5305\u62ec\u85dd\u8853\u9032\u99d0\uff09\u8207\u85dd\u6587\u5de5\u4f5c\u8005\uff0c\u7a76\u7adf\u80fd\u505a\u4e9b\u4ec0\u9ebc\uff1f\u300d \u570b\u969b\u5021\u8b70\u7d44\u7e54Artists at Risk\uff08AR\uff09\u81ea2013\u5e74\u8d77\u63a8\u52d5\u85dd\u8853\u5e87\u8b77\u8a08\u756b\uff0c\u4e32\u806f\u5404\u570b\u85dd\u6587\u6a5f\u69cb\u5a92\u5408\u5b89\u7f6e\u53d7\u8feb\u5bb3\u7684\u5275\u4f5c\u8005\u3002\uff08\u5716\u7247\u4f86\u6e90\uff0fArtists at Risk\u5b98\u7db2\uff09 \u9019\u662f\u6211\u5728\u4e0d\u540c\u7530\u91ce\u73fe\u5834\u89aa\u8eab\u611f\u53d7\u5230\u7684\u771f\u5be6\u60c5\u5883\u3002\u82e5\u5c07\u9019\u4e9b\u7d93\u9a57\u653e\u56de\u5230\u300c\u6587\u5316\u6d41\u52d5\u300d\uff08cultural mobility\uff09\u7684\u8996\u91ce\u5be9\u8996\uff0c\u79fb\u52d5\u6307\u6d89\u7684\u4e0d\u50c5\u662f\u8eab\u9ad4\u79fb\u52d5\uff0c\u66f4\u95dc\u4e4e\u77e5\u8b58\u3001\u95dc\u4fc2\u3001\u8cc7\u6e90\u8207\u5275\u4f5c\u5be6\u8e10\u5982\u4f55\u5728\u9077\u5f99\u8ecc\u8de1\u4e2d\u91cd\u65b0\u7d44\u88dd\u3002\u53f2\u8482\u82ac\uff0e\u683c\u6797\u5e03\u62c9\u7279\uff08Stephen 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studies\uff09\u7684\u89c0\u9ede\u7dca\u5bc6\u547c\u61c9\u3002\u57fa\u790e\u8a2d\u65bd\u6df1\u690d\u65bc\u5177\u9ad4\u5be6\u8e10\uff0c\u8207\u5de5\u4f5c\u7fd2\u6163\u3001\u793e\u7fa4\u9023\u5e36\u53ca\u4f7f\u7528\u60c5\u5883\u5bc6\u4e0d\u53ef\u5206\u30024\u4ea6\u6709\u7814\u7a76\u8005\u5f37\u8abf\u5176\u653f\u6cbb\u3001\u6587\u5316\u8207\u8c61\u5fb5\u610f\u6db5\u30025\u8fd1\u5e74\u7684\u6587\u5316\u57fa\u790e\u8a2d\u65bd\u7814\u7a76\u66f4\u5c07\u8996\u91ce\u64f4\u5c55\u81f3\u7d44\u7e54\u67b6\u69cb\u3001\u77e5\u8b58\u751f\u7522\u3001\u4eba\u969b\u7db2\u7d61\u8207\u6cbb\u7406\u6a5f\u5236\u30026 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