瓦旦.塢瑪 WatanWuma

1958年生，台灣泰雅族原住民。於2004年創立「水田部落工作室」，現任「水田部落工作室」負責人。
於2003年發表《禁止攝影》《台北華山》後，陸續展開行為藝術作品，迄今已有包括《祖先的臉》、《我愛野百合》、《番薯‧芋仔有媽媽的味道》（以上為「泰雅三部曲」系列）。2004年～2019年受邀參加國際行為藝術節：日本（東京、名古屋、前橋、長野、大阪）/韓國（首爾、釜山）/中國（北京、上海、深圳、青海、西安、南昌、雲南、香港、澳門）/印度/印尼/泰國/新加坡/紐約/魁北克市/墨西哥/智利/烏拉圭/阿根廷/南、北愛爾蘭/柏林/威尼斯/斯洛伐克/匈牙利/克羅埃西亞/瑞士/漢諾威/柯隆⋯⋯等
參展：
2006年「亞洲人文展」(台灣當代藝術聯展)-台北中央研究院/中央大學
2013年德國柏林行為藝術月-行為藝術家聯展
2013年克羅埃西亞-亞洲行為藝術家聯展
2015年澳門藝術博物館《以身觀身》-中國行為藝術文献聯展
2016年上海外灘美術館- 亞洲當代藝術家聯展
2016年上海民生美術館-行為藝術家聯展
2017年台北大內藝術節-台灣當代藝術家聯展
2019年綠島人權藝術季-台灣當代藝術家聯展

得獎：獲頒澳門當代藝術博物館－「以身觀身」2015中國行為藝術文獻展，優秀藝術家獎（一等獎）。

Performer: Watan Wuma
Watan Wuma was born in 1958 and an Atayal, one of the Taiwan indigenous groups. He established Hbun Rangay Worshop in 2004. He currently works as a manager for the workshop.After he designed and performed “No Photography Allowed” and “Huashan, Taipei” in 2003, he continued to produce more performance art works. Up-to-date, his works include “The Faces of the Ancestors”, “I Love Wild Lilies”, and “Yam-Taro, Smells of Mother” (The above-mentioned works are the series of Atayal Trilogy). Between 2004 and 2019, he was invited to perform for various international performance art festivals, including those in Japan (Tokyo, Nagoya, Maebashi, Nagano, and Osaska), Korea (Seoul and Busan), China (Tokyo, Shanghai, Shenzhen, Qinghai, Xi’an, Nanchang, Yunan, Hong Kong, and Macau), Germany (Berlin, Hannover, and Cologne), India, Indonesia, Thailand, Singapore, New York, Quebec, Mexico, Chile, Uruguay, Argentina, Ireland, Venice, Slovakia, Hungary, Croatia, Switzerland, etc.

Exhibitions Participated:
2006        Asian Culture of We ART the World Exhibition by Academia Sinica and National Central University in Taipei
2013        Performance Artists Joint Exhibition of Performance Art Month in Berlin,Germany
2013        Asian Performance ArtistsJoint Exhibition in Croatia
2015        Inward Gazes: Documentaries of Chinese Performance Art at Macau Museum of Art
2016        Contemporary Art Exhibition of Asia at Rockbund Art Museum in Shanghai
2016        Performance Artists Joint Exhibition at Minsheng Art Museum in Shanghai
2017        TAD Thematic Exhibitions of Taipei Art District Festival in Taipei
2019        Green Island Human Right Art Festivals on Green Island

Award:
Excellent Award by Macau Museum of Art for Inward Gazes: Documentaries of Chinese Performance Art 2015

關於行為藝術：
六Ｏ年代，藝術家玩得很高興，當然你可以說藝術本來就是玩出來的，拿這句話來參照現實生活，不管是運動會、婚喪喜慶、畢業典禮……等各種團體聚會，早已成為在日常生活中，對他人呈現自己地位的一種表演行動。
也就是人天生就秉具了在他人面前，把自已的擧止行為予以符號化，藉以表徵出某種社會地位的能力。因而這裡所謂藝術本來就是玩出來的，意味著更是一場把個人存在感表現出來的儀式。行為藝術與舞台上的演出是兩種不同美學，前者純粹是一種觀念的表現，而後者卻是各種技藝及專業創作在不同部門配置上的藝術。行為藝術的觀念性，比較上是跟想像力及思想的活動有關係；舞台演出則須精準掌握的時間性（Timing ) ，是讓意象創造出一種美的理念表現最重要的因素，從而看出兩者的表現都必須是以「身體」為主要的動能。
身體與空間原是被日常性的固有意味所遮蔽的關係，通過空的空間轉換為魔術化世界之後，在看與被看之間，對於世界理解的機能都被解放出來。因此，當代的身體性表演愈來愈重視當下從「遂行」到「完成」的時間性，基本上也是身體行動提示了時間在平面世界流動的過程。

About Performance Art
In the 1970’s, artists had so much fun while arts were “played” out. Looking at the real life, whether it’s sport events, weddings, funerals, celebrations,commencement ceremonies, and other gatherings; they are all performance acts that we used to present our social status in daily life.
In other words, we all have the natural capability of transforming our acts into symbols to feature certain social status. Therefore, the saying that arts are “played” out signifies a ritual that presents the sense of personal existence. Performance art and stage show are in fact two different types of esthetics. The former is a pure display of concepts and the latter is art that’s configured with various talents and professional creation by different departments. The concept of performance art is more like a relationship with imagination and activity of thoughts while stage shows have to control the precision of timing which is the most important factor of the stage shows to allow imagery to create and present the idea of beauty. Both presentations require mainly the movement and energy of body.

Body and space are blinded by the intrinsic quality of daily routines. Through transformation of an empty space into a magical world, between seeing and being seen, the mechanism of understanding the world can be released. Therefore, contemporary performances of body movements emphasize the timing from execution to completion more than before. Basically, it’s alsoa process where the body movements suggest the flow of time in the plane world.