2020-2021 不適者生存? Survival of the exceptional
展期:
2020.12.29 - 2021.06.13
地點:
臺南市美術館2館 展覽室K、L、M、N
策展人:
劉星佑、游量凱、蔡明君。
展出藝術家:
布拉瑞揚舞團、陳漢聲、陳念瑩、東冬.侯溫、侯聰慧、許家禎、許維穎、黃金樹、黃子明、鄭介瑋、金緣定(Yeon-Jeong)、維卡.基辛鮑爾(Vika Kirchenbauer)、薩瑪.柯塞姆(Samak Kosem)、郭品君、林柏樑、歐靜雲、潘小俠、那拉法特.薩卡頌薩普(Naraphat Sakarthornsap)、席德進、蔡草如、王怡然、黃向藝。
展出授權圖像:
謝鴻均、林壽鎰、約翰.湯姆森(John Thomson)。
主視覺:詹雨樹
燈光:黃鈿翔
2020.12.29 - 2021.06.13
地點:
臺南市美術館2館 展覽室K、L、M、N
策展人:
劉星佑、游量凱、蔡明君。
展出藝術家:
布拉瑞揚舞團、陳漢聲、陳念瑩、東冬.侯溫、侯聰慧、許家禎、許維穎、黃金樹、黃子明、鄭介瑋、金緣定(Yeon-Jeong)、維卡.基辛鮑爾(Vika Kirchenbauer)、薩瑪.柯塞姆(Samak Kosem)、郭品君、林柏樑、歐靜雲、潘小俠、那拉法特.薩卡頌薩普(Naraphat Sakarthornsap)、席德進、蔡草如、王怡然、黃向藝。
展出授權圖像:
謝鴻均、林壽鎰、約翰.湯姆森(John Thomson)。
主視覺:詹雨樹
燈光:黃鈿翔
不適者之生態筆記 Ecology notes of the exceptiona
所有人,,包含藝術家在內,都參與著如「自然生態般」的社會文化演化。對於藝術作品創造的觀察,是「不適者生存?」一展參酌演化論並延伸想像的基礎。本展提出「擬態」、「共生」、「晝夜行」與「抗體」四個關鍵字,交融著作品的風格分析、作者的生命狀態、作品欲傳達內容與意義之延伸。
擬態: ★沒有真正的獨唱,每一次發聲都是對嘴。 ★對嘴是一種生存的姿態,演化生物學稱之為擬態。融入此時此地,躲避天敵。打造摩登的表面,近乎劇場演出的扮裝。 ★假鬼假怪是一種擬態的方法,比起出戲入戲,擬態更在意有沒有應景。 ★刻板印象可以是擬態的起點,也可以是擬態的結果。 ★有時玩弄刻板印象,有時開創潮流。日常充滿儀式,用迷因武裝自我。 共生: ★可以合唱的人,才有機會獨唱,共生從共鳴開始。 ★沒有真正的獨唱,無論是姐妹、兄弟、夫婦、夥伴、活人、死人與SM都是共生關係?夫唱婦隨是上述關係集合,而上述關係亦可以發展成婦唱夫隨。 ★雖然共生不保證不寂寞,一路上仍然要有伴,或找到讓自己可以對話的對象。像是成群的活死人那樣,分享體己話,一同小憩,才得以找到出路。 晝夜行: ★夜唱沒有時間的問題,只有是否要來的問題;晝夜行只有相對的時間,沒有絕對的時間。 ★晝伏夜出,玩捉迷藏的遊戲。穿越時空,打開創傷的櫃子。難以面對的過去,只好夜唱不停。 ★假鬼假怪並不是晝夜不分,而是分晝夜對假鬼假怪沒有意義;抓住空隙,便於出戲入戲才是關鍵。 ★創傷是生命個體的必然,安魂是生命個體的偶然,晝夜行之於生命個體能確定的只有模糊。 抗體: ★對唱可以產生抗體。抗體很容易被遺忘,在檔案的見證中,才能常保活化,等待歌聲被聽見的那天。 ★手藝是記憶T細胞,勞動是最好的記憶方法。身體產生的防疫武器,透過不斷勞動,持續更新身體的記憶。 ★究竟是為了摩登才穿起戰袍,還是穿了戰袍才開始摩登?無論如何,抗體就這樣產生了。 ★為母則強?那為父呢? ★照起工之於抗體的產生,並沒有顯著的正相關,但意識到照起工者,往往已產生抗體。 |
Everyone, including artists, is part of the social and cultural context just like the “natural system.” Observing the creation of artworks is the basis for the exhibition “Survival of the Exceptional” to employ and reimagine the evolution theory. The exhibition proposes four keywords, “symbiosis,” “antibody,” “diurnality-nocturnality,” and “mimicry,” that depict the artworks’ stylistic analysis, the artists’ life status, the subjects of the artworks, and the extended interpretations of meanings.
About Mimicry: ★There is no genuine solo. Every voice is a form of lip sync. ★Lip sync is a survival posture that evolutionary biologists call mimicry, blending into the present to hide away from natural enemies and taking on a modern appearance, almost like the costume for a theatrical performance. ★Drag is a way of mimicry. Rather than playing into or out of character, mimicry’s essence is more about harmonizing with time and space. ★A stereotype can be the starting point as well as the outcome of mimicry. ★Sometimes people manipulate stereotypes; sometimes, they start a new trend. Everyday life is filled with rituals, and people arm themselves with memes. About Symbiosis: ★Only those who can sing in chorus get the chance to solo because symbiosis starts from resonance. ★There is no genuine solo. Can relationships such as sisters, brothers, husband and wife, partners, living people, dead people, and S&M practitioners be categorized as symbiosis? “A good Jack makes a good Jill” is the set of the relationships mentioned above, which can also be developed the other way around. ★Being in a relationship of symbiosis does not guarantee a life without loneliness. A companion or someone who can carry a conversation is still needed, like a herd of walking dead, sharing their minds and chilling out together to get over the difficulties of life. About Diurnality-Nocturnality: ★Time is not a problem for late-night karaoke, and the only problem is to come or not; there is only relative temporality but no absolute temporality for diurnality-nocturnality. ★Hide by day and come out at night, a game of hide-and-seek. Travel through time and space and open the closet of trauma. It is hard to hear the music of the past, so there’s nothing to do about it but continue going to the late-night karaoke. ★Those who are in drag do think about daytime and nighttime; however, it is pointless for them to differentiate the day from the night. The key for them is seizing the brief period of gap that allows them to play into or out of character. ★To suffer from the trauma is inevitable for individuals; to rest in peace is only by chance. Diurnality-Nocturnality promises individuals nothing but obscurity. About Antibody: ★Singing in duet can produce antibodies, which can be easily forgotten. The antibody can only stay active under the evidence of archives; it awaits the song to be heard. ★Craftsmanship is the memory of T cells; labor is the best way to memorize. Through constant laboring, the body can produce weapons against diseases and continue to renew the body’s memories. ★What on earth is the case: wearing date outfits for being modern or being modern because of wearing date outfits? In any case, the antibody is thus produced. ★As the saying goes: the mother is strong. What about the father? ★There is no significant positive correlation between behaving and the production of antibodies. However, those who are consciously behaving usually have already got antibodies. |
策展論述 Exhibition Statement
生命會自己找出路—《侏羅紀公園》(1993)
「不適者生存?」一展的關鍵字,來自「適者生存」這個演化論的誤譯。在不同的情境下,人人都有可能是適者與不適者。面對社會文化的演化,倘若以藝術之名來審視,而非用天擇結果來歸納,又可以看見什麼?藝術史的風格演化?社會運動的推動與實踐?還是大眾文化的流行、過氣與復古?社會文化的演化與選擇,因適者而有所保存,但往往又由不適者所引發響應與關注。 在所謂的自然界裡,生存與繁殖看似是終極的目標;然而在人類的文化與社會中,「適者」與「不適者」似乎不是僅以生存與繁殖為目標來判定。「多元成展」六年來持續以藝術展演的策劃,來思考「多元性別」在今日社會文化中的狀態。從疾病汙名、校園霸凌到婚姻平權等社會議題,我們發現「適者」或「不適者」求生頑抗的種種足跡,並思考社會運動、藝術表現和生命記憶共同作為「抗體」的可能性。 「不適者生存?」展出作品包含了公立美術館的典藏品以及當代藝術創作兩個部分。透過選出原具有歷時性的官方權威的美術館典藏品,以性別意識重新檢視其中象徵「典範」的「適者」,再於策展中另闢觀看的蹊徑,讓「不適者」得以暫時被「發現」。而邀請展出的當代藝術作品,則是透過創作者本身既有的性別與環境、社會關係之意識,讓今日似乎擁有許多生存之道的「適者」,藉由集結展示,讓仍有可能存在的「不適者」得以持續被「關注」。以典藏品對照當代藝術,比較時序關係裡「適者」的生存之道,也映照出「不適者」跨越時空的多重樣貌。 「不適者生存?」參酌演化論並延伸想像,提出「共生」、「抗體」、「晝夜行」、「擬態」四種形態作為作品類比的關鍵字,彷彿是對於不適者生存的生態筆記,試圖在「不適者」與「適者」的相對關係中,從「已知」思考「未見」、從「已見」思考「未思」、從「遮蔽」意識到「彰顯」,進而觀察社會運動、大眾文化與藝術、博物館典藏這三個貌似平行發展的軸線,如何形成演化與消長的關係,以重新思考性別政治交融與延展的可能。 |
“Life finds a way.” - Jurassic Park (1993)
The exhibition title “Survival of the Exceptional” comes from an appropriation of the evolutionary theory of “survival of the fittest.” In different circumstances, everyone can be both the fittest and exceptional. What will we reveal if we examine social-cultural evolution instead of natural selection through the lens of art? Will we see the development of genres in art history, the impetus and practices of social movements, or the currency, obsolescence, and revival of popular culture? The evolution and selection of social-culture are preserved by the fittest; however, the exceptional often provokes reactions and concerns. In nature, survival seems to be the ultimate goal; however, in human society, the “fittest” and the “exceptional” are not solely determined by the basis of survival. The “Coexist Exhibition” has been exploring the state of “gender diversity” in today’s society and culture through curating over six years. From social issues such as the stigma of the disease, school bullying, and marriage equality, we have discovered that traces left by those fittest and exceptional in their struggle for survival, and considered the possibilities of social movements, artistic presentation, and life skills working together as the “antibody.” The exhibition “Survival of the Exceptional” consists of works from the public museum collections and contemporary artworks. On the one hand, through the selection of works from the museum collection with its diachronic order and authority, the exhibition intends to re-examine the “fittest,” which symbolizes the “paradigm,” through gender perspectives. Through the curatorial approach that juxtaposes the museum collections with contemporary artworks, it also creates a new way of viewing the works allowing the “exceptional” to be temporarily “discovered” through alternative reflection. On the other hand, the invited contemporary artists’ perspectives of genders, environments, and social relations bring together the “fittest” that may seem to have various ways of surviving today. It allows the possible “exceptional” to be constantly “noticed.” By doing so, the exhibition demonstrates the survival of the “fittest” both in the past and the present. It reflects the multiple appearances of the “exceptional” across time. “Survival of the Exceptional” draws on evolutionary theory and extends the imagination, proposing four forms as the subthemes, “symbiosis,” “antibody,” “diurnality/nocturnality,” and “mimicry.” In the dialectic relationship between the “fittest” and the “exceptional,” the exhibition considers the “unseen” from the “seen,” the “unthought” from the “known,” and the “concealed” from the “manifested.” It further observes how the three seemingly parallel-developed themes including social movements, popular culture, and museum collections, form a relationship that mutually evolves and fluctuates to rethink the possibility of integrating and extending gender politics. |
作品介紹 Works
K展區
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許家禎的創作,關於人,關於人與人的關係。許家禎的作品以身體做為觸媒,透過各種公開、私密或曖昧的行為與行動,經由實質或情感上的觸摸,探索這個社會中作為獨立個體的人們對於其他個體以及群體的需求。在「媒合之術×需要碰觸—藝術行為生產線」系列中,許家禎學習並在公共場所實踐挽面,如同舞蹈般的動作,並輕鬆的對話,不自覺地和參與者對照,在挽面的疼痛與對話的分享時,所露出的情緒與表情,像是不合時宜卻溫柔的行動邀請,承接、串連了不同世代的情感與記憶。
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許家禎 SYU Jia-Jhen(臺灣 Taiwan)
《我愛妳呀》I’ve Loved You So Long III 2018|場地尺寸、17‘25“|行為互動、錄像裝置 Performance, Video Installation Syu Jia-Jhen’s practice is about people and the relationship between people. Her work uses the body as a catalyst. Through various public, private or ambiguous behaviors and actions, and through physical or emotional touches, she explores the needs of individuals in this society for others and communities. In the “Matchmaking Skill x Need for Touching - Production Line of Artistic Behavior” series, she learned and fulfilled the facial threading in public. The dance-like movements and relaxed conversations unconsciously compare with the participants’ emotions and expressions shown during the pain of facial threading and the conversation shared. It is like an out-of-date but gentle invitation, undertaking and interweaving the feelings and memories across different generations.
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廟宇工程由不同的工班組成,蔡草如長期從事廟宇彩繪工作,許多日常的凝視與觀察,在他壁畫以外的紙本作品上可以看見。斗笠下的包巾,包著半掩的容顏有著鮮紅的唇色,防曬的裝束裡,以袖套最容易辨識,一旁的水泥攪拌桶,讓觀者更容易理解〈工地〉一作裡的場域在何處。相較於泥作師,「土水師」才是台灣多數人熟悉的職稱,而「做土水」的工序瑣碎繁雜,常常需要有人搭手做「一對手」,跟著土水師「做小工」,因此「土水團隊」常常有夫妻檔的組合,然而就〈工地〉的畫面主體而言,看不到夫妻關係,也看不到工頭與小工的位階,勞動者就是勞動者本身,在工地裡辛勞的人,不是只有既定印象中的男性。
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蔡草如 TSAI Tsao-Ju(臺灣 Taiwan)
《工地》The Construction Site 1956|74.3 x 85.3 cm|膠彩、紙本 Eastern Gouache Painting on Paper The construction of a temple consists of different work teams. Tsai Tsao-Ju has been engaged in temple color painting for a long time. Many daily gazes and observations can be seen on his paper-based works other than murals. The scarf under the hat, the half-covered face has a bright red lip color, and the sleeves are the easiest to identify in the sunscreen attire. The cement mixing bucket on the side makes it easier for the viewer to identify the place in The Construction Site. Compared with plasterer, “cementer (Tu Sui Shih)” is the title most people in Taiwan are familiar with. The process of “making cement” is detailed and complicated, and it often requires a good helping hand as a helpmate, so the team usually has a combination of husband and wife. However, as far as the main image in The Construction Site is concerned, the relationship between the husband and wife is not visible, nor the rank of foreman and assistant. The people who work hard on the construction site are not only the men in the given impression.
【國立臺灣美術館典藏品】
Collection of National Taiwan Museum of Fine Arts |
Alizarin為茜草紅,是一種顏色名稱,大量出現在作品當中,Gown則是畫面主要人物的洋裝,斜臥的女性在畫面中,襯以相呼應的白色人形剪影,朝畫面邊框橫向伸展,銀粉色料以絹印的方式,出現在畫面背後,極具裝飾性與平面性。許維穎長期以「女性」為創作的出發點,〈Alizarin Gown〉一作從作品名稱、媒材使用乃至於畫面經營,無不貫穿著創作即是表態,自我認同即是認同之始的思路;有意識的捨棄中文命名,讓作品名稱在華語的語境中更趨近中性的狀態,不透水的鋁箔交織絹印和膠彩媒材的使用,與其說是創新或結合傳統,不如說在現時今日的處境下,需要透過這樣的媒材,在「傳統」的膠彩技法下,找出新的構圖方式和技法規則,來回應當下的社會生存處境。
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許維穎 HSU Wei-Ying(臺灣 Taiwan)
《Alizarin Gown》 2008|112 x 181.5 cm|彩墨、蟬衣宣、銀粉 Color Ink Painting on Chan-yi Xuan Paper, Silver Powder Alizarin is known as madder red, a color name, applied largely in this painting. The gown is the dress of the main character in the picture. The female recumbents, lined with the corresponding white human silhouettes, stretching horizontally toward the picture frame. The silver powder pigment appears in the background of the image via silk printing, which is very decorative and full of flatness. Hsu Wei-Ying takes the “female” as the start point for her practice. From the name of the work, the medium, and the pictorial arrangement, Alizarin Gown represents that artistic creation is self-expression and self-identification which is the starting point of identification. Without a Chinese title makes the title of the work more neutral in the Chinese context. Using impermeable aluminum foil interlaced silk-screen printing and gouache is not so much an innovation or a combination of tradition, but rather under the current situation, it is necessary to use such medium to find new composition and technical rules under the “traditional” gouache technique to respond to the living conditions in the society.
【國立臺灣美術館典藏品】
Collection of National Taiwan Museum of Fine Arts |
不適者生存中的「適」,有「適合」的意涵,而個體生存舒適與否,則是另一種「適」與「不適」。《Check into》系列作品源自許維穎注意到今日大眾面對社群媒體時,有著「Check into」也就是「打卡」的習慣,同時意識到自己其實也身處在其中的狀態。此次展出的三件作品,分別是《Check into Turkish-Syrian border》意指敘利亞和土耳其邊境,《Check into Idomeni》是希臘國境北方和馬其頓交界處的伊多梅尼難民營,而《Check into Kawergosk》為伊拉克北部卡沃格斯科的難民營。作品中的人物,或許是藝術家自己的投射,也可能是「大眾」的縮影。在數位化的今日,面對遙遠他方的難民營,「舒適者」往往可以「不在場地」接收到「不舒適者」的訊息。而藝術家正是透過繪畫,實踐、消化並思考自己與他者之間「無關係」的「關係」。
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許維穎 HSU Wei-Ying
《Check into the Turkish Syrian border, Check into Idomeni, Check into Kawergosk》 2020, 2019|30 x 30, 30 x 30, 90 x 90 cm|彩墨、雲母粉、絹 Color Ink Painting on Silk, Mica The “Check into” series originated from HSU Wei-Ying's attention to the habit of "check into", aka "check-in" on social media today and also realising at the same time that herself is actually in it as well. Three exhibited works respectively are Check into Turkish-Syrian border, Check into Idomeni a refugee camp on the border between Greece and Northern Macedonia, and Check into Kawergosk a refugee camp located in Northern Iraq. The characters in these works may be projections of the artist herself, or they may be the epitome of the “public." In today’s digital world, people can sit at home while obtaining information on refugee camps faraway. Through the practice of painting, the artist negotiates and reflects on the relationship between herself and the others.
第二階段展出作品,特別感謝 大象藝術 Da Xiang art space
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謝鴻均的藝術創作長年探索女性身體經驗,《解剖圖》系列中的〈裝粧〉和〈粧裝〉,以炭筆繪製,背景挖空呈現有如剪下來的髮型,一為別上蝴蝶結的正面,二為俯視捲曲髮流的背面,供觀者審視。作品名稱的重複諧音—「裝」和「粧」,或許暗示用來扮裝的毛髮,是一種假髮,是社會建構性別氣質的物件。但是,畫作中抽離頭部的粧髮,是否也成為個人得以自由選用的造型工具?謝鴻均用炭筆所表現寫實繪畫般的毛髮筆觸,使得理應柔軟的髮流顯得剛勁,擾亂陰柔氣質的塑造,也挑戰了素描在藝術媒材中的位階。
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謝鴻均 SHIEH Juin(臺灣 Taiwan)
《裝粧/粧裝》Make Up / Up Make 1998|115.5 x 118.5cm x2 pcs|炭精筆、紙(展品為數位印刷)Charcoal Pencils, Paper (the Exhibits are Licensed Image Prints) The year-long practice of Shieh Juin centers on female body experience. The Make Up / Up Make in the “Anatomy” series is drawn with charcoal, and the background is hollowed out, looks like a trimmed hairstyle for the viewer to examine. One pins the bow at the front; the other is from the back, looking down the curly hair stream. The inversion name of the artwork Make Up / Up Make is possibly implied that the hair is used for dressing up like a kind of wig, a gendered object of social construction. However, do the makeup and hair removed from the head in the painting also become a styling tool that individuals can freely choose? Shieh Juin uses charcoal to express realistic painterly brushstrokes of hair, rendering soft hair stream strong, which disturbs the shaping of femininity, and also challenges the status of the sketch in artistic media.
【臺北市立美術館典藏品】
Collection of Taipei Fine Arts Museum |
攝影作為美術館收藏物件,其意涵往往在攝影美學與歷史檔案之間擺盪,正因為如此,「不適者生存?」一展透過〈吸菸小姐〉一作,在上述的擺盪中,找到新的詮釋方法與搜尋路徑。林壽鎰生於1916年,卒于2011年,1936年在桃園開設「林寫真館」,從畫像師轉行為寫真師,是臺灣以攝影為業,從事攝影創作的先驅之一,在臺灣攝影史的書寫中,〈吸菸小姐〉標誌了攝影特殊技巧的興起,包含「電光球」(電燈泡)採光、雙重曝光等技法,而在「一人雙影」的表現裡,可以看到側臉的剪影內,並存一個戴帽叼菸狀的半身側像。與其說扮裝作為吸引顧客的一種時尚, 不如說攝影技術的開發,有機會讓被攝者,在扮裝的時尚裡,選擇自己欲呈現的形象。
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林壽鎰 LIN Shou-Yi(臺灣 Taiwan)
《吸煙小姐》Lady Smoking 1936|7.5 x 5.4cm|英國製玻璃底片、日本製印像紙(展品為數位印刷) British Galss Film, Japanese Photographic Paper (the Exhibit is a Licensed Image Print) As a museum collection, photography’s meaning often swings between aesthetics and historical archives. Because of this pendulum, this exhibition finds a new interpretation and the path of exploring through displaying Lady Smoking. Lin Shou-Yi (1916-2011) opened the “Lin Photo Studio” in Taoyuan in 1936, changing his profession from a portraitist to a photographer. He is one of the pioneers in the photography industry in Taiwan and takes photography into professional practice. In the context of Taiwanese photography history, Lady Smoking signifies the rise of special photography techniques, including light bulb lighting, double exposure, and other methods. In the layout of “one person, two silhouettes,” one can see a silhouette of a face behind the three-quarter view portrait of a smoking figure wearing a hat. It is not so much a fashion to attract customers. It is better to say that the development of photography technology allows the model to choose the image they would like to present themselves in the dress-up fashion.
【臺北市立美術館典藏品】
Collection of Taipei Fine Arts Museum |
為何要手持面具合影?為何是黑白照,而不是彩色照?〈臺籍慰安婦的心情面具〉是攝影師黃子明自2003年開始協助婦女救援基金會,記錄臺籍慰安婦進行團體心靈治療時,過程中所拍攝的影像。歷史中的人、事、物在脫離當下的政治情境之後,對未來的人還有任何意義嗎?歷史的真實性如果無法重新追溯,重新翻閱歷史的目的為何?「面具」的製作不只是一個心靈治療課程,或是「藝術品」的生產,做為一個新事件的記錄與見證,以邀請的姿態打開對話與記憶,讓〈臺籍慰安婦的心情面具〉一作的意義,有機會在未來每一次被觀看與討論的時候,持續發酵。
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黃子明 HUANG Tz-Ming(臺灣 Taiwan)
《臺籍慰安婦的心情面具》 Masks of Misery: Forced Taiwanese Army Prostitutes 2004|37 x 55.3 cm|黑白照片、紙基、沖印 Black and White Photography on Paper Why take a group photo with a mask in hand? Why is the photo black and white, not colored? Masks of Misery: Forced Taiwanese Army Prostitutes is the image taken by photographer Huang Tz-Ming since 2003 when he helped the Women’s Rescue Foundation record the Taiwanese comfort women’s group counseling. When the people, events, and things in history are separated from the political situation, do they have any meaning for people in the future? If the authenticity of history cannot be traced back, what is the purpose of re-reading history? The making of “mask” is not just a healing course or the production of “artwork”, rather as a new happening of recording and testimony that opens a dialogue and memory in an inviting gesture. Therefore, the meaning of Masks of Misery: Forced Taiwanese Army Prostitutes may unfold each time while being viewed and discussed in the future.
【國立臺灣美術館典藏品】
Collection of National Taiwan Museum of Fine Arts |
如果說黃子明,於本展的上一個階段中,所展示的合影《臺籍慰安婦的心情面具》,見證了阿嬤們持著手繪面具的此時此地;此階段展出的《阿嬤的假面與記憶》,則是交織了個人記憶與時代創傷的多重時空。黃子明徵求阿嬤們的同意,提供他們年經時的照片來進行數位檔案化的處理,而作品的右半邊,則並置阿嬤各自手持面具的半身照。該作中並列三種肖像:青春的容顏、當下容顏以及藝術治療課程後完成的容顏(面具)。這三種肖像在相似性的基礎上,隱含著「不同時間的我」、「不可逆的我」與「成為記憶的我」三種狀態。當「青春」作為同理的基礎,難解的歷史共業,有了難能可貴的縫隙,進而讓觀者有機會擺脫旁觀的位置,「未曾經歷」與「無法想像」的狀態也隨之鬆動。
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黃子明 HUANG Tz-Ming(臺灣 Taiwan)
《阿嬤的假面與記憶》Grandma’s Hidden Face and Memory 2005|74 x 136 cm|攝影 Photography While HUANG Tz-Ming's Masks of Misery: Forced Taiwanese Army Prostitutes shown in the previous stage of this exhibition is a document of the living moment when grandmothers holding their hand-painted masks, the exhibits in this stage Grandma's Hidden Face and Memory is a multiple time and space that interweaves personal memory and historical trauma. HUANG Tz-Ming solicited the grandmothers' consent to provide their photos of young ages for digital archival processing. On the right side of these digitalized photos, the artist juxtaposes the portraits of grandmothers holding their masks made during the art therapy. There are three kinds of images placed side-by-side in this work: the youthful face, the current face, and the face (mask). With their physical likeness, these three portraits imply the three states of self: “self at a different time,” “irreversible self,” and “self that has become memories.” When grandmas’ youthful looks provide the base for empathy, the difficult past opens up; allowing the viewer to be more than indifferent onlookers but who loosen up the state of being never-experienced and unimaginable.
第二階段展出作品,由藝術家提供。
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1997年9月,臺北市政府廢除公娼制度,1999年五一勞動節前夕,「日日春關懷互助協會」成立,同年,林柏樑持續至2001年,參與了日日春爭取妓權的社會運動,過程中,記錄爭取權利的身影,也記錄生活日常。〈娼妓:不被承認的勞動〉系列作品正是在這樣的時空背景下,在參與的縫隙中找到被看見的機會。即使藝術與社會之間的關係,常在理論上爭執不休,而攝影亦在「主觀」和「客觀」之間有所拉鋸,藝術家在快速的社會變遷下,不顧事件尚未明朗、關係仍處膠著模糊的情勢,以感性驅動各種第一線的留存與見證。
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林柏樑 LIN Bo-Liang(臺灣 Taiwan)
《娼妓:不被承認的勞動》 Prostitutes: Unacknowledged Labor 1999-2002|113 x 74cm、20 x 30cm x 11 pcs、25 x 25cm x 2 pcs、40 x 27cm、30 x 30cm、30 x 38cm|黑白銀鹽紙基相紙、雷射輸出 Silver Salt Photographic Paper, Laser Printing In September 1997, the Taipei City Government abolished the public prostitution system. On the eve of May 1st Labor Day in 1999, the “Collective of Sex Workers and Supporters, COSWAS” was established. In the same year, Lin Bo-Liang continued participating in the COSWAS social movement for the right to public prostitute until 2001. During that time, he recorded the individuals’ fighting for rights and their daily life. The series of Prostitutes: Unacknowledged Labor is right under this background and finds the opportunity to be seen in the gap during participation. Regardless of the fact that the relationship between art and society is often disputed theoretically, and photography also seesaw between “subjective” and “objective”, the artist drives the retention and testimony of various front lines with sensibility even though the incident is not apparent, the relationship is still in a fuzzy situation under the rapid social changes.
【高雄市立美術館典藏品】
Collection of Kaohsiung Museum of Fine Arts |
L展區
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郭品君 KUO Pin-Chun(臺灣 Taiwan)
《(´▽`ʃ在末日來臨之前♡ƪ)》、《✧*。(單身KTV)✧*。》
(´▽`ʃBefore The End Of The World♡ƪ), ✧*。(Single KTV)✧*。
2012-2020|場地尺寸 Dimensions Variable|攝影、壓克力、拍立得、複合媒材裝置 Photography, Acrylic, Polaroid, Mixed Media Installation
《(´▽`ʃ在末日來臨之前♡ƪ)》、《✧*。(單身KTV)✧*。》
(´▽`ʃBefore The End Of The World♡ƪ), ✧*。(Single KTV)✧*。
2012-2020|場地尺寸 Dimensions Variable|攝影、壓克力、拍立得、複合媒材裝置 Photography, Acrylic, Polaroid, Mixed Media Installation
鄉民流傳,瑪雅預言二零一二年為世界末日,郭品君的回應是每天自拍一張拍立得的攝影計畫。世界末日沒來,索性當成藝術家死後成名的自我檔案,校園、廟宇、檳榔攤,無處不拍,至今累計兩千多張。郭品君的自拍系列其實並不自戀,每張拍攝過程,都請求路人協助,藝術家雖然站定中央,卻不搶戲,無特別姿勢、無特定表情,全身融入場景。人非孤島,無數自拍肖像的背後,也有與他人、社會連結的情感渴望。
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Rumor has it on the internet that, according to the Mayan prophecy, the world would end in 2012. Kuo Pin-Chun reacts with a selfie polaroid daily project. Yet, the world did not end. The project then turned into the artist’s personal profile for posthumous shows. Taken at school, temple, betel nut stand, and elsewhere, the artist has made more than 2,000 pictures in total so far. In fact, the self-portrait project is not narcissistic at all. She would ask passers-by for assistance for each shot. Although the artist stands in the centre, she does not steal the scene. There is no particular posture, no specific expression, and her body blends into the background. No one is an island, behind the countless self-portraits, there is also an emotional desire to connect with others and the society.
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螢光的色系,甚至是亮粉、塑膠等人造物,作品畫面中所有的人事物,彷彿沉浸在霓虹燈的光線,透過反射才得以被看見,老式的臺灣瓷磚、各種「用電腦選的」字體、不知道可以用來幹嘛的水漏玩具以及毛線狗……陳念瑩從入畫的題材開始,就要讓文以載道的書畫坐立難安,舉足無措。沒有風格分析問題,那是藝術史學家要煩惱的事;更沒有手路的問題,那是「出師」的人維持名聲用的技術。昔有明朝浙派被評為狂態邪學,今有陳念瑩在臺北生存直直撞(台語,意指往前的意思,引用自歌手李英宏歌曲《臺北直直撞》),自頒「才華洋溢」匾的陳念瑩,刻意觀察並放大臺灣的日常「俗事」,更是都市叢林裡的戰地日常。
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陳念瑩 CHEN Nien-Ying(臺灣 Taiwan)
《才華洋溢匾》、《枕邊人》、《我們的普羅旺斯》、《今生緣》、《守望相助》 、《今天加班》 Exceptional Tablet, Pillow Friend, Our Provence, A Love Story, Good Neighbor, Work Overtime 2017-2020|70 x 150 x 15 cm、90 x 60 cm、55 x 106 cm、105 x 156 cm、91 x 80 cm、42 x 30 cm|複合媒材、紙本 Mixed Media on Paper Fluorescent colors and artificial objects such as glitter and plastic, all the people and things in the works are immersed in neon lights and can only be seen through reflection. Old-fashioned Taiwanese tiles and various “selected by computer” fonts, leaky toys of unknown purposes, and woolen dogs... Chen Nien-Ying starts from the subject matter of painting and aims to make the paintings and calligraphy meaning to convey significances be at a loss. There is no question of style analysis, that is an art historian’s problem; there is no question of distinguishing styles, that is for the “masters” to maintain their reputation. In the past, the Zhejiang School of the Ming Dynasty was rated as crazy and cult. Today, Chen Nien-Ying demonstrates the Taipei living-onward (Taiwanese, meaning forward, quoted from DJ Didilong’s song “Taipei Didilong”). She, who self-appoints the “Bloody Talented” plaque deliberately, makes the daily battlefield in the urban jungle via observing and magnifying the daily “vulgarity” in Taiwan.
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黃向藝把絹本當作美男子的身體,沒有主流推崇的陽剛線條,質地薄透,視線內斂。汲取耽美文化(boys’ love)的男男元素和漫畫的分鏡,卻沒有單一線性的敘事;空間多重,畫面中美男子蜇居室內的行蹤若隱若現。耽美文化中,多是女性描繪、窺探美男子的身體,目光柔和不強佔。黃向藝透過留白、分鏡、造景所留下各種的空隙,引發觀者多重的遐思。黃向藝的耽美水墨,與其說迴避了主流的視線,不如說是創造了有別於父權視野的觀看模式。
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黃向藝 WONG Xiang-Yi(馬來西亞 Malaysia)
《三》、《金魚》、《熄燈》Trio, Goldfish, Lights Out 2018-2019|38 x 81cm、40 x 62cm、37.5 x 45cm|水墨、絹本 Ink Wash Painting on Silk Wong Xiang-Yi takes silk scrolls as the body of twink. The texture is thin; the sight is restrained, and there are no masculine lines that are admired in the mainstream aesthetics. Adapting the comic strips and the elements of same-sex desires in the genre of boys’ love without creating a single linear narrative. The twinks who stay indoors are looming through the multiple spaces. In boys’ love, it is mostly female artists as voyeurs who depict the twink’s body with their gentle and non-intrusive gaze. Wong Xiang-Yi creates various gaps via blanks, narration, and landscapes to arouse viewers’ multiple fantasies. Wong Xiang-Yi’s homoerotic ink paintings is not so much avoiding mainstream sight but rather creating a viewing mode different from the patriarchal perspective.
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東冬.侯溫來自太魯閣族銅門部落,在部落中他傳承歌謠、口簧琴與傳統儀式傳承者儀式,在藝術創作中他結合行為、影像與劇場等形式,透過作品探索部落文化精神在今日現代化社會的狀態。在全球許多原住民族的文化中,二元性別的絕對性在部落文化中並非傳統價值,而是在歷史進程裡受到漢文化與基督教文化的影響形成的。因而,在作品中穿著女性服飾的東冬侯溫,創作是透過回到部落文化裡,非去挑戰或逾越禁忌,而是要展現出身為在這個世代的年輕原住民、同志、藝術創作者等身份,面對他人、環境以及文化的態度。
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東冬.侯溫 Dondon HOUMWM (臺灣 Taiwan)
《來處歸地》Returning 2020|場地尺寸 Dimensions Variable|行為演出 Performance Dondon Houmwm is from Dowmung, the Truku (Taroko) tribe. In the tribe, he inherited ballads, harmonica, and wizarding rituals. In his artistic creation, he combines performance, video, and theatre to explore the state of tribal cultural spirit in today’s modern society. In the cultures of many indigenous peoples around the world, the absoluteness of the gender binary is not a traditional value in tribal culture but formed by Han and Christian culture in the historical process. Therefore, Dondon Houmwm is not trying to challenge or transgress taboos while wearing female costumes in his performance. Rather, as a young indigenous, queer, and creator in this generation, the artist aims to show his attitudes towards others, the environment, and culture via returning to the indigenous culture and understanding the meaning.
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花卉在歷史裡,尤其是藝術史中,經常與女性相關聯;而在生活中,花卉經常扮演帶來祝福、洗滌的角色。在那拉法特.薩卡頌薩普的作品中,花卉不僅不再僅與單一性別有關係,更不再是清新的象徵,而是成為了共存性別以及社會結構底下弱勢族群的代言人。他的攝影作品,帶有看似如商品型錄般鮮豔、純淨、俐落的特質,然而在這光鮮的表象底下,卻是訴說著這個社會裡深沈黑暗的故事。那拉法特.薩卡頌薩普的創作將各式花卉視為不同的密碼,搭配影像中與其相伴的物件,組合為一片片優雅詩篇,邀請觀眾解密我們所處世界所暗藏的不平權、歧視、欺壓等暗黑事件。
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那拉法特.薩卡頌薩普 Naraphat SAKARTHORNSAP(泰國 Thailand)
《只是因公殉職?》Only For "The Death On Duty" 2018|60 x 90.59cm x 8 pcs|攝影 Photography In history, especially in the history of art, flowers are often associated with women; and in daily life, flowers often play the role of blessing and refreshing. In Naraphat Sakarthornsap’s work, flowers are no longer only related to the single-sex association or a symbol of freshness but become agents of coexisting genders and disadvantaged groups under the social structure. His photographic works have the characteristics of being bright, pure, and sleek like a commercial catalogue. Yet, under this glamorous appearance, they tell the deep and dark story of a society. Sakarthornsap’s practice treats all kinds of flowers as different codes, collocates with the accompanying objects in the image, put them into a piece of elegant poems, and invites the audience to decrypt the hidden injustice, discrimination, bullying, and other dark events in the world we live in.
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金緣定的身體表演,經常環繞在女性經驗、歷史和環境議題。伴隨他在東亞各地的駐村創作,因地制宜,結合食物、物件和反覆的日常行為,延展出近乎儀式的演出。例如在菲律賓馬尼拉,金緣定在一個二戰期間,日軍犯下性暴力的飯店空間內,反覆敲打、切割和分食水果,回應身體暴力的創傷經驗。在印尼日惹,他穿戴全黑穆斯林女性頭巾,在城市各地的塗鴉牆上懸掛「No」字樣的塑膠袋,不只呼應穆斯林女性的生活經驗,也觸及消費生產的問題。此次以錄像新作參與展覽,以拼貼的方式,將香蕉、葉子、山茶花、香腸、十字架,甚至是自己的身影等元素,作四方連續的規律排列與並置,並隨著強烈且輕盈背景音樂一起晃動搖擺。俄羅斯方塊在該作中有著「找到適當形狀」的寓意,因此作品裡可以發現不同的幾何圖形以及「物件」,呈現出「適應環境」與格格不「入」的狀態,上述何嘗不是關於人的生存隱喻。
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金緣定 KIM Yeon-Jeong(南韓 South Korea)
《俄羅斯方塊》Tetris 2020|08‘00“|錄像 Video Most of Kim Yeon-Jeong’s body performances surround feminist experience, history, and environmental issues. During her residency in East Asia, she adapted to local conditions, combining food, objects, and repeated daily behaviors to extend almost ritual-like performances. For example, in Manila, the Philippines, Kim Yeon-Jeong beat, cut, and split up the fruits in a hotel where Japanese soldiers committed sexual violence during World War II, responding to the traumatic experience of the physical violence. In Yogyakarta, Indonesia, she wore an all-black hijab and hung plastic bags arranging the word “No” on graffiti walls all over the city, which echoes the life experience of Muslim women and addresses the issue of consumption and production. In this new video work, she collages different elements such as bananas, leaves, camellia, sausages, crosses, and even her figure, arranged and juxtaposed in a continuous pattern shaking and swaying light and robust background music. Tetris has the meaning of “finding the appropriate place” in this artwork; therefore, one can find different geometric figures and “objects” showing a state of “adapting to the environment” and “in” compatibility. All of these could be a metaphor for the survival of people.
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萬年青的「青」:二零零零年四月,在中學因為性別氣質不同而遭受同學霸凌的葉永鋕,被發現在廁所中重傷出血,送醫不治身亡。家人燒盡葉永鋕的遺物,只留下一株他身前親手插下的萬年青。版畫中萬年青的粉紅色剪影,映照玻璃窗上印貼母親陳君汝的回憶字句,訴說他兒子所遭受的校園霸凌和創傷經驗。春仔花的「春」:有別於藝術家以往的繡線纏花裝置大多是直立的形式,這件作品的春仔花紛紛躺平,向萬年青致敬。在青春與死亡之間,春仔花不斷扭動、抵抗,不只追求目光的關注,更發出呢喃細語,訴求觀者的傾聽。
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陳漢聲 CHEN Han-Sheng(臺灣 Taiwan)
《是青春》When I was a Child 2020|依場地調整|動力裝置、春仔花、不鏽鋼、版畫、和纖紙、壓克力 Kinetic Art, the Spring Flower, Stainless Steel, Silkscreen Printing,Viscose mix Wood pulp paper, Acrylic The “green” in evergreen: in April 2000, Yeh Yung-Chih, who had been repeatedly bullied by his schoolmates due to his alleged effeminate behavior in junior high school, was found in the toilet severely injured in blood and died after being sent to the hospital. The family burnt his relics, leaving only the evergreen he planted before death. The pink silhouette of the evergreen reflects his mother Chen Chun-Ju’s reminiscences words stuck on the glass windows, telling her son’s campus bullying and trauma experience. The “spring” in spring flowers (a Taiwanese traditional entwining art): unlike the artist’s previous embroidered flower installations, mostly upright, the spring flowers in this work lie flat, paying tribute to the evergreen. Between the youth and the death, these spring flowers constantly twist and resist, not only seeking attention from the gaze but also whispering, appealing to the viewers to listen.
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猶然記得法國社會學家布爾迪厄(Pierre Bourdieu,1930~2002)向不同階級與專業的個體展示並詢問他們對於一張老婦人的手的相片,有著怎樣的想法與回應。這一次展出約翰.湯姆森於中國廈門所拍攝的照片以〈纏足與天足〉命名,可以得知照片內分別是纏足與未纏足的兩個女性的腳踝。向歷史叩問,臺灣是否有經歷過纏足的時代?相對於纏足的「天足」,其說法除了意指「未捆綁」,是否與不同時代下的政策有所關聯? 不利行動與勞動以及凹折腳背所遭受到的苦痛,隔著照片,僅能想像,但至少可以在照片的見證裡,去反問「為何是女性?」
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約翰.湯姆森 John THOMSON(英國蘇格蘭 Scotland, GB)
《纏足與天足》Bound and Unbound Feet of Two Women, Amoy, China 1869|24.3 x 24.5 cm|攝影 (展品為數位印刷) Photography (the Exhibit is a Licensed Image Print) The French sociologist Pierre Bourdieu (1930-2002) once showed and asked individuals from different classes and professions about what they thought and responded to a photo of an old woman’s hand. The photograph on display taken by John Thomson in Xiamen, China, suggests its subject via its title Bound and Unbound Feet of Two Women. Should one put a question to history: has Taiwan experienced an era of foot binding? Compared with the bound feet, does “natural feet” besides meaning “unbound”, is related to policies in different eras? Through this photo, one can only imagine the pain incurred by unfavorable actions and labor, as well as the dented instep. Yet, at least in the testimony of the photograph, one can ask: “Why women?”
【高雄市立美術館典藏品】
Collection of Kaohsiung Museum of Fine Arts |
在紀實攝影的鏡頭底下,看到的不止是關於挽面技術的記錄,竹籬笆相隔的空間、從樹縫灑落的日光、襁褓中的嬰兒、打赤腳的兒童以及身著斜襟旗袍的人影。〈挽面〉周遭的日常風景,讓挽面更為生動地成為一抹風景。相對於畫面前的人物,攝影畫面左後方角落,有著斜背的相機與戴著手錶的人物,記錄者與被記錄者的關係,讓當時的「挽面」更耐人尋味。在今日仍然有機會,找到挽面師傅幫您挽面,參與其中,彷彿參與了一種傳承的記憶,參與的當下即是回憶的當下。
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黃金樹 HUANG Jin-Shu(臺灣 Taiwan)
《挽面(No.32)》 Taking Care of the Face by a Traditional Way (No.32) 1951|46 x 55.7 cm|黑白照片、紙基、沖印 Black and White Photography on Paper Through the lens of documentary photography, the viewer can see more than the record of the facial threading technique. The space is separated by bamboo fences, the sunlight shining through the leaves, the infants in swaddling, barefoot children, and the silhouettes of people in slanted cheongsam. The surrounding daily scenery makes the Taking Care of the Face by a Traditional Way more vividly. Compared with the people in front of the picture, a person with a slanted camera is wearing a watch at the left-rear corner in the picture. The relationship between the recorder and the person-recorded makes the “facial threading” at that time more intriguing. Today, there is still an opportunity to find a facial threading master to help you to take care of the face in a traditional way. Participating in it, as if participating in a kind of inherited memory, and the moment of participation is the moment of remembrance.
【國立臺灣美術館典藏品】
Collection of National Taiwan Museum of Fine Arts |
席德進1962年獲歐美遊學機會,於1966年返台,〈中國節日〉為1964年人在國外時所做。除深受當時歐美普普、歐普或硬邊藝術手法所影響,「東方意識」亦在此時萌生,來自民俗信仰乃至於民藝的圖像,成為席德進「東方意識」下的養分來源,當中,亦彰顯了當時的藝術家,正面對著異文化的衝擊、溯源與認同。研究者連俊欽認為,畫面中央醒目的藍邊線條和左右的壽桃,使人聯想到歐美普普藝術家運用食物如冰淇淋來指涉男性性別符號的做法。〈中國節日〉彰顯或遮蔽的民藝造型和情色意涵,仍有待觀者進一步探究與想像。
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席德進 SHIY De-Jinn(臺灣 Taiwan)
《中國節日》Abstraction(No.21) 1964|97 x 73.5cm|油彩、畫布 Oil Painting on Canvas Shiy De-Jinn earned a chance to study in Europe and the United States in 1962 and returned to Taiwan in 1966. Abstraction (No.21) was created in 1964 when he was abroad. In addition to being influenced by European and American Pop art, Op, and Hard-Edge artistic techniques at that time, “Oriental Consciousness” also emerged at this time. Images from folklore beliefs and folk art became the source of inspiration for Shiy De-Jinn’s “Oriental Consciousness”. It also shows that the artist was facing the impact of different cultures and reflecting on his cultural heritage at the time. Researcher Lian Jun-Qin believes that the eye-catching blue lines in the center and the birthday bun on the sides remind people of European and American pop artists using ice cream to refer to a symbol of male genitalia. Whether Abstraction (No.21) shows the folk-art pattern or has obscured erotic meaning, it still awaits viewers’ further exploration and imagination.
【國立臺灣美術館典藏品】
Collection of National Taiwan Museum of Fine Arts |
氣韻生動、骨法用筆、應物象形、隨類賦彩、經營位置、傳移模寫。如果用六法品評「男體」,是否會有新的視野?而若謝赫是位同志,上述六法還有機會被後人傳頌嗎?上述質疑並非要做歷史翻案,看似新美學的樹立,實則是透過提問,重新檢視筆墨在過去所積累的標準與創作狀態。王怡然〈皮托鞄〉一作裡,描繪一裸身男子腋下夾著陰莖造型的圓筒包,畫面僅以素練的白描構成,整體彷彿時尚攝影,在精心的畫面剪裁與凝視裡,所有的暗示都昭然若揭卻又點到為止。「鞄,柔革工也。」古代指制皮革的工人,而在日本漢字中,則意指包包、袋子。時尚,暫時地讓「美」可以為了美而美,也有機會讓擁抱世俗者成為聖像。
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王怡然 WANG Yi-Jan(臺灣 Taiwan)
《皮托鞄》Leather Handbag 2020|57 x 42cm|墨、紙本 Ink on Paper If we evaluate the “male body” with the Six principles of Chinese ink painting: rhythmic vitality, anatomical structure, conformity with nature, the suitability of coloring, artistic composition and grouping, and copying of classical masterpieces., will there be a new perspective? And if Hsieh Ho is a homosexual, will the six rules mentioned above still have a chance to be spread by posterity? Raising these questions does not mean to reverse history. The establishment of new aesthetics is actually a re-examination of the standards and creative state accumulated in the past through questions. Wang Yi-Jan’s work Leather Handbag depicts a naked man with a penis-shaped roll bag under his armpit. The painting is composed only of sophisticated line drawings. The whole image is like fashion photography. In the careful composition and gaze, the artist pulls his punches of giving hints, yet again everything is obvious. “Bao, soft leather works.” In ancient times, it refers to leather-makers. In Japanese Kanji, it means bags and satchel. Fashion temporarily allows “beauty” to be beautiful for the sake of beauty, and it also has the opportunity to make those who embrace the world become an icon.
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在〈縫隙的無題序列〉中,藝術家追溯童年成長記憶中每年六月於西北歐各地城鎮舉辦的女巫節,延續中世紀獵巫的歷史典故,全村在森林中通過火燒女巫形象來狂歡慶祝的儀式。然而拍攝過程中發現,晚近的節慶取消了火燒女巫人偶的儀式,進而引發藝術家的核心提問:若暴力的形式是不可見的,是否就代表暴力不存在?若看不見火燒女巫的儀式,施加在他者的歷史創傷是否也隨之煙消雲散?以論文影像的形式,維卡.基辛鮑爾剪接了彼此呼應卻不均質的影音片段:女巫節的紀錄影像、現成私影片、旁白論述、以及透過紅外熱成像攝影的微波爐射線,來探索創傷後的記憶喪失。
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維卡.基辛鮑爾 Vika KIRCHENBAUER(德國 Germany)
《縫隙的無題序列》Untitled Sequence of Gaps 2020|12‘31“|錄像 Video In Untitled Sequence of Gaps, the artist traced her childhood memories to the witch-burning festival held in the towns of north-western Europe every June. Continuing the historical allusions of witch-hunting in the Middle Ages, the whole village celebrates by burning a witch figure in the forest. However, during the filming process, it was discovered that the recent festivals have canceled the ritual of burning the witch figure, which led to the artist’s core question: if the form of violence becomes invisible, does it mean that violence no longer exists? If the ritual of burning a witch is not visible, will the historical trauma impose on others therefore disappear? In the form of an essay film, Vika Kirchenbauer edits video clips that echoed each other but were inhomogeneous: recorded images of the witch-burning festival, ready-made home videos, narrations, and microwave radiation through infrared thermal imaging to explore trauma-related memory loss.
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海報做為一種媒介,本身就交融著宣傳(propaganda)與視覺形式的語言,防治愛滋宣傳海報以「應用美術」做為美術館典藏品的類別,在主題類型和媒材分類之於九零年代的時空背景別具意義。創作於1995年的防治愛滋宣傳海報,也標示了愛滋病成為公共議題並成為相關單位開始正視的歷史。「放槍」與「鐵枝」分別是打麻將與玩撲克牌遊戲「大老二」時會用到的術語。危險性愛之於賭博的隱喻,以及釘子、槍支之於男性生殖器的意象,是現時今日的觀者,可以再次檢視與思考的地方。
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鄭介瑋 JENG Jie-Wei(臺灣 Taiwan)
《防治愛滋宣傳海報》AIDS Prevention Poster Design 1995|88 x 63cm x 2 pcs|應用美術 Prints As a medium, a poster blends the language of propaganda and visual form. The AIDS prevention propaganda posters use “applied art” as the category of the museum collections. The subject type and medium were classified in the 1990s, and this historical and social context is significant. The AIDS prevention and treatment poster created in 1995 also marked the history that AIDS has become a public issue and that related institutes have begun to take it seriously in Taiwan. “Chuck” and “Four of a kind” are terms used when playing Mahjong and playing poker respectively. The metaphor of unsafe sex to gambling and the image of the male genitalia are the spots for today’s viewers to review and think again.
【國立臺灣美術館典藏品】
Collection of National Taiwan Museum of Fine Arts |
N展區
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美國人類學家Marc L. Moskowitz於2011年,完成紀錄片作品《為逝者跳舞.臺灣的葬禮脫衣舞娘》記錄了臺灣特殊的風俗。更早於1992年,攝影作品〈醉巡系列之四—孝女白琴〉中,棺材、發財車、三點全露、路旁的罐頭塔,已為臺灣的風景留下印記。「孝女白琴」指的是臺灣喪葬習俗中,以哭為職的「孝女」。「孝女白琴」原為「孝女白瓊」,源自一九七〇年台視黃俊雄主演的布袋戲《雲州大儒俠史艷文》的一角,然而比「孝女」一職的歷史溯源還讓人感到好奇的,莫過於該職從傳統習俗邁向現代化社會時,所發生之變異與女性的關係。潘小俠鏡頭底下的城市底層如果有所謂的離奇與荒謬,往往是為施行理性而竄出的真實人性與欲望。
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潘小俠 PAN Shiao-Hsia(臺灣 Taiwan)
《醉巡系列之四—孝女白琴》Drunken Parade Series: Mourning Daughter in a Funeral 1992|51 x 60 cm|黑白照片、紙基、沖印 Black and White Photography on Paper Marc L Moskowitz’s documentary Dancing For The Dead: Funeral Strippers In Taiwan in 2011 recorded Taiwan’s unique customs. Earlier in 1992, in the photograph Drunken Parade Series: Mourning Daughter in a Funeral, the coffin, the pickup truck, the naked women, and the canned tower have documented the mark of the scenery of Taiwan. “The Mourning Daughter” refers to the “Chinese Parental Respect” in Taiwan's funeral customs; she cries as her job. This professional mourner originates from a character in Master Huang Jun-Xiong’s puppet show in the 1970s. However, the changing relationship of “The Mourning Daughter” with women when this position evolves from traditional customs to modern society is more curious than its historical source. If there is so-called bizarre and absurdity at the bottom of the community under Pan Shiao-Hsia’s lens, it is often the real humanity and desire that sprang out for the sake of rationality.
【國立臺灣美術館典藏品】
Collection of National Taiwan Museum of Fine Arts |
〈芒果樹下〉於1979年所做,畫面中有著磚紅牆面的土地廟、席地而坐的雙人、牛隻與繁茂成蔭的芒果樹。土芒果隨著常民食用,與時間推移,默默地冠上「土」姓,從外來種變成風土的象徵。〈芒果樹下〉一作雖然無法判斷畫中芒果的品種,而黑黃交融的墨點也不足以勾勒芒果的花穗與葉型,但結合農閒小憩的意像所形成的臺灣風景,這樣日常、無他人眼光注視的兩人時光,是無論適者或不適者皆得以自在喘息的生存空間。
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席德進 SHIY De-Jinn(臺灣 Taiwan)
《芒果樹下》Under the Mango Trees 1979|110.5 x 93.5 cm|彩墨、紙本 Color Ink Painting on Paper Under the Mango Trees was created in 1979. There is a Temple of Tudigong with red brick walls, two people sitting on the ground, cows and lush mango trees in the picture. The mango was an introduced foreign fruit gradually naturalized through local consumption as time passed by; from an exotic species to a local symbol. It is impossible to distinguish the mango species from the painting, the black-yellow-mixed ink dots are also not enough to outline the flower spikes and leaf shapes of mango trees. Regardless, with the imagery of leisure and slack season, the Taiwanese scenery, which is a quotidian gaze-free leisure moment, formed a living space for the ordinary as well as the exceptional to breathe freely.
【國立臺灣美術館典藏品】
Collection of National Taiwan Museum of Fine Arts |
「大量的裸男速寫與素描畫作,昭示了其對男性身體的愛戀與慾望」在國立臺灣美術館的典藏目錄中,上述2018年的詮釋資料,描述了1993年入藏的席德進「裸男」系列作品。同為素描創作,本展第二階段選擇展出二幅以女性為對象的作品,分別是打毛線與做針黹的情景。其中一作呈現人物側面,呈頜首低垂貌,而另一幅則是神情從容,於竹椅上呈翹腿坐姿,相較於美術館典藏品中席德進的素描人物,是較少見的題材。無論是女性的觀察,還是母性的強調,性別意識與性慾特質的評論如何拿捏,端看從哪一件作品出發。然而在本展策展的思考中,席德進之於性別議題的討論不應該只著重在「易見」的男體油畫與素描,在不同作品的觀察比較中,「不易見」的觀察能在展覽中被意識到時,也才有機會更趨近完整地,呈現席德進的創作樣態。
第二階段展出作品,特別感謝 Pa Ta Taipei - PTT SPACE
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席德進 SHIY De-Jinn
《織毛衣》Knitting 年代不詳 Date unknown|26.7 x 39.5, 28 x 38cm|炭筆、紙本 Charcoal on Paper "A large number of sketches of naked men show his love and desire for the male body." In the collection catalogue from the National Taiwan Museum of Fine Arts, the caption written in 2018 describes the "Naked Men" series of Shiy Dejin collected by the museum in 1993. However, in the second stage of this exhibition, two other sketch works that picture the scene of women knitting wool and needling are included. One of the sketches presents the figure’s profile with her jaws down, and the other crosses her legs and sits on a bamboo chair with a calm look. Such a subject matter is rare compared with Shiy De-Jin’s sketches in the museum collection. Whether it is the observation of women or the emphasis on maternity, the interpretation on gender awareness and sexual expression depends on the work one chooses to look at. However, this exhibition means to point out that the discussion of gender issues about Shiy De-Jin should not only focus on the "easy-to-see" male body paintings and sketches. In the observation and comparison of different works, the “uneasy-to-see” can be realised, and then Shiy De-Jin’s artistic practice may have the opportunity to be more comprehensively understood.
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歐靜雲是一位用繪畫書寫寓言故事的創作者,這些寓言從未能參與的過去出發,連結尚且無法抵達的未來,然後反映夾在其中的當下。他的作品中有著大量的符號、分割的視覺效果與螢光卻不豔麗的色彩,歐靜雲的繪畫總是細緻地描繪一個僅存在想像的時空中拼貼的庭園,結合了歷史、日常生活與熱帶植物等場景,看似誤闖其中的人物與動物各自有著奇異卻自在的狀態交錯並存,以各式錯位、倒反、截斷、拼接的畫面配置,敘說著人的注視、慾望以及與世界的關係。
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歐靜雲 OU Jing-Yun(臺灣 Taiwan)
《蜜月旅行》、《小仙女的瑕疵》 Honeymoon, Blemishes of Fairy 2016-2017|112 x 145.5cm x 2 pcs|油畫、畫布 Oil Painting on Canvas Ou Jing-Yun is an artist who writes fables through paintings. These fables start from the inaccessible past, link to the unreachable future, and then reflect the present sandwiched in it. There are a large number of symbols, segmented visual effects, and fluorescent but not gorgeous colors in his works. Ou Jing-Yun’s paintings always meticulously depict a collaged garden only in the imaginary time and space, combining history, daily life, and tropical plants in the scenes. It seems that the characters and animals who ran into it inadvertently have a bizarre but comfortable state interlaced and coexist with configurations such as dislocations, inversions, cutoff, and splicing, narrating people’s gaze, desire, and relationship with the world. |
兼具人類學和藝術家身份的薩瑪.柯塞姆,研究泰國南方的穆斯林同志。為了避免觸犯當地穆斯林對於同性行為的禁忌,每當被問起他的研究,正好該地放養了大量羊隻,便以他在作羊群研究為掩護的理由。但這也使柯塞姆對當地的羊感到好奇,拓展他的研究到人與動物的關係網絡。影像中,薩瑪.柯塞姆追蹤了羊群在村落的足跡,遍及海灘、伊斯蘭學校、清真寺、市集、軍方查哨站,交錯了泰國南方的地景、信仰和權力。據當地人的說法,羊可以辨別泰國佛教和馬來穆斯林的不同領域。羊不只比喻當地居民的生活處境,也與人共同生活在泰國政府長年緊張衝突、甚至汙名化的南方。
特別感謝 日動畫廊
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薩瑪.柯塞姆 Samak Kosem
《羊》、《在墓地的羊》、《田野筆記-羊》 Sheep, Sheep at the Graveyard, Fieldnote-Sheep 2017-2018|14'09“, 59 x 84cm x 4 pcs, 30×21 cm×4pcs 錄像、攝影、相片、手寫馬來語於紙 Video, Photography, Handwriting i n Melayu langu age and ph oto on paper Samak Kosem, who is both an anthropologist and an artist, studies queer Muslims in southern Thailand. To avoid violating the local Muslims’ taboos on same-sex behaviors, whenever he was asked about his research, he took sheep research as a cover as it happened to have a large number of sheep grazing in the area. This also made Kosem curious about the local sheep and expanded his research to the network of relationships between humans and animals. In the video, Samak Kosem traced the footprints of sheep in the village, covering beaches, Islamic schools, mosques, markets, and military checkpoints, staggering the landscape, beliefs, and power relations of southern Thailand. According to local people, sheep can distinguish the different areas of Thai Buddhism and Malay Muslims. Sheep are not only a metaphor for the living conditions of local residents but also live with people in the South; a stigmatized area that has been in tension with the Thai government for many years.
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外部展區
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當流行歌曲遇到卡拉OK,既是個人感受下的自由選擇與各自表態,亦是集體記憶之於「自然地」且「公開地」分享與討論。布拉瑞揚舞團於2019年創作的作品〈#是否〉,結合臺東部落「唱卡拉OK」的日常,讓「不表演」的表演,成為自白與宣示。〈#是否〉一作演出時的背景牆,首次以物件的方式於美術館展出,試圖讓觀者近距離閱讀該「作品」,在每一次演出的當下,所累積與面對的情境;展覽期間,該作將現地演出〈#是否〉部分段落,重新面對白盒子,並書寫新的狀態。
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布拉瑞揚舞團 Bulareyaung Dance Company(臺灣 Taiwan)
《#是否》#Yes Or No 2019 When pop songs meet karaoke, it is not only a free choice under personal experience and individual expressions but also a collective memory of “naturally” and “openly” sharing and discussion. The work #Yes Or No created by the Bulareyaung Dance Company in 2019, combined with the daily life of “singing karaoke” in the tribes in eastern Taiwan, makes the “un-performance” a performance to confess and declare. The background wall of #Yes Or No is debut in the art gallery as an object, trying to get the viewer to read the “work” up close, and the situation accumulated and faced the moment of each performance. This work will perform some parts of #Yes Or No on-site and write down a new state while situating inside a white cube. |
活動與講座
此次「不適者生存?」一展中,展出藝術家東冬.侯溫的作品《來處歸地》,以及布拉瑞揚舞團的作品《#是否》,在白盒子空間內,原本的文化脈絡,是否發生了變異? 同樣是現場行為,郭品君的作品《〈✧*。(單身KTV)✧*。〉》與許家禎的作品《我愛你呀》難道就沒有文化脈絡變異的問題?「先鋒?巔峰?白盒子的演替史?」一座談,從白盒子延伸,暫時地,將展場與作品的發展關係,比喻為生物與生態的關係,從中思考更多關於作品展示與作品思想延伸的可能。邀請目前就讀於台南藝術大學創作理論博士班的黃瀞瑩和呂瑋倫,從性別、族群、儀式等文化脈絡,思考美術館白盒子之於當代藝術的功能與意義。
報導與評論