台北當代藝術館 官方網站 Museum of Contemporary Art, Taipei

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展覽名稱 Exhibit

【若絲計畫:冷漠的賽拉薇-王俊傑個展】

Project Rrose : Indifferent Sélavy-A Solo Exhibition by Jun-Jieh Wang

展覽時間 Date

2015/07/04-2015/08/16

展覽地點 Venue

MOCA STUDIO

門票 Admission

免費 Free

參展藝術家 Artists

王俊傑 Jun-Jieh Wang

 

展覽介紹 About the Exhibition

 

 

 

【若絲計畫:冷漠的賽拉薇-王俊傑個展】

 

Project Rrose : Indifferent Sélavy-A Solo Exhibition by Jun-Jieh Wang

若絲.賽拉薇(Rrose Sélavy)是法國觀念藝術家馬塞爾.杜象(Marcel Duchamp, 1887-1968)始於1920年代之變裝嘗試的女性化名。杜象對自我身份改變的意圖,充分顯現在他不羇於傳統教條與主義的規範,他對於當代藝術所產生的巨大影響,除了「現成物」(readymade)觀念之外,最重要的是,超越長久以來藝術之於文明的局限,表現了完全自由的態度境界,質問藝術除了視網膜性(retinal)之外還有什麼可被談論的?始於2009年的《若絲計畫》(Project Rrose)是藝術家王俊傑向杜象致敬的系列之作,如同杜象質疑大部份的藝術創作已被視覺語言所操控,王俊傑也藉此展質問藝術在去除了視覺、形式與技巧之後,它還剩下什麼?

Marcel Duchamp (1887-1968) had used the female name Rrose Sélavy as an alias while made a try of travestism since the 1920. Duchamp's disregard of traditional dogma and principle fully shows his intention of changing his identity. Not only his idea of ‘readymade’ has brought enormous influence to the contemporary art, most important of all, he also had made the art transcend the limit of culture over the long past, expressed the free attitude and questioned what else art could be talk about besides the retinal. Project Rrose series is a salute to Marcel Duchamp. It also revisits the outdated question of “what is art?”, ”What else are left after the vision, forms and skills have been removed from art? “

 

繼【真實的流動】、【愛與死】(註1),本次展覽【冷漠的賽拉薇】為《若絲計畫》系列的完結篇。回溯1920年代杜象男扮女裝化名為若絲.賽拉薇的源頭:它既是對模糊身份與社會關係的探討,也是對當代文明的戲謔玩笑與嘲諷,更是對藝術美學的棄置。本展展出的〈朵拉之牆〉,結合雷射動力投影裝置和佛洛伊德著名研究案例,隱喻從人心內部掙脫而出的力量,和一種歇斯底里的失控狀態。攝影作品〈冷漠的賽拉薇〉則對杜象男扮女裝的系列名作〈若絲‧賽拉薇〉提出呼應;由十八件複合媒材平面作品組構而成的〈娜嘉之謎〉以電影腳本與分鏡圖的概念,試圖重新解讀布賀東(註2)的同名傳記小說「娜嘉」;最後的錄像作品〈以安魂之名〉描繪了一個氣氛詭譎的空間崩塌的過程,建築的崩毀如同生命的終結,而隱藏在內的愛慾情感也隨之終止。

After Real Flux and Love & Death (Note1), Indifferent Sélavy, the final chapter of Project Rrose, takes its cue from the origin of Rrose Sélavy, the pseudonym of Duchamp dressed as a woman in the 1920s: It explores ambiguous identities and social relations, as well as playfully mocks the present civilization. It also dispenses with the aesthetics of art. The exhibited work Dora’s Wall, “Dora” was a crucial case for Freud’s study of hysteria. It revealed multiple clues that brought together the discussions of the complicated relationships between and the psychological state of modern people. Indifferent Sélavy is a series correlating closely with Rrose Sélavy, Duchamp’s famous work in the early 1920s, in which he dressed as a woman. Nadja’s Mystery is comprised of eighteen two-dimensional works. Nadja is André Breton(Note2)’s autobiographical novel; it is more like an interactive movie, in which one could freely reorganize different segments together. Exhibited in the end of the exhibition, In the Name of the Repose describes a collapse of the building that is similar to the end of life, and the desires and emotions hidden within the building cease as the destruction proceeds.

 

《冷漠的賽拉薇》試圖創造一個臨界崩毀邊緣的封閉房間,透過「賽拉薇」、「娜嘉」與「朵拉」等幾位曖昧不明憂鬱角色的進出場,呈現壓抑與遊蕩、冷洌與疏離,還有面臨與外在世界相抗衡的瘋狂激情狀態。

Indifferent Sélavy creates a secluded room that is on the verge of destruction. Through the entrance of ambivalent and melancholic characters, including Sélavy, Nadja and Dora, it depicts feelings of repression, wanderings, indifference and alienation, as well as a crazy passionate state that stands opposed to the outside world. The wanderers in the room truly belong to the contemporary age. They are misfits and incapable of adapting to the times. However, dissent and dark marginal zones actually open up the possibility of escape from the present chaos, just like the way madness opens a way out. 

 

(註1)《若絲計畫》首部曲【真實的流動】於2009年蘇格蘭格蘭菲迪酒廠駐村時展出,二部曲【愛與死】則在2011年新苑藝術呈現。

(註2) 安德烈‧布賀東(André Breton,1896-1966),法國作家及詩人,為超現實主義的創始人。其最著名的作品之1924年編寫的《超現實主義宣言》。

Note1: Real Flux is Project Rrose's first creation program in 2009, exhibited in Glennfiddich Distillery, Scotland. Love & Death, The second episode ofProject Rrosewas shown in 2011 at Galerie Grand Siecle, Taipei.

Note2: André Breton was a French writer and poet. He is known best as the founder of Surrealism. His writings include the first Surrealist Manifesto (Manifeste du surréalisme) of 1924, in which he defined surrealism as "pure psychic automatism".

※【若絲計畫:冷漠的賽拉薇-王俊傑個展】成果影片:https://goo.gl/49yktO

 

 

 

策展論述 Curatorial Statement

【若絲計畫:冷漠的賽拉薇-王俊傑個展】   

Project Rrose : Indifferent Sélavy-A Solo Exhibition by Jun-Jieh Wang

「美將是痙攣的,否則即不是美。」       ──安德烈.布賀東《娜嘉》,1928

Beauty will be CONVULSIVE or will not be at all.   –André Breton “Nadja”, 1928

 

《若絲計畫》是向冷漠致敬的系列之作,也是再次提問「藝術是什麼?」這個已不合時宜的古老議題。本系列創作始於2009年,以法國藝術家馬賽爾.杜象祕密創作了二十年的最後大型裝置作品《給予:1.瀑布,2.照明的煤氣》為發想藍本,窺視慾望、情色、恐懼、神秘、自然與死亡。杜象作品引發的連串奇想,提示我們可見與不可見的愛慾,它是一種延續的敘事想像。那些被遮蔽的不可見部份,正是透過日常雜處的一切瑣碎,以回應被蒙蔽許久的文明議題,正如藝術在當代的功能問題一樣,再也沒有純粹美學的藝術,但藝術在去除了視覺、形式與技巧之後,它還剩下什麼?除了金錢的流動之外,是否只剩下可引起視網膜作用的軀殼?被壓抑的愛慾正如同被異質化的文明,藝術的位置在其間也更趨模糊。藝術在當代社會中是否可能得到解脫而免受壓抑?

Project Rrose is a series of works that pays homage to indifference. It also revisits the outdated question of “what is art?”. This series began in 2009. Based on Étant donnés: 1° la chute d'eau, 2° le gaz d'éclairage, the last large-scale installation of French artist Marcel Duchamp, it examined issues of desire, eroticism, fear, mystery, nature and death. The imagined scenarios inspired by Duchamp’s work suggest seen and unseen eros. They are a kind of expanded narrative imagination. The long concealed issues related to civilization can only be revealed through the seemingly trivial things of everyday life. Regarding the question of the functions of art in the present age, there is no more pure aesthetic art. But if we take away its visual aspects, form and techniques, what is left of art except for a shell that gives retinal pleasure and the flow of money? Repressed eros is like civilization that has been heterogenized, and the role of art in it has become increasingly ambiguous. Can art be liberated from repression in contemporary society?

 

《若絲計畫》系列的終章-《冷漠的賽拉薇》,重回1920年代杜象男扮女裝化名為若絲.賽拉薇的源頭:它既是對模糊身份與社會關係的探討,也是戲謔玩笑的嘲諷當代文明,更是對藝術美學的棄置。若絲.賽拉薇代表了杜象回應世代的方式,也帶出了不與世俗同流的象徵,賽拉薇就如出竅的靈魂,以多重身份潛入不再前進的世界,無關性別,反而是一個為淨化這世界而來的幽靈;正如平行於杜象時代的狂飆運動「超現實主義」一般,它試圖超越現世的價值與邏輯,以創造性的崩毀來警示當代的安逸。

Indifferent Sélavy, the final chapter of Project Rrose, takes its cue from the origin of Rrose Sélavy, the pseudonym of Duchamp dressed as a woman in the 1920s: it explores ambiguous identities and social relations, as well as playfully mocks the present civilization. It also dispenses with the aesthetics of art. Rrose Sélavy was the means by which Duchamp responded to his generation, and a symbol of his maverick stance. Like a soul that has separated from the body, Sélavy steals into the world with multiple identities. Her gender is irrelevant. She is like a ghost that purifies this world. This is reminiscent of Surrealism, a movement contemporary with Duchamp’s times that attempted to break with the prevailing values and logic, using creative destruction to warn against the complacency of the times.

 

《冷漠的賽拉薇》試圖創造一個臨界崩毀邊緣的封閉房間,透過「賽拉薇」、「娜嘉」與「朵拉」等幾位曖昧不明憂鬱角色的進出場,呈現壓抑與遊蕩、冷洌與疏離,還有面臨與外在世界相抗衡的瘋狂激情狀態。無端斷裂起火的石柱、雌雄同體的肖像與電影分鏡般的日記……,猶如一個超現實主義博物館般的陳設,借以隱喻當代世界的錯亂交織與無解。在房間裡的遊蕩者,將是真正屬於當代的人,他們既不合時代要求,也無法適應時代。一切的不合時宜與陰暗的邊緣地帶,其實就是我們跳開當下迷霧的契機,正如瘋狂所帶來的契機,只有在崩裂毀滅之後,光明才得以真正圍繞,縱使黑暗如影隨行。

Indifferent Sélavy creates a secluded room that is on the verge of destruction. Through the entrance of ambivalent and melancholic characters, including Sélavy, Nadja and Dora, it depicts feelings of repression, wanderings, indifference and alienation, as well as a crazy passionate state that stands opposed to the outside world. A stone pillar that inexplicably breaks and erupts into fire, androgynous portraits and a diary that resembles a storyboard…Like the exhibits in a surrealist museum, it is a metaphor for the chaos and entanglement of the present world. The wanderers in the room truly belong to the contemporary age. They are misfits and incapable of adapting to the times. However, dissent and dark marginal zones actually open up the possibility of escape from the present chaos, just like the way madness opens a way out. Only after disintegration and destruction can light penetrate through, even though darkness is never far away.

參展藝術家 About the Artists

王俊傑 Jun-Jieh Wang

畢業於德國柏林藝術學院,獲卓越藝術家最高文憑。1984年開始錄像藝術創作,為台灣新媒體藝術發展的開創者之一。1984年獲年度雄獅美術新人獎,1996年獲德國柏林電視塔藝術獎,2009年獲台新藝術獎年度視覺藝術大獎。2000年獲日本「美術手帖」推選為最受注目的100位藝術家之一。現專任於國立臺北藝術大學新媒體藝術系副教授並兼藝術與科技中心主任。

Jun-Jieh Wang was born in Taipei, Taiwan, he graduated from the HdK Art Academy in Berlin. He started working with video in 1984, and became one of the pioneers of new media art in Taiwan. He received the Hsiung-Shih New Artists Award in 1984, the Berlin Television Tower Award in 1996 and Taishin Arts Award in 2009. Jun-Jieh Wang is currently associate professor at the Department of New Media Art at Taipei National University of the Arts, as well as Director of Center for Art and Technology.

 

重要國際邀展包括:「道後溫泉國際藝術節」(日本松山市, 2014)、「柏林超媒體藝術節」(2014)、「上海西岸雙年展」(2013)、「俄羅斯數位藝術節」(2013)、「林茲電子藝術節」(2013)、「杜象與/或/在中國」(北京尤倫斯當代藝術中心, 2013)、「正言世代」(美國強生美術館, 2004)、「亞細亞散步」(日本水戶藝術館, 2001)、「亞太當代藝術三年展」(澳洲昆士蘭, 1999)、「福岡亞洲藝術三年展」(1999)、「台北雙年展」(1998, 2000)、「蛻變.突破:新華人藝術」(紐約P.S.1, 1998)、「移動中的城市」(維也納分離主義藝術中心, 1997)、「威尼斯雙年展」(1997)、「約翰尼斯堡國際雙年展」(1997)、「光州國際雙年展」(1995, 2002)、「美國電影中心錄像展」(1989)等。

Jun-Jieh Wang has been active on the international contemporary art arena from an early stage. Invitations to major international exhibitions came from, among others, "Dogo Onsenart" (Matsuyama City, 2014), "Transmediale Berlin" (2014), "West Bund Biennial" (Shanghai, 2013), "Ars Electronica: Schizophrenia Taiwan 2.0" (2013), "Marcel Duchamp and/or/in China" (Ullens Center for Contemporary Art, 2013), "Promenade in Asian: Cute" (Art Tower Mito, 2001), "Asia-Pacific Triennial” (1999), "Fukuoka Asian Art Triennale”(1999), "Taipei Biennial" (1998, 2000), "Inside Out: New Chinese Arts" (P.S.1 N.Y., 1998), "Cities on the Move" (Vienna Secession, 1997), "Venice Biennial" (1997), "Johannesburg Biennial" (1997), "Kwangju Biennial" (1995, 2002) and "American Film Institute Video Festival" (1989).

 

近年參與跨域媒體劇場創作包括:德國萊茵歌劇院《杜蘭朵公主》多媒體影像設計(2015)、導演新媒體無人劇場《罪惡之城》(2013)、導演科技媒體劇場《萬有引力的下午》(2010)、兩廳院旗艦計畫台語歌劇《黑鬚馬偕》影像設計(2008)、華格納全本歌劇《尼貝龍指環》舞台與視覺統籌(2006)等。

Wang’s work in interdisciplinary media theatre and design in recent years includes: directing the technological media theatre work Sin City (2013); directing the new media theatre work The Afternoon of Gravity (2010) ; as stage and visual designer for Mackay–The Black Bearded Bible Man (National Theater, 2009)serving as staging visual Director for the Taiwan premiere of Wagner’s Der Ring des Nibelungen (2006).

作品介紹 About the Artworks

彷彿經歷一場災難後的場景:一個崩裂的牆壁缺口,傾倒一根懸空的方柱,方柱上紅色雷射光束緩慢橫掃而過,並引燃火焰,最後燒灼成一條焦黑痕跡。十八歲的「朵拉」是佛洛伊德研究歇斯底里病症的重要案例,它引發的諸多線索,聯結了當代人們複雜人際關係及其心理狀態的討論,朵拉或許就是現代人的存在狀態縮影,環境導引出的多重人格與分裂的夢境及現實,它們交錯出現,讓人無所適從,最後,形成了不斷變動與不確定的當代狀態。

It looks like a scene of a disaster aftermath: an opening on a collapsed wall and a tipped, suspending square pillar; red laser beams on the square pillar slowly pan across, lighting up fire along the way, and finally, leaving a burned trace. The eighteen-year-old “Dora” was a crucial case for Freud’s study of hysteria. It revealed multiple clues that brought together the discussions of the complicated relationships between and the psychological state of modern people. Perhaps, Dora has epitomized the condition of existence of modern man. The multiple personalities triggered by the environment and the split dreams and reality surface in turns, making people feel uncertain of what to do, and eventually, forming the constant change and uncertainty that are characteristic of the contemporary.


〈朵拉之牆〉Dora’s Wall

複合媒體裝置動力投影裝置 

Mixed media installation and kinetic projection installation

尺寸依現場而定 Dimensions variable

2015

 

「若絲.賽拉薇」是二〇年代初期杜象男扮女裝的一組著名作品,與其說是對於性別的玩弄,不如說是在打破性別設定的無性別世界的創造。自古以來,「完整人類」之概念指的就是「雌雄同體」,也就是希望回到違逆天神原罪之前的無性別人類原型。當杜象變成了賽拉薇之後,經由愛慾傳達了人類存在於世界的根本,這個希望轉化為雌雄同體的慾望,也正是顛覆文明與束縛的另一激烈手段。

Rrose Sélavy was Duchamp’s famous work in the early 1920s, in which he dressed as a woman. Instead of seeing it as a manipulation of gender, it was actually a creation of a genderless world that shattered the preconception of gender. Since the ancient time, the concept of “a complete human” has always been androgynous, which represents the hope of returning to the genderless original form of human being before human’s disobedience to God and the punishment of the original sin. As Duchamp transformed into Sélavy, the fundamentals of the human existence in this world were conveyed through desires. The hope turned into the desire of androgyny, which has become another radical approach to subvert civilization and its restrains.

〈冷漠的賽拉薇〉Indifferent Sélavy

數位攝影,無酸純棉銀鹽基紙

Digital photographic, pigment print

20 x 152 cm (3 pieces)

2012-2015

 

〈娜嘉之謎〉由十八件平面作品組構而成。「娜嘉」為布賀東的同名自傳體小說集,它更像是一部可自由組合不同段落的互動式電影。謎樣女子娜嘉之於超現實主義來說,重要性不亞於其宣言,整個布賀東與娜嘉的邂逅,就是一場自動性書寫,若即若離的關聯性聯結了大部份超現實主義的觀點。《娜嘉之謎》試圖重新解讀《娜嘉》,亦重新解讀超現實主義,透過十八幅連作,它亦是十八個可任意重組的電影腳本與場景分鏡。

Nadja’s Mystery is comprised of eighteen two-dimensional works. Nadja is André Breton’s autobiographical novel; it is more like an interactive movie, in which one could freely reorganize different segments together. For Surrealism, the importance of the mysterious woman Nadja is no less than its manifesto. The encounter of Breton and Nadja is itself an automatic writing, connecting most of the perspectives of Surrealism with the seeming yet uncertain relationship between them. Nadja’s Mystery attempts to re-interpret Nadja as well as Surrealism. The eighteen consecutive paintings are also eighteen movie scripts and storyboards that one could reorganize at will.



〈娜嘉之謎〉連作  Nadja’s Mystery

2015

 

這是向超現實主義致敬之作。在超現實主義宣言中,布賀東描述了自動性技巧的寫作方法,他說:「超現實主義將為我們心不在焉的狀態做出辯證,那正是我們所希望達到的境界。」超現實主義者在追尋一個沿著俯瞰懸崖的狹窄稜線前進,於抵達最遠之點而不跨越極限,那是一種極度險象環生的平衡,亦即瘋狂。一如崩毀前的世界。

This work pays homage to Surrealism. In the Surrealist manifesto, Breton recounted the approach of automatic writing. “Surrealism could…serve to justify the complete state of distraction which we hope to achieve here,” stated Breton. Surrealists have been proceeding along a narrow ridgeline that overlooks cliffs, trying to reach the farthest point without crossing the limit. It formed an extremely risky balance, or simply madness, that was reminiscent the world before its destruction. 


〈自動性痙孿〉Automatic Convulsions

複合媒材 Mixed media

30 x 33 x 36 cm

2015

 

一個如訊問室般的灰藍色封閉空間裡,一個飄浮於地版上的銹蝕鐵桌,和漂浮於桌面上的山壁模型,空氣中瀰漫著冷澀、焦慮與死亡氛圍,小屋在漸漸的崩毀傾倒中被砂石瓦塊所掩沒……。作品同時處理崩毀(Collapse)與驚奇(Marvellous)兩個主題,它們永遠處在拉鋸的不確定之中,且曖昧的投射在文明的軌跡裡。建築的崩毀如同生命的終結,而隱藏在建築物內的愛慾情感亦隨之停止。但在經歷大崩壞之後,或許才有可能重新思考未來新生的旅程。

In a gray-blue secluded space that is reminiscent of an interrogation room, a rusted iron table floats above the floor, and a model of mountain walls floats above the table surface. The atmosphere of coldness, anxiety and death fills the air. The small house is gradually collapsing and overwhelmed by rocks and debris… This work deals with both the theme of collapse and the theme of marvelous; they are always in a tug-of-war relationship that is filled with uncertainties, and are ambiguously projected in the development of civilization. The collapse of the building is similar to the end of life, and the desires and emotions hidden within the building cease as the destruction proceeds. However, perhaps another journey that promises a new type of thinking as well as a future rebirth becomes possible only after experiencing the great destruction.



〈以安魂之名〉In the Name of the Repose

單頻道高畫質錄像轉藍光,彩色,有聲 

HD video transferred to Blu-ray Disc, color, sound

8 min. 34 sec

2015

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