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

首頁 展覽資訊

 

展覽名稱 Exhibit

【梅爾汀計畫-一年對話實踐:縫線、鬼故事、逃離】

M.E.L.T.Ing Project – One Year Conversation:Thread, Ghost Story, Escape

展覽時間 Date

2015/05/16-2015/06/28

展覽地點 Venue

台北當代藝術館

MOCA Taipei (MOCA Studio, MOCA Plaza, MOCA Video)

門票 Admission

Free

策展人 Curator

邱俊達 Yves Chun-Ta CHIU

參展藝術家 Artists

包麗莎+趙立東 Lisa BAUER-ZHAO+ Lidong ZHAO

許芳慈 Post-Museum  Fang-Tze HSU+ Post-Museum

高俊宏+麥巔 Jun-Honn KAO+ Dian MAI

 

策展論述 Curatorial Statement

 

【梅爾汀計畫-一年對話實踐:縫線、鬼故事、逃離】

M.E.L.T.Ing Project – One Year Conversation: Thread, Ghost Story, Escape

 

策  展  人|邱俊達

藝  術  家|包麗莎+趙立東、許芳慈+ Post-Museum、高俊宏+麥巔

指導單位|台北市政府文化局

主辦單位|財團法人國家文化藝術基金會「策展人培力@美術館」

執行單位|台北當代藝術館

特別感謝|竹圍工作室、齁空間

Curator:Yves Chun-Ta CHIU

Artists:Lisa BAUER-ZHAO+Lidong ZHAO, Fang-Tze HSU+ Post-Museum, Jun-Honn KAO+Dian MAI

Date:2015/5/16(Sat.) - 6/28(Sun.)

Organizer:National Culture and Arts Foundation, Curators’ Incubator Program at Museum

Executive:Museum of Contemporary Art, Taipei

Special Thanks:Bamboo Curtain Studio, Howl Space

 

文/邱俊達 Yves Chun-Ta CHIU

 

21世紀更多的是關於對話(conversation)。─漢斯-尤利希.歐布里斯特(Hans-Ulrich Obrist)

The twenty-first century would be more like conversation.--Hans-Ulrich Obrist

 

 

想像一下:有什麼樣的一個人,會讓你想用一年的時間與他╱她對話?

一年之後,什麼樣的事物足以代替你╱們,講述這一年間所說出的與未曾說出的?

這段「時光」又可以如何感性地綻放、觸人思弦地牽動起他人的迴盪

Imagine: what kind of a person would make you want to converse with him or her for a whole year?

After this year, what kind of things would be adequately to express what you have said and not said throughout the year?

How could this period of “time” be transformed into something with sensibilities and trigger other people’s repercussion?

 

 

對話的欲望與危機 The Desire and Crisis of Dialogue

Perhaps, dialogue is no longer simple and natural; and its format has become an embodiment of certain power relation. Responding to “the crisis of dialogue,” M.E.L.T.Ing Project reimagines the extremely common behavior, “dialogue,” in the everyday life, in the hope to regain and reflect upon the desire, expectation and potential of “dialogue.” It also attempts to extend this imagination to the other, communities, societies, institutions, nations and histories from an artistic perspective, and through a set of rules of “One Year Conversation” and institution of exhibition to ask: What is the role and aesthetic capacity of conversation in the contemporary and between the individual need and social level?

對話從來就不只是一種「活動」,而是基本的「欲望」,從單純的好奇心,到尋求理解、認同、建立共識乃至推使行動等⋯,然而,在不斷被提起「需要更多對話」與「對話美學」蔚為潮流的今日,為何我們卻感受到一種「對話的危機」?對話彷彿淪為一種口號,愈成為一種政治化的主張與浮濫、虛假、貧乏、形式化的活動?或許,對話早已不再素樸、自然,而其「形式」則總是某種權力關係的具現。回應「對話的危機」,「梅爾汀」將日常生活中平常不過的「對話」提予重新想像,以重拾╱重思關於「對話」的欲望、期待與潛力,並嘗試從藝術的位置、「一年對話實踐」遊戲規則與展覽機制,將想像蔓延至他者、社群、社會、體制、國族、歷史等層面,以從中探問:對話在當代、在個人需求與面對社會之間扮演的角色與其美學能耐為何?

 

 

關於「梅爾汀計畫」About M.E.L.T.Ing Project

一切堅固的東西都煙消雲散了All that is Solid Melts into Air)

──卡爾.馬克思 --Karl Marx

 

「梅爾汀」來自英文「melting」音譯,並將之延展為「會見」(Meeting)、「遭逢」(Encounter)、「遺落」(Lost)、「痕跡」(Trace)等發生在日常生活、多元、繁複且動態的諸種對話活動。這看似「無意義」與「不可辨識」的中-英譯可能引發的揣測、聯想或詮釋活動,便如同對話的發生必然涉及到「語境」(觀者的背景)與「想像力」,並朝向一種「相互理解/感受」的期望。

The title of the project “M.E.L.T.Ing” resembles the word “melting,” but refers to “Meeting,” Encounter,” “Lost,” and “Trace,” all the diverse, complex and dynamic activities in dialogues that take place in everyday life. Conjectures, associations and interpretations triggered by this seemingly “meaningless” and “unrecognizable” phonetic translation from English to Chinese are like what would happen in dialogues: it involves “contexts” (the background of the audience) and “imagination” with an underlying anticipation for “mutual understanding and perception.”

 

另一方面,「梅爾汀」試圖與馬克思一句描述「現代性」(modernity)的名言「一切堅固的東西都煙消雲散了」進行對話。馬克思以此描述德國十八世紀現代化的劇烈轉變,一度堅實的信仰與社會價值迅速崩解、煙消雲散,導致十九世紀歐洲的虛無主義,這是melt下一種絕望的現代性經驗。逾百年後,美國學者馬歇爾‧伯曼(Marshall Berman)寫下《一切堅固的東西都煙雲散了-現代性體驗》,藉由對現代性的批評、反省,伯曼使一切煙消雲散的melt轉為價值重建與重生的希望

On the other hand, “M.E.L.T.Ing” aims to create a dialogue with Marx’s famous words when he describes modernity: “all that is solid melts into air.” Marx said this to capture the drastic changes of the modernized German in 18th century, when all the once strong beliefs and social values disintegrated and disappeared, paved way for the nihilism in the 19th century Europe. It was an experience of modernity that melted the desperation to come. Nearly a century later, American scholar, Marshall Berman, wrote the book, All That is Solid Melts into Air: The Experience of Modernity, which, through criticism of and contemplation on modernity, reclaimed what had disappeared and transformed it into the hope of reconstructing values and the possibility of a rebirth.

 

對現代性問題的關注,是本展覽計劃之基底,而對話如何扮演起考掘此種經驗的角色?佇立於全球化狀況、後殖民歷程、亞洲現代性探索以及台灣主體性困惑的我們,如何藉由「對話實踐」析離出自身在全球政經情勢與文化政治網絡中的「對話」位置,以為未明的他者做出面對與展開對話的準備。

The objective of this exhibition project is to investigate the problem of modernity. How does dialogue play a role in the examination of the modern experience? As we are facing globalization, having experienced post-colonialization, attempting to explore Asian modernity and being trapped by the ambiguous state of the subjectivity of Taiwan, how do we position ourselves in the “dialogue” in the global political and economic situation and in the network of cultural politics through “the practice of dialogue” so that we could face the unknown others and prepare ourselves for dialogues?

 

 

一年對話實踐 One Year Conversation

接納他者的觀念不只是一個課題,而總是更根本地顯現為創作的形式領會。─尼可拉.布希歐(Nicolas Bourriaud)

The concept of accepting others is not simply a topic, but always more fundamentally appears as the realization of creative forms. --Nicolas Bourriaud

 

受謝德慶《一年行為表演1983-84(繩子)》啟發,梅爾汀設計了「一年對話實踐」的遊戲規則:依據「對話的欲望」與「梅爾汀精神」,策展人首先邀請許芳慈(台灣)、高俊宏(台灣)與包麗莎(Lisa BAUER-ZHAO,德國)參與此計畫,三位藝術家再依據相同精神邀請自己的對話對象,最後組成「許芳慈-Post-Museum(新加坡)」、「高俊宏-麥巔(中國)」、「包麗莎-趙立東(中國╱德國)」三組藝術團隊,並以2014年一整年為期進行「對話」。

Inspired by Tehching HSIEH’s One Year Performance 1983-1984 (Rope Piece), we designed “One Year Conversation.” Based on “the desire of dialogue” and “the spirit of M.E.L.T.Ing,” the curator first invited Fang-Tze HSU (Taiwan), Jun-Honn KAO (Taiwan) and Lisa BAUER-ZHAO (Germany) to participate in this project; and then, these three artists set out to invite the other parties for their dialogues based on the same spirit. Finally, the three artists formed three artist groups individually with Post-Museum (Singapore), Dian MAI(China), and Lidong ZHAO (China/ Germany), and conducted “dialogues” that lasted one year throughout the year 2014.

 

在實驗期程結束後,我們提出「縫線、鬼故事、逃離」這三件事來探討、呈現對話的各種層次──欲望、情境、機制、規則、過程、產物等,並與台北竹圍工作室、台南齁空間合作籌辦兩場論壇:一、「社會改變的基礎為何?」+「鬼事製圖之鬼話連篇」(5/3,台南場,齁空間);二、「對話作為方法」(5/17)+「新加坡記憶政治與台灣失憶美學」(6/12,台北場,台北當代藝術館),希冀以更多元的「對話形式」與「主題」碰觸,延展梅爾汀精神與可能之後續反應。

After the experiment ended, we proposed three topics for discussion, which were “thread, ghost story and escape,” to discuss and display the different levels in dialogues—desire, context, institution, rules, process, product, etc. In addition, we organize two forums with Bamboo Curtain Studio and Howl Space: (1) “What is the foundation of Social Change?” + “Mapping the Ghost Storytelling” (Howl Space, Tainan; May 3rd); and (2) “Dialogue as a Method”(5/17) + “The Politics of Remembering in Singapore and the Aesthetics of Oblivion in Taiwan” (MOCA, Taipei; June 12th). We hope to explore the topics with more diverse forms of dialogues, further promoting the M.E.L.T.Ing spirit and sustaining the subsequent reactions.

 

「梅爾汀計畫」以其遊戲與實驗性格,充滿未知的結果,也許是對話文件、影像、訪談,也許是共同的一趟旅程、生活時光,也許是音樂╱行為表演,也許是成為秘密的過程本身⋯這些結果,究竟能說明關於「對話」的什麼?或者,僅是在重重困惑、質疑與挫折中,始為真實的對話做出準備?一年的時間足夠長,來醞釀對話的真實性與深度嗎?面對展示的問題,究竟「過程與結果」是太多或太少?我們如何看待對話與遊戲規則之間的關係?以及,這是否能為「對話美學」、「文化融異」、「創作/展覽再現思維」等面向開展出新的談論空間?

With a touch of playfulness and its experimental spirit, “M.E.L.T.Ing Project” had been filled with unknown possibilities; they could be dialogues in the forms of documents, videos, or interviews, as well as a shared journey or moments in life. They might be music or performances; or, they could be the process of how secrets were formed. What could these results eventually enlighten us about the nature of “dialogues”? Could it be that we could only prepare for authentic dialogues in constant confusion, doubts and frustration? Would one year be enough to achieve the authenticity and depth of dialogues? In terms of exhibition, would “the processes and results” be excessive or inadequate? How should we see the relation between dialogues and the project rules? Moreover, could this project really new discussions about “the aesthetics of conversation,” “cultural hybridity,” and “the representation thinking of art and exhibition”?

 

如果對話才剛開始? What If the Conversation Has Just Begun?

2014年跨入2015年的那一刻,「一年對話實踐」結束,而三組藝術團隊的實驗結果皆為某種意義上的失敗。

As 2014 ended and 2015 began, “One Year Conversation” officially came to an end, and all three artist groups were deemed failed in this experiment.

 

「許芳慈(台灣)-Post-Museum(新加坡)」經歷原訂對話人選的更換,最終確定「Post-Museum」的加入已是2014年十月。僅餘三個月不到,既考驗著策展人與藝術家如何重新協調這一計畫的運作方式,亦突顯了「堅守遊戲規則」與「真實對話關係」牴觸下的兩難。最終,Post-Museum以《武吉布朗索引》參展,許芳慈則以梅爾汀之喃喃自語》另類畫冊編輯計畫,作為與展覽後續之對話實踐。此外,該團隊與策展人從2015年三月起正式展開透過網路通訊媒介進行研究性對話,許芳慈亦以此為基礎於展期間籌組活動。

“Fang-Tze HSU (Taiwan)—Post-Museum (Singapore)”: after a change of the previously selected interlocutor for the dialogue, it was already the October of 2014 when Post-Museum confirmed to join the project. With less than three months, this change challenged how the curator and the artist should proceed with the project. It also made obvious the dilemma when “sticking to the rules of the game” and “having authentic dialogue” collided. At the end, Post-Museum participated in the exhibition with “Bukit Brown Index”, and HSU will edit an alternative catalogue “Murmuring while M.E.L.T.Ing” as the conversation to the follow-up of exhibition. The group and the curator started a dialogue of a research nature via Internet communication in March, 2015, and HSU will organize activities based on the dialogue.

 

「高俊宏(台灣)-麥巔(中國)」從最初一趟西藏旅行的構想,到討論參與武漢藝術家李巨川和李郁發起的「『每個人的東湖』藝術計畫第三回:人人都來做『公共藝術』」的可能性,最終兩造仍無法在期程內創造「會面的條件」,於是調整為以麥巔提前一個月抵台的這段期間,進入高俊宏的工作場域踏查並進行作品拍攝。會面的條件如何困難?或者,不過就是煞有默契地履行一種「逃離」──對體制與遊戲規則──的微小堅持?

 “Jun-Honn KAO (Taiwan)—Dian MAI (China)”: taking a trip to Tibet was proposed at the very beginning. Then, the artists discusse the possibility to participate in the project  “‘East Lake Art Project Ⅲ’: Everybody Can do ‘Public Art,’” initiated by two Wuhan-based artists, LI Juchuan and LI Yu. However, at the end, these two people were unable to set “the conditions of meeting” within the designated time of this project. As a result, they adjusted the plan that MAI would come to Taiwan one month before the exhibition to co-work and film a video work at the working site of KAO. Was it that difficult to find a way to meet up? Or, did they just have an understanding with each other that they would “escape”—a kind of minor resistance—from the system and rules?

 

「包麗莎(德國)-趙立東(中國 / 德國)」是唯一完成遊戲規則的團隊。「對話」之於語言經驗、關係以及「線」的想像,是該團隊反覆探索的觀念、媒材與合作形式。該組最初以「評論者-藝術家」位置設計兩造間的對話實踐,約莫半年後,因感到「這樣的對話假假的」而停止並轉變方式。最終,面對展示機制時,毅然捨棄掉原先以文字形式積累的對話記錄,返回到計畫構想開端以及一年中在他們的直接對話中發展出的作品,提出「線既是對話的想像、亦是對觀者的邀請」,連接起自始至終對對話的關懷。

“Lisa BAUER-ZHAO (Germany)—Lidong ZHAO (China/Germany)”: they were the only group that followed the rules and completed the experiment. “Dialogue” as the experience of language, relations and imagined as “a thread,” was the concept, medium and collaborative form, which the group repeatedly explored. At first, they carried out their dialogue as a critic and an artist, but soon felt “this dialogue seemed a bit phony” and stopped it after half a year and then change the way. Eventually, when thinking about the exhibition, they decided to abandon all writings of dialogues conducted throughout the year, and returned to the origin of this project and works developed from their direct dialogue, examined the idea of dialogue with a premise: “thread as an imagination of dialogue as well as an invitation to the audience.”

 

失敗毋寧說是無奈、可喜且是重要的,倘若這揭示對話或許從來就無法在「遊戲規則」下進行?或許唯有在對各種規則形式的抵抗下,方能滋養與生長真實對話的環境。對話才剛開始?2015年過後方能驗證。

Failure is indeed frustrating, rewarding and important. Did the failure in this project imply that dialogues could never take place when there was “a set of rules”? Perhaps, only with resistance to all kinds of rules and designs could we create a nurturing environment for authentic dialogues. Have the dialogues just begun? We will see after 2015.

 

【梅爾汀計畫-一年對話實踐:縫線、鬼故事、逃離】成果影片
 
 

 

參展藝術家 About the Artists

 

藝術家介紹 Artist Introduction

 

策展人 Curator

邱俊達 Yves Chun-Ta CHIU

策展、研究、評論工作者|台灣(Curator, Researcher, Critic / Taiwan)

2008年從哲學仿歐式象牙塔逃出,卻滑入當代藝術生態的廣闊泥沼,如今深陷其中。從西方哲藝思想與大師創作獲得數不盡的天啟靈感,但比較喜歡聽自己的神說話。然後從事人們所謂策展、藝術評論、雜誌編輯與相關研究工作。重要經歷有「2014新年新希望」(寶藏巖國際藝術村)、「聲語遶境-台灣與北愛爾蘭交流展」(高美館)、「蟲洞劇場」(高美館)。

 

藝術家 Artist

包麗莎 Lisa Bauer-ZHAO,文化藝術學家|德國(Researcher in Cultural Studies and Art, Germany / Germany)

德國希爾德斯海姆大學 (Stiftung Universitaet Hildesheim)哲學系博士候選人,研究方向為全球化的背景下之台灣現當代藝術。2012年作為台灣獎助金訪問學人。重要演講包括《第三屆東亞藝術史討論會 (3. Forum Ostasiatischer Kunstgeschichte)》、《歐洲台灣研究協會(European Association of Taiwan Studies; EATS) 第11屆研討會》(獲得《EATS年輕學者獎 (Young Scholar Award 》)。此外也從事藝術和策展實踐,其中參與過北京和新加坡的行為藝術節、2009年成立Kulturflur 畫廊 (2009-2011年),將自己居住空間作為替代藝術空間。

 

趙立東 Li -Dong ZHAO,藝術家|中國/德國(Artist / China/ Germany)

2013年入德國福克旺藝術大學(Folkwang Universitaet der Kuenste)攝影專業就讀。2010年獲得南京曉莊學院繪畫學士學位,之後從事過畫廊及藝術媒體編輯之工作。重要展覽經歷有「Photokina academy,德國科隆(2014)」、「富克旺藝術大學“Rundgang”,德國埃森(2014)」。

 

高俊宏 Jun-Honn KAO,藝術家、論述者|台灣(Artist, critic / Taiwan)

創作關注議題包括歷史、諸眾、空間、生命政治、新自由主義、社群、邊緣、仕紳化、東亞等。撰有《泡沫》、《小說》、《諸眾》、《陀螺》等書。

 

麥巔 Dian MAI,獨立藝文工作者|中國(Independent Art and Cultural Worker / China)

生於湖北荊門,後因入學遷入省會武漢;現今是一位自雇者、獨立研究者以及朋克樂手。自2008年起,居住於一座被命名為「我們家青年自治實驗室」的民宅中。

 

許芳慈 Fang-Tze HSU

研究員|台灣(Researcher / Taiwan)

目前於新加坡國立大學社會科學所亞洲文化研究課程攻讀博士。美國芝加哥藝術學院藝術管理視覺文化研究策展學群碩士。研究興趣為冷戰美學及動態影像。曾任職香港亞洲文獻庫數位典藏經理,國立台灣美術館助理研究員。藝評寫作散見於國內外藝術刊物。

 

Post-Museum

藝術團體|新加坡(Artist Group/ Singapore)

作為獨立文化與社會空間,Post-Museum 以支持思辨自主動能的社群運作為實踐目標,以開放平台審視當代生活形貌,推廣藝術並連結人群, Post-Museum致力於回應所處的場域以及共享該場域的社群,借此探詢創造微型烏托邦的取徑,期待創造一個使人們發揮創造力揮灑想像能量,打造屬於他們嚮往的文化與世界樣貌。在計劃的第一階段,Post-Museum進駐於位在羅威路上(別具歷史意義的小印度區聚落),在兩棟1920年代的店屋中營運實體空間,該空間包括餐廳(Food #3),兩間多功能展演室,藝術家工作室以及辦公室,除了講座、展覽、藝術家進駐等活動之外,Post-Museum也提供相關就業機會。Post-Museum目前在計劃的第二個階段(始自2011年九月),以遊牧方式聚焦於發展社會實踐藝術計劃,相關組織活動包括 “新加坡正真正格的跳蚤市場”、“甦醒龍窯”、“咖啡山計劃”。Post-Museum曾參與國際各項展覽與活動,包括2012年釜山雙年展(韓國)、2010年新潮節(墨爾本,澳大力亞),以及2009年第四屆福岡亞洲藝術三年展(日本)。

 

 

作品介紹 About the Artworks

從來沒有被斷裂的線嗎? A thread that has never been broken?

「語言」是對話最重要、最基本的工具。在生活中,它是人們自然、不加思索地使用的一部分,而這樣對待語言的方式,讓我們的生活得已悠然於熟悉的知識當中進行著,人們所描寫的、所想像的概念、歷史等等因而具有連貫性。可以說,語言是一條從來沒有被斷裂的線,也可以說,這種直接、從來沒有被斷裂的線,唯有在具體的知識範圍裏,才有存在的可能性。

“Language” is the most essential, basic instrument of communication. It is a part of our life, that we use naturally and without reflection. When we approach language this way, our lives proceed in a framework of knowledge that we are familiar with. This way, what we describe, the concepts and history we imagine, are understood as coherent. One could say that language is a thread that has never been broken. One could also say that it is only in the framework of concrete knowledge that the possibility of this direct, never been broken thread exists.

 

然而,當語言作為「外語」時,它變得不自然、不直接。意義的連貫性被折斷了。

However, when language becomes a “foreign language”, its directness and naturalness disappears. The coherence of meaning is broken.

 

我們從兩個人的外語經驗作為「一年對話實踐」的基礎背景出發,比喻著語言的線,是我們具體和抽象之創造的出發點。在這一年間的對話過程,線越來越在主動與被動中間飄動,就像語言一樣,它跟著它的環境賦予其意義,它也訂定這一環境的意義,在這樣不斷相互影響的過程當中,線會走到哪裡?我們在這一年的時間,在主動和被動之間,搜尋著線所經受著可能的斷裂。

Our experience of living in the context of a foreign language was the starting point of our “One Year Conversation”. Thread, as a metaphor of language, was the starting point of our creation, both concrete and abstract. During this year of dialogue, the thread floated more and more in between the active and the passive. Just like language, it followed the meaning its environment gives it, and at the same time defined the meaning of its environment. In this mutually influencing process, where would the thread go? In this one year of dialogue, we searched for the fracture of the thread in between the active and the passive.

〈對話〉〈Dialogue〉

趙立東 Liding ZHAO

相紙輸出 C-Print

100 x 50 cm

2014

〈對話〉〈Dialogue〉

趙立東 Liding ZHAO

相紙輸出 C-Print

100 x 67 cm

2014

〈對話〉〈Dialogue〉

趙立東 Liding ZHAO

相紙輸出 C-Print

78 x 100 cm

2014

〈對話〉〈Dialogue〉

趙立東 Liding ZHAO

相紙輸出 C-Print

100 x 100 cm

2014

〈對話〉〈Dialogue〉

趙立東 Liding ZHAO

相紙輸出 C-Print

100 x 100 cm

2014

〈對話〉〈Dialogue〉

趙立東 Liding ZHAO

單頻道錄像 Single Channel Video

3 min. 36 sec.

2013

〈對話〉〈Dialogue〉

包麗莎+趙立東

Lisa BAUER-ZHAO + Lidong ZHAO

行為藝術記錄 Performance Documentation

尺寸依場地而定 Dimensions Variable,1hr 56min

2015

〈對話〉

包麗莎|(德國)+趙立東(中國),Lisa BAUER-ZHAO(Germany)+ Lidong ZHAO(China/ Germany), 

 2013-2015

 

 

〈武吉布朗索引〉收集了武吉布朗墓園土地爭議背後,複雜多元的想法及對話。

The Bukit Brown Index is a collection that shows the complex ideas and dialogue behind the land contestation of Bukit Brown Cemetery. 

 

該墓園是世界歴史遺址著名景點,不僅是中國大陸以外最大的華人墓園,也是英國殖民政府指定的新加坡華人市立墓園,記載使用時間雖然是從1922年至1973年,此地最早的墓穴卻可追溯至1830年代,因此,武吉布朗墓園可謂保存了海外離散華人及海峽土生華人,在新加坡的歴史記憶。

Bukit Brown is a World Monuments Watch Site. It is not only the largest Chinese cemetery outside of China, it is also the only municipal cemetery assigned by the British colonial government to the Chinese people in Singapore. Though in operation from 1922 to 1973, the tombs there date back to as early as 1830s. As such, the cemetery is a depository of the history of the Chinese diaspora and Straits-born Chinese in Singapore. 

 

武吉布朗墓園同時也是一片長年自然生長的廣大次生林地,擁有豐富的生態多樣性,其中更包含多種瀕臨絕跡的動植物,正因為它的寧靜氛圍及獨特之美,武吉布朗也成為賞鳥、慢跑人士及騎馬愛好者的公園及休閒場域。

Bukit Brown is also a large secondary forest that has grown naturally over the years and has a rich biodiversity including a number of endangered species of flora and fauna. Because of its serenity and beauty, Bukit Brown also serves as a park and leisure space for birdwatchers, joggers and horse-riders.

 

2011年中,新加坡政府宣佈將建造一條會通過武吉布朗的八線大道,進而引發前所未見的抗議、遊行聲浪,要求停止開發計劃,拯救武吉布朗。

In the middle of 2011, the Singapore government announced plans to build a 8-lane road through Bukit Brown. What followed was an unprecedented outcry and gathering of people who sought to stop development plans and save Bukit Brown.

 

在新加坡這樣的微型島嶼國家,土地爭議一直是反覆出現的議題,武吉布朗的保育難題,不該視為一種情感上的不捨,而是為了拯救新加坡的靈魂,所以,行動派人士與公民社會為保育所做的努力及行為,不應單純視為一種反抗立場,把他們當成造成衝突的意識型態無濟於事,其實,該視其為新加坡社會中,微小卻重要的遠見觀點,提醒我們永遠有別的做法,不要只談經濟發展、受政治目的箝制壓迫,Post-Museum主張新加坡未來的都市發展應廣而接納不同的聲音。

Land contestation has always been a recurring issue for a small island-state like Singapore. The struggle to conserve Bukit Brown should not be read as a sentimental conservation but a struggle over Singapore’s Soul. Hence, the conservation efforts and actions of the activists and civil society should not be seen simplistically as a position of resistance. It is unconstructive to see them as conflicting ideologies but should be read as a ground-up vision of Singapore. They remind us that there are alternatives and should not be limited to economic development and should not be constrained by political agendas. Post-Museum argues that the future of Singapore's urban development should be broadened to include different views.

 

〈武吉布朗索引〉是武吉布朗議題的具體呈現,讓所有觀眾能進一步省思開發及保育的議題。

The Bukit Brown Index is a materialisation of the case of Bukit Brown that allows audiences to reflect upon the issues of development and conservation.

 

〈武吉布朗索引#108:為了建設穿越武吉布朗與姓王墓園的新第八線道路而考掘出的亡者名單(至2013年三月一日仍無人認領的墓碑)〉

Bukit Brown Index #108: List of Names of the Deceased to be Exhumed to Make Way for the New 8-Lane Road through Bukit Brown and Seh Ong Cemeteries (Unclaimed Tombs as of 1 March 2013)

Post-Museum 

泥土塗於玻璃上 Earth on Glass

尺寸因場地而異 Dimensions Variable

2015

〈武吉布朗索引#109:武吉布朗尼於他們所選定的武吉布朗景色〉

Bukit Brown Index # 109: Brownies at Their Chosen Spots in Bukit Brown

Post-Museum

數位印刷 C-Print

160 x 100 cm

2015

〈武吉布朗索引#110:武吉布朗尼於他們所選定的武吉布朗景色)〉

Bukit Brown Index # 110: Brownies at Their Chosen Spots in Bukit Brown

Post-Museum 

數位印刷 C-Print

160 x 100 cm

2015

〈武吉布朗索引#111:武吉布朗的靈異地圖〉

Bukit Brown Index #111: Supernatural Map of Bukit Brown

Post-Museum

數位印刷 C-Print

237.8 x 168.2cm

2015

〈武吉布朗索引#73:新加坡靈異檔案:武吉布朗墓園的鬼魂

Bukit Brown Index #73: GhostFilesSG: Ghosts of Bukit Brown Cemetery

Post-Museum

單頻道錄像 Single Channel Video

28min. 04 sec.

2013

〈武吉布朗索引#74:新加坡靈異檔案:再訪武吉布朗墓園〉

〈Bukit Brown Index #74: GhostFilesSG: Bukit Brown Cemetery Revisited〉

Post-Museum 

單頻道錄像 

13分39秒

2013

武吉布朗索引〉〈Bukit Brown Index

 Post-Museum(新加坡) Post-Museum(Singapore),

 2013 年迄今 2013-Present

 

 

〈梅爾汀之喃喃自語〉〈Murmuring while M.E.L.T.Ing〉

許芳慈(臺灣), 2015

Fang-Tze HSU(Taiwan), 2015

 

作為梅爾汀策展實驗的畫冊,《梅爾汀之喃喃自語》意圖與計劃本身來一場檯面下的對話。或許應該這麼說,這本畫冊的存在並不打算為計劃的資料存檔服務,而是希望能辯證式地回應梅爾汀,深刻的檢視整個策展實驗。藉著Antonio Negri and Michael Hardt闡釋有關情感勞動的相關論述,《梅爾汀之喃喃自語》探討以展覽為生產核心的藝術實踐機制,這些相關問題與挑戰不單是浮現於策展實驗執行過程中,同時也源於策展實驗本身所提出的機制性挑戰。如同書名所暗示的,喃喃自語的特性將反映於編輯之框架,以喃喃自語為主旨的編輯實踐強調個體性與協作性之間的權衡與衝突;同時,其過程也將體現對話的表演成分,以及策展實驗在展場的話語空間中所無法傳達的即興表現。

This so-called catalogue component of the project intends to engage the M.E.L.T.Ing project for another conversation underneath the table. In a sense, the catalogue is not going to play the role of an archive for the M.E.L.T.Ing project. Rather, the catalogue aims to respond dialectically to the M.E.L.T.Ing project itself or hopes to hold a mirror up to the project. By taking the concept of affective labour elaborated by Antonio Negri and Michael Hardt as an entry point, Murmuring while M.E.L.T.Ing attempts to scrutinise certain critical inquiries in regard to the exhibition-centric mode of artistic production. Those questions and challenges are either developed along with the M.E.L.T.Ing project or triggered by the mechanism of the project. As the title suggested, the murmuring character of the catalogue reflects upon its editorial framework, emphasising on the negotiations and clashes between the sense of individuality and the sense of collectivity. Meanwhile, the process of compilation not only embodies the performative of the dialogue but also unleashes the sense of improvisation that couldn't accommodate in the exhibition component of the project.

 

 

合作計畫:「無人可稱謂的主體:逃,或者公共」〈Impersonal Subject: Escaping or Public〉

高俊宏(臺灣)+麥巔(中國), 2015

Jun-Honn KAO(Taiwan)+Dian MAI(China),2015

 

麥巔成長於野性、暴力城市、中國朋克音樂搖籃的武漢,他以及「我們家青年自治實驗室」,是一個嘗試以橫向、無領導的方式組織的近似無政府主義空間,一個公共廢墟。而我則成長於台北,這個整個藝術體制已斟完備,甚且不斷用許多空洞計畫包裝的城市,從都會到鄉野橫亙著無端的膽妄(delirium),並且被資本主義美學將此一膽妄指稱為:「這是一個概念」的城市。

Dian Mai grew up in Wuhan; a wild, violent city that is deemed the cradle of Chinese punk music. He started Womenjia Youth Autonomy Lab; a space operated in horizontal management without a leader, bordering on anarchistic; an equivalent of public ruins. I, on the other hand, grew up in Taipei, where there is an established system of art, and innumerable useless projects have been designed to gift-wrap the city. Delirium could be observed from the urban area to the suburbs; and it is unscrupulously called “a city of concept” according to the aesthetics of capitalism. 

 

因此,麥巔與我的對話,實際上來說是一種沈默野性。在2012年深秋武漢凜冽的空氣裡,在他的文章以及我的文章裡,在一位共同的友人對生命以及生活實驗的終結里,在solidarity的裂隙裡,在對義大利自主運動各自的理解裡,以及在不可能逆轉的中國、台灣生命、美學技術的畜牧業思想裡。這個沈默對話唯一的共同點,其實是從我們逃離,亦從逃離後的Exodus開始的。

Therefore, the dialogues between Mai and I were actually embodiment of silent wildness. They were in the chilly autumn air of Wuhan in 2012, in his and my articles, in the suicide of Chin in Dechang neighborhood in Hong Kong, in the cracks of solidarity, in the understanding of an Italian autonomy movement, in the irreversible lives in China and Taiwan as well as the thinking of cultivating aesthetic techniques as if it is an animal farming industry. The thing all these silent dialogues had in common was to escape from us, and it started after Exodus. 

 

我的工作,就是「記錄」下這場沉默。

My job was to “document” this silence.

〈造平面的工廠〉

〈Plane made in CHINA〉

高俊宏+麥巔 Jun-Honn KAO+Dian MAI

單頻道錄像 Single Channel Video

尺寸依場地而定,

Dimensions Variable,11min 16sec

2015

 

〈「我們必須射殺你」〉

〈“We Must Shoot You”〉

CCTV(China Central Television)、CCTV (Closed-circuit television) 以及國家

Collaborator:CCTV(China Central Television)、CCTV (Closed-circuit television) and country

單頻道錄像 Single Channel Video

尺寸依場地而定,

Dimensions Variable ,5min 6sec

2015

〈諸眾:東亞藝術佔領行動〉

〈Multitude: Art and Squat action in East Asia〉

高俊宏 Jun-Honn KAO

印刷品 Publication

2015


 

 

相關教育活動 Educational Programs

 

【梅爾汀論壇】

《台北場:對話作為方法》 http://goo.gl/EZXqKS

《加映場:新加坡記憶政治與台灣遺忘美學》http://goo.gl/kZlwQ9

 

【梅爾汀論壇-台北場:對話作為方法】

M.E.L.T.Ing Forum – Taipei: Dialogue as Method

 

論壇簡介│

「梅爾汀論壇」為「梅爾汀計畫-一年對話實踐:縫線、鬼故事、逃離」展演活動一部分。本展以「對話的欲望」與「對話的形式」作為兩個探討「對話」活動與觀念之核心,並以「一年對話實踐」遊戲規則邀請六位(組)藝術家參與。在實驗期程(2014年)結束後,我們提出「縫線、鬼故事、逃離」這三件事來探討、呈現對話的各種層次──欲望、情境、機制、規則、過程、產物等,並籌辦論壇,希冀以更多元的「對話形式」與「主題」碰觸,延展梅爾汀精神與可能之後續反應。

「對話作為方法」(5/17,台北當代藝術館)+「新加坡記憶政治與台灣失憶美學」(6/12,台北當代藝術館),從「梅爾汀計畫」之展呈與創作出發,透過對「一年對話實踐」之過程、遊戲規則、生產、揀選、困惑等面向的檢視與延展,來探討「對話」如何作為「方法」:從作為一種變動的關係、被動的抵抗,到一種深沈聆聽以及面對城市空間與筑居的思考。

 

*特定場次備中英文翻譯|Interpretation is available for Chinese and English in particular sessions. 

【梅爾汀論壇】報名請點:http://goo.gl/forms/jI4bZLOQqv