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「破碎的神聖」Shattered Sanctity

展覽名稱 Exhibit

「破碎的神聖」Shattered Sanctity

展覽時間 Date

2017/04/29-2017/06/11

展覽地點 Venue

台北當代藝術館 MOCA Studio

門票 Admission

免費 Free

策展人 Curator

賴依欣 Yi-Hsin Nicole Lai

參展藝術家 Artists

展期/地點/參展藝術家 Exhibition Period, Venues and Artists

|2017/04/29-2017/06/11|
台北當代藝術館 Museum of Contemporary Art, Taipei

克里斯.沈Chris Shen、邱承宏Chen-Hung Chiu、林仁達Jin-Da Lin、沈莘+ 梅.赫克Xin Shen + May Heek、黃思農+再拒劇團Snow Huang + Against Again Troupe

|2017/04/29-2017/06/04|
空總創新基地 TAF Innovation Base

曾伯豪Po-Hao Tseng、郭俞平Yu Ping Kuo、陳飛豪Fei-Hao Chen、張立人Li-Ren Chang、邱承宏 Chen-Hung Chiu

貼心小叮嚀 Note

開幕 Opening:2017/04/28

2.00pm, 台北當代藝術館 Museum of Contemporary Art, Taipei

4.30om, 空總創新基地 TAF Innovation Base 

策展論述 Curatorial Statement

「破碎的神聖」Shattered Sanctity

「破碎的神聖」為法國人類學家馬克‧歐傑在觀察巴黎地鐵時所談及的概念,指的是每個人對於場所/儀式/節慶的歷史參照,那些曾有過政治、社會文化和歷史意義的輝煌場域,因此生產某種歷史和國族認同的意識形態,如今這種集體意義的神聖,成為某種共同的歷史參照,或成為存在於個體身上的某些過去的碎片,其中所帶來集體意識的歷史感並不會那麼快消逝,但會逐漸失去詮釋它的能力。

"Shattered Sanctity" is a concept proposed by the French anthropologist, Marc Augé, stemming from his observation of the Paris metro. The concept refers to the idea that each person's historical reference of places, rituals, festivals, mainly the glorious sites that have once inhabited political, socio-cultural, and historical meanings, would produce a certain ideology of history and national identity. Today, such collective sanctity has become a shared historical reference or shattered fragments carried by individuals. The collective sense of history created by the shattered sanctity might not disappear very soon, but it will gradually lose the ability to interpret the collective sanctity. 

 

展覽「破碎的神聖」將此思考開展於臺灣特殊的歷史脈絡與場域的情境中,探討歷史空間、記憶、認同,以及其所遞衍的「破碎的神聖」與個體/集體的關係,並邀請藝術家從自身的環境、經驗與歷史出發,以臺灣的歷史建築與其產生的空間轉換作為創作思考的路徑,探索歷史空間場域和其所連動的政治、文化和個體之間的意涵與影響,思索個體與其破碎神聖的參照,而記憶和認同又如何在其中翻新重塑;進而,在面對歷史的同時,藝術又如何創造一個管道或撐開裂縫,探索記憶與認同的生成或消逝,並展現其所面對歷史的姿態與方法。

Shattered Sanctity applies this concept to Taiwan's unique historical context and situation of site, and explores historical space, memory, and identity as well as the derived "shattered sanctity" and the relationship between the individual and the collective. Artists are invited to look into their own environment, experience, and background, and use historical architecture and its spatial conversion as the theme of their creative work. Through this approach, they are encouraged to explore the historical sites and their implication and influence in terms of politics, culture, and individuals while contemplating on the reference between individuals and their shattered sanctity and how memory and identity are revised and reconstructed therein. Furthermore, the exhibition also explores how art, when dealing with history, creates a channel or expands the crevice to investigate the formation or disappearance of memory and identity while demonstrating its attitude and approach towards facing history.  

 

此次的展覽分別在台北當代藝術館和空總創新基地兩個場域展出,藉由兩個在藝術展演空間的場域特質和象徵意義上分別具有代表性的場地,透過藝術作品的回應與提問,展開對於「破碎的神聖」不同層面的思考和對話,有部分作品的觀展與體驗甚至延伸至日常的生活場域之中,進而探索多重的歷史場域、記憶、文化轉譯和集體/個體認同等問題。

The exhibition takes place at both the Museum of Contemporary Art and TAF Innovation Base. Using the two places, which are representative in terms of their exhibition characteristics and symbolic meanings, the exhibition aims to conduct thinking and dialogues on different levels regarding the "Shattered Sanctity" through questions and responses posed by the artworks. The viewing and experiencing of some of the artworks are further extended to the site of daily life, initiating an exploration of issues about the multi-layered historical sites, memory, cultural translation, and collective/individual identity. 

 

一、歷史空間的記憶和文化轉譯 Memory and Cultural Translation of Historical Space

「台北當代藝術館」建築空間在日治時期為主要供日本人就讀的建成小學校(僅有極少數的臺灣學生),在光復後成為市政府的辦公場地,並於2001年成為以當代藝術為主題的展覽館,在保留歷史建物的集體意義的同時,以藝術進行與社區的連結。在此,建築與空間場域產生的集體意識認同和歷史感,在歷史的閱讀中不斷地翻新,而記憶和遺忘也不斷地被來回重塑。此次特別針對當代館進行文件、歷史照片的蒐集和採訪影像拍攝,採訪影像一部分針對當代館修復建築師徐裕健、當代館展覽組專員許翼翔、文史研究者凌宗魁等進行訪談,勾勒出在不同時代中,由建築而形塑的空間角色所承載的功能,以及和常民之間的關係;二為在當代館成立之同年,「建成小學校校友會」於日本成立,兩個空間與組織延伸過去的歷史脈絡,在今日以平行時空的姿態於台灣和日本延展,藉由採訪的三位建成尋常小學校的校友及後代,拼湊出人與建成小學校在時代中流轉的記憶、際遇和關係。

During the Japanese rule period, the building of MOCA, Taipei was Kensei Shogakko, or Jian Cheng Elementary School, which was mainly open to Japanese children (only a handful of Taiwanese students were accepted). After Taiwan's retrocession, the building was appointed Taipei City Government's office building. In 2001, MOCA, Taipei was established at the site, preserving the collective meaning of the historical building while creating new connection with the community through art. In the museum, the identity of the collective consciousness and the sense of history produced in the space and architecture have been constantly renewed in the reading of history whereas memory and oblivion are continuously re-constructed. For this exhibition, archives and historical images as well as interviews regarding the museum are collected and conducted. Interviews with the architect who restored the museum architecture, Yu-Chien Hsu, the museum's exhibition department specialist, Yi-Hsiang Hsu, and the history expert, Tzung-Kuei Lin, delineate the functions of the space as well as its relationship with the public molded by the architecture throughout different periods. Another series of interviews focuses on the Jian Cheng Elementary School Alumni, which has been founded in the same year as the museum. The space and the organization have extended the historical context, which is continued in a parallel manner in Taiwan and Japan. Through interviewing three alumni of Jian Cheng Elementary School and their descendants, the exhibition aims to put together a picture of the changing memories, encounters, and relationships between people and the elementary school. 

 

在此展出的作品包含克里斯・沈(Chris Shen)的《Rastrum》,一組即時傳送影像的攝影裝置,來回捕捉當代館外部環境與室內空間中人的流動,在影像的疊合與轉換中產生大量的噪點使得畫面逐漸模糊,呈現空間記憶與歷史感的消逝。邱承宏的作品《植栽》,藉由植物影子浮雕和燈具表現了空間/建築在被廢棄或轉換後,其原有的物件、記憶或生活等,將會像影子般的刻印或轉渡為另一意象的空間情境。此次作品連結當代館和空總創新基地展出,透過影子雕刻扮演一種穿越時空和空間轉化的想像,也將兩地作為歷史場域的轉化使用進而產生連結,將時間和歷史留駐於空間中。

Chris Shen's Rastrum is a video installation that transmits live video feeds, capturing MOCA, Taipei's outdoor environment and its indoor ebb and flow of people. The overlapping and conversion of images create much noise that gradually blurs the image, symbolizing the disappearing spatial memory and the sense of history. Chen-Hung Chiu's work, Plants, employs a plant's shadow relief and lighting to portray the space and situation, in which objects, memories, and life of an abandoned or converted space/architecture has been transformed into a different image reminiscent of a shadow. The work is on view at both MOCA, Taipei and TAF Innovation Base, enacting the imagination of traversing time and converting space through the shadow relief. It also connects the venues, which are both converted from historical sites, encapsulating time and history in the space. 


 

沈莘和梅・赫克(May Heek)的《風景心境》將臺灣日治時期作家西川滿作品中的文字作為彩色凝膠的負空間,通過照明建築空間中產生照映,光的反射和吸收暗示著西川滿作品中強而有力地和任意地出現的閃耀光芒或燃燒顏色,通過光和文字空間印記的翻譯過程而實現。林仁達的《一座公立水族館的調查報告》則是依循著一份1981年高雄某座公立水族館的調查報告而展開,他透過這本小冊子親身走過這棟已成廢墟的水族館,作品由「影壁」、「酒」和「調查報告」三個部分組成,轉述了隱蔽於歷史的生命、物品、場所、藝術、事件與作者,而他將水族館的經驗與身體感重新寫成一篇文字,放在展場鄰近的小酒館中,邀請民眾至酒館坐下閱讀。黃思農與再拒劇團的《其境他方》以電話機為串連演出的主要場景,在臺北現代化交通運輸與歷史街道中,揭露隱藏著的如夢般的記憶,如何在言說中被標記、置換,甚而取代和建構我們的生活日常。

In Scenery and Mood, Xin Shen and May Heek use excerpts of Nishikawa Mitsuru’s writing in original Japanese text function as the negative space on colour gels, to be reflected through lightings onto the surfaces of the architectural space in MOCA, Taipei. The reflection and absorption of light allude to the depictions of the blazing light or flaming colours, where they appear in Nishikawa’s writings forcefully and arbitrarily. The work is realised through the process of translation through spatial imprints of light and text. Jin-Da Lin's A Report on the Public Aquarium is developed following a 1981 report to a public aquarium in Kaohsiung. The artist has followed this booklet and personally visited this abandoned aquarium. The work is consisted of three parts, "Shadow Wall," "Wine," and "Report," recounting the life, objects, places, art, events, and authors hidden in the history. Lin also writes an article about his experiences in the aquarium, along with descriptions of the physical sensation he felt there. The article is placed in a bistro near the exhibition venue. He invites audience to sit down in the bistro and read his writing. Snow Huang and Against Again Troup present Here and Elsewhere, using a telephone to connect all the main scenes of the work. Amidst the modern transportation network and the historical streets of Taipei, the work reveals the hidden, dream-like memories as well as how they have been marked and replaced in spoken words to the point of substituting and constructing our daily life. 

二、政治空間的國家權力與個人的生命政治 National Power and Personal Biopolitics in Political Space

「空總創新基地」在日治時期為臺灣總督府工業研究所,二戰後則由空軍總司令部進駐,在2012年搬遷後,2015年空總舊址全區保留現狀,作為跨世代和跨領域活動展演與進駐的創新基地。身為一座國家的研發與軍用場域,空總創新基地雖位於城市的核心地區,在過去卻與城市人民生活毫無交集,居民對於其所產生的歷史記憶則在於總體的軍事想像。在展覽「破碎的神聖」所開展的討論中,在此展出的作品思索國家政治、知識權力如何在個體的身上產生破碎化的身份認同,以及錯譯的可能,並探討歷史的知識權力與建構,又是如何被認知、述說和討論。陳飛豪、郭俞平和曾伯豪皆從自身歷史和自身家族的觀點展開討論。

The TAF Innovation Base used to be the Industrial Research Institute of Taiwan Governor-General's Office during the Japanese rule period. After WWII, the Air Force Command Headquarter moved in; and after it was relocated in 2012, the entire site was preserved in 2015 and transformed into the innovation base for intergenerational and interdisciplinary events and exhibitions. As a national research and military facility, the TAF Innovation Base sits in the center of the city. However, it used to be severed from the city and people's life as local residents' historical memory of the place is mostly restricted to its overall military background. In the discussion initiated by Shattered Sanctity, the featured artworks reflect upon the question of how national politics and knowledge power have produced fragmented individual identity and the possibility of misinterpretation. It also explores the knowledge power of history, its construction, and how it is perceived, expressed and discussed. Fei-Hao Chen, Yu-Ping Kuo, and Po-Hao Tseng respectively discuss these issues from their own perspectives and in terms of their family history.

 

曾伯豪的《日日新》以維繫家中經濟的市場攤位「日日新素食」進行微型的表演計畫,對父母展開一系列個人生命史的書、影訪談,同時轉寫一篇比對家族遷徙與台灣政經大世紀的文章,最後在具有國族虛構敘事的紀念碑前進行錄像回應,整體作品對個人和家族關係、個人和國族認同進行「從何而來的」的追問。郭俞平的《為誰而戰》延續過去作品不斷探詢家族與國家,集體意識的真實感與社會、政治、經濟等關係,此次以弟弟作為職業軍人為主軸思考,藉由演員的身體演繹和信件的內容書寫,反向地詮釋出超越身體規訓的自由與意志,展現生產性的反背向面。

Po-Hao Tseng's Daily Renovation is a micro-performance about his family's market stall, Ri Ri Xin Vegetarian Shop, which has been the source of income for his family. The work is a series of writings and interviews about his parents' life and personal history. Meanwhile, he has also written an article that compares and juxtaposes the migration of his family and the historical political and economic events in Taiwan. Finally, he creates a video response of himself standing in front of a monument that embodies the fictional national narrative, rendering the entire work an interrogation of the origin of the relationship between individual and family as well as individual and national identity. Yu-Ping Kuo's For Whom We Fight continues her investigation into family and nation as well as the relations between the realness of the collective consciousness and society, politics, and economy. She bases this work on her brother, who is a career soldier, and uses the actor's physical performance and the content and writing of letters to interpret in reverse the freedom and will that transcend the disciplined body, demonstrating the other side of productivity. 

 

陳飛豪的《太平洋戰爭、建功神社與家族史翻譯文件》將家族史重置於二戰臺灣為太平洋戰區的歷史脈絡當中重新檢視當代以中華民族為主體的臺灣史論述,以「私人記憶與公共記憶」和「私人記憶與政權更迭下的落差」為重點探討臺灣國族認同的「斷裂」。而張立人的《戰鬥之城》為一個2010年開始、建構在個人力量與想像所展開的作品計畫。他以一個個人的身份和規模建造了一座城市的模型,並拍攝一系列的動畫影片,其中所流變的旅程和角色的故事,如同一個現世的幻影,不斷出現集體意志與個人的不對稱衝突,國家、軍隊、媒體、學校…等,觀者在觀看這座城市的時候,其實就是在觀看臺灣人自身的生命政治。

Fei-Hao Chen’s work The Pacific War, Kenkou Shrine and Family Documents in Translation re-contextualizes his family history within the historical context of Taiwan as part of the Pacific Ocean theater during World War II, and re-examines the discourse of Taiwanese history, which is based primarily on the Chinese race. His work addresses the issues of "personal memory as public memory" and "the disparities between personal memory and the changes of political regimes," and discusses the "break" of Taiwan's national identity. Begun in 2010, Li-Ren Chang's Battle City is a project based on personal strength and imagination. As a one-man team, he has built a model of a city and created a series of animations. The depicted journeys and characters' stories seemingly present a shadow image of this world, along with constant asymmetrical conflicts between the collective will and individuals, nation, army, media, school, etc. As viewers watch the city, they are indeed watching the biopolitics of the Taiwanese people.  

參展藝術家 About the Artists

策展人 Curator

賴依欣 Yi-Hsin Nicole Lai

 

參展藝術家 Artist

|2017/04/29-2017/06/11|
台北當代藝術館 Museum of Contemporary Art, Taipei

克里斯.沈Chris Shen、邱承宏Chen-Hung Chiu、林仁達Jin-Da Lin、沈莘+ 梅.赫克Xin Shen + May Heek、黃思農+再拒劇團Snow Huang + Against Again Troupe 

|2017/04/29-2017/06/04|
空總創新基地 TAF Innovation Base

曾伯豪Po-Hao Tseng、郭俞平Yu Ping Kuo、陳飛豪Fei-Hao Chen、張立人Li-Ren Chang、邱承宏 Chen-Hung Chiu

作品介紹 About the Artworks


相關教育活動 Educational Programs

MOCA Studio「破碎的神聖」創作座談

講座時間:2017/04/30 Sun.14:00-16:00

講座地點:台北當代藝術館 一樓活動大廳

主       講:賴依欣/策展人

林仁達、邱承宏、沈莘+May Heek、Chris Shen、黃思農、曾伯豪、郭俞平、邱承宏、張立人、陳飛豪/參展藝術家

簡      介:

【破碎的神聖】引用法國人類學家Marc Augé在觀察巴黎地鐵時所談及的概念,為紀念那些曾有過政治、社會文化和歷史意義的輝煌場域,因而命名成為集體意義的神聖及某種共同的歷史參照,或成為存在於個體身上的某些過去的碎片,其中所帶來集體意識的歷史感並不會那麼快消逝,但會逐漸失去詮釋它的能力。

展覽將此思考開展於台灣特殊的歷史脈絡與場域的情境中,探討歷史空間、記憶、認同,以及其所遞衍的「破碎的神聖」與個體/集體的關係。分別在台北當代館和空總創新基地兩個場域展出,藉由兩個在藝術展演空間的場域特質和象徵意義上分別具有代表性的場地,透過藝術作品的回應與提問,展開對於「破碎的神聖」不同層面的思考和對話!講座將邀請展覽策展人賴依欣及參展藝術家們,一同暢談本次展覽作品,歡迎報名參加。

活動頁面:https://goo.gl/1z29ZH

報名網頁:https://goo.gl/forms/XxLVsCkzwP8noGI62

備       註:免費入場參加,請事先至當代館官網預約報名。

 


MOCA Studio「破碎的神聖」專家導覽小旅行

講座時間:2017/05/21 Sun. 13:30-16:30

集合地點:台北當代藝術館 一樓活動大廳

活動路線:當代館「破碎的神聖」作品導覽→
                  當代館《相關文史介紹》
                  空總創新基地破碎的神聖」作品導覽

主       講:賴依欣/策展人、凌宗魁/建築史與文化資產研究工作者

簡      介:

「破碎的神聖」展覽將此思考開展於台灣特殊的歷史脈絡與場域的情境中,探討歷史空間、記憶、認同,以及其所遞衍的「破碎的神聖」與個體/集體的關係。分別在台北當代館和空總創新基地兩個場域展出,藉由兩個在藝術展演空間的場域特質和象徵意義上分別具有代表性的場地,透過藝術作品的回應與提問,展開對於「破碎的神聖」不同層面的思考和對話!活動將邀請展覽策展人賴依欣及建築史與文化資產研究工作者凌宗魁,一同暢談本次展覽作品及當代館相關文史,歡迎報名參加。

活動頁面:https://goo.gl/qSZ6S2

報名網頁:https://goo.gl/forms/1jXGqFxUDQdVYD7f2

備       註:免費入場參加,請事先至當代館官網預約報名。

 


MOCA Studio「破碎的神聖」漫遊者劇場《其境/他方》

活動時間:2017/5/30-6/10(星期日、星期一休息,每日12:30)

集合地點台北當代藝術館一樓服務台

藝術團隊黃思農+再拒劇團

簡      介:

迷走在憂鬱、推理、憤怒與宿醉間的聲音劇場,錯位的時空帶我們進入龍蛇雜處的萬華。九〇年代的失蹤少年,被監禁的殺人犯,解籤問事的婦人,故事從捷運電話亭的一通電話開始,劇情在販夫走卒間鋪展開來。墜入遺忘與記憶的語言文字裡,看見庶民生活中混亂卻迷人的場景。

《其境/他方》是藝術家黃思農從去年再拒劇團公寓聯展,開啟的漫遊者劇場計劃之萬華第二部曲,觀眾循著地圖與路線指引,在實存城市地景與虛構聲響文本交織中,獨自踏上一個無人劇場的聲音旅程。

活動頁面:https://goo.gl/ltTXjb

報名網頁:https://goo.gl/4ybSYp

備       註:*活動免費參加,請事先至當代館官網預約報名。