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我們必然相遇

張貼人:貓小編 / 發佈日期:2020-01-13

 

簡介

地點 venue:關渡美術館 KdMoFA G102
聯合開幕Opening reception:1/17(Fri.) 17:00
 
我們必然相遇
第一章:螢幕裡湧出許多帶著傷痕的人,他們對我視若無睹,與我擦身而過

WE ARE BOUND TO MEET
Chapter One: Many Wounded Walk Out of the Monitor, They Turn a Blind Eye and Brush Past Me
 
策展人:蔡家榛
藝術家:陳敬元、陳飛豪、鄭在妍、何尉民、全昭侹、曹良賓
 
Curator: Tsai Jia-Zhen
Artists: Chen Ching-Yuan, Chen Fei-Hao, Chung Jaeyeon, Ho Wei-Ming, Jun Sojung,Tsao Liang-Pi
 
文 text | 蔡家榛 Tsai Jia-Zhen
 
《我們必然相遇》展覽計畫訂了一個看似浪漫的展名,但其實意在處理並面對歷史造就的種種可見與不可見的傷痕。計畫中的主體不是我(個體、小我)與大他者相對的鏡像映照關係,而是「我們」:你是我,而我亦是/意識你,這我與你合稱的「我們」意圖指稱在歷史軸線上已然發生的所有人與事,以及要往未來走去的現在的一切。在事件不斷更迭的時代潮流中,唯有不將歷史視為我之外的他者,而試著以我與你是一體的狀態,才能觸及傷痕的本質、才能見到事件緣起的真實,才能一睹過去、現在、以至未來必然會發生的現實,所以與種種的過去相遇、與帶著時代傷痕的人們相遇、與政治歷史造成的創傷相遇,與「他們」成為「我們」。
 
自日本殖民開始,韓國與台灣在近代有著相似的歷史發展,因此《我們必然相遇》邀請韓國與台灣二地探究歷史議題的作品參展。本計畫的策展方法採取三部曲的方式,如章回小說般逐次呈現。本次展覽將呈現《我們必然相遇》計畫中序曲及第一章,以陳敬元 2011年的作品《Staggering Matter》為楔子,隱喻台韓二國在日本殖民時期,以至今日在新自由主義之下委為美中日俄政治博弈之棋子的處境。
 
第一章以「螢幕裡湧出許多帶著傷痕的人,他們對我視若無睹,與我擦身而過」為篇名,文句取自2015年猝逝的台灣藝評家江凌青的短篇小說《紙箱城市》,該篇為作者參與筆者2014年計畫所書寫的隱喻小說,以未能成真的愛情隱喻事未竟成的學生運動及大時代變局,如同韓國詩人金素月《招魂/초혼》或《杜鵑花/진달래꽃》詩中的文字,看似對愛情的惆悵之語,其實是感時傷懷的愛國之情。本章以此為名,並邀請與日本殖民歷史有關的作品參展,大時代早已遠去也已成歷史教科書上的篇章,但我們卻從未好好梳理時代鑄造在一代又一代人身上的傷痕及其傷痛情感,在國際政經情勢越發嚴峻的此刻,也是再次正視並思考傷痕的時候。
 
第一章的四件作品分為「在大歷史敘事線中被忽略的人」,以及「建築體背後的意識」二部分呈現,在「人」的部分展出陳飛豪與全昭侹的作品,陳飛豪透過研究羅發號事件中來台處理相關船難事宜的駐廈門美國外交官李仙得(Charles W. Le Gendre,1830-1899)的生平帶出日本、美國、韓國與台灣之間複雜的歷史糾葛。他以錄像的形式重構各種與此事件相關的歷史檔案,並以原住民排灣族的「回憶之歌」作為作品主幹,道出這段並非廣為人知,卻跨越台韓日美的歷史連結。全昭侹的作品則深究一位在日本殖民時期的韓國作家、詩人及建築師—李箱,他的作品代表對從殖民地、帝國時期到資本主義國家過渡時期的精明洞察,暗示藝術作為對藝術態度抵制的新可能性。
 
陳飛豪與全昭侹的作品呈現一組對應關係:時代與人性。陳飛豪作品提及的李仙得究竟見證了時代的波濤洶湧,還是煽風點火了另一個不安的時代?而李箱以藝術作為抵抗殘酷現實的前衛精神,能否為當代的我們指點逃離或抵制困頓現實的路徑?甚者,若說時代是人為之作,我們又該如何面對「我們」製造出的時代?如何從堅硬的石縫裡開出花朵?
 
至於殖民建築物體的部分將呈現鄭在妍於2018年發表的作品《遺忘的角落》,意欲回返記憶中的朝鮮總督府(1995年金泳三執政時期拆除),此「回返」與「重建」的舉動在韓國憤恨日本的情緒中不甚被理解,但藝術家試圖藉此探討面對殖民建築物的意識形態。曹良賓 2018年發表的攝影作品《想像之所》是近年針對台灣各地的忠烈祠採集、拍攝的影像蒐集計畫,透過影像光體的形式並置神社/忠烈祠的影像與文獻,藉此提供一個歷史脈絡上的思考:目前存在於台灣的忠烈祠遺跡,皆為沿用日本神社建築群改建或就地重建,而這二個曾經衝突的政治實體在神社/忠烈祠之間的繼承關係,見證台灣百年來因被殖民歷史而分斷的認同狀態。
 
鄭在妍的作品恰好與曹良賓的作品呈現相呼應的對話關係:透過承載各種政治意圖的建築物,以及不同政權加諸於它們的操作,除了能依此探討自身的認同議題,亦可從採取不同反應的他者身上,用另一個角度再次思考自己的問題。換言之,在日殖/日治建物的存廢議題上,映照出台韓二地在相同殖民政權框架裡,卻有迥異的認同、解殖、意識形態議題的反應與政治操作,而這也是最值得探討的地方:我們以什麼樣的意識形態面對、處理建築物?
 
預計探討台韓二地80年代國內運動的第二章:《回頭看著與螢幕相對的展場入口,剛入場的觀眾,以煙火在黑夜中爆開來的方式,燃燒了起來。火光照亮了周圍那些沈默沈默的臉》亦正在籌劃中,本次展覽將以何尉民的作品《Over My Dead Country》作為第二章的預告。
 
The exhibition title “WEAREBOUNDTOMEET” appears romantic, but intends to confront and treat the discernible and indiscernible wounds of historical trauma. The subject in this project is not the Self (individual, personal) against the Other, but a “we” that means you and I, while I am also conscious of you. This “we” refers to the people and events that have happened in a historical timeline, with everything in the present shifting into the future. In the tide of ever-changing events, only by understanding history as a unit of you and I, and not regarding it as other, can one begin to reach the essence of the wound, and see the truth of the event, and the truths of the past, present, and future. Only by encountering the past,facing the wounds of an era, and confronting traumas caused by political history, can “they” join us in becoming “we.”
 
As a consequence of Japanese colonization, Korea and Taiwan share similar historical experiences in modern times. Therefore, “WEAREBOUNDTOMEET” invites works that explore historical issues in Korea and Taiwan. This curatorial approach will take the form of a trilogy, presented successively, similar to the installments in a classical novel (noted here as Chapter One, Chapter Two and Chapter Three). The project showcases Chen Ching-Yuan’s filmic video“Staggering Matter” (2011) as the prologue and Chapter One of the trilogy, which alludes to the fact that Korea and Taiwan have been pawns in a political game between the USA, China, Japan and Russia from the period of Japanese colonialism to the neoliberalism of today.
 
Chapter Oneis entitled “Many Wounded Walk Out of the Monitor, They Turn a Blind Eye and Brush Past Me,” inspired by the short story “Carton-Box City” of Taiwanese art critic Val Ling-Ching Chiang who passed away suddenly in 2015. The short story was a metaphorical novel that Chiang wrote while participating in one of my projects in 2014, using unrequited love as an analogy for an unsuccessful student movement. Like the words in poems “calling out to the dead,” and the azaleas of Korean poet Kim So-Wol, words of despair and forlorn love, can actually be patriotic sentiments. This chapter will exhibit works related to Japanese colonial history, an era that although now a chapter in our history textbooks, is one which we have not yet been able to process the wounds and hurt that we have received from generation to generation. In a time when the international, political and economic situation is grim, it is important to confront and contemplate these wounds.
 
The four works in Chapter One is further divided into two sections: “Those Ignored in the Historical Narrative” and “The Consciousness Behind Buildings.” In the first section, Chen Fei-Hao’s work focuses on Charles W. Le Gendre (1830-1899), an American diplomat based in Xiamen, China, who was asked to intercede following The Rover Incident. Reconstructing various historical archives related to this event in the form of video, with the “Song of Reminiscence” of Taiwan’s indigenous Paiwan as its crux, the project will uncover historical connections between Japan, USA, Korea and Taiwan. Jun Sojung’s work examines writer and architect Yi Sang, and how his work represents a shrewd insight into the transitional period from the colonial period to a capitalistic state, hinting at new possibilities of art as resistance to artistic attitudes.
 
The works of Chen and Jun present a correlation: of an era and humanity. Was Le Gendre a witness of turbulent times, or was he responsible for igniting yet another trepid era? Can Yi Sang’s avant-garde spirit in using art as resistance against cruel reality, guide us in the path of escape and resistance? Furthermore, if the times are a product of mankind, how do we face the times created by “us”? How does a flower push through the cracks?
 
In understanding buildings as a symbol of colonial power, Chung Jaeyeon intends to return to the memory of Governor-General of Korea, which was demolished during the administration of President Kim Young-Sam in 1995, in her moving image work “Lost Corner.” This “return” and “reconstruction” is misconstrued in South Korea’s resentment towards Japan, but the artist attempts to unravel this through the identity politics of colonial buildings. The photographic works “Becoming/Taiwanese” in 2018 by Tsao Liang-Pin aim to document Chinese Martyrs’ Shrines, reconstructed from former Japanese Shinto shrines, and their relations to various communities and ethnicities in Taiwan. By juxtaposing the images and archives of the Japanese Shinto shrines and Chinese Martyrs’ Shrines, the artist provides a historical context for understanding: Two conflicting political entities and its inheritance, pay witness to the identity of Taiwan which has experienced over a century of colonization.
 
Chung’s work is in dialogue with Tsao: Through disparate, embodied political propaganda and the operations of various political regimes, buildings are sites of discussion for identity politics, eliciting different reactions from different perspectives. In other words, in the preservation and abolition of Japanese colonization/rule, Taiwan and Korea showcase contrasting identification, decolonization, ideological issues and political operations despite undergoing a similar framework of colonization, which is also the most worthwhile site of discussion: What ideology should we use in facing and understanding buildings and architecture?
 
Currently in progress, Chapter Two “Looking back at the exhibition entrance, opposite the screen, the entering viewer blazes like fireworks exploding in the night, with the glow of fire illuminating the surrounding silent faces” will attempt to explore modern protests and social movements in Taiwan and Korea in the 1980s, showcase Ho Wei-Ming’s video work “Over My Dead Country” as the trailer.
 


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