2021
1.30 SAT.
SUN.
3.14
若水 如火
駁二藝術特區 大勇區P3倉庫 一個關於行動的展覽
有聲
Be Water, Be Fire, Be a Voice: Actions in the Everyday Ordinary
「所有的政治都是爭論，權力就在於解決紛爭、恢復秩序；政治相同之處不過是如此。不 同的是，爭論的本質或恢復秩序的方式。」
──人類學家克利弗德‧紀爾茲， 《後事實追尋：兩個國家、四個十年、一位人類學家》
①
在追求自由民主的道路上，青年們如何選擇、作出判斷，並以自身創作表達、以行動實踐價值？ 過去兩年間，全球最關注的抗爭現場是香港。我們看見香港青年在煙霧彈中遮面蹲低再 無懼地躍起，爭取他們渴求的民主自由。香港反對《逃犯條例修訂草案》運動起始於 2019 年 3 月、爆發於 2019 年 6 月，面對日漸無情的極權之手，運動仍未停歇。
在這場運動將屆滿兩周年、港版國安法過關逾半年的今時今刻，駁二藝術特區舉辦〈若
水，如火，有聲：一個關於行動的展覽〉，主題亦從香港抗爭精神定調：be water、be fire，以及 be a voice，以行動發聲。
本展集結攝影、插畫、漫畫、雕塑、平面設計、獨立小誌、書籍出版等逾百件作品，調 度了 2020 年三檔關注香港議題的展覽作品元素，包括〈反抗的畫筆：香港反送中運動週
年圖像展〉、〈穿石 Surmount / 香港騷動年代—抗志〉以及〈時代之火：2020 台灣新聞攝 影大賽得獎作品展〉等，試圖重新閱讀並開啟下一個敘事路徑：
長達 40 公尺的抗爭現場布條及大小雕塑作品，來自香港邊城青年主辦的展覽〈穿石 Surmount〉。不同年齡的青年們在抗爭當下的回應，讓集體創作成為運動的共同見證， 持續鼓舞更多的行動力量，也讓記憶得以延續。
分區「鏡頭的凝視」，源於台灣新聞攝影協會舉辦的年度攝影大賽得獎作品。媒體記者 的即時記錄，為時代留下證據、抵抗遺忘，揭露國家機器、掌權者的私心與暴行。分區
「反抗的畫筆」則呈現插畫、漫畫、海報設計等多種平面創作，各匿名創作者積極且靈 活運用網路管道，回應亦參與抗爭運動，以自身創作起而行動。
各展使用媒材與創作手法看似歧異有別，但關懷旨趣實為殊途同歸。 歷史在動態發展之中，當過去成為此刻，我們仍身處捍衛人權價值的進程。分區「我們 皆在場」陳列多種出版品，文字與圖像訴說著前人的奮鬥身影，也詰問我們：我們將留 下什麼給未來的青年？
展覽作為與觀者溝通的介面，尤甚者，公共領域的討論如何可能？直到開幕前，我們仍思 索著如何面對這日益險峻的動態事實。
我們不闊談漢娜‧鄂蘭揭櫫以「行動 (action)」介入公共政治、實現自由，或回顧哈伯瑪
斯評論公共領域的結構轉型；也無意重提塞杜倡議日常生活中諸多如同戰術般的實踐， 或艾瑞克‧萊特對於真實烏托邦的想像與行動方案。
是每一個人的生命、肉身，賦予這些作品力量。儘管展覽本身無可避免地是對那些已發 生的再現，但我們仍相信它具有基進作用：
歷史川流不息，無人其外；我們沒有失去聲音，我們都在我們這個時代之中。
“All politics is quarrel, and power is the ordering such quarrel sorts out: that much is general. What is not general is the nature of the quarrel or the shape of the ordering.” ── Clifford Geertz. After the Fact: Two Countries, Four Decades, One Anthropologist.
②
In quest of freedom and democracy, how do the younger generations make a choice or judgement? How do they let their voices be heard through their art works and embody values in their actions? Over the past two years, Hong Kong has been the protest site receiving the most global attention. We have seen how young people attacked by tear gas squatted down and covered their faces in pain, and then, without fear at all, jumped to their feet and kept fighting for democracy and freedom. The Anti-Extradition Law Amendment Bill Movement (the Anti-ELAB Movement) began in March of 2019 and erupted in June of the same year. In the face of the ever-tightening totalitarian grip, Hongkongers are still keeping up resistance.
When the movement is about to enter its third year and it's been over half a year since the passing of the Law of the People's Republic of China on Safeguarding National Security in the Hong Kong Special Administrative Region (the Hong Kong national security), this exhibition, titled "Be Water, Be Fire, Be a Voice: Actions in the Everyday Ordinary," is blessed to take place here at the Pier-2 Art Center. The theme is set in accord with the resistant spirit in Hong Kong─ Be water, be fire, be a voice (speak out or act out). With more than 100 works ranging from photography, illustration, comics, sculpture and graphic design to mini-zines and publications, this exhibition borrows elements from three exhibitions in 2020 that were centered around Hong Kong's issues, including the "Brushes of Resistance – One-Year Anniversary Exhibition of Imagery from the Hong Kong Anti-ELAB Movement," "Surmount – Widening Whirl Of Our Times," and "2020 Taiwan Press Photo Exhibition," in an attempt to re-interpret the meanings being conveyed and lay out a new path of narrative: The 40-meter protest banner raised up in the Anti-ELAB Movement and sculptures of various sizes are courtesy of the Surmount exhibition held by the Hong Kong Outlanders. Through this collective creation, youths of different ages aspire to voice their outcries, bear witness to the movement, inspire more action, and preserve collective memories. The exhibits in the "Gaze through the Lens" area are winners of the annual Taiwan Press Photograph Contest organized by the Taiwan Press Photographer Association and demonstrate how journalists gather evidence that reflects the times, resists forgetting, and discloses the selfishness and violence of the state apparatus and those with power. In the "Brushes of Resistance" area, there is a wide array of graphic works from illustrators, comic book artists, poster designers, etc. Anonymous creators proactively and flexibly used the Internet and spread their works as a way to respond to and take part in the movement. While these exhibition areas let us see different creative media and methods, the themes show the same care and concerns. History happens constantly, and we bring back the past to remind everyone that more efforts are to be made to safeguard and promote human rights. The "Dasein: We Are Here and Now" area showcases various publications whose texts and images tell of the endeavors of the forerunners and also ask us what legacy we will leave for the future generations. Exhibitions can serve as an interface to communicate with viewers. How are we to make possible the discussion of public issues? Before the opening of this exhibition, we were still reflecting on how to face the ever-shrinking space for public voices. We don't have a wide-ranging discussion on Hannah Arendt's actualization of freedom through action in the spaces of public politics or look back on Habermas's structural transformation of the public sphere. We don't reiterate Michel de Certeau's definition of tactics as the many defensive practices in everyday life or Erik Olin Wright's envisioning of real utopias and action to make utopias real. It was the sacrifice of lives and the physical struggle against oppression that endow the exhibits with inspirational power. Although the exhibition is a representation of the past, we believe that it can serve to encourage radical action: History is becoming, not being, and no one is an outsider. We can still speak out loud; we are all part of our times.
無題｜那年，如水 UNTITLED: THAT YEAR, BE WATER 作品提供｜香港邊城青年 Supported by the Hong Kong Outlanders
③
凝志克難，若水穿石。這塊超巨型布條，曾在香港反送中早期出現於多場集會遊行現場， 收集民眾的簽名、塗畫與字句，如今座落臺灣島嶼，續行向世界宣傳的使命。
One day, the mountains will be cut by the frost, and a new world will be born. This large banner appeared in multiple rallies in earlier anti-ELAB struggles. Carrying the names, doodles, and words of Hong Kong citizens, the banner was positioned in the island of Taiwan, enduring its fate of dissemination.
其他作品 OTHER FEATURING WORKS 「我們」：反抗者群像，手足、絲打、2M+1
④
「我們」，是反送中運動裡抗爭義士與受傷港人的群像。在世界的凝視中，「香港議題」不
應僅關乎宏觀、局勢、制度與利益，而遺忘那些承受壓力與威脅的抗爭者，他們都是有 血有肉的人。
“Us” : Portrait of the Revolters, Siblings, Si-Dah, and 2M+1
“Us,” the portrait of chivalrous protestors and wounded HongKongers in anti-ELAB. Under the gaze of the world, “the Hong Kong issue” shall not be about macroscopic geopolitics, systems and interests alone. Shall not repudiate those people who bear pressure and threats, those who are real and alive.
香港民主女神像
⑤
香港處於躁動世代，面對極權入侵，任何藝術與雕像，或許不能立刻改變現實之艱難， 但艱難不表示就要放棄。不是因為黎明將至才決定持續抗爭，而是因為決志持續抗爭， 黎明才會來到。
The Statue of Lady Liberty of Hong Kong
Hong Kong is in the era of turmoil. In the face of invading tyranny, all forms of art and statues might not be able to alter the harsh reality. Yet however harsh it is, we must go forward. We continue the fight not because the dawn is near but to bring upon the dawn.
⑥ 鏡頭的凝視 GAZE THROUGH THE LENS 策劃｜莊坤儒 Curated by Kent CHUANG
台灣新聞攝影大賽迄今已舉辦 13 年，每一年的得獎作品，都深刻地表現當年的新聞事件。
我們挑選了近年來對於民主制度影響最深的兩個事件：318 太陽花學運，以及香港反送
中運動新聞事件。透過攝影師的鏡頭，感受人民是用什麼樣的心情面對無比巨大的國家 機器（試圖加諸於民眾的暴力）。
紀實攝影有著刻畫歷史的能力，不論是從什麼角度出發，事件本身都有主觀與客觀呈現
的問題。身為媒體記者，總是恪遵不造假的前提，紀錄下眼前發生的一切。但是，在掌 權者眼裡，他們的暴行是不希望被照相機給記錄下來的。我們幸運生在臺灣這個時代， 新聞自由是前人流血爭取而來，不需要擔心被消失。但是對岸的香港在反送中事件裡，
我們看著一個又一個劇烈衝突發生，似乎沒有和解的一天，就連攝影記者都要被無情的 辣椒水攻擊。
民主，是人類社會發展已久的一種管理制度，在此我們不細究民主的定義，但是身在民 主自由的臺灣，我們可以深刻感受：民主雖然不盡完美，但是它卻是目前為止能夠維護
各個階層民眾的權利，較為平等的方式；當獨裁者想盡辦法打壓大眾的怒吼，我們的神 經能夠敏銳地發現徵兆，進而獲取公正客觀的資訊。這也是本次展覽希望帶給大家：靜 靜地感受如水的思緒、如火的熱血、以及那些堅定的眼眸。
The year 2020 marked the 14 th year since the Taiwan Press Photograph Contest was first launched, and each year's award-winning works offer a frank look at major news and events. This exhibition focuses on two events that have influenced democracy profoundly in recent years: Sunflower Movement in Taiwan and Anti-Extradition Law Amendment Bill Movement in Hong Kong. Gaze through the lens and feel how people face (the attempted violence of) the vast state apparatus. Documentary photography can chronicle history, even if the concern of whether the perspective is objective enough may seem unresolved. Journalists always truthfully record what's happening before their eyes. However, no one with political power would expect their violent action, if any, to be captured by the camera. In a time like this, we are fortunate to live in Taiwan, where press freedom was won with bloodshed and nobody has to be worried about enforced disappearance. Yet, we see that in Hong Kong, which is under Chinese rule, conflicts arise one after another with no peace in sight. Even photojournalists are subject to relentless attacks of pepper spray. Democracy is a long-evolving governing system. We are not going to review the definition of democracy here; yet, living in the free and democratic Taiwan, we deeply understand that although democracy is not perfect, it has so far been a relatively fair way to safeguard the rights of all social classes. This explains why when a dictator stops at nothing to suppress public outrage, we can easily sense it and try to get unbiased, objective information. This explains why this exhibition hopes everyone can quietly feel the "water-like thoughts," "fiery enthusiasm," and "firm look in the eyes."
反抗的畫筆 ⑦
BRUSHES OF RESISTANCE 策劃｜陳怡靜 Curated by Jean CHEN
YELLOW OB
JECTS
2019 年 6 月，百萬名港人、二百萬名港人走上街頭，一波又一波的黑潮像流水，抗爭行
動在香港遍地開花，引發國際社會關注。相較於 2014 年的雨傘運動，反送中運動沒有
大台（領導者），抗爭者多是匿名、口罩遮面，行動如水，可以快速集結、也可以快速散 去，視情況與環境改變行動方式。網路成為這場運動的水路，難以計數的圖像藝術透過
Telegram、連登、IG、FB 等工具傳播，包括行動號召、記錄事件、抒發情緒、期盼未 來、鼓舞療癒等等不同類別的作品，緊密串連起參與者。
視覺藝術作品像是戰地裡開出的花朵，連儂牆也從便利貼、圖像牆，進化到巨幅海報，
整個香港彷彿成為街頭藝廊。我們邀請港台創作者展出漫畫、插畫、平面設計、雕塑等 創作，透過這些作品，我們得以窺見藝術家如何以創作投入文化行動，又留下些什麼讓 世界回望仍在抗爭中的香港。
2020 年 6 月，港版國安法在中國人大過關後，彷若無形的噤聲令，大量抗爭圖像被網路 檢舉下架，亦有藝術家顧及人身安全而不再畫抗爭圖像。2021 年 1 月 6 日，就在本展覽
籌備之時，香港政府再行大規模逮捕逾 50 位曾參與 2019 年泛民主派區議員初選的政治
參與者，再度引發寒蟬效應。
於是，我們有些展品是空白的，它們不是不存在，它們是曾經存在，原本也會在這裡， 但當「有聲」被迫「無聲」，它們也只能被消失了，如同現在的香港。
In 2019, Hong Kong saw the large-scale Anti-Extradition Law Amendment Bill Movement. In June of the same year, one million or even two million Hongkongers took to the streets. Wave after wave of protests flowed far and wide, attracting global attention. Unlike the Umbrella Movement in 2014, the Anti-ELAB Movement had no leaders; most protesters were anonymous, wore a mask, and acted like water (be water) as they gathered and dispersed quickly and changed their actions according to the situation and circumstances. The Internet became the main arteries for the movement. Innumerable images were spread through Telegram, LIHKG, Instagram, Facebook, and other platforms. Calling for action, recording events, expressing moods, looking to the future, encouraging one another, and so on, these images were diverse in theme and connected people in the movement. Visual art works were like flowers blooming all over the battlefield. With its Lennon Walls, sticky notes, image walls, and huge posters, Hong Kong seemed to have become an open-air art gallery. We invite creators from Taiwan and Hong Kong to present their works of comics, illustration, graphic design, and sculpture in order to take a glimpse into how the artists have engaged in cultural activism and what they have left behind for the rest of the world when looking at Hong Kong, where the Anti-ELAB Movement is still in process. Please excuse us to say that after its passage by the National People's Congress (NPC) of the People's Republic of China in June of 2020, the Hong Kong national security law has indeed silenced voices, censored and removed online protest images, and stopped some artists from creating activist visual works for safety's concern. On January 6th, 2021, when we were still preparing for this exhibition, the Hong Kong government arrested over 50 pan-democrats who participated in primaries ahead of legislative elections in September of 2019. This, again, created a chilling effect. So, some of the exhibits are absent. They have once existed and would otherwise be showcased here. Yet, due to the jeopardized freedom of speech, they were forced to disappear, as have been many people in today's Hong Kong.
我們皆在場 ⑧ DASEIN: WE ARE HERE AND NOW 策劃｜楊舒婷 Coordinated by Su-Ting YANG
每個國家及城市都被捲入比它們自身所展現的、更為複雜且寬廣的脈絡之中，香港如此， 高雄亦如是。 「歷史」不只停留在過去，而存在每一個被談論、閱讀、思辨和實踐的當下。
透過老照片、圖像、文字、踏查與對話，那些在此刻不在場或缺席的人事物景，又重新 與此刻的我們成為共同的在場。「我們」不在他方，此時此地就是現場。
Every country and city changes in a more complex, and broader, context than is defined by its territory. Hong Kong is a living example; so is Kaohsiung. History is more than a thing of the past; it is present whenever something is discussed, read, thought, and practiced. Through old photos, images, texts, surveys and dialogues, those people, things, and landscapes that are physically absent become present again; they are here with us. And, "we" are not in other places; we are where we are and can make a difference here and now.
策展人導覽：2021 年 2 月 6 日 15:00-16:00 Curators Guide: 3-4 p.m., February 6th, 2021
⑨
⑩
「印起來硬起來」絹印工作坊 2021 年 2 月 13 日至 14 日 14:00-18:00 “PrintAndWinTaiwanHongKong” Workshops 2-6 p.m., February 13th – 14th, 2021
⑪
「催淚彈中，睜眼記錄──香港反送中運動觀察與國安法後的港人離散」 2021 年 3 月 6 日 15:00-17:00 講者：李雪莉（《報導者》總編輯、2021 台北國際大獎編輯獎首獎得主） 曹馥年（《報導者》記者）、楊智強（《報導者》記者）、陳怡靜（自由撰稿人）
“Blurred Vision in Tear Gas, Clear View through the Lens: Stories of the Anti-ELAB Movement & Diaspora of Hongkongers under the National Security Law” 3-5 p.m., March 6th, 2021 Speakers: Sherry LIN (editor in chief of the Reporter, winner of 2021 TIBE Book Prize in editorship category), Fu-Nien TSAO (journalist of the Reporter), Willy YANG (journalist of the Reporter), Jean CHEN (freelance journalist)
「影像與社會運動的反思」 2021 年 3 月 7 日 15:00-17:00 講者：黃子明（影像工作者）、陳佳琦（攝影史研究者） 莊坤儒（台灣新聞攝影協會理事長） "Reflections on Photography and Social Movement" 3-5 p.m., March 7th, 2021 Speakers: Tzu-Ming HUANG (image worker), Chia-Chi CHEN (photography researcher), Kent CHUANG (managing director of Taiwan Press Photographer Association)
⑫
觀展指南 WHAT TO KNOW
Q1
為什麼會出現 長達 40 公尺的布條？ Why is there the 40-meter banner?
Ans:
Q2
有關表達： 在展場看到了多少種「發聲」方式？ Something about expression: how many ways of voicing opinions have you seen in the exhibition?
Ans:
Q3
關於照片： 相同的照片，為什麼掌權者會解讀為暴民， 而不是挺身而出追尋自由的鬥士？ Something about photo: why are people in some photos seen as a mob by those with power but as fighters for freedom by others?
Ans:
Q4 Ans:
為什麼有些作品不在現場？ 空白的畫面說了什麼？ Why are some exhibits absent? What do the blank screens mean?
若水 如火 有聲
Be Water, Be Fire, Be a Voice: Actions in the Everyday Ordinary
展期｜2021 年 1 月 30 日至 3 月 14 日 (2 月 11 日除夕休館 )
Date｜January 30th – March 14th, 2021 (not open on February 11th)
開放時間｜週一至週四 10:00-18:00；週五至週日及國定假日 10:00-20:00 Opening Hours｜Monday – Thursday 10:00-18:00
Friday – Sunday and National Holidays 10:00-20:00 展場｜駁二藝術特區大勇區 P3 倉庫
Venue｜P3 Warehouse, Dayong Area, the Pier-2 Art Center 入場方式｜免票、自由參觀 Admission｜Free 主辦單位｜ 協辦單位｜
展覽策畫｜陳怡靜、莊坤儒、楊舒婷
Curation Team｜Jean CHEN, Kent CHUANG, Su-Ting YANG 視覺設計｜尤洞豆
Visual Designer｜DONGDOU (Beanincave) Exhibition Designer and Coordinator｜U.U Design 指定輸出｜
質印─數位微噴輸出
Official Print Partner｜Qualissence 翻譯｜韓世曦
Translator: Shih-Hsi HAN
一個關於 行動的展覽
展場設計及統籌｜有用設計