媒體大哼．倪再沁 Mediaholic-Arts of Ni Tsai Chin

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展覽簡介 Introduction 文：石瑞仁

By J.J. Shih

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倪再沁是台灣少數完全跨領域的藝術家，從文學、美學、

倪再沁的創作類型多元，從東方水墨到西方油畫、從平

藝術史、藝術創作、藝術行政到藝術教育，幾乎與藝術文化相關的

面圖像到立體雕塑與空間裝置，連同去框跨界的觀念藝術、環境

領域，他都有長期而深入的涉獵，且各有其獨到的見解與做法；台

藝術、行為藝術、互動藝術等，都在他的運用之列。本次展出內

北當代藝術館2010-11的跨年大展【媒體大哼－倪再沁特展】，是開

容，除概括其素為人知的「報紙系列」、「怪談系列」、「選舉系

館十年來首度以全館規模呈現的台灣當代藝術家個展，本展除了總

列」、「水墨系列」、「原作重現系列」、以及「環境藝術系列」

集倪再沁三十年來跨領域的藝術創作表現，也希望藉機舖陳台灣藝

等各類作品，也包括本次首展的「超超扁平」和「畫中仙」兩組繪

術跨世紀的發展狀態與多元化的當代趨勢。

畫系列、使用了最新環場互動科技的「夢幻泡影」、以及高達七米 的「台北旺旺」戶外大型植栽雕塑。

當代藝術與現代藝術最大的區別就在於，藝術創作、 藝術展覽乃至於藝術言說等，俱俱有意與社會脈動相呼相應，

概觀倪再沁的各個創作系列，始終都有一種「針對性」

一九八七年社政解嚴之後的台灣藝壇生態和藝術生產，處處可以找

──針對一種藝術傳統、一種社會習性、一種時代現象、一種文化

到相關人證物證；在這當中，倪再沁無疑是個集各類角色之大成、

趨勢…；他的藝術語言，充滿了挪用、假借、顛覆等後現代手法，

並展現實際影響力的代表性人物。面對時代與社會文化的變局，他

藝術之於他，是工具也是武器，是傳達觀念和製造訊息的混合體，

一直是個冷眼旁觀和冷語評論者，但一度也是坐鎮其間、衝鋒陷

也是喚醒世人感知神經的超立體擴音器。

陣、引人爭議的局勢操作者；無可諱言，倪再沁的崛起和影響力， 緊扣著台灣媒體解禁時代的來臨，先是演繹著麥克．魯漢「媒體即 訊息、媒體即一切」的論說與行動模式，既而反過來發展了「一切 都是媒體、一切都是訊息」的觀念和創作。倪再沁跨越論述與創作 的藝術事業，大輻擴張了「藝術家」的定義和行動範疇，貫串於其 多年藝業中的則是，一種「打著媒體反媒體」的當代批判精神和 「以藝術反思藝術」的突擊策略，而這也是本展立意舖陳的一個藝 術脈絡。

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Tsai-

Chin Ni is one of a very few Taiwanese multidisciplinary artists with works ranging from literature, aesthetic, art

history, art administration, and art education. Having been involved in nearly all art related fields for an extensive period of time Ni has consistently demonstrated his unique approaches in these diverse areas. MOCA Taipei’s 2010-11 large exhibition Mediaholic was the first time in its decade-old history to present a solo exhibition for a contemporary Taiwanese artist taking up the entire museum space.

In addition to incorporating various artworks from the past three decades, the opportunity was also used to pave a direction for Taiwanese multidisciplinary art development and multi-disciplinary practice.

The greatest difference between contemporary art and modern art lies in contemporary art’s intricate correspondence with the societal developments through artworks, exhibitions and context. This point could be observed in Taiwan’s art atmosphere and production post 1987, after the lift of martial law. Within this development, Ni unquestionably played many integral diverse roles and exuded tremendous impacts in the society. In facing the changes of time and society, Ni has always been an observer and a critic. However, he also once was the key figure that led revolts by placing himself in the midst of the turmoil. Certainly, the rise of Ni and his influences were tightly linked with the onset of the liberation of the Taiwanese media at that time. He first depicted the concept coined by Marshall McLuhan as “The medium is the message”, followed by “Everything is the Medium, and everything is the message.”

Ni’s interdisciplinary concepts and creative works have greatly expanded the definition and realm of action for the role of the “artist”. Ni’s central contemporary critical focus of “fight the media with media” could be

considered as the intended artistic pattern for this exhibition.

The variety of Ni’s creative genres ranges from Asian ink brush paintings to Western oil paintings, graphic designs, sculptures and installations. He freely utilized elements from contemporary conceptual art, environmental art, performance art, and interactive art. This exhibition includes some of his well-known series such as: Newspaper; Who is the Happiest; Election Eruption; Ink Paintings; Back to the Original, and Environmental Art series. Also premiering for the first time are two sets of painting collections Super Super-Flat and Illustrious Illustrated, together with an interactive digital piece, Illusion of a Dream, and a seven-meter high large-scale plant sculpture “Taipei Own Own”, which are also shown in the exhibition.

Ni’s various art endeavors have embodied an element of “intended purpose”—whether the intention was targeted towards traditional art, societal habit, time-related phenomenon, or cultural trend. Through his unique artistic language, post-modern approaches of appropriation, borrowing and subversions have all been explored. To him, art is a tool and also a weapon of choice. It is a hybrid form intended for transmitting concepts and producing information. It is a super surround-sound amplifier geared towards waking the numbed and aloof people in today’s society.

倪再沁簡介 About Tsai-Chin Ni 文：石瑞仁

By J.J. Shih

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倪再沁，1955年生，台灣台北縣人，曾任國立台灣美術館

《超超扁平》系列作品；最近幾年，倪再沁回想童年時光，一方面

館長、東海大學文學院院長、東海大學創意設計暨藝術學院院長，

以A4油畫紙虛擬曾在童年記憶中留下刻痕的電影海報和大看板，

現任東海大學台灣美術研究中心主任，在這些正職工作之外，他曾

另一方面以打磨地板並加以潤澤的方式緬懷幼時在《微塵裡》感受

經是解嚴初期引動台灣美術主體性論戰的藝評人，是高雄環境保護

到的時光美感；當下，倪再沁的全新製作《夢幻泡影》，有意藉助

運動的急先鋒，是大刀闊斧翻轉國美館體制和體質的改革者，他身

科技互動手法，讓觀者在螢幕前以肉身行動召喚建構自己的數位面

兼策展人、收藏家、捐贈者、大學教授等多重角色，甚至還當過基

容，但是就在形象完整之際開始逐步崩解，直到灰飛煙滅。在策展

金會董事長、獲選好人好事代表…，在這些多樣的社會身分和傲人

過程中會同藝術家本人梳理其舊作時才發覺，倪再沁竟然忘了他曾

的事業成就背後，倪再沁自始至終都是一個勤樸熱情的藝術創作

在台北淡水河邊創作過環境藝術，也忘了曾在義大利和蔡國強合作

者，而「藝術家」這個幾乎沒有門檻的角色和行業，其實才是他真

過一場策展人與藝術家之間身分翻轉的另類展覽。到底還做過哪些

正最在意並勤於去開創與實踐的！

展覽？「記不得了」，倪再沁如是說。事實是，多歷年來他做過很 多未曾印發邀請卡、沒有刊登任何廣告、當然連評論都沒有、也就

作為一個藝術創作者，倪再沁最初畫的是水墨，他以江 兆申之清潤與余承堯之繁茂來畫本土風光；而後卻以黝黑深重的油 畫嶄露頭角；九○年代初又因從事環保運動而成為環境藝術創作的 先行者；之後有感於政治惡質與媒體霸權憤而自辦媒體為己喉舌， 甚至還曾結合候選人惡搞立委「選戰」而轟動一時；還有以四隻動 物諧擬4P的《台北怪談》雕塑，不僅令人絕倒還躍上頭版新聞； 二○○○年後他應用數位繪圖科技，消除了歷代書畫名品上後人追 加的題跋和印章而發展出《原作重現》系列，並試圖以這批自創自 製自銷的名畫複製品公然和國際知名博物館展開文創商品的戰局； 此外，他還把傑夫．昆斯和村上隆等名家藉由「轉換」通俗文化而 開發出的昂貴雕塑，刻意套用沃荷式的絹印版畫手法而將之再製成

是從媒體上全然缺席的展覽。對他來說，這類創作和展覽的核心價 值和多重意義就在於，一方面可以昇華個人內在澎湃的慾望，一方 面能夠轉移其身體長期飽受的病痛折磨，同時可以成就一個「藝術 家文人」在心、眼、筆墨、顏料、文字、行動等各方面的伸展操 練，適時地探照/針砭時代與社會的病症。雖然，這類的創作和展 覽，也許和藝術市場沾不上邊，和社會大眾結不了緣，但他們也 一一印證了倪再沁總是「先做了再說！」的直率個性和劍及履及的 作風。從這個角度看，「媒體大哼」特展的策畫和成型，一來具有 讓史實再現、文獻出土的補遺作用，二有作勢「大哼媒體」一番的 反嗆意義，三是凸顯其近乎唐吉軻德的前衛精神之同時，正式還他 「儘管曾被忽略遺漏，畢竟無法抹除封殺」的遲來正義意涵！

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Tsai-

Chin Ni was born in Taipei County, Taiwan in 1955 and

Murakami that have “transformed” popular culture into expensive artworks,

was formerly the director of the National Taiwan Museum

and deliberately used the silk-screening approach made famous by Andy

of Fine Arts, chair of the College of Arts and College of Fine Arts and

Warhol to recreate these well-known artworks into the Super Super-Flat

Creative Design of Tunghai University, and is currently the director of

collection. In recent years, reminiscing about his childhood, Ni reproduced

Tunghai University’s Taiwan Art Research Center. Considered as one

movie posters and billboards from the past onto A4 size oil paintings and In

of the most challenging critics of Taiwanese art, Ni was also a pioneer in

Dust he also attempted to create a nostalgic sense of aesthetic from the past

environmental protection actions in Kaohsiung and was a revolutionary

through a polished stone floor with its waxy and smooth texture. His latest

figure in the transformation of the National Taiwan Museum of Fine Arts.

work Illusion of a Dream is an interactive technological piece where the

He has been a curator, collector, college professor, foundation chair, and

viewers can construct their own digital face right before the monitor with

even selected as a representative for being an exemplary person. Behind

his/her own physical movements. Just as the image is about to be completed

these seemingly complex identities, Ni has always been a passionate artist—

it then begins to disintegrate and disappear.

an identity he cares the most about!

If it wasn’t for the reminder from MOCA Taipei Director JJ Shih, Ni has

As an artis, Ni began with ink painting and painted local landscapes with

already long forgotten the environmental artworks he created at the Danshui

the combination of the refreshing style of Chao-Shen Chiang and a sense

River and the alternative exhibition that reversed the roles of the curator

of lusciousness found in Chen-Yao Yu’s works. Ni later moved to the

and the artist held in Italy with Guoqiang Cai. What other exhibitions have

darker and heavier medium of oil painting, and in the early 1990’s became an

Ni been involved in? He always replied be saying, “I don’t remember.” In

initiator of environmental art in conjunction with environmental movements

the past several years, the true intention for his creative endeavors seems to

that he was involved in. Following that period Ni sensed the negative

elevate the surging desire dwelling in him, yet it also appears to be a way for

powers from politics and the media, and established his own media to get

him to overlook his prolonged state of physical pain. He has printed many

his voice heard. He went as far as making a satirical election campaign

invitations that were never sent out, not promoted on the media or critiqued.

against other political candidates. His sculpture Who is the Happiest

These are exhibitions that have left no trace in the public media. These

depicted four animals engaged in a foursome, a bizarre artwork that made

types of exhibitions certainly had a very minimal connection with the market

it in frontline news. In 2000, using gestures of removing inscriptions and

and the public. Being the artist that Ni is, he went about it with a mere sneer

name seals on antique paintings he created the Back to the Original series.

and just went ahead and did them anyways! Mediaholic is no exception.

Ni also attempted to compete with renowned international museums for

Regardless of the time or the location, as long as he has something to say, he

the market share of selling artworks and publically sold self-created replicas

will not be deterred, despite the obstacles encountered along the way. And

of venerated pieces. He appropriated works of Jeff Koons and Takashi

no attention is paid to whether or not a lot of people will care about it!

策展論述 文：石瑞仁

By J.J. Shih

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一•緒言

前這股「年輕掛帥」和「大陸當紅」的波潮中開現新局，允言是籌 劃這個展覽之前的主要思考方向。

歷年來，台北當代藝術館陸續主辦了許多國際性的優秀展 覽，至2005年的「台灣策展年」計畫專案，館方特意把展覽的策劃

當代館近兩年陸續辦理大衛．拉夏培爾、張洹、葉錦添

委由四位台灣策展人輪流擔綱，本人也在當年應邀策畫了其中第一

等國外名家膾炙人口的個展之後，緊接著於開館十周年時推出台灣

檔的「平行輸入：前駭客藝術展」。這整個年度的策展接力，固然

重量級藝術家的個展，毋寧是有其正當性、平衡性和象徵性的。職

有力凸顯了台灣為主體的文化思維、美學論述和藝術觀點，但當時

是，問題很快地浮出為；有沒有可能找出一個意識鮮明而有別於時

的展出內容都比較偏重在新世代藝術家的作品呈現，也是一個不爭

下的新世代，又足以和中國大牌藝術家相抗衡對照的台灣當代藝術

的事實。

家？有哪個當代藝術家的作品質量可以充分支撐整個美術館內外空 間，構成一個體系龐大、發展有譜、內容有料而又有十足趣味的展 今年，當代館堂堂進入第十個年頭，從美術館經營者和展

覽執事者立場，我認為館方有必要在此時自行策劃一個聚焦台灣文 化新思維，凸顯台灣藝術特色的大型主題展覽。當前，全球化的互 動聯結和全時性的訊息交換，已經從學術理論變成了真實的生活文 化現象，當代展覽的國際化內容，也維持了一定的頻率和比例。近 三年較大的變化是，兩岸的藝文交流，已經從傳統品味的文物轉向 多樣變化的當代藝術內容，一些國際著名的大陸藝術家如蔡國強、

覽？當我把這些問題列為策展要件之後，「倪再沁」是個人腦中第 一個浮現的名字。回想，他的創作相當多元，而擅長以當代藝術的 觀念手法來呼應社會脈動，且偏好從批判或反思的角度切入進行。 他歷年的藝術創作和他的諸多文字論述之間，存在著一種微妙呼 應的關係邏輯，在台灣的當代藝術圈中，要定義一個從思想言行到 藝術創作都能自我統整貫徹一致的藝術家，倪再沁無疑正是第一人 選！

方力均、張洹等，已陸續進軍本地美術館所，積極而大規模地展現 他們的時代觀和藝術觀。前兩年，上海美術館以大陸新世代為主軸

多年來，倪再沁見機加上隨緣地創作出了面目紛雜的許多

的「果凍時代」展來台，而當代館策劃的「台灣藝術新世代」也接

作品，但人們沒有甚麼機會見識他們的面貌風采，乃至閱讀其中的

著巡迴到上海美術館及北京今日美術館展出。純展覽導向的台北當

思想脈絡與情感內涵，此次「媒體大哼」特展的策劃要旨，希望結

代藝術館，儘管觀照面向也算周全，在邁向第十年頭時，如何在目

合客觀忠實的態度和鉅細靡遺的方式，靈活有機地鋪陳倪再沁長達

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三十餘年的創作內容和藝術脈絡，希望透過此展，讓人們深入見識

「現場創作、當眾揮毫」是中國傳統藝術習氣的一部分，

這位相當具有台灣精神的藝術家，充分體驗一個具有多樣面貌但又

從藝術專業的教習傳承，到藝術欣賞的教育推廣，都可以看到這種

有總體脈絡的當代藝術展覽。

近乎「藝術表演」活動的應用。倪再沁自承，在其進入美術學院、 修習現代藝術之初，對這種傳統藝術的示範教習模式頗不以為然，

二•當眾揮毫─是過程也是藝術（入口形象區Entrance） 入口形象區展出的兩張大畫及投影畫面，是本展開幕當 天下午，倪再沁特意邀請藝術同道曲德益、薛保瑕、李俊賢、石晉 華、石瑞仁、姚瑞中、和涂維政等人，利用當代館入口室的空間， 進行一場現場揮毫即席創作留下的成果和過程紀錄。

12月25日當天下午，八位當代藝術家合力完成了兩幅 三百五十號的大畫。活動開始，倪再沁率先上場，先大體畫了簡單 的窗景，之後眾藝術家或輪番上陣或同時動手，全程約三個小時， 完成了《午告送》及《人生海海》兩幅大作（註：這是李俊賢分別 題寫在兩幅畫上的文字，借用為畫作名稱，以資分別），現場觀眾 看得不亦樂乎，畫家們也畫得渾然忘我，甚至在完成後仍有意猶未 盡的感受。這個以「八仙過海之現場揮毫」為名的集體創作活動， 兼具有「針對性」以及回溯意義，一是開宗明義地點出了倪再沁和 知心同道們年少輕狂時的叛逆思維，另一方面則有時空變遷、心境 轉折之後，針對當年大夥頗有微詞的「現場創作、當眾揮毫」這類 活動，還它一個藝術清白的另一種「補償」意義。

因為整個表演過程往往只突顯了藝術技法的操作和揣摩，而忽略了 美學觀念的傳達、吸收和理解。

過去水墨畫界每逢新春或特殊慶典時，常會邀集不同的門 派大師或獨立的藝術名家，當眾集體合繪一幅大畫，這種藝術表演 由來已久，雖然可以追溯到中國古代的文人雅集活動，卻引來強調 自由創新的現代藝術家的批評。後者認為，不論是個性的表現和精 神性的探索，創作都是很神聖而嚴肅的一件事，但水墨畫家們的當 眾揮毫、你謙我讓、你畫樹石/我補花鳥/他題詩文等等，其實是不甚 嚴謹的「逢場作戲」，看來一團和諧的人際互動與創作交流，充其 量只是隨意的心思加上隨便的行動，如此兒戲，實有辱藝術應有的 深刻意義。

話雖如此，環視現代藝術史及當代藝術範疇中，其實也 陸續出現過不少以「行為藝術」之名作現場演出的名家案例，尤其 在名策展人史澤曼提出「當態度變成形式」之論調，並以超級大展 為當代藝術背書之後，隱藏在所有藝術行為背後的美學態度，明顯 變成了檢視藝術家特色與成就的重點。從這個角度看，即使是傳統

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模樣的「現場創作、當眾揮毫」，只要有新的觀念注入和新的文本

三•怪談系列─有引述也有加註（R106, 廣場Plaza）

或意義產生，這活動或儀式本身應是沒有「原罪」或「不當之處」 106展室中的畫作和小型雕塑，與廣場上展出的四座大型

的。

雕塑，都是倪再沁演繹「怪談系列」的作品。這個系列包括水墨、 但如果這種即興互動創作儀式，從同一個畫種和創作族

油畫、雕塑等不同媒材和形式的應用，先後針對台灣政治亂象及國

群（如水墨和水墨畫家）擴大成一群異類藝術家的大會串──以這

際藝壇現象進行調侃與諧仿，作品的共同表徵為前呼後擁、身體交

次為例，八個成員包括了專長油畫的薛保瑕、複合媒材曲德益、水

疊的一群動物或人物，整體造形和個別表情，因混合了相擁、纏

墨畫起家的倪再沁、觀念及行為藝術者石晉華、觀念雕塑的涂維

鬥、雜交等不同情狀而呈現出曖昧游離的特殊趣味。

政、壁畫式塗鴉的李俊賢、影像及綜合媒材姚瑞中、文字論述的石 瑞仁，他們在沒有計畫框架、沒有現場規範的狀況下，一面揮灑 自己、一面與人共同創作。倪再沁設計召集的這個活動，其中的基 調和人際互動過程，刻意彰顯了當代文化中異類合成的趣味和跨界 對話的趨勢，對於一直遊走在中國古美術與西方現代藝術之間的倪 再沁來說，從前人主張的「汲古潤今」和「中體西用」，邁向後現 代主義者振振有辭的「縱橫古今、自由拼貼」，進而假眾人之手， 讓各家美學元素符號就地拼置完成。在此，倪再沁利用「諧擬」方 式，把一個原本飽受批評的中國傳統文薈活動，帶進當代藝術展覽 場域中，藉以「翻轉」其美學意義，讓技術性的示範演練變成觀念 性的入侵現場，突顯了不變的演出「形式」後面的那個截然有別的 「態度」，這也就是入口室的開幕式集體創作所要彰顯的精神意 義。

2000年從水墨畫稿發展出的《台北怪談》大型雕塑，於靜 宜大學藝術中心公開展出時，曾引發了從校園BBS的熱烈討論一路 延燒到各大平面與電子媒體的藝術議論，而藝術能不能用「猥褻」 的語言策略來討論「猥褻」的社政現象，也成了一時熱門的話題； 面對排山倒海的詰問，倪再沁輕描淡寫的回應是：「這件雕塑作品 的前身是油畫，油畫的前身是漫畫，漫畫的前身則是個笑話。」

有別於《台北怪談》之影射台灣政治亂象，倪再沁的《紐 約怪談》、《倫敦怪談》及《東京怪談》系列，針對性地揭露了歐 美日當代藝壇在製造話題、製造商品、製造明星…時，也不斷混餚 模糊了原創、引用、挪用、抄襲、仿製之定義和邊界的文化異象； 這類作品指涉對應的源頭，包括傑夫．昆斯 (Jeff Koons)以鏡面不 鏽鋼將廉價充氣玩具重新高貴化、精緻化、名品化的《氣球狗》；

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或用花卉植栽為畢爾包美術館精心特製的另類活體雕塑《小狗》；

明星後腿的雙重意涵，於此，他作為一個藝術創作者的批判戲碼，

達米恩．赫斯特 (Damien Hirst) 以殺手姿態解剖整隻牛身的《母子

可說和八卦媒體記者有異曲同工之妙。

分離》；乃至於村上隆以學術的「超扁平理論」包裝色情次文化的 《Miss COCO》等，在在反應了倪再沁在這個不斷延伸發展的創作 系列中，刻意以抄襲進行攻擊、在引述中強行加註的一種語言顛覆 手法和嘲諷議論戰術。

當世俗的商品、照片、公仔等「現成物」被杜象→沃荷 →昆斯及村上隆等藝術名家挪用轉換、點石成金之後，瞬間升格為 神聖化、新典範、超昂貴的藝術傑作。針對這個現象，倪再沁有意 逆向操作，鎖定這些藝術名品，透過早已形成「體制」的怪談（四 P）模組，將不同名家的作品形象強行納入倪式的「規範」，並使 之回頭再度以庸俗化、普級化、粗糙化的風貌呈現。這種硬把別人 的招牌作變成個人創作材料或元素的表現策略，以四P的形式和格 局穩當地建立了倪氏自有的品牌，同時又像量販店的展示架一般， 可以隨時把最新的材料引進上架，成就這個創作系列與時並進、生 生不息的言說力量。在倪再沁眼中，這種「凡經我用，即為我有」 的霸權行徑，實際也就是上述各個超級藝術名家的一貫技倆，倪再

四•微塵裡─沒有物質，談何觀念（R107） 「觀念重於物質，過程優於結果」是當代藝術中很重要 的一個表現脈絡，但矛盾的是，無形的「觀念」和已經消失的「過 程」，仍必須借助一些圖像、文字、照片、影片、或至少某種「證 據」來加以傳達或表現。在這個 (R107) 空蕩蕩的展室之中，牆上懸 掛的幾幅看似空無一物的空間照片，以及反覆播放著藝術家某一行 動過程的影片，目的也就是要向觀眾確認──這裡並非真無一物， 藝術家的確曾在這裡做過一些事情！回顧現代藝術理論的發展，到 了極簡時期的論調就是，「你所看到的就是你所看到的──此外無 他」，倪再沁顯然想以四兩撥千金的方式推翻此論，而代之以「不 要相信你所看到的表象」。

這裡展出的照片，呈現的是倪再沁2008年在TADA台中創 意文化園區（台中舊酒場）做過的一個相當低調的空間裝置展《微 塵裡》，其中的思維和行動意義，依倪再沁自己的說法是：

沁所做的，擺明了就是「以其人之道，還治其人」。從達達主義以 來，杜象的挪用現成物，以革命性的觀念顛覆了日漸物化的傳統；

在大陸看到的一個流行現象──

沃荷對消費商品的挪用，藉由擁抱通俗文化貶抑了菁英世界的自命 藝術家介入一個空間後，喜歡用霸氣的藝術姿態徹底改變這個空間。 不凡；倪再沁挪用當紅名家的作品元素，兼有揭穿幕後真相和拉扯

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我喜歡的是一種很謙遜的作法──尊重空間現況、保留環境原貌，

從108展室沿著樓梯間直上二樓，展出的是倪再沁歷年的 「環境藝術」創作，是藝術家從「回歸的塑造」行動開始，不斷與

我的作品輕輕的來過，又悄悄地走了，

足跡終究會消失，但精神會留在微塵中。

本次展覽，倪再沁在107展覽室重新演練了《微塵裡》的 概念和形式，但對應的是兒時的生活記憶和成長經驗。童年期的倪 再沁，每隔一陣子就要負責為家中的磨石子地板打掃、打磨、打 蠟，勞動到最後階段，空間被淨化了，從蠟面的地板上看去，一切 都跟著光亮起來，過了一陣，卻又彷彿什麼都不曾發生過。羅蘭． 巴特 (Roland Barthes) 以「此曾在」(That-has-been) 來定義攝影的 基本特質，並說：「我絕不能否認相片中的東西曾在那裡，而且它 包含了兩個立場，真實與過去。」同理，這裡的地板曾被倪再沁打 磨過，曾被他塗過一層松節油，但此時此刻，可能連空氣裡的微塵 都找不到痕跡、嗅不到氣息；這些照片和影片，因而除了可以作為 TADA那一次歷史行動的證據，也可以跳出來扮演107展間這次現場 創作的觀念代言者。

社會和大自然互動對話的各種成果。

1992-1994在高雄的《回塑者》環境藝術創作，為了再現自 然與工業文明的衝突，為了將生命的原形和姿態彰顯在觀眾眼前， 倪再沁走出了工作室，在柴山上、在愛河邊、在受過祝融肆虐的仁 愛公園與地下街，四處撿拾自然掉落的木屑、樹皮、果實、樹葉、 枯枝，或人們丟棄的木箱、竹掃把、厚紙板、模型人偶，乃至於報 廢的工業型吊車，他以這些「拾得物」作為創作材料，加以重組拼 湊，陸續開展了幾個有關於「藝術與環境」的創作系列；其中，小 品的如用廢掃把的竹枝重造竹林意象，或用工人修剪下的棕櫚葉組 裝雕塑感十足的綠色新生命體；裝置類的如用枯枝結合紙箱板虛擬 的荷花池意象；較大型的如用廢吊車結合塑膠人偶，營造出如希 臘神話伊卡洛斯 (Icarus) 不自量力高飛而墜死的懸疑劇場氛圍…等 等。另一方面，倪再沁也試圖透過「破壞」式的個人行動，篡改路 邊與河邊僵硬無機的水泥公共設施，以使之重現一點點綠色生機， 並藉此突顯在民眾「違反法令」和政府「違反天理」之間，藝術家

五•回塑者─1 高雄計畫

所作的一種批判省思與反制的行動抉擇。

用「違反法律」反制「違反天理」

回塑者─2 宋庄計畫

015

每個人都可以是藝術家到每個藝術家都可以是社會運動者（西側樓

當下其實也介入了未來！

梯間Western Stairway）

六•夢幻泡影─「當下」馬上就是「過去」（視聽室Audio「宋庄計畫」是倪再沁另一樁因環境觀察與省思而發展

visual Room）

出的集體藝術行動。2005年時，倪再沁應邀至大陸擔任中央美術學 院客座，寄居「宋庄」的二個月期間，因目睹該地區垃圾漫街、臭 氣沖天，於是他結合了當地策展人栗憲廷的協助，發動小社區居民 和藝術家投入社區景觀改造計畫。整個過程包括了清理垃圾、加高 垃圾坑的圍籬、遍植樹木、建造涼亭、在公共牆面題字勸導等，不 僅成功地美化了當地的景觀、改善了居民的生活品質，也從此杜絕 了民眾隨地亂丟垃圾的行為。倪再沁的「宋庄計畫」，明顯可以回 溯呼應1981年德國藝術家波伊斯種植7000棵橡樹的「社會雕塑」行 動，以及不斷被引述發揮的「人人都可以透過介入和改造社會而成 為藝術家」的藝術社會學新理論。

「凡走過必留下痕跡」，倪再沁當年的環境藝術作品及展 示行為，如今雖然都只剩下攝影可為存證，但他這些創作的「改造 運動」性格和後續影響實際發揮了作用。今天的高雄愛河已經淨化

環場互動的數位影像裝置作品《夢幻泡影》，是倪再沁首 次發表的全新之作；相較於前幾件作品《微塵裡》、《回塑者》所 主張的回歸自然與真實行動，本作有意藉助時下最尖端、頗具實驗 性格的科技互動手法，讓進入展場的觀眾站在投影幕前，透過自己 的努力，召喚自己的形體和儀容。

在這個兼有遊戲現場與心靈劇場雙重意義的空間中，觀 者在猶疑中各自走上舞台面對鏡頭，期待著經由肢體擺動所獲得的 「藝術」反饋。當散亂浮動的抽象光影畫面，被程式系統用來描形 繪影，而逐漸形成為空間介入者的具體形象，另一個解構破壞的程 式隨即被同步啟動，直到不論男女老幼、尊卑貴賤，所有的人像都 被瓦解碎裂、灰飛煙滅。

針對這個緣起緣滅的互動劇場機制，倪再沁特別寫道：

和美化了，淡水河也不再是昨日那般的又臭又髒，就連宋庄也在藝 術家與社區居民的合作改造後徹底改頭換面。藝術介入社會與公共

時間真是最徹底的雕塑家，它把一切生命從無中生有，逐

空間，其實更重要的目的是介入人性與人心的內部空間，進行觀念

漸長成，直到完美圓滿，然後逐漸衰敗，化歸於無。雖然世間一切

的遊說和行動的改造，這類社會行動式的當代藝術作品，既是介入

都是來來去去，都會煙消雲散，但每個人都極力想照亮自己，想留

016

下什麼以證明自己的存在，此所以展場中有高起的舞台，觀眾高高

中最早接觸到「既是媒體也是藝術」的時髦新事物。

興興的上台，見到自己容貌舉止時充滿了歡笑驚奇，殊不知人生如 花開花落，當花開之時就走向了花落的時刻，上台之後就必得面臨 下台的到來。

由於母親與人合夥經營電影院，倪再沁除了從小有很多 機會看電影，也特別關注到這些手工繪製的海報和看板，隨著電影 上下片而不斷換檔展示的另一齣戲碼；就在這批「小中現大」的看

長期為肝病所苦的倪再沁，試圖藉由人體感應和互動機

板系列中，他一人身兼電影製片人、導演和電影看板畫師，包辦了

制，讓觀者以自己當下的肉身來啟動更長遠的生命思維和想像。他

電影的劇情與圖像、卡司安排、公關文宣等不同工作，一方面自吹

對生命的體驗是：「生命沒有永遠完美的恆定點，很多一直不斷追

自擂「倪氏出品，必屬佳作」；另一方面，當場為自己貼上金棕櫚

尋的東西即便得到了，也會很快就消失、成為過去」，這件作品的

獎、紐約時報五星獎…等集所有光環榮耀於一身的廣告文案，十足

形式和互動機制，明顯呼應了這樣的想法和觀點，在此，他以新興

展現了言說本事和想像能耐。

的數位互動機制，詮釋了個人的生命哲想觀點，並讓觀眾進入一個 視覺化、具體化的感應場中，去體驗和分享其中的抽象概念。

回溯台灣早年的電影看板，那些集大全式的拼貼手法：假 立體化的文字標題、誇張的廣告詞彙、聳動的劇情宣傳、生動的圖

年過半百的倪再沁，堪稱最年長的數位藝術家，對於肉

像描述、以及豔俗的色彩搭配等等，顯現台灣其實早就已經很「後

身的脆弱短暫有著深刻的體認，也有豁然的開朗，因而能平視生命

現代」的視覺文化國度了。從絢麗的檳榔攤、清涼的西施、華麗的

的成住壞空並創造此一互動「機制」，讓觀者與他共悟生命的「當

樣品屋、閃爍的跑馬燈、鮮麗的招牌、土直的店名等等，到廟宇慶

下」與「過去」。

典中的電子花車，這種雜燴式的拼貼就是十足的台灣味，就是所謂 的俗而有力。

七•畫中仙─廣告看板，既是媒體，也是藝術R204 倪再沁的《畫中仙》系列，標題引自杜甫的《飲中八仙 此系列畫作共五十幾張，以A4畫紙的規格、純真小品的姿 態、混淆古今的內容，虛擬重現了倪再沁童年記憶中的電影畫報和 大型看板。台灣50年代的電影畫報與看板，可說是他那一代人生涯

歌》，藉由李白「天子呼來不上船，自稱臣是酒中仙」的寓意， 傳達了倪再沁「畫畫時我最大，要怎麼畫就怎麼畫，要怎麼吹就

017

怎麼吹。」的自我放縱情懷。他套用了老式電影看板的基本元素

生，扮裝成手持玩具砲筒或衝鋒槍的迷彩部隊，或在大街小巷衝鋒

和戲法，包括經典主題、戲劇效果、誇張手法、不實宣傳、豔俗色

陷陣，或在假槍聲伴隨煙霧彈的十字路口，搶著紅燈時段演出匍匐

彩等，加上當代的無厘頭和塗鴨手法予以變造，使之顯得荒謬而可

跨越馬路的戲碼，這場裝腔作勢的街頭選戰行動劇，幾乎癱瘓了台

笑。

中市最熱鬧的自由路和中正路，最後以戰士們的全身「掛彩」，一 語多關的「凍蒜凍未條」集體吶喊，和公然向市街民眾發送假紅包/

八•凍蒜凍未條─用藝術「搞」政治（R203） 在203室展出的《凍蒜凍未條》，混同了藝術展覽品和選 戰工具的雙重姿態， 2001年台中「好地方─國際城市藝術節」期 間，倪再沁以參展藝術家的身份，和當時加入台灣立委選戰的沈懷 一團隊合作，在街頭巷尾展開了一場內容真真假假、感覺像嘉年華 又令人撲朔迷離的聯合文宣游擊戰。

面對台灣一波又一波激情走調的民主選舉，倪再沁直言 台灣選舉的三大特色就是：選戰、謊言和賄選。對他來說，用媒體 文宣戰術、藝術展示手法和街頭演出行動來迎擊和揭露這個社會現 象，無疑是當代藝術創作者發表社政文化議論的一種極可行的方 式。而表達這樣的「藝術」見解，沒有比加入選戰更直接而有效的 辦法了。

真傳單的障眼戲法，機智地完成了一面戲弄/娛樂政治選民/一面培養 /拉攏藝術觀眾的文化攻略。 面對即將到來的總統大選，倪再沁當然也不想錯過表達意 見的機會，這一回他決定親自上陣，並挪用了台灣選舉慣用的宣傳 模式和手法：一輛裝上許多喇叭但發不了聲的宣傳車，兩側掛滿了 倪再沁的大頭照和選舉口號，前方則加了巨大的砲筒；展場內外還 有無數粉紅色選舉旗幟，展場服務人員喬裝助選人員，穿著選舉背 心四處遊走，發送仿鈔票暗喻買票的傳單和面紙贈品。仿造競選總 部的展間內，從地面到巨大柱子裝置都是由滿滿的宣傳單（假錢的 圖案和謊言式的政見）所構築起來的。

打從1995年到2011年，台灣的選舉文化愈演愈烈，倪再沁 的藝術創作也一直伴隨的這個獨特的社會現象而繼續演化發展，這

粉紅色調的競選總部，和裝上了十幾個喇叭卻像幽靈般啞 然無聲的選舉宣傳車，用意不在上街爭取選票，而在遊街展現社會 上大多數「無力者」的悶聲狀態。加入「選戰」的一群東海大學學

一系列的作品，除了是藝術家對於社會實踐的另一種表達方式，印 證了在台灣的時代變化中，藝術從未缺席，對於所謂的「台灣奇 蹟」或「only in Taiwan」無疑也增添了一個獨特而有趣的案例。

018

倪再沁的7大報紙創作系列，儘管形式與內容充滿調侃、

九•報紙創作系列─以子之矛，攻子之盾（R202）

拆解、挖苦、自戀、自嘲…等藝術語言，但仍有不少社會人士信以 倪再沁的報紙創作系列，以「打著媒體反媒體」的顛覆概 念，和「錯誤示範」的揶揄手法，以有限的報紙篇幅濃縮再現了台 灣解嚴以來，思想從自由交響到對立對抗、言論從解禁開放到亂鳴 亂射、媒體從百花齊放到泛濫無度、價值從多元並行到失衡失焦的

為真，而這正也反映了當代人飽受各類媒體宰制而渾不自知的一種 潛在情狀。在箝制新聞自由的大陸，這種情況更為嚴重，此所以倪 再沁的報紙令許多大陸當代藝術家總是發出難以置信的疑問：「台 灣的報紙怎麼可能只報導你一個人？」

種種社會現象。身為藝文觀察與評論者，他直言「媒體本身就是社 會的亂源，媒體的霸權就是一種暴力，媒體一再呈現的只有假象─

此次展出的報紙創作系列，在展場中以上下兩列方式展

他們只講自己想講的話，只刊登自己願登的東西，遂行的只是自己

出。上列是原生版，也就是台灣版；下列為改造版，亦名北京版，

的意識型態。媒體沒有是非，一點也不公正，愈血腥、愈色情、愈

因為幾年前倪再沁應邀至北京參展，他提案展出報紙系列，但這些

暴力的事物，愈有機會登上版面。」

作品因政治性敏感而未能展出，之後出版的畫冊中，這批報紙作品 中的關鍵圖文~如台灣總統

從1995年為抵制媒體不關心環境與藝術議題，進而自己創 製發行的「台灣雲報」，到本次個展特別全新發行的「頑皮報」， 倪再沁16年來共發行了7份報紙，這些報紙的形式格局如假包換，內 容讀來卻是真假虛實難辨，以2000年發行的「沁報」為例，整體版 面特意模仿「聯合報」的風格，但內容全是有關於倪再沁一人的新 聞、專欄和廣告，這是最最典型的「獨家報導」和「獨攬版面」， 倪再沁本身也因為聯合了報紙發行人、被報導對象、專欄評論者和 最大廣告業主等多重角色，而虛擬實現了一次最完整徹底、過足癮 頭的獨角演出。

獨立

台灣

陳水扁

中華民國

國立

台灣美術館等加工塗消後，就如期出版了。2009年國美館策劃「兩 岸當代對照閱讀」展赴北京宋庄美術館展出，倪再沁的報紙系列創 作，也因為經過同樣的「自我閹割」手續，而得以公開展出；在自 我壓抑之同時，倪再沁自我放大的對策是，乾脆將這種意識形態的 塗消記號更誇張地應用，使之直接升格轉化為一種歐普與硬邊藝術 式的純視覺畫面，在表面的妥協中，賦予之反制與反諷的雙重意 義。

019

十•原作重現─還我河山面目與藝術清白（R201）

鈐章，表面看來這似是一種文風雅習，事實上它造成了歷代名畫因 題跋與用印的氾濫，以致畫面阻塞，原有藝術精神被干擾混淆的嚴

「原作重現」是倪再沁針對中國畫史特有現象而發想的

重後果。

系列近作，他蒐購了眾多著名古畫的高階複製品，藉由數位科技的 修圖技術加工，刻意將所有強行進駐歷代名作畫面的後期「違章建

倪再沁出身學院，但是頗能擺脫學閥框架，致力探究實情

築」全數清除，在這個展室中，33件歷代名畫的「原貌」因為這項

真理。他一方面質疑西方學院體系考評畫史的權威言說，另一方面

另類的「復古」行動而重新出土和出爐，用意是甩脫歷史的屏障，

試圖抹除東方權貴與文人收藏鑑賞的後設符號，其目的是鼓吹國人

讓觀眾直接見證古畫中空間悠遠或心曠神怡的各種意象。

以主體性的立場來評定自己的文化瑰寶，以更直觀的角度去重新審 視歷代名家的藝術成就。

倪再沁的藝業起點是水墨畫，大學時期書法與篆刻創作 即相當卓越，也因此對中國書畫的題跋與用印做過後續深入的專題

這一系列作品，利用「減法」消除古畫原作上的人為增

研究。從這項研究中他也注意到了，歐美藝術史學者所認定的北宋

添物，以使賞畫者心靈得以擴張，並以此印證了現代主義「少就是

三大山水名畫，實際與中國文人藝術體系所賦予的歷史評價並不相

多」的理論箴言。弔詭的是，這種複製再加工後的古畫，反而比各

符，從中可以看出古代文人雅士與當代學者專家的審美觀有著天壤

美術館收藏的「真跡」更接近當初的藝術「真實」，這種以退為進

之別，前者講究「天人合一、可居可遊」有賴心領神會的自然景

的藝術手法，除了營造出「山寨版」比正規版更有意義的另一現

境；後者之所以特別推崇「大山堂堂」型的山水畫，主要是著眼於

實，一幅幅的中國古代書畫，也因為它們山寨版的分身，同時躍上

一種當下視覺震撼的張力。

了當代藝術的舞台。

北宋以後，中國文人畫家興起了在完成的畫作上題字的風

十一•超•超扁平系列─「抄襲」是為了「攻擊」（R201）

潮，這些詩詞文句原意在闡明創作的動機或畫作的意境，發展到後 來，連擁有這些畫作的收藏家、歷代君王們也紛紛在上面題字，大 剌剌地將自己的心得/雜想題寫在畫上，甚至還蓋上各式各樣的個人

201室展出的20小件「超•超扁平」作品，是倪再沁襲仿 當代藝市超級明星的5大系列創作，這批作品的圖像元素，分別引自 美國藝術家傑夫•昆斯 (Jeff Koons) 和日本藝術家村上隆打破畫市交

020

易紀錄的盛名之作，但是倪再沁刻意以安迪•沃荷 (Andy Warhol) 式

「超超扁平系列」，表面上挪用了沃荷「拿來主義」式的生產策

的版畫複印手法予以加工再造，使這些圖像極度的扁平化、質感極

略，而隱約有「乾脆印你自己最不喜歡的東西吧！」的逆向意涵。

度的廉價化，藉此突顯了這些震天價響的明星藝術商品，實際是在

在此，倪再沁擺明「唬爛」的做法，透過三手山寨版來直搗「原

推動一種庸俗品味的市場文化現象。

作」（也是山寨版），並藉荒謬來顯示荒謬、藉虛假來證明虛假、 藉卑賤來突顯卑賤。正因如此，他的雕塑刻意把成品做得比原作粗

正如倪再沁之前「以媒體反媒體」的言說策略和藝術手 法，這個「超•超扁平」系列明顯也有著「以商品反制商品」的語 意和行動趣味。從藝評人角度，倪再沁不屑這些藝術明星假藝術之

糙許多，他的版畫直接從名家畫冊上翻取圖像用來製版，印工粗糙 還留下許多套色不準及色彩剝離的痕跡，它們的本質不是對明星名 作仰慕模仿，而是帶有另一種殺傷力量的。

名推銷低俗文化之實；回到創作者立場，他一不做二不休，乾脆以 更卑劣的手法，再複製、再影像化所有那些他所批評的作品，將之

十二•水墨系列─從抒情寫意到夾敘夾議（R201）

「改造」收編為自己的作品，刻意使內容和形式呈現更為荒謬、卑 201室展出的28幅水墨畫作，包括黑畫、淡墨和彩墨拼貼

賤，讓藝術的樣貌更窄化、虛無和扁平，這也正是命名為「超超扁 平」系列的理由。

系列，具現了倪再沁二十多年來水墨創作的多元樣貌和發展脈絡。1 早期：由抒情寫意的文人畫，變而為緊密堆疊的濃厚筆墨及鬱黑躁

對安迪•沃荷來說，藝術創作就像生產商品，一點都不

悶的氛圍，刻畫出台灣從都會漫延到鄉野的一種煙塵現實風景；2

神聖，他選擇內容主題的思考很簡單，只要是大眾喜歡的，不管是

中期：轉至環境優雅的東海大學任教後，倪氏水墨以輕描、靜默、

可口可樂、康寶濃湯、夢露、貓王或毛澤東，他都樂於把它們吸收

和緩的山川草木及四君子等淡雅小品，再探文人繪畫外的禪意新

轉化，大量印成版畫作為普及的藝術商品。據說，名利雙收的沃荷

境；3晚近：在較大尺幅的「浮生錄系列」中，集結了無厘頭的圖像

某日因為想不出什麼吸引人的版畫新題材而苦惱，他的某位女性友

拼貼，誇大了艷俗色彩與黑白水墨的視覺激撞，以及日常單調的內

人告訴他：「何不印你自己最喜歡的東西呢？」沃荷豁然開朗，他

容鋪陳，這些畫以特殊的筆情墨趣，徹底顛覆了傳統水墨畫的孤高

最喜歡的是錢，他知道每個人也都喜歡錢，於是以美金符號「＄」

情結；同時以夾敘夾議式的視覺語言，反映了對當代工商文明的批

為圖像主角的一系列版畫新作就此出爐，並且發燒大賣！倪再沁的

判。

021

古代文人在朝為官，問政治事之餘也往往寄情山川自然，

十三• 倪氏訪談錄：哪裡病了？─因為有病、有痛，所以

並常發而為詩詞或書畫創作；倪再沁以當代藝術創作者/研究者雙重

超有感覺，所以超有話說！（R201旁樓梯間 Stairway by

身分，熱愛工作、生活、創作而好發議論。大體言之，貫穿在其多

R201）

元藝術成果背後的核心理念，就是從儒家的入世進取及佛道的避世 無為這兩極之間，融合開闢出一條彰顯台灣獨特精神的當代藝術與 文化之路。

儘管有人認為文人畫之沒落是因為當代已經沒有文人了， 那種「採菊東籬下，悠然見南山」的歲月及天人合一的理想境界均 已遠離。自然環境質變，人心跟著衰變，在這天人愈來愈不和諧的 時代，文人情懷還有存在空間嗎？或許換個角度來看，如果知識份 子對自然仍願關照，與社會還有懷抱，跟時代保持呼應，這應就是 當代的新文人。

本身就喜歡舞文弄墨的倪再沁，對世事充滿見解、對環境 極度關懷，可說是不折不扣的新文人，但他所感受到的台灣山水，並 非煙雲供養式的夢裡江山，而是滿佈煙塵的人間大地、蒼莽深鬱的山 林田野、乃至於煩囂擠壓的都市叢林。作為一個對當下有深刻感悟的 新文人，他所追求的藝術情境，與過去純情、純境、純筆墨的世界是 大相逕庭的。也因此，在倪再沁的山水畫中，山已非山，水已非水， 多的是鬱悶的田野、污染的山林及慾望都市的拼貼。這類的作品，對 於水墨當代化的可行性，也提供了一個新的參考取向。

身體的病

「為了這次在當代館的個展，我終於把30年來的病痛徹底 放在一邊了！」

30年來，除了藝術創作，緊密跟隨倪再沁的就是肝病， 他的生平幾乎可寫成一部病史。因為年輕時打針感染到肝炎，1981 年後倪再沁長期為肝病所苦，人生也由彩色變成黑白。肝硬化與癌 症的發現，讓他隨著工作地的轉移而跑遍全台各級大小醫院；治療 方式遍歷了電腦斷層、核磁共振、酒精注射、栓塞治療、電燒、切 片、開刀…等，每次等待檢查報告的心情就像等候宣判揭曉。本次 展覽前的一次預定手術，倪再沁原想將過程錄影展出，後因醫生對 開刀切除的療效有所保留，也就是可能無法防止漏網之癌細胞，使 他斷然決定轉換軌道，以修行、練氣和食療另尋生路。此後，倪再 沁旋即全心全力投入藝術與展覽的種種思考，竟也無暇顧及病痛之 事；他說：「計畫中的去醫院開刀療病突然昇華成為到當代館開展 現藝，不管是冥冥中的一種因緣湊巧，或心智積澱與生命歷程的一 種正面磨合，把這一切變化當成自然，身心也就釋然無罣了。」

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社會的病

的一套價值體系，台灣的當代藝術才能真正立足國際。

「台灣的媒體是社會的亂源！」

十四•結論：

倪再沁一直認為，台灣人民淳樸善良，但台灣社會嚴重生

當代藝術展覽，除了提供直覺觀看的經驗，也飽含了許多

病，解嚴之後，群魔亂飛似的媒體則是社會的一大病源。他說：媒

用心閱讀與主動詮釋的契機，《媒體大哼—倪再沁特展》豐富的展

體本應「為民喉舌」，但台灣媒體普遍只知「為己喉舌」，或只顧

出內容，特別有利於激發這樣的閱讀詮釋機制，本展除了再現藝術

自身利益而漠視專業道德，或以霸權姿態打擊異己、散播光怪陸離

家倪再沁三十年如一日的藝術堅持和實際成就外，也希望協助觀者

與製造驚悚；媒體充斥日常生活和各個角落，但媒體本身就像殺手

穿透藝術外在的形式而參透作品內在的人文要義。最明顯的是，倪

病毒，日益殘害社會民眾而不自知、自覺、自省。

再沁的歷年創作十足彰顯了當代的文人意識和藝術的批判精神，觀 賞他多樣化的作品表現，了解他一貫的思想脈絡和藝術行動，發覺

藝術文化的病

「西洋美術•台灣製造」的省思

在藝術創作之外，倪再沁也好發議論，他經常問道：法國 的思辯哲學，催生了杜象突破藝術道統的「達達主義」；德國人將 宗教救贖轉化為現世關懷的人文傳統，孕育了波伊斯讓人人都成為 藝術家的「社會雕塑」；美國的消費主義文化，造就了安迪•沃荷 以媒體傳銷藝術，冷酷擁抱現實的「普普藝術」。反觀台灣呢？我 們的主流文化一直跟隨別人的腳步，崇尚外國的經典。事實上，結 合儒、道、釋的理學傳統，一直隱化在我們的文化中，台灣各個角 落都不乏優秀創作人才，唯有植根於自身母體文化，建構自我認同

存在表象背後的另一層寓意之同時，相信觀者本身的批判意識也得 以被召喚和增強。

Curatorial Statement

By J.J. Shih

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1.Preface

promotion of art appreciation, this type of “art performance” is widely utilized in various events. Ni has expressed that prior to going to art school and

MOCA Taipei has presented many outstanding international exhibitions in

learning about modern art. He actually felt quite indifferent towards this kind

the past, and in particular, an entire year was dedicated to young Taiwanese

of traditional art model of teaching and learning and his reason was because the

artists, whereby many large-scale exhibitions were curated to critical acclaim.

entire performance process places too much emphasis on art techniques and

This year marks the museum’s 10th anniversary thus we are hosting a special

neglects the conceptual aspects of art.

exhibition with a distinct Taiwanese theme. Because the theme of Taiwanese young artists has already been done, and artists such as, Guoqiang Cai, Lijun Fang, Huan Zhang have all been presented recently, a distinct differentiation from the focus of young artists and artists from China was a critical point to the development of this exhibition.

In the past for Lunar New Year or other special festivities calligraphy masters would congregate in public spaced to collaborate on making a panting. This form of art performance has a long history and has been looked down upon by modern artists, who value art making as a way to express spirituality. The act of making art is deemed to be a sacred way of spiritual expression. Live

The search for an artist that could be differentiated from young artists and

brushworks by ink brush painters and calligraphers seem almost like a child

renowned Chinese artists was the first question we had. The first person that

play undermining the profound significance embodied in art.

came to my mind was Tsai-Chin Ni. His creative patterns are very diverse, often done from a contemporary art’s perspective in correspondence to the movements of society. His works spur critical ideas and counter-thoughts. His artworks are reflective of his diverse conceptual statements—to find an artist that is so comprehensive Ni is undoubtedly the best selection.

In actuality, in contemporary art, there have been many live performances done under the name of “performance art”. After being supported by renowned curator Harald Szeemann’s concept of “When attitude becomes form” all the aesthetical stances behind each and every performance action have clearly become a key point in evaluating the uniqueness and achievement of the

In the past, Ni has created many complex and varied works that have not

performing artist. Therefore, when viewed from this perspective, “on-site

been previously catalogued into thematic groups. One of the objectives of this

creation live brushwork” seems to be sufficiently justified.

exhibition was to present this iconic Taiwanese artist while organize a thread from his creative works.

2. Impromptu- Process as Art (Entrance) “On-site creation live brushwork” is an integral part of traditional Chinese art practice. From the passing on of professional art skills to the educational

If this art format is expanded to incorporate a group of originally unrelated artists and under unconfined conditions this act would be crossing-over the previously defined performance art by Western modern art traditions. For someone like Ni, who has wondered in between the realms of the ancient East and modern West, the integration of the two cultures is something that he has always employed.

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To use a “satirical” approach in an arena of contemporary art to subvert an

media applications. Targeting political chaos in Taiwan and international art

ancient Chinese art format that has been heavily criticized before, this act of

phenomena, the satirical works are comprised of animals or human characters

“subversion” of aesthetic value (from a technical demonstration to an on-site

entangled together, and the different facial expressions of enrapture, confliction,

conceptual invasion) is an artwork that is very much “contemporary” in nature.

and sexual orgy have given the series a unique outlook with sense of ambiguity.

On the day of the exhibition opening, Ni deliberately invited notable arts people

The large sculpture of Who is the Happiest derived from an ink brush

The-I Chu, Pao-Shia Hsueh, Jiun-Shyan Li, Chin-Hua Shih, Jui-Chung

manuscript created in 2000, and was exhibited at the Providence University

Yao, and Wei-Cheng Tu to conduct an act of live brushwork at the entrance

Art Center in Taiwan. It spurred up quite a heated discussion on the school’s

of MOCA Taipei. This ceremonial group performance was intended to give

BBS forum and leapt onto various media.

back a deserving reputation to “on-site creation live brushwork”, and it was also an act that could be traced back to the tradition of the gathering of ancient literati, where they would gathered by the river bank by a bamboo forest and took turns to drink, recite poems, converse, and have a good time.

On that day, eight contemporary artists were presented with two large canvases, and Ni stepped up first by painting a simple window frame around the canvases, and the other artists followed by taking turns with their individual artistic expressions. After about three hours two paintings were created.

The audience on-site had a great time marveling the creative process. The artists enjoyed themselves too. The entire “event”, although transient, was not just a small step for these artists it was actually a giant step forward for the progression of contemporary art.

It was much debated over regarding whether “derogatory” language should be used in the form of art to talk about “derogatory” political phenomenon. When faced with the endless questions shooting at him Ni only responded lightly by stating: “This sculpture derived from an oil painting, and the oil painting came from a comic, and the comic originated from a joke.”

Different from the projection of the political chaos in Taiwan depicted in Who is the Happiest, Ni’s Who is the Happiest – New York, Who is Happiest –London, and Who is Happiest – Tokyo targeted the issues of commercialism and celebrity-making taking place in the art worlds in Europe, USA, and Japan. At the same time, lines are blurred through the distortion of originality, referencing, appropriation, copying, and mimicking. Ni’s artworks are targeted at the sources of the phenomenon, such as turning kitschy commodities into

3.Who is the Happiest – With References and Side-

expensive items seen in Jeff Koons’ gesture of making-sacred the “Balloon Dog”

Notes(R106, Plaza)

and the vegetation “Puppy”, Damien Hirst’s shocking dissection of a whole cow in “Mother and Child, Divided”, or Takashi Murakami’s act of packaging

The paintings and small sculpture in the R106 exhibition area and the four large

pornography with art in Super Flat’s “miss co²”. From these works we can see

sculptures on the plaza are from Tsai-Chin Ni’s Who is the Happiest series.

Ni’s intention to use appropriation to attack, and from referencing he is adding

This series includes ink paintings, oil paintings, sculptures, and other mixed-

further side notes to incite attention to the issues at hand.

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When existing commodities, images, figurines and other “ready-mades” once

One of Ni’s childhood memories is polishing and waxing the stone floor at

appropriated by contemporary artists such as Duchamp, Warhol, Koons, and

home. Through the process of labor, the space is cleaned, and everything

Murakamithey become sacred, iconic, and expensive artworks. Ni’s tactic of

seems to glisten from the waxy floor surface. As time went by, the traces of

copying employs the model he used in Who is the Happiest and places these

such labor would disappear. Roland Barthes used “that-had-been” to define the

famous works into his intended specifications. The act of forcing other peoples’

fundamental quality of photography. Similarly, the floor here has been polished

works into his own has become Ni’s signature style, and the form of foursome

and coated with a layer of grease by Ni, but at this exact moment, no trace has

has turned into something distinctively Ni, and widely prevalent as a 7-11 chain.

been left even in the tiny dust in the air of the space. Instead of referring to the

Isn’t this aggressive approach of “whatever I come by is mine” exactly what these

photographs and video as an evidence of this past act, perhaps, they should be

super artists have done as well?

considered as the spokesperson for the concept.

Acts of appropriation by contemporary art master Marcel Duchamp were done

Compared to “live art”, which has been quite popular within the avant-garde

with the intention to critique. When Andy Warhol did it he meant it as an act

art scene in China, whereby artists are actively involved in giving a preexisting

of embrace. For Ni, his intention is to extend the criticism, and embrace and

space a different outlook and context through the acts of styling, installation,

expand into blurring and deepening the aesthetical significance within.

action, interaction, etc… In other words, through the artist’s gesture, things are

4.In Dust – Concept Beyond Tangible Substance (R107)

changed and meaning emerged. The artist is deemed to be active and great, and has made possible for the “life” on-site to be remade. Ni’s passive action

“Concept beyond tangible substance and process beyond the result” is an

is distinctively different form the art endeavors across the strait. He has not

important expressive context in contemporary art. Ironically, intangible

disturbed anyone, or anything, or any setting, and does not set out to alter.

“concept” and the dissipated “process” may still require the usages of images,

He polished the floor quietly and as the task was completed and time went by

words, photos, videos and other forms of evidence to be expressed. In gallery

everything will evaporate into the air.

R107 there are several photographs of empty spaces on the wall while a repeated

Just like the famous Chinese poet Zhimo Xu wrote in his "Farewell Again,

video is played with the artist doing something. The purpose is to prove to the

Cambridge", “Quietly I have left, just like how quietly I’ve arrived; I turned and

audience that there isn’t anything in here, yet the artist has done something here

waved with my shirt fluttering, and do not bring with me even a breath of air.”

before! Looking back on the development of modern art theories, the idea of

Ni’s attempts are intended to subvert the modernistic micro-sensitivity in a

minimalism is “whatever you see is what you get, there is nothing else.” Ni is

contemporary space. Because his gestures are humble and light, the traces are

obviously trying to retaliate at this concept with this indirect approach, and in

bound to dissipate. However, the spirit lingers in the tiny dust in the air and is

replacement is the idea of “don’t believe in the superficial things that you see.”

full of a sense of deconstruction for the space. It is surely another artwork full of

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contemporary significance.

5.The Restorer of Nature -1 Kaohsiung Project

action to alter rigid public facilities by the road or by the riverbank, and the intention was to bring a sense of life to them. At the same time he attempted to spur a sense of reflection amidst “violating the law” against the government’s

Counter “Violation of Justice” by “Violating the Law” (R108,

acts of “violating the justice”.

Western Stairway)

The Restorer of Nature - Song Zhuang Project

From exhibition space 108 all the way up the stairway to the second floor is

Everyone could be an Artist and Every Artist could be a Social

where Ni’s “environmental artworks” are located. Through The Restorer of

Activist (Western Stairway)

Nature, he has conducted many interactive dialogues with nature. The works exhibited are from the environmental collection of The Restorer of Nature

“Song Zhuang Project” is another group art action by Ni focusing on

created in 1992-1994 in Kaohsiung, works created in 1994 at the Dansui River

environmental observations and introspections. In 2005, Ni was invited as the

in Taipei County, and environment renovation action that took place in Spring

guest lecturer at the China Central Academy of Fine Arts, where he stayed at

2005 at Song Zhuang artist village in Beijing with Xianting Li.

Song Zhuang, an artist village in Beijing, for two months. At the village he saw a lot of foul smelling litter and together with the help from local curator

In order to recreate the impact industrial civilization has on nature and to

Xianting Li he initiated a community renovation project with the local residents

present life’s original stance, Ni went outside of his studio and worked by the

and artists.

mountainside, the river and at a fire-ravaged park and underpass. He collected fallen leaves, tree barks, fruit rinds, branches, and objects that people discarded, such as wooden crates, brooms, cardboards, toys, and even an industrial crane.

He used these “found objects” as his creative medium and recompiled and installed them together into a creative series integrating art and environment.

From the collection there is a small piece of discarded broom stick turned into a metaphorical bamboo forest and the artificially trimmed palm leaves sculpture formed a lively green organic form. As for the installation, branches were combined with cardboard boxes to form a lotus pond, and plastic figures were

The entire process included clearing garbage, elevating the fence around the dump pit, planting trees, constructing gazebos, and writing advisory slogans on public walls. The process successfully beautified the local scene and improved the residents’ living quality and rectified the local’s habits of littering. Ni’s “Song Zhuang Project” could be compared with German artist’s Joseph Beuys’ 1981 action of planting 7000 oak trees, as an act of “social sculpting”. It could also further be developed into a new art sociology theory of “everyone could become an artist by taking part in reshaping the society”.

combined with the crane, where a theatrical scene of Greek mythology of Icarus

The remains of Ni’s environmental artworks are recorded in photographs, and

falling to his death was created. Ni also attempted to use “destructive” personal

because his art endeavors have always emerged due to their corresponding

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“movements”. Because of such activities Love River has been purified and

after the capture of something that one has chased after extensively, the thing

beautified, the Danshui River is no longer foul smelling, and even Song

might disappear very quickly and become something of the past.” The form

Zhuang has been transformed through acts of art community renovation.

and interactive mechanism of this work is a clear correspondence to this idea

Art’s intervention in space certainly does not end here. It will also continue to

and concept. At the same time the intention is for the audience to recognize

intervene in the society and the future!

this concept, and hence for the artist to form an interactive way of sharing ideas.

6.“Illusion of Dreams” – “Now” will Soon be the “Past”

Time is the ultimate sculptor; it breathes life into things that were nonexistent

(Audio-visual Room)

before and allow them to flourish until they begin to wane and revert back to nothingness. Although all things in life are transient, most people do try

This panoramic interactive digital installation piece, “Illusion of Dreams” is

to bring light into the world and to leave signs of their existence. With the

Ni’s new creation. Compared to the objective of returning to the natural and

elevated stage designed for this artwork, people could walk on the stage eagerly

the genuine expressed in some of his previous works such as In Dust, Restorer

and be amazed as their features appear. However, just as in life, the apex of

of Nature, the intention with this piece is to employ the most advanced and

one’s growth leads to the fall.

experimental technological interactive approach to let audience enter the gallery and stand before a projected screen. Through personal efforts, each person could call out to his/her own form and features.

The Interactive video installation art genre is dominated by young artists who have grown up with computers. They are skilled at interactive video games and are accustomed to technology and digital video manipulation. Therefore, they

In this space embodying a dual significance of game play and spirituality, the

often garner amazing effects with their incredible skills. However, focus on

audience initially wonders hesitantly before the camera on stage. Through a

exploring the culture and humanity behind it is often lacking. Therefore most

person’s physical movements “art” responses are created. When abstracted

technological interactive works frequently fall into the category of novelty and

light and shadow begin to come into shape through the digital programming,

find it hard to keep people’s interest for long. The intention with this piece is to

another deconstructive program is initiated, and regardless of gender, age,

encourage a more spiritual level of introspection and recognition.

social status, each person’s digital image would begin to disintegrate and

Being someone born in the 1950’s, Ni could be considered as an elder in the

vanish.

digital art realm. With his personal experience with aging and death, he has

Suffering from chronic liver disease, Ni is attempting to use this physical

risen above it with a sense of enlightenment, and is able to use life’s temporary

sensory and interactive mechanism to encourage the audience to think in a more

quality to create this art mechanism, as him and the audience joint together to

unrestrained way about life and to do this through their own physical bodies.

come to a realization about the “present” and the “past” about life.

His experience with life is that: “there isn’t a perfect eternity in life, and even

7.“Illustrious Illustrated” – Commercial Billboards, A

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Medium and also An Art (R204)

The title “Illustrious Illustrated” is derived from Chinese poet Du Fu’s “Song of Eight Immortal Drinkers”, which describes the famous Li Bao being so

This collection is comprised of fifty A4 size paintings. These petite pieces with

engaged in his drinking that even when the emperor called, he would not

mixed contents of the old and the new are inspired by Ni’s childhood memories

respond and referred to himself as a nymph of the alcoholic spirits. So what Ni

of painted movie posters and large billboards. Painted movie posters and

is trying to portray is that when he is painting, his eyes do not see anything else

billboards in the 1950’s in Taiwan were the earliest forms of media/art that Ni

and he could paint whatever he pleases, exaggerate however he likes. He took

came into contact with.

the basic elements from movie posters, the classic themes, theatrical effects,

Because Ni’s mother was a co-partner for a movie theater, Ni was able to watch many movies as a child. He paid attention to the ever-changing hand-painted posters and billboards that kept up to speed with the latest cinema releases.

With this collection, he wanted to show the grandiose cinema advertisements in a small-scale format. He portrayed the roles of the movie producer, director, billboard painter, and even handled the design of the plots, storyboards, cast,

exaggerated tactics, unrealistic promotions, kitschy colors, and he added to them illogical contemporary elements and brush strokes making them appear more absurd. The pieces attracted people of all ages to stand before them to laugh and examine the details. This is an unusual scene for a contemporary art museum, and it was unexpected for such small paintings to garner such huge response.

publicity, and other various tasks. He boasted that “Ni Production Always

Many people were so mesmerized with Illustrious Illustrated and stayed in the

Great” and he granted himself the Golden Palm Award, five-star ratings from

gallery for a long time. These advertisement boards are full of Taiwanese flares

the New York Time. Many other glories were publicized on his advertisement

and received tremendous responses. Ni’s revisit of past memories and lifting

copies, which demonstrated fully his story-telling abilities.

them as sources for contemporary collages have fulfilled his desire to be a true

Looking back at the movie billboards from the old days in Taiwan, these advertisements utilized large-scale collages with three-dimensional slogans, exaggerated commercial jargon, tantalizing promotional plots, vivid descriptions with images and kitschy colors. From these images we can see that Taiwan was already a “Post-Modern” nation very early on. This observation could also be extended to the beetle nut stands with the provocative young vendor girls. These simple shacks are packed full of neon blinking lights and catchy names. The festive electronic light floats seen at temple celebrations may appear bizarre and tacky but this style is very Taiwanese: colorful and full of life.

Mediaholic, and the results have provided a fantastic thrill!

8.Election Eruption – Art v.s. Politics (R203) “Election Eruption” in gallery 203 is comprised of a mixture of artworks and election apparatuses. In 2001 for “Good Place - Taichung Cityscape Arts Festival”, Ni participated in the event as an artist and also collaborated with the team of the then contender for Taiwan's legislative election, Huai-Yi Shen, where an ambiguously real fake election was staged on the streets of Taichung.

The process felt like a carnival but it was also a unified propaganda warfare that was quite confounding.

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In facing Taiwan’s continual emotionally charged democratic elections, Ni

lies (flyers), and the entire floor was also covered with other such objects and

has boldly stated that Taiwanese elections are composed of these three key

bombarded with annoying campaign noises.

elements: election rivalry, lies, and briberies. Thus he used media propaganda to fight as well as art expressions and street actions to combat and expose these social phenomena is undoubtedly a very practical approach for a contemporary artist to express political and social issues.

At the pink election headquarters ten loud speakers were installed on the ghostly silent election truck. The intention was not to gain electoral votes on the street, rather, it was intended to show the helplessness that many people

At the end of 1995 Ni led a group of Tunghai art students in a made-belief Taiwanese cloud panther election. In 2001 he made up a legislature election and run the campaign where words were transformed into actions and images turned into power. Aren’t such political actions a true example of “Realism” in art?

9.Newspaper Series –A Taste of One’s Own Medicine(R202)

felt. A group of Tunghai University students that joined the campaign dressed

Ni’s Newspaper series is based on the subversion principle of “Fight the Media

up with toy cannons and riffles and charged the streets with their gears. At

with Media” and also the appropriation approach with “false example”. Within

intersections when the red signal light went off, they took over with their fake

the limited newspaper spaces, Ni condensed and presented many unbalanced

guns and carried out a street election warfare theatrical play. These actions

and out of focus social phenomena that were occurring due to media spurred

nearly paralysed the busiest intersection of Taichung as these warriors began

chaos.

to yell out “Election Yes or No” while distributing false red envelopes alongside real flyers to the passersby-s. The action cleverly played out the acts of playingentertaining the voters and it cultivated a cultural tactic pulling the public closer to art.

As an art and culture observer and critic, Ni has boldly stated that “media is the root of chaos for society and its absolute power is a form of violence. The media keeps presenting false images saying only what they see fits and publish they want to publish. Everything is based on their own stance. There isn’t a sense

In facing the upcoming presidential elections, Ni certainly didn’t miss out on

of right or wrong or justice in the media. The bloodier, more provocative and

the chance to express his point of view. As it was hard to find a presidential

more violent an event is, the more it will made it to the front pages.”

candidate he nominated himself. Following the customary election campaign he installed many loud speakers on a campaign car but kept it silent. He placed photo and political slogans on the sides of the car, and at the front he installed a big cannon. Inside the exhibition space, several pink banners were installed and the election staffs wore campaign vests with bill-like stacks of flyers and promotional goods. There was also a large pillar constructed with money and

Since 1995, in order to fight media’s lack of concern for environmental and art issues, Ni began to produce his own “Taiwan Cloud News”. The present solo exhibition also includes his new publishing “Tenacious News”. Over the past 16 years, Ni has published seven newspapers that are genuine looking but filled with ambiguous content that is real and false at the same time. The 2000 “Chin News” deliberately mimicked Taiwan’s “United Daily News but

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the subject matter was all based on news circling around Ni with his current

Landscape and Art (R201)

affairs, columns, advertisements. This was an ultimate case of “exclusivity” and Ni, being the sole proprietor as the paper’s publisher, subject, columnist and

“Back to the Original” is inspired by Ni’s observations with ancient Chinese

advertiser, he was able to dominate everything.

paintings. For this series he collected many high-grade replicas of renowned

Despite their sarcasm, deconstruction, cynicism, narcissism and self-ridicule expressed in the seven newspapers published by Ni, many people still believed they were genuine. This reflected how modern day people have unconsciously fallen into the grasp and domination of the media. This is even truer in China with its heavy censorship regulation. Some Chinese artists even asked Ni: “How could newspapers in Taiwan only report on you?”

The creative newspaper series is exhibited in two categories. At the top are the originals–the Taiwanese version–and the bottom is the remade versions–the Beijing version. Why a “Beijing version”? For Ni’s participations in several exhibitions in Beijing, he proposed to exhibit his newspapers. However, these were banned for political reasons. Later, after blocking out key figures, such as president Shui-Bian Chen, the newspapers were published. In 2009 the National Taiwan Museum of Fine Arts organized an exhibition of “Contrast Between Two Places” at Songzhuang Art Center, and Ni’s newspapers, having gone through “self-mutilation” of expunging sensitive words such as president of Taiwan, independence, Taiwan, ROC, National Taiwan Museum of Fine Arts, etc…were allowed to be exhibited with these components blacked out.

Ni’s strategy was that might as well make these blacking-out marks even more exaggerate and to elevate them into a pure visual form of “Op art” or hardedge art. Under the surface compromise was a double meaning based on antisystem and irony.

10.Back to the Original – The Return of the True

antique paintings. Using digital technology he deliberately removed all the inscriptions and name seals that were forcibly placed on these paintings after the artworks were completed. In the gallery the “original states” of 33 pieces of historical paintings are exhibited. The intention with the “restoration” of these paintings is to set aside historical barriers and let the audience witness the ambiances and messages these antiquated paintings convey.

Ni began his art career with ink brush painting. In his university years, he excelled in calligraphy and seal chop engraving. He developed an extensive knowledge on inscriptions and seals on Chinese paintings. He also discovered that what Western art historians have recognized as great landscape works of the Northern Sung Dynasty actually differ from the evaluations made by the Chinese cultural system. From this we could see that there is a vast difference in art appreciation for the ancient Chinese literati compared to contemporary academics. The pervious focused more on the “harmony between nature and man, and with still and mobile elements” with a focus on the spiritual enjoyment of nature. The contemporary views are in support of “grandiose” landscape paintings with an immediate visual impact.

After the Northern Sung, Chinese literati painters began the trend of writing on finished works. These poetic verses were originally intended to convey the motives behind the paintings. This later evolved so that even the collectors of the works and royal emperors can inscribe on the paintings. They boldly wrote their own ideas and thoughts on the paintings and placed various personal seals on them. These acts may appear like a practice of literary merit, though, the

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excessive inscriptions and seals throughout history have cluttered up the images

From an art critic’s perspective Ni is indifferent to the art superstars selling

and garbled up the original artistic value of the pieces.

cheap cultures in the name of art. From an artist’s perspective he has decided

Having come form an academic background, Ni is quick to abandon the confinements set by academia, and is dedicated in finding out the truth. He questioned Western authorities’ statements and negated the symbols placed by Chinese royalties and collectors. His intention is to encourage people of today to view their own national treasures objectively and to evaluate these ancient works with their own viewpoints.

The use of “subtraction” to expunge the images of any artificially inflicted elements is a tactic to create spiritual liberation for these paintings. The motto of “less is more” practiced in Modernism is proven here. The creative replicas are now more “genuine” than the corresponding originals. In other words, these replicas are more significant than the actual paintings. Ni has used replicas to return the works to their original states, and this counter-approach has allowed these ancient Chinese paintings to enter onto the stage of contemporary art.

11.Super Super-Flat – To “Copy” is to “Attack” (R201)

to go all the way by appropriating the degrading approaches and replicate the artworks he is criticizing. He has “remade” them to be called his own. His intended gestures have made the contents and forms of these pieces even more absurd and cheap, and has made these art even more narrow, empty, and flat.

This is exactly the reason why this series is titled the “Super Super-Flat”.

To Andy Warhol, art is not sacred at all, and the choices of his subjects and contents were quite simple. Whatever the public likes he would print it, whoever is famous he will paint it. The subjects ranged from Coca-Cola, Campbell Soup, Marilyn Monroe to Elvis and Mao. Whoever was popular he would made art from it—all things were viewed based on this standard. After he had gained fame for several years, he began to run out of things to print until a female friend of his said: “just print what you like!” Warhol liked money, hence, he began to print the US dollar sign and, later, the images from the dollar bill. Those pieces became expensive and famous works of art.

After Warhol’s fame and fortune, emerging artists began to extend from the

The twenty small-scale “Super Super-Flat” pieces in gallery 201 are from Ni’s

concepts of Pop Art, and began to select cheap common commodities to be

appropriation of five collections by contemporary art market’s super stars.

made into artworks. Koons, Murakami and other star artists are different

These works are in reference to American artist Jeff Koons and Japanese artist

from Warhol for they are more attentive to the images they pick and are more

Takashi Murakami’s recording breaking art sales. Ni intentionally used Andy

meticulous with the outcome. For Ni, since his objective is “Super Super-Flat”,

Warhol style silk-screening to replicate these works and to give them a super-

he needed to come up with results that were “worse” than these masters. He

flat appeal. The textures are quite cheap to demonstrate that the superstar

has selected artworks by other people that were directly copied form books and

commodities are actually a bizarre phenomenon promoting a kitschy taste.

then roughly printed with many mismatched colors and imperfections intact.

Just as Ni’s concept of “fighting the media with media”, the collection of the “Super Super-Flat” is clearly a play on “fighting commodities with commodities”.

Ni’s approach is clearly an “intentional sabotage”, and he wanted to fight these “originals” (which were replicas to begin with) with third-grade replicas.

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Through absurdity without he wanted to bring out the absurdity within,

society they need to keep up to date with the given time. Perhaps that kind of

through falseness to prove superficiality, and from tackiness to expose tackiness.

person should be the new breed of literati for this era.

12.Ink Series – From Lyrical to Narrative (R201)

Ni is undoubtedly one of the new literati (otherwise, how could he have written so much?) He feels that the Taiwanese landscape is not just scenery from

Gallery 201 is comprised of 28 ink paintings, including dark to light black and

dreams: it is a worldly setting covered in dust or dark with profound mountains

grey to color paintings. The exhibition consists of ink paintings by Ni from

and pastures; or even the concrete jungle jammed in all the hustle and bustle. As

the past two decades, and is a great demonstration of his diversity and creative

new literati, with deep feelings for the contemporary world, he has outgrown

context. 1.Early Period: From lyrical narration to portraits of literati, he began

the reserved and hidden landscapes depicted by the old literati. What he is after

to compose with dense compilations and robust brush strokes and dark

is drastically different from the pure states of ink paintings of the ancient times.

moods. The pieces from this period illustrated a series of realism landscapes from cosmopolitan Taiwan all the way to the countryside. 2.Middle Period: Ni transferred to the leisurely environment of the Tunghai University to teach, and his ink paintings changed to being composed with light, quiet, and subtle pieces of landscapes, trees, and the four gentlemen. This was a period that he explored with the state of Zen beyond what the literati painting was comprised of. 3.Later Period: On larger pieces, he combined illogical collages with exaggerated colors and strong contrasts from black and white images.

The land has changed, and so has the water, thus, what we see in Ni’s ink pantings are ominous pastures, moist mountains, and astounding urban sceneries. He has even integrated glitzy tackiness and naked beauties on yearning mountainous setting. What is contemporary ink painting? Perhaps the new literati, Tsai-Chin Ni, would be able to set a referencing point for this new art form.

13.Interview Collection of Ni: Where is the illness?

With mundane everyday contents, the unique brush strokes and ink usages on these paintings subverted the elitism embodied in traditional ink paintings. At

Because of illness and pain, I am hyper-sensitive, and hence has a

the same time, the narrative visual languages used also reflected criticism on

lot of things I want to say!(R201 Stairway by R201)

contemporary industrial cultures.

Physical Illness

Some people think that the demise of literati painting is because there are no longer literati in the contemporary world and the ideals of becoming as one

“For this solo exhibition at MOCA Taipei, I have put aside the illness that has

with nature, that sense of utopia is no longer realistic with today’s time. The

stayed with me for the past three decades!”

environment has changed and so have human relationships, thus, how is it possible for literati painting to continue to exist? Perhaps we could alter our

Over the past three decades apart from making art a liver disease has tightly

perspective. If any cultural savvy person still holds any concern for nature and

followed Ni. His life could be viewed as a saga of illness. Because of an

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injection received in his youth, he contracted hepatitis, and since 1981, Ni has been battling the disease. His life was turned colorless because of this. With the discovery of liver cirrhosis and cancer, he has visited many hospitals because of his movements and travels for his art practice. He has been treated with

about their wrong doings.

Art and Culture’s Illness Contemplation on “Western Art Made in Taiwan”

multiple CT, MRI, alcohol injections, embolization, biopsies… surgeries.

Each medical report felt like a final sentence. Ni originally wanted to film the

Ni is also an avid skeptic fervent in raising questions. Some questions he

entire process for a scheduled surgery before the exhibition. Due to medical

has raised constantly are: the French conceptual philosophies catalyzed the

concerns from his doctor about the risk of the surgery and quite possibly

breakthrough led by Duchamp that turned into “Dadaism”, and in Germany,

uselessness in preventing the spread of cancer cells, Ni decided to switch his

religious redemption was transformed into humanitarian concerns and was

focus to meditation, the practice of inner flow, and food therapy. He became

cultivated into the “social sculpture” pioneered by Beuys, which denounced

completely devoted to his art with no time to worry about his illness. He said,

by stating that all could be artists. American consumer culture shaped Andy

“The original plan to have a surgery at the hospital was elevated into exhibiting

Warhol, and via media marketing art “Pop Art” was able to latch onto reality in

at MOCA Taipei; perhaps, this is fate, or a positive coming-together of life’s

a detached manner. What about Taiwan? Our mainstream culture has always

experiences and spiritual accumulation. To view these changes as a natural

followed the footsteps of others, and foreign icons are idolized. In actuality,

process will also set the body and mind free.”

philosophical traditions combining Confucianism, Taoism and Buddhism have always been hidden in our cultures. There are many outstanding talents

The Society’s Illness “Taiwan’s Media is the Root of All Evil in this Society!”

Ni believes that Taiwanese people are naturally down-to-earth and good but the society is critically ill. After the lift of martial law, the trouble-causing media

scattered in Taiwan, and only by planting a strong foundation in our own core culture and construct a value system based on self-acceptance would Taiwanese contemporary art be able to get a foothold internationally.

14.Conclusion:

has turned into a pathological source for this illness. He says, media should be

What purpose do art museum exhibitions hold? There is a concept that

the “voice of people” but Taiwanese media is usually just voicing for themselves

embodies the three E’s: Education, Entertainment, and Enlightenment. In

or only concentrated on their gains with no professional, moral ethics. They

order to present an exhibition of high standards and also gain approval from

bully others with their authoritative power, spread fear and peculiarity, and

the general public, the three E’s must be upheld for the curatorial planning, and

are omnipresent in people’s lives. Like a fatal virus, the media are harming the

Mediaholic-Arts of Tsai-Chin Ni is certainly no exception.

public unconsciously, and are in no way intending to self-reflect or contemplate

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This exhibition should not only be viewed with one’s eyes, it should also be felt by the heart. This way, one could penetrate the superficial formalities and go on to read the meanings contained within, which is the humanity and cultural spirits behind the images. In viewing Mediaholic, it is not difficult for one to see the concepts, the emotions, and the compassion in Ni’s artworks.

These elements come to form the educational aspect of the exhibition.

Today’s exhibitions are no longer just about cold stares in a white space. Pure aestheticism has been replaced by life’s experiences. It’s not hard for us to see art correspond with reality, with life. In seeing Mediaholic, audiences will not only see the exaggerated and illogical expressions of Ni, and they will also discover the absurdities, humor, and peculiarities in them.

Usually, one would chuckle when seeing these artworks. This sense of delight is seen quite often in this exhibition. Outsiders could enjoy the liveliness of the show, and experts could marvel over the inner messages. In this era of information overflow, there are an abundance of exhibitions, and only through observations and evaluations could we weed out the impurities and see the meaning beyond the superficial image. Mediaholic is full of criticism, and we are hence in turn prompted to look with a critical eye at the profound meanings behind Ni’s creations. By doing s, we are able to garner more inspirations and feel more fulfilled.

From planning, to exhibition and writing, the accomplishment of these three goals is an inevitable route for curating this exhibition. Through the pursuits of Education, Entertainment, and Enlighten, the presentation of Mediaholic does not only comprise of artworks worth seeing, it is destined to be an important exhibition that will leave a mark in history and inspire extensive discussions.

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倪再沁檔案室，現場展出圖 Archives Office, MOCA Taipei

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倪再沁檔案室，現場展出圖 Archives Office, MOCA Taipei

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右下 媒體大哼 門票設計， Right Below: Mediaholic Ticket Right Above: Mediaholic Invitation Left: Mediaholic Poster 媒體大哼 海報設計，

右上 媒體大哼 邀請卡設計， 左

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八仙噗通，美學不通 — 側評《媒體大哼》特展的「當眾揮毫」 文：李思賢

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躇，或是很公眾的豪氣顯彰、自信滿滿，但無論何者，都形成了一場

楔子

極為有趣的即時互動和藝術攻防。 身份多重、創藝多元的台灣藝術家倪再沁，在台北當代館石 瑞仁館長伯樂識良馬的慧眼下，於橫跨建國百年元旦(2011)的當頭，

兩幅大畫就從「媒體大哼」倪再沁奠下「窗框」（或畫框）

傾全館之力推出了一檔足以讓人看了頭昏眼花、叫人讚嘆連連的大型

的基礎之後拉開序幕，天王們便以各自擅長的藝術語言展開創作；薛

個展：【媒體大哼】。這個集結了倪再沁20餘年來各樣創作的大展，

保瑕率性地用刮版將色料大筆觸揮灑的「加法」、曲德益以擦代畫

美學橫亙中西，藝術型態詭異、藝術語言龐雜，非但是難以歸類，用

似如打底的「減法」、李俊賢用「豪快のHue」的豔筆寫上自創變體

任何單一系統的批評語境也都很難清楚廓清倪再沁所欲以言說的真正

字「午告送」和「人生海(海)」、石晉華用鉛筆和整管顏料做圖繪和

內容；而這個狀態，同樣也顯現在【媒體大哼】開幕當天的「當眾揮

黏貼的「走筆」、涂維政以「卜湳」變體亂碼文字所寫的「亂碼春

毫」活動上。一個古董級的藝術形式，在後現代的今天被挪用之後，

聯」，以及姚瑞中的仿中國式「魔幻山水」…；最後，在具藝評身份

肯定要撞擊出新的結果；但究竟是怎麼個「新」法？還是根本就是一

的石瑞仁於兩幅畫的右下角各自題上「有當代，有擔待」和「無影、

場誤把馮京當馬涼的天大誤會？將是本文所著墨的要點。

有影、讚！」，並大加闡述一番，為之定調之後劃下活動的句點。

本性的流露的本性

以旁觀者的角度言之，在「揮毫」的過程中，每個人互為主 次地交互擔任主角和配角；有客氣的禮讓，卻也有霸氣的主導。有趣

倪再沁魅力十足，登高一呼便能找來台灣當代藝術中的一 群A咖級人物共襄盛舉。除了倪再沁本人外，外加館長石瑞仁，以及 曲德益、薛保瑕、李俊賢、石晉華、姚瑞中和涂維政，跨媒材、跨世 代，各個都有鮮明的藝術特質不說，半數以上都是美術館館長級的人 物，七男加一女，因此戲稱為「八仙過海」。無可諱言地，外界多少 對這群藝術天王有某種特定形象或風格上的認知，但當他們為《媒體 大哼》做「當眾揮毫」時，我們卻看到一種在「似與不似之間」的他 們的相對真實樣貌。這當中有某些或是極個人的羞赧低調、猶疑躑

的是，從許多當場的姿態和不經意的小動作中，竟能全然符合他們在 藝術界所定下的風格或在朝時的為官作風。性情相對強勢者，在遭到 他人對其筆墨的覆蓋或塗抹時，出現頓時的訝然與無措；而性格溫和 者，多以搭配或修繕作為參與其中的角色扮演。就好比一直在同一張 畫布上以抽象語彙合作的曲德益和薛保瑕，後者（薛）的大破大立、 大開大闔的演出，令人印象深刻，剎時間讓人彷彿見到在國美館館長 任內衝鋒陷陣、披荊斬棘的「薛館長」。而前者（曲）幾乎全場以 「擦」的方式，局部抹除薛保瑕的激情筆調，使畫面回復溫潤，這種

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調和鼎鼐的帷幄功夫，火候拿捏穩當沈斂，令人讚嘆佩服。同為「館

體活動的一個成分，它自發地反映了某一個人之性格的特質以及在某

長」級的曲德益，竟甘於當一個配角？！且口口聲聲說著：「為薛館

一既定時刻之內的特殊經驗。那種習慣性的堅定或懦弱，自信或膽怯

長服務！」(註1)，這究竟是進是退，盡在五里霧中，真箇莫測高深。

等個人的性格，都在他的行為動作裡表現了出來。同時，他的身體的 行為也可以顯示出，此刻，他對於一件事情是抱有興趣或感到厭煩，

年輕一輩的石晉華、姚瑞中、涂維政三人也很是有趣：面 對其他幾位不是「老師」就是「館長」、從小讀書時就已經是「書中 人物」的前輩，他們心裡多少也不敢造次，便從頭到尾任勞任怨地埋 頭苦幹，拚命畫、任份地為完整畫面而努力做工。就如石晉華低調地

快樂或悲傷。」(註2) 這段話意味著「本質」——人的本質；作品代表 個人，創作代表個性，就像西洋美術大師曾用過的調色盤，是規矩拘 謹、是躁動神經質，都是本性的投射。而「當眾揮毫」的諸家們，通 過畫畫本身體現了他們的「人的本質」，亦復如此。

走完筆後，去為姚瑞中的黑山水用白顏料加皴、加水紋；涂維政亂碼 寫畢，也去替姚瑞中的山水補上底色、畫上火山熔岩噴發；而姚瑞中

塗鴉的快感的塗鴉

畫完山水後，將倪再沁構出的窗框，依透視畫出整排淡藍色框框，並 畫上淡紫色底…。當主持人問及姚瑞中這些藍紫色的框是什麼時，他 竟爽快地回答：「沒有啊，裝飾而已！」顯然大家都挺實在的在相互 「配合」著。李俊賢在活動之後幽默地表示，參加這樣的活動「有一 種緊張、有一種興奮，要想辦法如何在很多人中自處」，態度上似是 一種融合，也是一種協調，相對客氣。但也有可能像倪再沁看到以 曲、薛二人所主導的那張「抽象」作品如此完整，「顛覆」的本性勃 發，技癢一時，拚命想要「介入」，但卻始終都介入不了。什麼人做 什麼事，一覽無遺。

德國完形心理學理論大師安海姆 (Rudolf Arnheim, 19042007) 曾將藝術創作的行為分為「相貌的」(physiognomic)和「描繪 的」(descriptive)兩種狀態，他認為，前者這種外在形象的動作「是身

「當眾揮毫」考驗了每一位參與活動的藝術家處理畫面的能 力，這種當下研析與判斷視覺元素的基本方法，雖然至今已在學院教 育中退了流行，但對這些參與揮毫的藝術家來說可一點也不陌生，因 為那是一種過去美術教育慣用的方式，無論是倪再沁或涂維政的世代 都一樣。從當事者的角度看，當眾揮毫喚起了他們作為一個藝術學子 的過往經驗，喚回了他們的另一種本質。前文提及的「本質」，說的 是人的個性、真性情；而這裡再說本質，講的便是回復一個「愛畫畫 的人」的原始狀態。

人的成長過程因為許多社會的制約、洗禮，也因為身份和 自尊等多重因素，而戴上久而久之成為「身段」的面具，憋太久、放 不開，致使快樂遠離、本質不再，原先為何「學美術」的原始初衷早

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已煙消雲散，創作已然不是單純的「畫畫」，而是有更多不見得使人

性地精神與自然、形式與物質的相和諧，「既滿足了感情的要求，也

快樂的腦筋急轉彎糾纏其中。觀察「當眾揮毫」的整個過程將不難發

滿足了理智的要求；既解除了物質的束縛，也解除了道德的束縛。因

現，多位參與的藝術家剛開始是有些緊張、躊躇、裹足不前的和不知

此，它消除了矛盾，達到了和諧和統一。」(註3) 元代以畫荷、畫梅

所措的，但隨著時間一拉長而「玩」開來時，大夥們鬆脫的自在、歡

知名的王冕(約1310-1359)亦云：「戲墨，發墨成形，動之於興，得之於

樂，讓畫面上各據一方或交相攻防轉變為協調與包容。此時，沒有人

心，應之於手。」（《梅譜•墨梅指論》）因此我們可以說，「當眾

是某某館長、某某教授或天王級藝術家，而是單純「以畫會友」的朋

揮毫」此一活動本身儘管沒有任何傳統當眾揮毫「表演」時所寫的書

友，只是一個「愛畫畫的人」。

法或所畫的四君子，畫的內容雖然是現代的意象拼貼或抽象畫，但在 根本上實質帶著高度的「墨戲」精神。對參與者來說，手感製作的熟

薛保瑕在活動尾聲前以「眾音交響」四字註解下當天的心 得，這樣的經驗或許難得，但更難得的，應當是深埋於心底那個久違

悉，彷彿將時空拉回到年輕時塗鴉、玩泥巴的那個純粹的自我，無疑 也是一種高度的「游」的體現。

的自己。孔子(BC 551-BC 479)在《論語•述而篇》有云：「志於道， 據於德，依於仁，游於藝。」「游於藝」其中的「游」，不只是字面

佛洛依德(Sigmund Freud, 1856-1939)從審美「遊戲」的角

的遊戲或玩樂，而可以說是一種心性的徜徉或神遊，悠游於其中。

度說，「創作家所做的就像遊戲中的孩子一樣，他以非常認真的態

南宋理學大儒朱熹(1130-1200)將「游」解釋為：「游者，玩物適情之

度——也就是說，懷著很大的熱情——來創造一個幻想的世界，同時

謂。」（《四書集注》）用這「玩物適情」來形容參與「當眾揮毫」

又明顯地把它與現實分割開來。」他認為，「在遊戲時，每一個孩子

的藝術家們的心情，貼切十分。中國書畫體系中，一直有種「墨戲」

的舉止都像一個創作家」，因為「在遊戲時他創造了一個屬於他自己

的遣興因子；文人間曲水流觴的雅集，大家一起喝酒、吟詩、揮毫，

的世界，或者說，他用一種新的方法重新安排他那個世界的事物。來

形成了一種體例。「墨戲」不是創作，也不為什麼特定的理由，純粹

使自己得到滿足。」(註4 ) 每位參與當眾揮毫的八位藝術家，此時都

就是通過筆墨所完成的合乎當下心理狀態、適情適性的愉悅感。

像個孩子般天真；當他們進入到完全創作、完全遊藝的狀態時，表演 與否？是否有觀眾圍觀？都已無關緊要，因為此時的他們，已然遁入

以西哲的角度看，中國水墨的「墨戲」美學，是一種超 越與和諧，猶如在康德(Immanuel Kant, 1724-1804)和席勒(Friedrich Schiller, 1759-1805)的眼中，通過遊戲而在各種能力的範疇上達到自發

另一個他們所建構的新的世界去了，就像一群噗通下水的青蛙，往廣 闊的池塘深處自在地游去。從事前的緊張、嚴肅、慎重其事，到創作

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時的投入、徜徉、快樂歡愉，再到事後的感動、興奮、回味無窮，整

倪、李的這種言論其實並無不對，但可能當時一股年輕人的

個過程顯然勾動了他們心靈底層對熱愛藝術的原我，勾起了埋藏許久

狂飆的血氣，把自己推向「藝術為藝術而藝術」的純粹化的浪頭上，

的喜愛塗鴉畫畫的自己。畫畫當前，其餘都已無關緊要！

在放大現代藝術創作原質的基礎上，將中國傳統書畫當眾揮毫的形式 化和奇觀化批判為一種低下的匠氣表演。然而20年過去了，倪再沁卻

創作的表演的創作 一般傳統水墨的現場揮毫，畫的都是刻板的山水花鳥，而 此次的「揮毫」衝突性卻很大。整個活動的濫觴，主要來自於20年前 倪再沁在高雄闖蕩的時期，曾與李俊賢聯手狠批過「當眾揮毫」這件 事。當代館的「導覽手冊」中說：「倪再沁自承，在其進入美術學 院、修習現代藝術之初，對這種傳統的藝術教習模式頗不以為然，因 為整個表演過程只突顯了藝術技法而忽略了美學觀念…。」(註5) 此 一觀點，恰恰呼應了年輕時的李俊賢所說的，在揮毫的過程中，「觀 眾努力觀察畫家的運筆、用墨，畫家也刻意表演這方面的手上功夫。 因此，在揮毫進行中，時常有畫家故意露幾手秘傳絕學…。」而「這 種『當眾揮毫』的技藝，事實上是把藝術的層次，貶低至技巧層次的 最好方式。對大多數畫家而言，創作成果是他們唯一也是最重要的考 慮，至於創作的『動作』多半是十分『個人』、『個性』的行為，通 常不是很能登大雅之堂。…對觀眾而言，『當眾揮毫』只能使他們將 注意力集中於畫家的各種手部動作，甚至很容易以為藝術的技巧就是 藝術的目的。」(註6) 言下之意認為，作畫的重點應是個人的獨創性要 能彰顯，現場揮毫只不過是低下的套路與技術的表演。

邀李俊賢在台北當代藝術館重拾「現場揮毫」，或許是倪再沁一種心 理上的救贖，想還原一點20年前自己曾經批判的對象的真實內在；也 或許是他挪用、假借、顛覆、「打著媒體反媒體」的批判慣性使然。 終之，此一活動之所以成局，在於倪再沁首邀李俊賢的那通關鍵電 話。過去，他們不假詞色的批判傳統、批評現場揮毫，而今倪再沁力 邀當年一同「放火」的李俊賢來參與「當眾揮毫」，時空的造化弄 人，實是令人啞然。

事實上，從中國美學到中國書畫藝術傳統，一脈相承的內 外在因素而傳衍成為後來我們所看到的（也與之批判的）「現場揮 毫」。中國人的民族性上講中庸、以和為貴，凡事不予強求；這個 「和」字，反饋到藝術美學上簡單來說便成了講求「天人合一」的謙 沖。曲水流觴的文人雅集，在某個意下說來，就是「和」的一種具 體表現；就如同文學的吟詩作對般，沒有個人主義的獨舉標榜，但求 和合的共同成就。因此傳統國畫的文人合作、補筆，以及這裡所談論 的現場揮毫，約略有著如是般的美學意味；在這點上，與西洋美術中 唯我獨尊的自我風格化自是大不相同。因此，傳統書畫的現場揮毫儘 管是表演性質居多，但就算在「創作」的樣態上，其實也還是成立和

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有效的。倪再沁在其世紀個展中以「揮毫」作為開幕的重頭戲，性質

重點。」(註7) 此話看來無誤，但這與倪、李二人所批判的書畫的現場

上實在有難以辨認之處，其基本立場究竟是站在中國美學的「雅集遣

揮毫有何干係？傳統書畫的揮毫，僅是文人雅集的聚會過程中的一種

興」，邀約幾位藝壇友人來熱鬧熱鬧「畫好玩」的表演？抑或是西洋

感受，以藝會友的性質遠大於創作與否；「交遊」與「創作」，一中

美術的「行為藝術」創作，以批判「揮毫」之名行觀念創作之實？！

一西，各自落定在不同的文化位置上，可以各自分流、各自擱置，毫

著實為此一「當眾揮毫」活動（或行動？）橫生了中西美學猛烈撞擊

無瓜葛。而最終以當代藝術的「行為」或「觀念」閱讀審度全局，雖

後的弔詭與趣味。

無不可，但是否言重了？

倘若我們從同在館內展出的倪再沁各式各樣的作品中，拉

小結

出一條「倪氏語言」的美學脈絡的話，便不難發現「當眾揮毫」在倪 再沁的心理看待下，在上述兩種狀態均兼而有之，且「先前者，後後 者」。就如〈原作重現〉中，仿照乾隆皇帝對經典名畫蓋印題跋的霸 凌，只不過倪再沁是以泯除印章代替加蓋罷了；另類「復古」的行 為，在創作初衷的脈絡上仍與傳統一致，但有趣的是，繼之對作品成 果的解讀卻又產生更為先鋒的內容。我們毋寧相信，倪再沁「當眾揮 毫」想法的提出，往往只是一點對中國傳統美術的回應而已（〈原作 重現〉亦同），對「傳統」抱持著滿盈的想望與憧憬，相信是倪再沁 最真實的原我狀態。

有一篇文章的標題寫道：「藝術之所以不一樣，是因為觀 念」（張至維，《國藝會》），儘管這在現今的藝術生態來看或許已 是常態，也是藝術界的主流論調。然而，以文人畫的形式入，卻以西 方的美學標準出，本應是八仙過海的各顯神通，卻在中、西美學體系 的混搭與誤植之下，形成了一種不知生為何物的「插枝美學」。當代 館館長石瑞仁在活動落幕前下了如是註腳，他說：「輕鬆隨意的下 筆，還是能整合的。台灣到處各自有各自的聲音、腔調，多元並行。 過去的現場揮毫，是為了一種『慶祝』，或某種目的。今天是為藝術 的、即興的想法，沒有目的；不會互相妨礙，而是相互成就；尊重別

然而錯離的是，對主辦的館方而言，或許當眾揮毫本身「是

人的存在，適當的放置自己。用各自即興的方式去做，要能發出自己

過程也是藝術」（導覽手冊標題），正如他們所言：「在當代藝術範

的聲音，又要能交響共鳴，是一個集體的成就。」話語間，似乎把

疇中即有不少以『行為藝術』之名作現場演出的名家案例，在名策展

「當眾揮毫」活動的定位稍稍靠攏在文人雅集這頭，也隱隱呼應了

人史澤曼以『當態度變成形式』之論調為當代藝術背書之後，隱藏在

「導覽手冊」中印載的：「這種集體即興創作的儀式，除了還『現場

所有藝術行為背後的美學態度，明顯變成了檢視藝術家特色與成就的

創作、當眾揮毫』一個清白，其實還可以遠追到古代文人雅集的傳

053

統－－騷人墨客們群聚在竹林中的溪水旁，以「曲水流觴」的方式， 輪番上陣地飲酒、賦詩、作對，不亦美哉樂乎？」既是如此，搬出西 方的史澤曼，或談行為和觀念，在美學上似乎說不通，也許這是一種 論述上的交響共鳴吧。

不過話回到頭來，倪再沁能自在遊走於中西藝術史和理論的 能量，實是少有人能出其右了。而究竟「當眾揮毫」是作為「創作的 表演的創作」或「表演的創作的表演」，這糾纏在中西美術史和藝術 理論間的大哉問，恐將成為一大美學公案，有待後續挖掘考證和辯證 了。

註1本文中所有參與者之語句，均錄自活動現場記實錄影。註2 安海姆：《藝術 與視覺心理學》(Art and Visual Perception)，李長俊譯本，p.172，1985年版 （四刷）。註3 參閱蔣孔陽：《德國古典美學》p.185。「墨戲」一詞，在彭修 銀《墨戲與逍遙—中國文人化美學傳統》一書中有深入地解釋（台北：文津， 1995）。註4 見陶東風：《中國古代心理美學六論》pp.219-260。註5 見《媒體 大哼》導覽手冊「當眾揮毫」篇（當眾揮毫─是過程也是藝術）；可參閱台北 當代藝術館官網：http://www.mocataipei.org.tw/_chinese/showweb/04_handbook. asp?ID=148。(2011/01/05)註6 李俊賢：〈論「當眾揮毫」—從高雄市立美術館 國際雕塑營談起〉，載《雄獅美術》246期，頁86-87，1991.7。註7 同註5。

The Eight Immortals Plop and Aesthetics Flop On the Impromptu of the Mediaholic

By Szu-Hsien Li

054

Origin

seven men and one woman, the group was playfully referred to as the “Eight Immortals Crossing the Sea,” referencing to the famous Chinese mythical

A person of multiple identities and multidisciplinary practices in art,

legend. Undoubtedly, the outside world has a preconceived impression for

Taiwanese artist Tsai-Chin Ni was insightfully recognized by JJ Shih,

this group of art superstars; however, during Impromptu for Mediaholic,

director of MOCA Taipei, and was invited to present a grand solo exhibition

we saw them in an “ambiguous” state, which appeared comparatively

spanning from the end of 2010 to the new year of 2011, which is also the year of

quite genuine to the fronts they may hold. Amongst them, some were

the national centennial celebration in Taiwan. The entire venue was dedicated

extremely introvert and hesitant; while others were more aggressive and

in presenting an exhibition that would amaze and dazzle the audience, and

confident. Nevertheless, their unique behaviors created a rather interesting

this was how Mediaholic came about. The exhibition incorporated Ni’s

instantaneous interaction and a form of artistic defense.

artworks from the past two decades, which were diverse in their genres ranging from Western and Eastern aesthetics, with bizarre art forms and

The two large paintings came to form the basis of the window frames (or

complex art lingos. To attempt to categorize these artworks would be a

painting frames) for Tsai-Chin Ni’s Mediaholic, and the exhibition was

daunting challenge; it was also difficult to use a singular systematic critical

officially launched thereto. Through their individual artistic expressions, each

structure to clearly express the true context embodied in Ni’s artworks. A

superstar went out on a creative endeavor. Pao-Shia Hsueh unrestrainedly

similar situation like this also occurred during the opening day of Mediaholic,

used a scrapper to “add” bold colors freely; The-I Chu opted for “subtraction”

in the form of an event titled, Impromptu. The appropriation of this ancient

to erase certain aspects; Jiun-Shyan Li used a vibrant pen from “Hue and

way of artistic expression was performed in the post-modern time of today

No Hue” to inscribe catchy colloquial phrases in Chinese; Chin-Hua Shih

and the event was bound to spur new sparks. However, what kind of “newness”

continued his “Pen Walking” by painting and gluing with pencils and entire

was intended, or was it a big misunderstanding of mistaken identity? This

tubes of paint; Wei-Cheng Tu wrote the “Garbled Lunar New Year Scroll”

will be the central focus of this article.

with the garbled text from “Bu-Nam”; and Jui-Chung Yao, also contributed with “Illusive Landscape”, mimicking traditional Chinese style. Lastly, in

Revealing the Nature of Natural Characteristics With Ni’s great attraction, the event effortlessly congregated many important elites from Taiwan’s contemporary art circles. In addition to Tsai-Chin Ni and director, JJ Shih, also present were The-I Chu, Pao-Shia Hsueh, Jiun-

the role of an art critic, JJ Shih inscribed at the bottom right hand corner of these two paintings the phrases of, “Contemporary with accountability” and “Yes, No, Great!”. Followed by an elaborative commentary by Shih, the event concluded with a definable purpose.

Shyan Li, Chin-Hua Shih, Jui-Chung Yao, and Wei-Cheng Tu; each of them

From the spectator’s perspective, during the “expressive” process, each person

a vibrant artist hailing from various disciplines and generations, also more

interchangeably took on the positions of playing supporting and main roles.

than half of them had also once held the status of a museum director. With

Some were courteous, while others were more dominating. Interestingly

055

enough, from the unintentional small gestures observed, each person’s

window frame Tsai-Chin Ni had constructed. When the event host asked

personal style in the art realm or perhaps the way they carried themselves

Yao about this bluish purple frame, he immediately responded by saying

during their tenures as high-ranked officeholders were quite befitting with

that, “It’s for mere decorative purpose only!” Obviously, they were all focused

their mannerisms demonstrated. The aggressive ones looked shocked and

on playing the “collaborative” role. Jiun-Shyan Li humorously commented

dumbfounded when their artistic creations were covered by others’ gestures.

after the conclusion of the event by saying that to take part in an event like

As for the milder ones, they went along the process by being supportive,

this “was quite nerve wrecking and exciting too. I had to think about how to

and their acts complimented others. For example, Pao-Shia Hsueh and

carry myself amongst a group of people.” His attitude was one of harmony

The-I Chu opted to collaborate together on the same canvas with abstracted

with politeness. On the other hand, the “abstract” piece by Hsueh and Chu

expressions, and Hsueh’s bold and forceful gestures exerted quite a strong

was also formed during the event. Full of intentions for “subversion”, the two

impression. One could almost see the fierce “Director Hsueh” of the National

couldn’t help to “intervene”, yet ultimately, it was very difficult to do so. How

Taiwan Museum of Fine Arts. As for Chu, he opted to use mostly “erasing”

each person reacted under a certain situation was very apparent in this case.

gestures the entire time, and erased parts of Hsueh’s aggressive brush strokes to bring back a milder sense to the canvas. The way he controlled the

German perceptual psychologist Rudolf Arnheim (1904-2007) once divided

situation with balance was very impressive. Also as a “Director”, was Chu

behaviors of artistic creation into the two categories of “physiognomic” and

willing to just play a supportive role? Throughout the entire process, he kept

“descriptive”. He believed that “physiognomic” is a part of the physical activity.

exclaiming, “I am out to serve Director Hsueh!” ; was this an act of offense

It reflexively reflects a person’s personality and also his special experience

or defense? The line was quite blurred, but for certain, it was undoubtedly a

from a particular set time frame. This habit is strong or weak, confidence

meticulously calculated move.

or fearfulness are all reflected in the person’s actions. At the same time, his physical actions are also able to demonstrate whether the person is interested,

It was also just as interesting with the participants from the younger

annoyed, happy or sad about the occurring event.

generation, such as Chin-Hua Shih, Jui-Chung Yao and Wei-Cheng Tu.

intrinsic quality – the human nature. Artwork represents an individual, and

They were faced with either “teachers” or “directors” on-site; these are people

the creative side comes from the person’s personality. This theory could be

that they read about in books as kids. It was only natural that they didn’t dare

observed from the palettes used by masters of Western art. Whether the

to start a commotion; therefore, they played the more docile role of working

palette is neat and controlled or neurotic are all projections of each person’s

quietly aside to try to work toward a complete picture together. Shih, having

inner essence. The participants of Impromptu also demonstrated their

subtly completed his “Pen Walking”, moved over to help Yao by adding white

“intrinsic qualities” through the act of painting.

textures and ripples to his black landscape. Tu, upon finishing his garbled text, began to paint out a light blue frame with a pale purple base around the

Graffiti on the Thrill of Graffiti

This is based on the

056

Impromptu tested each participating artists’ capabilities to handle a canvas.

Hsueh wrote down the phrase of “A Symphony of Mixed Sounds” as his

The fundamental approach to analyze and decide on certain visual elements

afterthought for the event. This experience might be hard to come by,

is no longer a popular method taught in art institutions; however, it is

but what is more rare is the sense of self that is hidden deep down inside.

certainly not unfamiliar to these artists. This is a method customary to art

Confucius (BC 551-BC 479) wrote in the “Confucian Analects No. 7”,

education of the past, and has persisted for the generation that Tsai-Chin

“Set your heart upon righteousness, support yourself by virtue, lean upon

Ni or Wei-Cheng Tu belong to. From the spectator’s perspective, the act of

benevolence, seek enjoyment and relaxation in the arts.” In particular, the

creating spontaneously on-site has brought back experiences of being an art

“enjoyment” in “seek enjoyment and relaxation in the arts” is not just about the

student, and called upon another set of intrinsic quality. The intrinsic quality

superficial enjoyment from playfulness or games; it is about the relaxation or

mentioned in the previous paragraph is about a person’s personality or true

spiritual enjoyment of the heart. Zhu Xi (1130-1200), a leading figure of the

essence. Over here, it refers to the return to the original state of being, “a

School of Principle and the most influential rationalist from the Northern

person that loves to paint”.

Song Dynasty, explained this “enjoyment” as “the one that enjoys seeks leisure according to his mood.” To use this to describe the emotions that the artists

A person undergoes many societal constraints and treatments throughout

of Impromptu went through is quite befitting. In the system of Chinese

his/her growing process, and due to various elements of identity and self-

calligraphy and ink painting, there has always been a sense of leisure based on

dignity, as time progresses, people tend to grow customary to wearing masks

the element of “ink playing”. Literati took pleasure in gathering by the river

of “status”. With prolonged control and confinement, happiness is no longer

streams to enjoy some spirited drinks and to write poems and paint. These

readily accessible and intrinsic quality is no longer present. One may focus

acts made up for the system of their specific art form. “Ink playing” is not

loosely on the original intention of “learning art”. The act of creating is no

about creating, and it doesn’t have to be based on any particular reasoning.

longer just a simple act of “painting”; it now involves many brain teasers that

It is simply about expressing through the brush and ink about the state of

keep people from enjoying simple joys. In observing the entire process of

mind the person is in at the given moment. It is about a sense of joy that is

Impromptu, it was not hard to discover that many participating artists started

appropriate to the particular mood.

off very nervous, hesitant, and reluctant to make the first move; however, as the event unfolded, they started to feel the “playfulness” involved, and began

From the perspective of Western philosophy, the aesthetic in “ink playing”

to feel more liberated and cheerful. Each person began to take on a portion

in Chinese ink brush landscape works is a gesture that transcends and

of the canvas and played specific parts of complimenting each other. At that

harmonizes. From the view points of Immanuel Kant (1724-1804) and

exact moment, the participants were not recognized as an esteemed “director”,

Friedrich Schiller (1759-1805), harmony could be achieved through games

a venerated professor or a renowned artist. They were involved in the simple

voluntarily in various aspects involving spirit, nature, form, and materialism.

act of making friends by making art, and each played the simple role of being “a

“Since emotional needs are satisfied, so are the rational ones; while material

person that loves to paint”.

constraints are released, so are the moral ones; therefore, irony is resolved and

057

unification and harmony achieved.” Wang Mian (1310-1359), a renowned artist

passionate about art. They were reminded of the self that loves to doodle and

from the Yuan Dynasty known for his works of lotus and plum blossoms,

paint. When making a painting, nothing else matters!

was once quoted, “Ink playing, let the ink turn into forms, let the movements originate from the mood, let it come from the heart and be applied through the hand.” Therefore, we could say that Impromptu, despite not having incorporated the classical ink painting elements of the “Four Gentlemen” and consisting of abstract collages and images, however, it did demonstrate a high level of the spirit for “ink playing”. For the participants, the familiarity derived from the hands-on experience seemed to have transported them back to their younger days of doodling and playing freely; a self that was pure. This was undoubtedly a state of “enjoyment”.

Creativity on the Creative Performance Traditional live brushwork usually depicts landscapes, flowers, and birds, which are very different from the paintings created for this event. The entire event originated from twenty years ago, when Tsai-Chin Ni resided in Kaohsiung, and together with Jiun-Shyan Li, they criticized the act of Impromptu. MOCA Taipei’s guidebook states that “Tsai-Chin Ni admitted that in the beginning of his education when he was learning about modern art at art school , he felt quite indifferent to that kind of traditional art

According to the perspective of “game playing” by Sigmund Freud (1856-1939),

education approach, and it was because the entire performance process was

the doings of artists are similar to children at play. They go about it with a

just concentrated on art techniques and neglected any art concepts…” This

very serious attitude; in other words, they are full of passion, and are set to

point of view also corresponded with what Jiun-Shyan Li said when he was

create an imaginary world. At the same time, it is also obviously segregated

younger about the process of painting live in public: “The audience tries hard

from reality. He also thought that during game playing, each child behaves

to observe the way the painter utilizes the brush and the ink, and the artist

like an artist, because through the game, the child is able to create his or her

also deliberately tries to demonstrate the skills he has. Therefore, during

own world. In other words, the child uses a new approach to rearrange the

the process of Impromptu some artists tend to intentionally pass off a few

events and objects in that particular world, in order to reach self-satisfaction.

secret tricks…” And “this kind of Impromptu is actually a way to degrade art

The eight participating artists behaved like innocent children. When they

to the lowest level of being only based on techniques. For most painters, the

entered into a complete state of creativity and game playing, whether they

creative outcomes are usually what they are solely concerned about, and the

should perform or please the crowd was of no importance anymore. At

“activities” involved are mostly very “personalized” behaviors, which are usually

that moment, they were transported into another imaginary world. Like

not shown in public. To the audience, Impromptu shifts their attention to

frogs leaping into the pond; they were off swimming in to the deeper end

focus on the artist’s various hand gestures, and it becomes quite easy to think

of the water. The nervousness, seriousness, and tension before the event

that the purpose of art is centered on artistic techniques.”

compared to the concentration, ease, and joy during the creative process, and

meaning of this is that the purpose of painting should be about enhancing

progressing to the excitement and emotion afterwards all prove that the event

personal uniqueness, and live brushwork is just a lowly performance based on

was able to spur up the inner self dwelling in each of them; the self that is

skills and techniques.

The underlying

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Ni and Li didn’t entirely miss the mark with their statements, but perhaps

traditional art form is primarily performance based; however, the attitude

due to overzealous youthful passion, they pushed “art for art’s sake” to an

contained in the act is actually based on the idea of harmonious peacefulness.

even more extreme direction. Under the over magnified foundation of art’s

The fact that Ni Tsai Chin opted to use this act to be the climax for the

original essence, they degraded traditional Chinese art expression of live

opening of his grand solo exhibition spurs one to wonder about the intention

brushwork into a lowly unimaginative performance. However, two decades

behind the event. Was he on the side of the “elegant gathering of leisurely

have passed, and Ni has invited Li to perform an Impromptu at MOCA

pleasure” demonstrated by Chinese aestheticism, whereby a few friends of the

Taipei. Perhaps it was an act of personal salvation for Ni, and the intention

art world were invited to do a performance for fun? Or was the act a Western

to return some genuineness to what he criticized two decades ago. Or maybe

performance art piece that is conceptually based and with the intention to

it was a gesture of his usual tactics of appropriation, borrowing, subversion,

come forward with a critique of Impromptu? The skepticism aroused has

an act of “attacking the media with the media”. Ultimately, the event began to

created many ironic and interesting thoughts with impacts coming from

take shape when Ni called Li to invite him to partake in the event. In the past,

Western and Chinese aestheticism and concepts.

they were not hesitant about criticizing tradition, and by inviting someone who started the fire with him back in the old days, with Li being a part of

If we were to observe the various artworks by Tsai-Chin Ni inside the

Impromptu brought an interesting twist to the event.

museum and to extract an aesthetic context that is particular to Ni’s creative pattern, it would not be difficult to see that perhaps from Ni’s viewpoint, an

In actuality, the traditions in Chinese aestheticism and Chinese calligraphy

act of Impromptu has no problem in playing the duo roles aforementioned,

and art have all followed the act of Impromptu, as a result of the influences

with the first aspect coming first, and the second coming later. In Ni’s

from various inner and outer elements. In Chinese tradition, it was deemed

series of Back to the Original Landscape and Artworks, Ni’s gestures of

ideal to stay in the middle ground, and to seek peace as the sole purpose.

removing seals corresponded to the ways the emperors’ vulgarly placed seals

The Chinese character for “peace” corresponds simply to art being a humble

over artworks. As an alternative way to be “retro”, the creative approach

harmony of nature and man. The classic collections by literati praising

initially remained close to tradition, but the twist came with the avant-garde

the flowing streams were in a way a tangible demonstration of this form

explanation to the completed works. We rather believe that Ni’s intention

of “peace”. Similarly, with literary poetic recitations, no focus was placed

with Impromptu is a response to traditional Chinese art (similar to Back to

on individualism; instead, the communal goal was to seek harmony.

the Original Landscape and Artworks), and to be full of hope and anticipation

Therefore, traditional Chinese paintings, the collaboration between artists

for “tradition” is what is believed to be Ni’s most genuine original state of the

and complimentary gestures to each other’s expressions seem to have some

self.

aesthetic linkages to the live brushwork we are discussing here. From this point, one could see the vast difference this art form has compared to the

Nevertheless, the direction of the event was diverted by the organizer, the

individualism praised in Western art. Although the live brushwork of the

museum. Perhaps live brushwork is “a process and also an art” (as seen in the

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title of the guidebook), and as stated, “Within the world of contemporary art,

MOCA Taipei Director JJ Shih made the following conclusion before the

there are many famous “performance artworks” demonstrated in the form of

end of the event: “It is still possible to integrate casual brushstrokes. There

live acts. When the renowned curator Harald Szeemann proposed “When

are various voices in Taiwan; many diverse ways of going about things. The

attitude becomes form” to backup contemporary art, all the aesthetic attitudes

live brushwork conducted in the past was a way to “celebrate”, or it a certain

hidden behind all kinds of performance art have clearly turned into important

purpose was intended. Today, it is about art, and it is an impromptu idea

points to examine an artist’s uniqueness and achievements.” There seems to

with no set goal. It does not hinder each other; instead, it is meant to be

be no fault in this statement; however, what how does it correlate with Ni and

complimentary and supportive. It respects the existence of others and puts the

Li’s criticism of live brushwork? Live brushworks of traditional paintings were

self in a proper position. It is to express with one’s spontaneous ways and to

simply an experience derived from literati gatherings, and to meet friends via

express the self. Meanwhile, a resonance is also created to form a communal

art was deemed more important than the artworks themselves. The elements

achievement.” The director’s statement seems to position Impromptu more

of the East and West viewed from “social gatherings” and “creating” have

towards the side of the literati gathering, and subtly corresponds with

fallen into their particular cultural positions, and each of them could diverge

the guidebook’s statement that “This ceremonial gathering of impromptu

and settle down, or stay segregated from one another. Ultimately, to examine

creativity is meant to bring justice to ‘on-site creativity and live brushwork’,

the entire evaluation process by “actions” or “concepts” of contemporary art,

and it could be traced back to the tradition of ancient literati’s gatherings,

although restrictions were not forced upon the process, does this mean that it

whereby literary ink painters would gather by the bamboo trees or the river

is being treated with overt seriousness?!

streams and take turns in drinking, reciting poems and exchange artistic expressions. Isn’t it a perfect example of beauty and pleasure?” If this is indeed

Conclusion The following statement was once published in the article “The reason

the case, why would we even bring in the Western concepts referencing to Harald Szeemann, performance and conceptual arts?

that art is different is because of the concepts.” (National Culture and Arts

However, Tsai-Chin Ni’s ability to wander in-and-out of Chinese and

Foundation, Chih-Wei Chang) This statement might be viewed as a norm

Western art histories and concepts is something that very few people

in today’s art world, and is thought of as the mainstream view point for art.

could contend with. As for the issue of Impromptu being an “artwork of

However, to be based on an ancient literati art form, yet to incorporate

performance art” or a “performance of a performance art”, the Chinese

Western aesthetical standards, resulted in a bizarre and illusive demonstration

and Western art histories and art theories involved will turn this case into

being formed with this “plant-cutting aesthetic”. The assumption was for the

something worth scrutinizing over in the future with further researches and

Eight Immortals to cross the ocean and to each show off their divine skills,

investigations.

but in the end, a mix-and-match and an ambiguous integration was formed with Chinese and Western art systems.

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左 藝術家涂維政當眾揮毫 Left: Impromptu, Artist:Wei-cheng Tu 右 藝術家曲德益當眾揮毫 Right: Impromptu, Artist:Teh-i Chu

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左 藝術家薛保瑕當眾揮毫 Left: Impromptu, Artist:Pao-shia Hsueh 右 藝術家姚瑞中當眾揮毫 Right: Impromptu, Artist:Jui-chung Yao

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左 藝術家李俊賢當眾揮毫 Left: Impromptu, Artist:Chun-hsien Li 右 藝術家石晉華當眾揮毫 Right: Impromptu, Artist:Chin-hua Shih

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由左至右：涂維政、姚瑞中、薛保瑕 、李俊賢、石瑞仁、倪再沁、曲德義、石晉華 From left to right : Wei-cheng Tu, Jui-chung Yao, Pao-shia Hsueh, Chun-hsien Li, J.J Shih, Tsai-chin Ni, Teh-i Chu, Chin-hua Shih

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開開玩笑，別想太多－倪再沁的「怪談」笑話！ 文：林振莖

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倪再沁〈怪談〉系列的作品，最早是來自一張叫〈那一隻

嘛！就搏君一笑，不要那麼嚴肅。」其實，在這件作品之前，倪再沁

最爽〉的畫，90年代油畫展出的時候，得到的回應就是嘻嘻哈哈笑笑

早已針對社會的亂象開了許多玩笑，創作出如〈四大天亡〉、〈凍蒜

而已。他之後將這件作品轉換成為雕塑，在靜宜大學展覽時引起很大

凍不條〉、〈沁報〉等等一系列嘲笑反諷的作品，不論是在〈四大天

的震撼，電視媒體爭相報導這四隻下半身緊連，呈交配姿勢的動物，

亡〉」中表達對選戰惡質化的厭惡和抗議；或是「凍蒜凍不條」裡反

每隻動物的表情和姿態各異。就像他所說的：「這件雕塑的前身是油

諷台灣惡質的選舉文化；還是以〈沁報〉來批判臺灣媒體的暴力、意

畫，油畫的前身是漫畫，漫畫的前身是個笑話。」這件名為〈台北怪

識形態，其想法皆是以藝術諷刺臺灣亂象。

談〉的雕塑，也反應他所說的：「在這個荒謬、迷狂的時代，我們實 當代的政治如此荒唐，國際藝壇不也是如此。加拿大著名哲

在無能為力，除了還以荒謬、迷狂，除了荒淫、嬉笑之外，還能怎麼

學家麥克•魯漢(Herbert Marshall McLuhan)所說：「媒介即是訊息，

樣？」。

媒體即是一切。」藝術透過媒體的宣傳「造神」，創作出一批批的藝 1987年台灣宣佈解除戒嚴令，黨禁、報禁，及大陸探親隨之

術家，耀眼喧嘩的如同伸展台上的服裝秀，藝術品的價值不再來自於

開放，使台灣社會沉寂許久的社會運動急速發展起來，工人運動、農

永恆。當代藝壇靠著這套模式成功造就了當今全球最紅火的一批藝術

民運動、政治抗爭、環保運動、少數民族運動等，三天二頭就有人上

家，如傑夫•昆斯(Jeff Koons)、達米恩•赫斯特(Damien Hirst)、村

街頭。在這種社會氛圍下，藝術家用藝術面對各種社會議題，如李銘

上隆(Takashi Murakami)、奈良美智(Yoshitomo Nara)等等。

盛、楊茂林、梅丁衍、吳天章、倪再沁、吳瑪俐等人，紛紛投入政治 倪再沁看穿了這些人「國王新衣」的把戲，將焦點轉向對

藝術的創作，以藝術來揶揄、批判與宣洩對政治的不滿情緒。這些看 似輕鬆詼諧的作品，都代表著在過去被極度壓抑的創作環境下，這些 藝術家無法直接面對的政治議題。因此，這股創作風潮就在這段風起 雲湧政治狂飆的年代，滋長漫延開來。

國際藝壇現象的嘲諷與調侃，陸續創作了〈紐約怪談〉、〈倫敦怪 談〉、〈東京怪談〉系列作品，以「後現代」常用的引用、挪用、抄 襲的手法，「以其人之道還治其人之身」，毫不客氣的直接挪用、抄 襲。

當倪再沁看不慣台灣的政治亂象時，就拿新聞看見的3P亂 搞來諷刺一番，把它誇張一下，4P比較好笑，最後還不忘冷冷地以嘲 弄的口吻問，「哪一隻最爽？」問他在幹嗎？倪再沁回答：「沒有幹

紐約藝術家傑夫•昆斯最有名的作品就是「汽球狗」的雕 塑，世界各地到處展、到處賣，價格非常的高。倪再沁就開他作品的

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玩笑，複製他的作品，看看能不能也大賣？也拿傑夫•昆斯在西班牙

反擊，「藝術之於他，是工具也是武器。」

畢爾包美術館前用花卉植栽的植物狗開玩笑，改名叫「台北旺旺」做 過去，倪再沁年輕時，認為藝術是神聖的，不可以開玩笑！

得比他更庸俗、更商品化。此外，英國藝術家達米恩•赫斯特眾所皆 知的藝術作品就是把任何東西都切開，把牛切開、把馬切開、把鯊 魚切開...，博物館收藏許多他的作品。同樣地，倪再沁認為我也可以 切，在他的「倫敦怪談」作品上，也切了四隻牛。

但年紀大了以後，早已過了「知天命」的年齡，面對當今「後現代」 的藝壇，覺得看不爽就拿藝術來嘲諷一下，以藝術的形式進行揭露和 嘲諷，如果嘻笑戲謔或抄襲他人作品是他的企圖與策略，那麼藝術 語言背後所呈現的反思，其根源則是來自於他對這片土地的熱愛與關

而村上隆的作品在倪再沁眼中是充滿色情的作品，畫中常出

懷。

現噴精噴奶的畫面，但卻被認為是偉大的藝術作品，在他認為，村上 隆是以藝術之名，堂而皇之在世界各大博物館展出，藝術可以庸俗、 商品化到如此程度，已到了令人噴飯，目瞪舌僵，藝術已經從神話變 成大笑話。所以倪再沁火大了，也複製他的畫作，嘲諷他一下，「我 就是看不爽！尤其是村上隆，假當代藝術之名，創作臨界情色的動漫 畫，我要幫他4P一下！」

藝術過去是崇高的、有內涵的，也就是中國人常說的「文以 載道」；但發展到今日則講求生活化、世俗化，藝術可以不要承載任 何的意義，生活中眼睛所及的任何內容都可以是藝術品。最開始推展 此概念的藝術家，是美國普普藝術教父安迪•沃荷(Andy Warhol)，而 到了「新普普」之後，村上隆也是沃荷的追隨者，他直接把日本最通 俗化、最世俗化，流行於年輕人之間的次文化卡漫人物直接變成他的 作品；而傑夫•昆斯也是直接把生活中最平凡的東西變成藝術作品， 然後簽上名字將藝術商品化。倪再沁對於藝壇這樣的現象有所反思與

倪氏「山寨版」的國際當代名作，不僅模糊了藝術創作的原 創性及獨特性，並且「以品牌反制品牌」，以「倪氏品牌」來顛覆、 嘲弄國際大師的作品，倪再沁用比所謂的「大師」更低俗、更卑劣的 手法，來開開他們作品的玩笑。

Just Joking, Don’t Over Think It — On Tsai-Chin Ni’s Bizarre Jokes of “Who is the Happiest?”

By Chen-Ching Lin

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Tsai-Chin Ni’s series of “Who is the Happiest?” started with a painting of

He also added a satirical comment by asking, “Who is the Happiest?” When

the same title. During oil painting exhibitions in the 90s, the responses Ni

asked about his intentions, he would reply, “It’s nothing serious at all; I just

received for this piece were merely snickers and laughs. He later transformed

want to make people laugh.” Actually before this particular piece, Ni had

the painting into a sculptural piece and stirred up quite a commotion during

already made many satires on chaotic occurrences he has observed in the

an exhibition at Providence University in Taiwan. The media went into a

society. Works such as Four Deadly Kings, Election Eruption, and Chin

frenzy over these four strange animals tightly linked together in a sexual pose.

News, were all based on using art to ridicule chaotic phenomena in Taiwan.

Just as Ni has said, “This sculpture derived from a painting, and the painting

Four Deadly Kings is about the disdain and revolt about the malicious acts

came from comics, and the comics originated from a joke.” The sculpture

happening with elections; Election Eruption is also a satire about the spiteful

titled, “Who is the Happiest? — Taipei” is a reflection of his statement: “In this

election culture in Taiwan; and Chin Paper criticizes the violence employed

absurd and fanatic time, we are really helpless. What else could we do except

by the Taiwanese media.

respond in absurd and fanatic ways?”

Contemporary politics are absurd, and so is the international art world. The In 1987, Taiwan announced the lifting of martial law, and restrictions on

Canadian philosopher Herbert Marshall McLuhan once said: “The medium

political parties, media, and visits to China were relaxed. Social movements

is the message.” Through media advertising’s tactic of creating legendary

in Taiwan, after a prolonged period of silence, were actively brewing.

icons, groups of artists are created, and they shine and attract attention just

Labor movements, agricultural movements, political revolt, environmental

like being on the catwalk of a fashion show. The value of art is no longer based

movements, and minority movements were occurring almost every day in

on its eternal value. The contemporary art world has successfully utilized this

the streets. Under this kind of social conditions, artists were using art to

model to create a group of popular artists such as Jeff Koons, Damien Hirst,

respond to different social issues. Artists such as Ming-Sheng Lee, Mao-Lin

Takashi Murakami and Yoshitomo Nara, to name a few.

Yang, Dean-E Mei, Tien-Chang Wu, Mal Wu i, and others were devoted to creating political art that satired and critiqued to express their discontent with

Ni has seen through these people’s tricks of “the king’s new clothes,” and has

politics at the time. These seemingly humorous artworks were emblematic

shifted his focus to making fun of phenomena happening in the international

of the highly oppressed conditions for art in the past, and thus these artists

art world. The works Who is the Happiest — New York, Who is the

experienced a difficult time in directly facing the political situation. That

Happiest — London and Who is the Happiest — Tokyo have all utilized

period of political upheaval was when a creative storm began to expand.

“post-modern” tactics of referencing, appropriating, and plagiarizing, and they are Ni’s attempts to “pay someone back in his own coin.”

When Ni finds himself in disagreement with the chaotic Taiwanese politics, he satirizes current events he sees in the media. For example, he saw a news

New York based artist Jeff Koons is famous for his “Balloon Dogs” sculptures,

article on a threesome affair and exaggerated it by making it into a foursome.

and they are exhibited and sold for high prices around the world. Ni has taken

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this work with the intention to make a joke out of it through replication, and

occurrences taking place in the art world, and to him, “Art can be a tool, and

to see if copies by Ni could also be sold globally. He has also taken Koons’

it can also be a weapon.”

work in front of the Guggenheim Museum in Bilbao Spain, the vegetation Puppy, and replicated one that is even more kitsch and commercialized, with

When Ni was young, he used to think that art is sacred and can’t be joked

the title, Taipei Own Own. Furthermore, English artist Damien Hirst’s

about! However, as he matured, he surpassed the age of simply following

works that include sliced animals such as cows, horses, sharks are much

destiny. In facing today’s “post-modern” art world, he takes the liberty to

shought after and collected by museums. Ni also thought that he could slice

ridicule things that he disagrees with, and art is used to expose and satirize. If

things open, and he sliced four cows for his Who is the Happiest — London.

his objective and strategy is to make fun or appropriate other people’s works, then the introspection that his art expressions are prompting are essentially

As for Takashi Murakami’s artworks, Ni considers them to be full of

based on his love and compassion for this land.

pornographic elements. Murakami’s works often portray images of squirting semen or breast milk, yet they are considered by many as great masterpieces.

Ni’s “pirated versions” of internationally renowned works have not only

Ni thinks that it is quite appalling that by calling these works of art,

blurred the line of originality and sense of uniqueness for art, but through

Murakami is able to show them at big museums around the world, and

a counter tactic of “fighting a brand with the brand,” the brand of “Ni” has

because art has become so vulgar and commercialized, this once legendary

subverted and made a joke out of international masterpieces. Approaches

matter is now a big joke. This infuriates Ni, and he has also replicated

that are more vulgar and despicable than the original are employed to make a

Murakami’s works with the intention to make a parody of the situation. “Yes,

mockery of them.

I am pissed! Especially with Murakami, who is using the name of art to create cartoon works that are borderline pornographic; I want to blow his cover!”

Art used to be revered and have substance, but today, it is all about being common and fitting into everyday life. Art doesn’t need to contain any meaning, and everything that we see in life could be art. American pop icon Andy Warhol was the first to promote such concept. In the age of the “New Pop,” Murakami is also a follower of Warhol’s ideas, and has taken the most common and popular subculture Japanese manga characters to be turned into his artworks. As for Jeff Koons, he has also taken the most ordinary things in life and made them into art, and as the works are signed, they are also being commercialized. Ni has contemplated and made counterattacks to these

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左 紐約怪談，2010，不鏽鋼，306x84x230 cm Left: Who is the happiest-New York Project 右 紐約怪談，2009，FRP，112x30x90 cm Right: Who is the happiest-New York Project

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台北怪談(一)，2002，FRP，300×75×188 cm Who is the happiest(1)-Taipei Project

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台北旺旺，2010，鋼架、植栽，700×500×250 cm Taipei Own-Own, Moca Plaza

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左 台北怪談(三)，2003，FRP，250x106x200 cm Left: Who is the happiest(3)-Taipei Project 右 遊戲規則(一)，1986，油畫、畫布，193.5x130.5 cm Right: Game Rule(1)

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左 遊戲規則(二)，1986，油畫、畫布，193.5x130.5 cm Left: Game Rule(2) 右 怪談系列，現場展出圖 Right: Who is the happiest-Series, MOCA Taipei

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怪談系列，現場展出圖 Who is the happiest-Series, MOCA Taipei

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台北怪談 一( ，)

，油畫、畫布， 176x251 cm ， Who is the happiest(1)-Taipei Project 1992-1993

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台北怪談 二( ，)

，油畫、畫布， 176x247 cm ， Who is the happiest(2)-Taipei Project 1992-1993

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左 奔跑的狗(向左)，1992-1993，水墨、壓克力、畫布，83x85 cm Left: Running Dog(Turn left) 右 奔跑的狗(向右)，1992-1993，水墨、壓克力、畫布，83x85 cm Right: Running Dog(Turn right)

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左 倫敦怪談，2009，油畫、畫布，180x270 cm Left: Who is the happiest- London Project 右 東京怪談，2009，油畫、畫布，179x282 cm Right: Who is the happiest-Tokyo Project

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穿越微塵—尋找記憶的靈光 文：倪婉萍

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對於我這樣成長於現代主義且信服之的創作者來說，藝術現場只是現

是隱微的、退隱的、減法式的「彷若無為」路線。〈微塵裡〉即屬後

實的一個切面，不宜在其中大做創作文章，我所想的只是在空間中尋

者，與系列作品〈回塑者〉(一九九二至一九九四年)於高雄創作的環

找一種詩的質地，我只想掃地、打蠟，創造不一樣的空間感受。

境藝術作品中，有著脈絡上的相關，在一般的環境藝術，藝術家總以

—倪再沁

人工的力量深入大自然的環境中，為了製造龐大鮮明的視覺影像，凌 駕自然。而〈回塑者〉則不然，它抨擊人為的力量，以「減法」的思 【微塵裡—倪再沁觀念影像展】早在2008年七月於台中

考，讓自然生命得以重生。

TADA展出。這個展覽有種屬於後設層面的幻設空間意味，亦即在這 個空間展出拍攝這個空間的攝影照片，但這些照片不是幻想空間，而

〈微塵裡〉的思考脈絡雖與〈回塑者〉相關，但激盪出這個

是創作者踐履了一個純粹的藝術想像：在一粗獷質樸的空間裡，先將

作品竟是當時TADA的老酒場。許多當代藝術家面對空間問題時，往

地板打掃乾淨、磨擦地表及柱子，然後灑上揮發性的油脂，就在快門

往把空間當成描繪裝置背景，空間只是媒介轉換的一種。但倪再沁在

捕捉牆面及地表還散發片刻溫潤感之際，野趣十足的廠房頓時詩意盎

TADA老酒場中，企圖把空間當成主體，輕輕拂過，將記憶與想像投

然，引人遐思。

射到一片發光的異質空間上，透過感性的純淨化過程，達成空間主體 在時間向度上的超越，像是某個遙遠真實的記憶靈光，卻又異質了它

在2010年跨2011年的當代館個展中，〈微塵裡〉再度重現。固

的本體。

然當代館是舊的台北市政府所在地，也是一個老建築，展出地點卻已 經是經過改造裝潢過的空間，倪再沁真正的進行木地板、紅磚、白牆

以現象學的角度，這種空間意識乃是透過象徵符號秩序(意

上的打磨與上蠟，並以不規則形狀展現，有心型、不規則型、狗型等

象)來還原真實層的經驗，純化想像層的影像。對倪再沁而言，工廠空

趣味的圖案，但這些圖案將會隨時間逐漸淡去與消逝，面對這樣的作

曠的廠房空間，有一種懷舊感，呼喚起久遠的回憶，雖然不是自身的

品，我們不禁要問：藝術家為什麼要這樣做？藝術品在展出空間裡未

老家，但當陽光折射進來，過去相關經驗被喚醒，微光意識隱然迴盪

曾留下痕跡，又代表什麼樣的意義？

著。

或許，我們可從倪再沁的兩條藝術創作脈絡中思考，一條

在他的童年記憶裡，家裡的地板是磨石子地，經常要打蠟，

是看似猖狂的、前進的、無俚頭的「打著紅旗反紅旗」路線，一條就

用布或玻璃絲襪悉心把地打亮，油潤的質地帶來乾淨而溫暖的感受，

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而家中老牆的紅磚經常要灑油，經過一段時間後，就會有油潤感，這

難以理解之行為表演，它正在逐漸淡去，正在時間中逐漸消失，彷彿

種親密溫暖的感覺，透過打掃、打磨、打蠟等身體勞動以及光線的照

未曾改變空間的外表，藝術家未曾親臨現場般，一切回歸原狀，雲淡

射下，童年以及那時的一切事物，瞬間織錦成時空的寶石，而讓那時

風清，留下的就只有當時的觀念攝影照片。

空回溯的，不是時間，竟是破敗工廠的空間。 當然，我們很難以必然相應的主觀詮釋來說明攝影照片所隱 這種根據創作者的內在邏輯原則，在藝術場域與情境中，透

喻的元素，在倪再沁的觀念攝影中呈現老工廠如玉的潤美質地，沒有

過自身賦予元素獨斷的組合與架構，運作殘餘的斷片及互不相連的符

複雜的概念系統也沒有晦澀難解的意義，只有共通的溫暖回憶與懷舊

號模式，令人不由想起波依斯(Joseph Beuys，1921-1986)。由於戰爭的經

情感，在廢墟中營造了無可言喻的媚惑力量，當初那因攝影興起所導

歷與體驗，他曾靠著以毛毯包裹全身取暖，身上塗了厚厚的一層脂肪

致的靈光消逝反在此時又因攝影而升起記憶的靈光。

油膏才保住性命，所以毛毯和油膏這兩種材質對波依斯日後的創作產 生極大的影響，成為創作中經常使用的符號，充滿強烈的個人色彩， 痛苦而神秘。

而任何空間在長長的時光長廊中都有其更迭興衰不同的面 貌，只有敏銳的或有緣的創作者能嗅出其曾有的能量與吉光片羽，並 投身到自身最純真的理念中，碰撞連結出令人驚豔的作品，這樣的觸

在當代館的〈微塵裡〉，藝術家進入空間之後的藝術企圖， 也不禁讓人想起中國藝術家邱志杰的「現場藝術」(Live art)思維。當

發可能僅是偶然，但因創作者已在不經意中打開內心深處的門窗，展 現出真正深層的自我已彌足珍貴。

時，邱志杰對於藝術走上一條只靠智力優越的競賽之路頗為憂心。因 此期望做一些不講求概念，而是講求效果的作品，除了靠刺激性的材 料、行為、氣味與視覺等人為元素外，更強調觀者必須親炙演出現 場才能感受到作品。他總強調「你必須來到這個地方，放開自己的毛 孔，才能感受到這一切。」但是，〈微塵裡〉將之推到極端，觀眾在 展出開始的現場和幾天之後的現場所感受到的是不一樣的，因為，如 果藝術家親臨現場做了一些改變就是「現場藝術」的話，那麼這個 「現場藝術」沒有侵入性的材料、沒有刺鼻或芳香之氣味也沒有怪異

倪再沁曾說自己是個現代主義的信服者，在其藝術經歷裡， 做過報紙、雕塑、水墨、油畫，因此，一般人並不認為他是「現代主 義」，但這次影像展才真正展現現代主義的烏托邦想像，從觀照自我 中找尋內心的精緻情感，以最簡約、最純粹的形式，深入空間的本 質，在垂直方柱與水平地板間、在光滑的亮面與粗糙的暗面間，簡潔 的詩意像賦予我們身處大千世界的另一精神歸宿。

儘管創作者的個性消失引退，但在這些影像背後的深度裡，

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做為普遍共感的基礎卻隱然浮現，如同榮格所謂的集體潛意識，在消 逝的現場與影像紀錄中共構真實，其質樸與原始質地，深及人心，作 品的感染力清晰而直接，這個看似創作者的「引退之所」反而呈現某 種崇高的意境，淨化每個人的情感，任心靈自由冥思。

羅蘭．巴特(Roland Barthes)認為「此曾在」(That-has-been) 是攝影的主要本質：「我絕不能否認相片中的東西曾在那裡，而且 它包含了兩個立場，真實與過去。」真實展場的空間裡，油光早已揮 發，牆面及地板一如過往，僅留下照片紀錄著創作剛完成的乍現光 影，頗像詹明信所說的催眠性的新美學模式，藉著意象光滑的特質去 傳達過去，追懷那無法返回的時光。若是這個展場能保留住當時的溫 潤質地，並且成為這個老舊工廠的一部份，或許這個作品將輻射出更 廣的時空意涵。

在紛繁變幻的當代藝術裡，〈微塵裡〉顯得純淨素樸，僅是 因為老建築的斑剝痕跡、光線變幻等細微媒介，觸動創作者內在潛意 識與舊經驗，以最少的介入，紀錄時空變幻的瞬間，成功引發我們內 在既私密又普遍的共鳴。像這種非當代性質「現代主義」的作品，在 擬像符號肆虐的全球化漩渦裡還能保持如此素樸清醒，像是眾聲喧嘩 中的低鳴，雖不能引動視聽，卻已然是絕響。

Across the Fine Dust – In Search of the Aura in Memory

By Wan-Ping Ni

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For an artist like me that has grown up with modernism and is also its

a red rebellious flag. The other is subtle, reserved, and follows a minimalist

faithful follower, the physical site of art is merely just a cross-section

approach in which less is more. In Fine Dus is of the latter method, and is

of reality, and should not be dwelled upon for the sake of creating

intricately connected with the series of environment artworks, Returned

art. What I've set out to discover is a poetic essence in space. I would

to the Original created in Kaohsiung (1992-1994). With conventional

like to sweep and wax the floor there and to create a different feeling

environmental art, artists are usually exerting artificial forces into nature, as if

in that space. - Tsai-Chin Ni

to create a majestic and obvious visual impact on the environment. However, the objective of Retruned to the Originalis quite different, and criticizes man-

In Dust – A Conceptual Visual Exhibition by Tsai-Chin Ni was exhibited

made forces. Through the concept of “reduction,, natural life is reborn.

in July of 2008 at TADA in Taichung, Taiwan. The exhibition consisted of an imaginary space pertaining to the meta level. In other words, the space

In Dust has a similar contemplative pattern as Retruned to Original, but

was used to exhibit photographs taken of the given space; nevertheless, these

its inspiration comes from the old bar at TADA. When faced with issues of

photos were not of an imaginary space, but were the realization of the artist’s

space, many contemporary artists treat the given space as the installation’s

pure artistic imagination: Inside an unadorned simple space, the floor was

backdrop. The space is something to be transformed. However, Ni treats

first swept clean, and the floor and the columns were polished and splashed

the old TADA bar as the main subject, and ever so subtly, memories and

with volatile oil. As the shutter captured the fumes evaporating from the walls

imaginations are projected onto a glowing space composed of a different

and the floor, the rustic plant was suddenly filled with an enchanting poetic

medium. Through a sensual and purified process, the space surpasses the

mood.

sense of time and appears like a distant yet realistic memory aura; yet, it is still of a different medium than the central core.

In the solo exhibition extending from 2010 to 2011 at the Museum of Contemporary Art Taipei, In Dust is being exhibited again. MOCA is an

Viewed from the perspective of phenomenology, this form of awareness

old structure, being the site of the old Taipei City Government; however, the

of space is processed through an order of symbols (images) to restore the

exhibition location has been renovated. Tsai-Chin Ni actually did polish and

experience of the truth and to purify the images from the imaginary level. For

wax the wooden floors, red bricks and white walls, and left various different

Tsai-Chin Ni, the space of the empty factory embodies a sense of nostalgia

patterns on site, including a heart shape irregular shapes, and patterns of a

and calls out to distant memories. The space may not be his actual home, but

dog. These patterns will gradually fade away, and when facing this kind of

when sunlight penetrates and reflects in the space, experiences from the past

artwork, one is prompted to wonder, “What does the artist intend by doing

are awakened, as the subtle lighting resonates with the vague conscience.

this? What significance does it hold for an artwork to leave behind no trace in the exhibition space?”Perhaps, we could speculate from the two creative

One of Ni’s childhood memories involves a polished stone floor that required

patterns of Ni. One is wild, progressive and illogical, and seems to be holding

constant and meticulous waxing with a cloth or nylon stockings. The waxy

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texture resembled the cleanliness and warmth of a home, and the old red

the Live Art, the media, the scent, and the bizarre incomprehensible actions

brick walls were often splashed with oil to give it a sense of richness through

gradually fade away in the given space. As the space returns to its original

time. The overall vibe was intimate and warm. Through physical labors

state, it appears as if the artist was never here to begin with. As everything

such as sweeping, polishing and waxing, and also with the reflection of light,

returns to normal, the only remainders are the conceptual photographs taken

things from the past have reemerged and turned into a jewel capturing time

at the time of the occurrence.

and space. Amazingly, what has brought back this segment of time and space is not time itself, but the space within this rundown factory.

Certainly, it would be difficult for us to objectively decipher the hidden elements contained in the photographs. The old factory presented by Ni’s

This approach basing on the artist’s inner logic and principles, and within

conceptual photos is given a pristine and beautiful quality. Without the

the circumstance of the artistic site, combination and construction occur

employment of complex concepts or esotericmeanings, the only commonality

because of personal elements. The use of residual segments and unrelated

is the sense of warm memories and nostalgia. An enchanting indescribable

symbolic patterns reminds one of Joseph Beuys (1921-1986). Due to war, he

power is created in this abandoned space. The photographs that caused the

once wrapped himself in rags and blankets to stay warm, and covered his

dissipation of the aura have in turn also caused the formation of the memory

body with a thick layer of fat and grease to survive. Blankets and oil became

aura.

very influential creative elements in Beuys’ artistic career. They were recurring symbols in his artworks that were full of strong, personal, painful and

Any space having gone through a long journey of time goes through various

mysterious attributes.

phases of rise and fall, and only an artist that is sensitive or connected with it can pick up that energy and transient glimmers within the given space.

In Fine Dust at MOCA Taipei demonstrates that artist’s ambition upon

The artist is then able to project these findings onto his most personal and

entering the given space, and also reminds one of Live Art by Chinese artist

purest ideas. The impact kindles extraordinary artworks, and these kinds of

Qiu Zhijie. At that time, Qiu was concerned with art’s direction in becoming

sparkles are perhaps an outcome of arbitrariness. However, the outcome is

a contest of wit. He was determined to create art without conceptual focus

still immensely precious, because the artist has unintentionally opened up an

and concentrated on the effects the works projected. In addition to using

innermost portal to present a genuinely profound part of the self.

stimulating media, gestures, scents, and visuals and other man-made aspects, he also stressed the importance of the audience’s presence at the site of art.

Tsai-Chin Ni once said that he is a believer of modernism; but in his artist

He emphasized that “you must be present on site, and open up your pores to

career ― through newspaper, sculptures, ink paintings and oil paintings―

take everything in.” In Fine Dust has pushed this concept to the extreme; the

people usually don’t regard him as an artist of “modernism.” Nonetheless, this

experiences on site that the audience feels at the beginning and a few days

exhibition has truly demonstrated a vision of modernistic utopianism. From

later are quite different. This is because after the artist’s gestures onsite for

the observation of delicate inner emotions to the most simplistic and pure

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form to penetrate into the core essence of the space; from the perpendicular columns and the floor to the smooth surface and the coarse hidden side, a simplistic poetic quality gives one a sense of spiritual belonging that is of the divine world. Roland Barthes believed that the main essence of photography is the state of “that-has-been”: Within the actual exhibition space, the oily shimmer has already evaporated, and the walls and the floor have returned to their past state. Remaining are the documentary photographs that have captured the transient light and shadow right after the artist’s creative gestures. Similar to what Jameson said about the hypnotic new aesthetic model, the past time is reminisced on through the quality of the smoothness.

If this exhibition space could preserve the exact moment of occurrence of the warm and moist quality and was able to transform it into a part of the old factory, this artwork could perhaps radiate even broader significance pertaining to time and space.

In the vast and volatile world of contemporary art, In Fine Dust appears to be even more pristine and simple. It simply consists of broken marks and tracks of the old building and delicate changes with the lighting. The inner subconscious and past experiences of the artist are kindled, and with minimal intervention, the moment that change occurs in the space is documented and successfully ignites resonance with our private and communal inner being.

This artwork is non-contemporary (modernism), and to take place in the global whirlpool of excessive symbols, it has maintained a sense of simplicity and alertness. Like a low vibration amidst bustling noises, perhaps it could not garner aural and visual motivations, but it has certainly achieved a finale and made an unprecedented mark.

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微塵裡，現場展出圖 In Dust, MOCA Taipei

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左 微塵裡，2008於台中TIDA(一) Left: In Dust, Taichung 右 微塵裡，2008於台中TIDA(二) Right: In Dust, Taichung

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左 微塵裡，2008於台中TIDA(三) Left: In Dust, Taichung 右 微塵裡，2008於台中TIDA(四) Right: In Dust, Taichung

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左 微塵裡-星星，2010於台北當代藝術館 Left: In Dust-Star, MOCA Taipei 右 微塵裡-圓，2010於台北當代藝術館 Right: In Dust-Circle, MOCA Taipei

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左 微塵裡-變形蟲(一)，2010於台北當代藝術館 Left: In Dust-Amoeba, MOCA Taipei 右 微塵裡-狗，2010於台北當代藝術館 Right: In Dust-Dog, MOCA Taipei

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左 微塵裡-圓，2010於台北當代藝術館 Left: In Dust-Circle, MOCA Taipei 右 微塵裡-半圓，2010於台北當代藝術館 Right: Half Circle, MOCA Taipei

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左 微塵裡-變形蟲(一)，2010於台北當代藝術館 Left: In Dust-Amoeba(1), MOCA Taipei 右 微塵裡-變形蟲(二)，2010於台北當代藝術館 Right: In Dust-Amoeba(2), MOCA Taipei

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微塵裡-方塊，現場展出圖 In Dust-Block, MOCA Taipei

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無為之為－倪再沁的環境藝術 文：徐婉禎

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天地與我並生，萬物與我為一。～《莊子‧齊物論》

「物以類聚」的手法，揀選如：乾枯或燒焦的樹幹、棕櫚的綠葉或枯 葉、枯枝、似棕蓑的樹皮、爬藤植物、阿勃勒的長條果莢…將相類似

我在天地之間，天地為何？我為何？

我在萬物之中，萬物為何？我又為何？

部位、相類似材質、或相類似功能的植物局部，進行裁剪連接、重組 堆疊、互相援引卡位，使其化身為一具具「雕塑」展示著雖死猶生的 生命姿態。「有人想把展覽場中的枯樹帶回家當擺設，其實，到公園

端看倪再沁「回塑者」作品，使我有此體認。系列作品「回

裡找一找，到處有枯樹，如果我們有些靈心慧性，不執著於生死分

塑者」，是倪再沁於一九九二至一九九四年間於高雄創作的環境藝

際，那麼，一棵樹不論是枯是榮，不論身在何處，我們都能看到它的

術作品。戶外的創作地點廣泛遍及柴山、仁愛公園、文化中心、愛

美。」或美或醜、或生或死，當心靈思維改變的時候，所見到的亦將

河沿岸乃至市區路邊的人行紅磚道。剛開始從事時，創作中的作者常

跟著改變，重要的不是展覽場上倪再沁重構編排的作品，而是寄居觀

被過路人當成精神異常的流浪漢，其陸續完成的作品非但不為藝術

者內心的性靈，所以，〈斷裂→枯萎•接續→重生〉較著重的是無形

圈所知，而且還時常被誤認為自然生成的景物而有部分作品遭致破

的啟發更勝於有形立像的造型。

壞。最後，作者終於一九九四年在「串門藝術空間」舉辦此系列的個 展，定名為「回塑者環境藝術展」。相隔十六年後的今天，則再成為 二０一０年底台北當代藝術館「媒體大哼—倪再沁特展」中的一部

倪再沁於次個階段〈截取→建構•拾碎→回復〉所施行的 創作是「異材質拼合」，大多數拼合而成為另一株頂天立地的大樹。 這個階段，倪再沁仍然以「樹」作為自然生命的象徵，異材質所拼合

份。

的是植物的「原」生物及其「延」生物，而拼合便是一種回復性的還 「回塑者」的回塑不僅作為一種回溯生命本原意義的「回

原。有時是「廢木料＋棕櫚葉」、有時是「紙筒＋廢木皮＋枯枝」，

溯」，同時也是作者期許自己雖為一位藝術家卻能成為「回歸的塑

或是「鋸木場的柚木皮＋枯枝」、「枯枝＋瓦楞紙」、「廢木料＋帶

造者」。倪再沁將他的努力分為四個階段：「斷裂→枯萎•接續→

葉的樹枝」，甚至用「廢木料＋美術雜誌的紙本頁面」拼湊出一棵

重生」、「截取→建構•拾碎→回復」、「棄置→荒廢•移轉→再

「台灣美樹」，另外，有鑑於人類對免洗竹筷肆無忌憚的揮霍使用，

造」、「建設→侵害•破壞→還原」。

遂收集大量竹筷進行立體式的拼貼，將竹筷還原其本來面貌，那是， 一棵樹。〈截取→建構•拾碎→回復〉較著重形象語彙的傳達。

第一個階段〈斷裂→枯萎•接續→重生〉中，倪再沁使用

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在〈棄置→荒廢•移轉→再造〉的第三階段，倪再沁以仁

就會明白「這種破壞公共建設的作為其實是違法的，但若站在大自然

愛公園地下街大火後所撿拾的物件為材料進行組裝，「它（科學小飛

的觀點，把濕土都封閉在水泥地裡也是違背天理的。」，順應天理才

俠、快樂小天使）已經被燒焦、被截肢、被毀容，把它擦『乾淨』，

是永續生存之道，這不是自古老祖宗傳下的真理？其實，倪再沁破壞

再用懸臂吊車把它『救』起來回數。…面對這永不停歇的進化發展，

公共建設，向公權力挑戰，或許僅只為了能在灰僕僕水泥的僵固包圍

在奮力飛翔的時候，是不是也有越接近『理想』就越飛向毀滅的痛

下，舒一口如絲縷的喘息。

楚！」，「這原來被放在櫥窗展示的美人（塑膠做的模特兒），在被 拋棄之後，反倒有一股真情流露，把她豎起來，頸子已經斷了，用懸 臂吊車倒吊起來，讓她俯視人間，看看這荒謬絕倫的人間。」此時的 美感是悽楚而嚴肅的，人世紅塵的追求顯得多麼諷刺，好像必須滅絕 之後才能有所體悟，好像必須置之死地方能後生，在焦炭的黝黑中方 見得堅韌生命的斑斕，我們猶如倪再沁手下正要栽種的那一棵枯樹， 在生機綠意環抱中，渾渾然而不覺。

倪再沁應該是意識到後現代對於人類追求文明進步卻反招致 傷害的反思，於第四階段〈建設→侵害•破壞→還原〉所採取的即是

綜觀「回塑者」作品系列，其所造成的效應大概可分為幾部 分：一為藝術上，另一為社會上，再一則為思想上。

因為倪再沁的倡議與具體作為，使得原本可能破壞愛河河岸 景觀的快速道路得以重新規劃，使得原本淪為髒亂與犯罪集中地的仁 愛公園地下街得以廢市回填，這是倪再沁超越藝術家身份，而「回塑 者」超越藝術作品，在社會上發揮的實質效應，其所造福的不只是眼 前寥寥的作品觀賞者，而是實實然生活其中的代代子孫。

倪再沁擔任文化愛河促進會會長時提出的四大政策，是

「不破不立」手段。當公園裡的石板路出現裂縫，或柏油路面出現坑 洞，這對倪再沁來講像是幽冥黑暗中透顯的希望曙光，是禁錮鬆解的

1. 地下街回填，恢復仁愛公園

徵兆，他於是為這個裂縫這個坑洞種植植物，帶來無限生機。一連串 更激烈的作法是「先用工具把（人行道）紅磚敲碎，然後填土，再植 草，然後每天來澆水。」所敲碎的人行紅磚道有L形、口形、棋盤格

2. 阻止快速道路高架沿愛河闢建 3. 愛河旁之河西路(中正—五福段)廢道，還給行人

形不等，甚至愛河河岸的水泥堤防與水泥欄杆也都在劫難逃，敲破的 水泥皮表下是濕潤的泥土，當種上的植物綿延而生、傲然而立，我們

4. 上游河道改為親水河岸方式興建

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「回塑者」不似克里斯多（Christo）或史密斯遜 （Smithson）的地景藝術（Land Art）。在地景藝術中，藝術家將其 人工的力量發揮到最大，深入大自然的環境中，藝術品是為了製造龐 大鮮明的視覺影像，那是人力凌駕自然的展現，那是對人力的頌讚。 「回塑者」則不然，它抨擊人為的力量而高揚自然生命的偉大，它為 物質層面結束的生命，再啟藝術生命的永恆，褪去工具役化的物質形 象外衣，得見物我生命的源頭，那是如如實在的本真意義。美何在？ 美就在謙卑的體察，美就在無為之為，所以莊子《知北遊》有言：

天地有大美而不言，四時有明法而不議，萬物有成理而不說。聖人 者，原天地之美而達萬物之理，是故至人無為，大聖不作，觀於天地 之謂也。

The most admirable thing comes up in Action of Non-Action

By Wan-Zheng Hsu

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Heaven, Earth, and I were produced together, and all things and I are

transferred → being rebuilt,”“being built → being harmed/being damaged →

one Zhuangzi, The Unifying

being restored.”

I am in between heaven and earth. What is heaven and earth? What am I?

In the first phase of “being broken → being faded / being connected → being reborn,” Ni used the principle of “like attracts like” and processed his art

I am surrounded by all things in the world. What are all things and what am I

project as follows: He collected items from nature such as dried or burned

looking for?

tree trunks, fresh or dried leaves, dried tree branches, bark, vines and pods of

When I first looked at Tsai-Chin Ni’s work series “Restorer of Nature,” the above words of Zhuangzi quickly came to my mind. The series were environmental pieces Ni created in Kaohsiung between 1992 and 1994.

These works were placed at Cha Mountain, Ren-ai Park, Culture Center in

abolo trees, and then separated them according to their qualities or functions.

They were cut and sorted in groups, then pieced together in different ways again. Each one became a ”sculpture” that represented state of life that has been dead for a long time.

Kaohsiung, along the shores of Love River, and even on city sidewalks. When

“Some visitors intended to take the exhibited dried trees home secretly to

Ni started creating these works, some people thought he was a homeless

decorate their houses,” Ni said. “In fact, if one goes to parks, he’ll find a lot of

person with mental problems. The project was not known by the art world.

dried trees there. If our mind and spirituality is clear enough and if we don’t

Moreover, many viewers took them for natural occurrences instead of art

insist on the difference between life and death, we can see the true beauty of

works and treated them in a careless way. In the end, an exhibition about the

a tree, no matter where we are, no matter if a tree is alive or dead.” Beauty or

series was held at The Doors Art Space in 1994. It was entitled “Restorer of

ugliness, life or death: Our impression about things changes as our minds and

Nature — An Exhibition of Environmental Art”. Sixteen years later, on the

thoughts change. The works installed and presented by Ni in the exhibition

end of 2010, these works became a part of the exhibition Mediaholic — Arts

space are in fact not so important. What counts is the mind of the observer.

of Ni Tsai Chin in MOCA Taipei.

Therefore, in the phase of “being broken → being faded/being connected →

The title “Restorer of Nature” has two different meanings. First of all, it means “one who “returns something to the original meaning of life.”

being reborn,”“ it is the invisible inspiration to be focused on rather than the visible figurative construction.

Meanwhile, it also represents the idea that the artist, or restorer, comes from

In the second phase of “being cut → being built/being pieced together →

nature and wishes to return to where he came from. Tsai-Chin Ni separated

being recovered,” Ni created artworks that combined different materials.

his art creation into four phases: “being broken → being faded/being

Most of them are pieced together in the shape of trees. In this phase, Ni took

connected → being reborn,”“being cut → being built/being pieced together

a “tree” as the symbol of natural life. A plant that is created by combining

→ being recovered,”“being abandoned → being left uncultivated/being

different materials represents both the “original life” and its “extended life.”

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Sometimes he uses “waste wood blocks and palm leaves” or “paper tubes,

more about how to survive in the world. In the darkness of coal, one can see

tree bark and dried tree branches” to create his works. Sometimes it’s “teak

the gorgeous colors of fire, which symbolizes the strength of life. Like the

tree bark found in a sawmill and dried wood blocks,” “dried wood blocks and

dried trees that Ni planted, we live surrounded by many green trees without

corrugated paper,” “discarded wood blocks and tree branches with leaves,” or

knowing how to treasure it.Tsai-Chin Ni has a strong awareness of how our

even “wasted wood blocks and pages of art magazines” to build a “beautiful

living surroundings have been damaged by human development in the post-

tree of Taiwan.” Additionally, in order to warn people about the overuse

modern era. Therefore, in the fourth phase of “being built → being harmed/

of disposable bamboo chopsticks, he collected a large number of bamboo

being damaged → being restored,” he made his works with the idea of “No

chopsticks to make a figurative installation. The bamboo chopsticks returned

breaking, no setting.” When he saw cracks in sidewalks or potholes, he

to their original form — a tree. In the phase of “being cut → being built /

seems to see a light of hope in darkness. For him it’s a sign of a release from

being pieced together → being recovered,”Ni stressed the transformation and

imprisonment. He started to put plants into the cracks and holes in the hopes

communication by iconographical languages.

of bringing more vitality to the world. Intense activities followed as he used instruments to break the red bricks on sidewalks, fill in the cracks and holes

In the third phase of “being abandoned → being left uncultivated/being

with earth, and then plant grass inside. Finally, he visited the sites every day

transferred → being rebuilt,” Ni used objects found in the underground street

to water the plants.

of Ren-Ai Park after a big fire as materials. “Toys like Gatchama and Pollyana were burnt, amputated and disfigured. I cleaned them up and rescued

Even cement dikes and fences by the shores of the Love River diddn’t avoid

them with a crane. They seem to suffer from the pain of destruction while

his damaging. Under the surface of cement is wet earth. When the plants

struggling to fly, to get closer to their dreams and to face the never-ending

start to grow and stand upright on the ground, we come to realize one

movement of time…” Ni said. He expressed his ideas about another artwork

truth: to damage public facilities is in fact an illegal action, but from another

as follows: “This one was once a beautiful plastic doll standing behind the

perspective, to cover the wet earth with cement is against the rules of nature.

window of a shop. She was used to present fashionable outfits. After being

Following the rules of nature is the way to eternal survival. This is the truth

abandoned, her body expressed her true meaning more than ever. She stood

that has been told by our forefathers since old times, isn’t it? No matter

there with a broken neck. I lift her with a crane and made her see the truly

whether Ni damages public facilities or challenges the public power, all he

absurd world again.” At this moment, the doll reflected a special sense of

wants is only to get some fresh air for the plants under the cement.

beauty that makes one feel tragic and solemn. Thinking of this makes buying things or some other goals in this world seem ironic. Human beings only

When we review the Restorer of Nature series, can view the effects of the

realize the truth of life when destruction comes. Moreover, people should

creation in three ways: 1. Art Creation 2. Social Aspect 3. Human’s Though

at least once face the most difficult situations in life so that they can learn

Thanks to Ni’s personal action and campaigning, a planned expressway

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that could damage the natural landscape of the shore of Love River was

of his works destroys itself gradually. Taking off the cover on the surface of a

withdrawn and changed. And the underground of Ren-Ai Park, which

thing, we see its original life and its true meaning. How can one find the most

was originally occupied by filth and crime, was renovated due to his efforts.

admirable thing in the world? One finds it trough humble observation. The

Beyond his identity as an artist, and along with his artworks (which are more

most admirable thing in the world comes up in Action of Non-Action. To

than just artworks), he has contributed his efforts to improving our society.

explain this philosophy, Zhuang Zi said in the book Knowledge Rambling in

His artworks bring welfare not only to the visitors of his exhibitions, but also

the North:

everyone in our society.

Heaven and Earth proceed in the most admirable way, but they The four policies raised by Tsai-Chin Ni when he worked as the president of

say nothing about them; the four seasons observe the clearest laws,

Cultural Love River Association are as follows:

but they do not discuss them; all things have their complete and distinctive constitutions, but they say nothing about them. The sages

1.Backfill the underground in Ren-ai Park and restore it to its original appearance.

2.Stop the planned expressway alongside Love-River 3.Cancel Hexi –Road by Love-River and give the priority of walking to the passengers.

4.Build the shores in upstream areas into a water park.

The above mentioned policy was realized in 1995. That’s how Love River gained the beautiful appearance it has now.

The Restorer of Nature series shouldn’t be compared with the landscape art of Christo or Robert Smithson. Landscape art creates a powerful visual effect that becomes a major part of the natural surroundings. It shows the power of humans and praises human abilities. Different from this, Restorer of Nature praises the greatness of nature and criticizes the influence of humans on nature. His creations intend to extend the life of art, while the physicality

trace out the admirable operations of Heaven and Earth, and reach to and understand the distinctive constitutions of all things; and thus it is that the Perfect Man (is said to) do nothing and the Greatest Sage to originate nothing, such language showing that they look to Heaven and Earth as their model.

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回塑者，現場展出圖 Restorer, MOCA Taipei

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左 回塑者，2010於台北當代藝術館一樓 Left: Restorer, MOCA Taipei 右 回塑者，2010於台北當代藝術館一樓梯間 Right: Restorer, MOCA Taipei

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左 回塑者，2010於台北當代藝術館一樓 Left: Restorer, MOCA Taipei 右 回塑者，2010於台北當代藝術館一樓梯間 Right: Restorer, MOCA Taipei

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左 回塑者，1994於高雄串門藝術空間 Left: Restorer, Kaoshiung 右 回塑者，1994於高雄文化中心公園 Right: Restorer, Kaoshiung

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回塑者，1994於高雄文化中心公園 Restorer, Kaoshiung

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回塑者，1994於高雄串門藝術空間 Restorer, Kaoshiung

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回塑者，1994於高雄串門藝術空間 Restorer, Kaoshiung

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回塑者-宋庄計畫，2005於北京宋庄 Restorer - Songzhuang Project, Beijing

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回塑者-宋庄計畫，2005於北京宋庄 Restorer - Songzhuang Project, Beijing

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回塑者-宋庄計畫，2005於北京宋庄 Restorer - Songzhuang Project, Beijing

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回塑者-宋庄計畫，2005於北京宋庄 Restorer - Songzhuang Project, Beijing

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回塑者-宋庄計畫，2005於北京宋庄 Restorer - Songzhuang Project, Beijing

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夢幻泡影－科技藝術新向度 文：石瑞仁

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關於〈夢幻泡影〉，這是2010年倪再沁所創作的科技影像互

由於螢幕上的影像被放大成好幾倍，帶著「好玩」心態前來

動裝置作品，在台北當代藝術館以環場形式展出，由於這件作品的形

互動的觀者在揮手召喚自己面容時幾乎都是帶著歡笑的心情。然而，

式與內涵有別於常見的科技影像互動作品，因而頗受關注，也引發了

只不到兩分鐘的時間，就在笑得正自然、正燦爛的那個瞬間，影像就

某些討論。

此停格。觀眾看到那個碩大的影中人時猶如看到鏡中的自我，只不過 這個影像留不住，不但留不住，竟然還在眼前毀敗剝離，終至化為烏

科技藝術在台灣推動多年，倪再沁這個四年級藝術家忽然

有，回到黑暗沉寂的狀態。

闖進這個專屬於新世代的創作領域，嚴格說來他算是科技藝術界的新 秀。藝壇老人的新嚐試理應和新人輩出的科技藝術「老把戲」有所不 同，此新舊之間的確有很大的差異。

由微粒匯聚成的我的影像，在達到最完整明亮的時刻也開始 崩解渙散。倪再沁的〈夢幻泡影〉，令人想到的當然是金剛經的四句 偈：「一切有為法，如夢幻泡影，如露亦如電，應作如是觀」。何謂

一般談台灣科技藝術，〈科光幻影〉是展覽指標，林俊廷則 是人物指標。絕大多數的代表性作品都把焦點放在影像的快速流動和 奇妙變化上，換言之，「科技」性的表現是最吸引人的地方，新世代 所力求超越的也集中在特殊應變的效果上，所以展場上「玩」得最開

有為法？以「有」為法，和《心經》裡的「以無所得故」的「無」相 對應，再拿來和「成住壞空」相比擬，那個完美的影像只不過是生命 流變中的常態現象，執著之、追求之，就是以「有」為法，就是把心 停佇在「住」，而非「應無所住而生其心」。

心、躍動的最起勁的都是年輕人。 把形象看「破」，甚至把自己這個「我」看破，《金剛經》 倪再沁的新作是在環型展場中架了幾個攝像鏡頭，觀眾進入 後必須揮動手臂或搖擺身體，隨著肢體的動勢被攝取，螢幕上回應的 則是由微粒逐漸匯聚的互動者的面容，當臉孔的亮度隨著動能達到高 度飽和狀態時，那個被亮化的影像會立即凝止。但也就在影像被「完

開宗明義就要我們「無我相」，進而了悟「凡所有相，皆是虛妄，若 見諸相非相，即見如來」。相，是生命的牢籠，唯有看破者能不為其 所拘限。怎麼看破？倪再沁以影像互動的方式戲論之，就是開門見山 式的勘破，在藝術創作中能破除名相之執著者，十分罕見！

美」呈現出來的一瞬間，也開始其毀敗消散的歷程，畫面上的最亮點 率先被焦黑粉碎，隨著柴火焚燒的音效逐漸擴散至次亮點，終至整個 臉孔，乃至身影的灰飛煙滅。

早在八Ｏ年代，謝德慶的行為藝術，以一年為期的第五件作 品是「一年之內不看、不談、不參與藝術有關的任何訊息及場域」，

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此作在他以自囚、打卡等四大名作之後推出，由於看來不夠嚴厲也沒

才能參與的互動藝術。

有挑戰身體的極限，被許多評論者認為是「唬爛」之作。其實，在前 面四件功成名就大作之後的這件看來無聲無息的作品才更具有難度， 因為謝德慶藉著隔絕藝術把名利相也隔絕了，什麼最難破除？也許就 是名利場吧！

同樣是由微粒聚合成影相，〈落英繽紛〉召喚的是早已離開 塵世的巨星，小鄧再現，觀者是在喜悅驚呼中離去。而〈夢幻泡影〉 湮滅的是此刻活生生的自我，人事已非，觀者是在惆悵枉然中離去。 前者是讓死者重生，後者是讓活著的逝去。同樣的科技影像互動卻何

謝德慶轉了一個彎所表達的破除之意，倪再沁則是以一擊

其弔詭的呈現出完全相反的情境思維。

必殺的手法迎頭劈下，怪不得總是令觀者錯愕。在〈夢幻泡影〉環場 中，看到一對正笑得開心的母子指點著螢幕上完美的影像，隨即張著 嘴僵在現場，眼看著影像的逐漸毀滅，然後在一臉的悵然中寂寥的轉 身離去！倪再沁的科技互動藝術一點也不好玩，而是令人心悸，令人 低迴不已。

一正一反、一顯一隱，倪再沁的創作一向是兩者並存。他的 怪談系列、選舉〈凍蒜．凍未條〉、報紙系列、Super Superflat等皆 為顯性的「以子之矛攻子之盾」，是打著紅旗反紅旗。而他的〈回塑 者〉、〈微塵裡〉、〈原作重現〉，乃至水墨小品皆為隱性的，必須 在低沉的時空返照中才能看到其幽微之意。而其科技影像互動藝術，

〈夢幻泡影〉在日新月異的科技互動藝術中顯得如此特殊， 它的影像互動難度並不高，也不複雜，嚴格說來並非高科技產出作 品。但這件作品有深度，有人的自我觀照與思辯，看過之後，「餘相 繞梁，三日不絕」，和那些玩過就過去了的科技藝術相比，這是科技 藝術中少見的佳作，就像廣告詞中所述「科技始終來自於人性」，科 技藝術也應如此看待。四年級前段班的老牌藝術家的思維就是不一 樣，倪再沁在2010年初才開始進入科技互動領域，他的第一件作品是在 台北花博名人館中的〈落英繽紛〉，是讓觀者在螢幕前揮動雙手，隨 著動能而飛舞出落花和紅色微粒，逐漸隨著鄧麗君的名曲聚合成她生 前俏麗的影像（有多重影像輪流出現），這是花博藝術作品中得排隊

則是兩者並舉，既有生又有滅，既有情又無情。只此兩件作品，已然 為科技藝術開闢了新局！

Illusion of a Dream — A New Dimension in Techno Art

By J.J.Shih

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Illusion of a Dream is an interactive installation based on imaging technology,

their movements, the enlightened image will suddenly freeze. In the exact

created by Tsai-Chin Ni in 2010. The work was displayed at MOCA Taipei

moment that the image reaches its “perfect representation,” the process of its

in panoramic style, differentiating itself in form and content from conventional

destruction and dissipation is triggered. The brightest point is the first to

interactive works of imaging technology. Because of this, the work has

burn, and the rest follows, accompanied by the sound of wood burning. The

received much attention and was the subject of many discussions.

process concludes with the face, and the entire figure turns into ashes.

For years, techno art has been extensively promoted in Taiwan. Then all of

The image on the screen is enlarged several times over, attracting the audience

a sudden, an artist of the 1950s came along and got involved in this creative

to approach the work with a “playful” mentality and have a good time as they

domain that had belonged exclusively to the new generation. Strictly

wave their arms in an attempt to summon their appearances. However, within

speaking, Ni could be considered a new talent in the world of techno art.

a two-minute span, and just when they are laughing and enjoying themselves

However, there is a distinction between the new attempts of seasoned artists

to their fullest, the image suddenly goes still. The audience contemplates this

and the “old tricks” of the new generation — and within this difference a great

enormous figure as if they were looking at a reflection of themselves, but this

gap is revealed.

image cannot be retained. Not only it is ephemeral, but it is also destroyed in front of the audience's eyes and returns to the state of darkness and silence

When it comes to techno art in Taiwan, the NCAF Techno Art Creation

from which it came from.

Project is perhaps its most representative event, while Jiun-Ting Lin is regarded as a token figure in this discipline. The majority of works in techno

Starting from the appearance of oneself portrayed through small particles

art places emphasisis on a fast flow and peculiar changes of images. In other

the image reaches a moment of completeness and brightness that marks the

words, a large portion of their charm lies in the “technological” aspect of their

beginning of its collapse. Tsai-Chin Ni's Illusion of a Dream refers of the

representation. The new generation strives to surpass its predecessors and

four-line gatha in the Diamond Sutra: “All conditioned phenomena are like a

focuses on the effect of responsiveness under specific circumstances, which

dream, an illusion, a bubble, a shadow, like dew or like lightning; you should

explains why the most joyful and energetic members of the audience are

discern them like this.” Between the notions of the “conditioned” existence,

usually young people.

the “attainable nothingness” as mentioned in the Heart Sutra and the cycle of “genesis, continuation, decay and extinction,” the perfection of the image is

The latest work of Tsai-Chin Ni placed several cameras in a circular

just a common phenomenon within the changes of life. Therefore, what must

exhibition space. As the audience enters the room, they must wave arms

be pursued and persisted on instead is to one's heart in the “continuity” of the

and sway the body for their movements to be captured. The 360-degree

“conditioned” existence, and not to produce “the mind that dwells nowhere.”

screen responds by having small particles gradually portray the appearance of the person interacting. As it reaches a state of high saturation caused by

To “see through” the nature of the image and even of “oneself,” the Diamond

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Sutra encourages abiding by the notion of “not-self characteristics”: “Whenever

interactive techno art of Tsai-Chin Ni is not fun, but haunting and inciting of

there are material characteristics there is delusion; but who perceives that

fear in audience’s heart.

all characteristics are in fact no-characteristics, perceives the Tathaga (the Truth).” The so-called characteristics are the cage to life, and only those who

Illusion of a Dream stands tall amongst the ever-evolving interactive works

can see through it are free from it. How does one see through it? Tsai-Chin Ni

of techno art. Its process of interactive imaging is not difficult or complex —

works with the interaction of images as a stage to straightforwardly penetrate

strictly speaking it is not qualified to be called a high-tech creation, but this

the nature of all things. It is truly a rare sight to see such perseverance in art

work is not without depth. It invites self-reflection and speculation, and “stays”

creation, which attempts to eliminate the name and appearance of all visible

with the audience after they leave the room. When compared with other

things.

works of techno art, this creation is arare masterpiece. An advertising slogan perfectly puts it into perspective: “Technology always comes from human

During the 1980s, Te-Ching Hsieh was engaged in only one work of

nature.” Techno art should be considered in the same way.

performance art per year. The fifth work consisted of “not viewing, not speaking and not participating in anything art related for an entire year.”

Such is the thinking of long-established artists from the early 1950s. Tsai-

As the successor of four of his masterpieces based on themes such as self-

Chin Ni got involved in interactive techno art just at the beginning of 2010,

imprisonment and employee time cards, it seemed to lack the discipline and

with the work Fallen Petals displayed at the Taipei International Flora

challenge of the physical body present in the previous works. Many critics

Exposition. The work allows the audience to wave their hands in front of a

considered it a “phony” work. In reality, the work’s challenge lies in its silence,

screen, drawing fallen petals and red particles with movement. Accompanied

especially when following four previous works that gained much fame. By

by classic songs of Teresa Teng, they slowly form beautiful portraits of the

separating himself from art, Te-Chin Hsieh had also separated himself from

late singer displayed on rotation. This interactive art is one of the works in the

fame and reputation. After all, what is the most difficult thing to see through?

Flora Exposition that requires lining up in order to participate.

Is it not vanity?

Using the same method of composing images with small particles, Fallen

Te-Ching Hsieh was subtle to convey the idea of “seeing through,” while

Petals summoned the superstar Teresa Teng, who died before her time. Her

Tsai-Chin Ni took a more direct approach and addressed it head-on. No

reappearance caused the audience to leave with joy and excitement. On the

wonder the audience is always startled by his works. In the space of Illusion

other hand, Illusion of a Dream destroys the self living in the moment; nothing

of a Dream, a mother and her child joyfully pointed at the perfect image on

seems to be what it used to be, and the audience leaves in disconsolation and

the screen, and suddenly froze on the spot, with mouths mouths agape, as the

purposelessness. The former work brings back the deceased while the latter

image in front of them was gradually destroyed. A moment later, they would

lets the living fade and pass away. The same interactive imaging technology is

leave in solitude with an expression of disappointment and frustration. The

capable of paradoxically depicting two completely opposite situational ways

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of thinking.

One positive and one negative, one revealing and one concealing — these elements have always coexisted in the creations of Tsai-Chin Ni. His Unbelievable series, Election Eruption! campaign, Newspaper series and Super Superflat are characterized by their revealing nature of “setting one’s own spear against one’s own shield.” And his works such as Restorer of Nature, In Dust, Back to the Original Landscape and Artworks and the Ink series are characterized by their concealment of nature, while their subtle significance can only be observed in the contrast of time and space. At the same time, the imaging technology-based interactive art is attributed with both elements: birth and destruction, sympathy and heartlessness. With only these two works, Tsai-Chin Ni has opened a new territory in techno art.

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夢幻泡影，現場展出圖 Illusion of a Dream , MOCA Taipei

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電影大亨的大哼小傳—論倪再沁的〈畫中仙〉系列 文：沈裕昌

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如果說訊息傳遞的方式本身即已隱含著某種非關內容的訊

詩人李白的詩詞「天子呼來不上船，自稱臣是酒中仙」的恣意妄為與

息，那麼承載內容的形式載體在完成傳遞訊息的功能之前，早已形成

無懼權貴的瀟灑形象—或許我們可以將中國古典詩詞中的李白形象看

某種封閉的範疇，先於內容地決定了訊息最終給出的樣態。即便面臨

成倪建構自我認同中的一部份—這是一個自恃才氣縱橫而鄙視俗務的

域外經驗的主體或許可能在這種封閉的同一性中撕裂出一道意外的縫

灑脫天才形象，卻同時也是一個活在朦朧迷離的域外狀態藉以擺脫規

隙，卻也無法逃脫該縫隙成為一道可供參照的裂痕，被編整收納為主

訓結構的古典寓言。然而不同於李的是，倪所欲擺脫的除了官場父權

體的歷史痕跡之一的命運。然而面對已知結局的命運，卻仍願意繼續

式的規訓結構，更是今日已被系統化與經典化的知識結構；倪的遁隱

採取行動者，如果不是希臘時代的悲劇英雄，也非尼采筆下擁有權力

策略也非酒肆黃湯濫飲無度後的狂言妄語，而是以某種詼諧嘲諷的佯

意志的超人，這個早已知悉命運卻仍毅然迎向未來的人，究竟是什麼

狂姿態，冷靜而尖銳地發出不平之鳴。然而在這些幽默毒辣的批判語

樣的主體型態？

言開展之前，首先自胸口迸發而出的「不平之鳴」，乃是一聲大力的 「哼！」。

倪再沁在2011年於台北當代藝術館舉行的個展【媒體大 哼】，集結了三十年來跨領域創作的所有藝術作品同時進行展出，然

因而我們可以說，這個展覽既是倪再沁對台灣光怪陸離的

而這個展覽的意義不只是藝術家創作生涯的某種階段性回顧，更是創

傳媒亂象嗤之以鼻的「大哼媒體」，同時也是倪以其人之道還治其

作者針對自己三十年來回應世界的姿態，所進行的面貌流變的檢閱，

身、大肆操作媒體藉以諷刺媒體大肆炒作的「媒體大哼」，更是倪挾

與主體自我形塑方向的再確立。在這個展覽中，倪再沁展出的作品形

著所有「媒介藝術的體裁」對舉目所及不平之事進行批判的一聲「大

式涵括了水墨、繪畫、雕塑、裝置、行為、新媒體藝術等諸多面向，

哼」。在作品「畫中仙」中，倪再沁一人分飾多角地扮演了電影工業

這些形式多變的作品卻難以用某些特定的創作主題與問題意識作出單

中不同層級的各種角色：既是電影製片、也是導演、更是電影海報設

純的歸納，因而我們不禁懷疑：這種不斷意識到語言結構的框架與創

計與電影看版畫師，儼然一位獨立製片的「電影大亨」。然而在展場

作自身的邊界，因而毫不止息地進行位移與滑動的行動姿態，是否正

中，我們看不到這位電影大亨旗下出品的電影，只看得見羅列在白牆

是倪再沁在其創作中不斷自我重複的主題？或許我們可以藉由對倪再

上的五十幾張A4規格畫布製作的電影畫報小看板。如同地圖之於領土

沁個展作品之一〈畫中仙〉系列的討論，回應上述的提問。

的某種存在保証，畫報看板的在場似乎也暗指了電影的必然存有，看 板上的內容甚至是電影本身的提綱挈領、某些被揀選過的重要訊息片

根據倪再沁的說法，〈畫中仙〉系列命名的靈感來自唐代

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段，讓無法在短時間內掌握電影內容的觀眾，可以透過看板上的文字

「躋身國際」的想像中的。

與圖像訊息的意義及其延異，交互編織出讀者對不在場的電影文本的 各種浮誇想像。倪再沁正是掌握了這種宣傳海報之於消費者的閱讀邏 輯慣性，因而製造了這些「沒有電影的看板」。然而對於廣告傳媒消 費結構的揭示卻不是倪再沁作品的最終意圖。〈畫中仙〉的作品意圖 反而是透過這些大眾媒體結構的掌握與使用，對「台灣文化」自身提

〈畫中仙〉看似倪再沁利用數十張看板畫輕易地一圓自己 成為電影大亨的夢想，實則是倪透過虛構一位「台灣的電影大亨」， 並展陳其旗下出品的所有電影看板，間接鋪陳出這位電影大亨的事業 成就。因而我們可以說這些看板既是這位倪氏電影大亨的一生小傳， 也是倪再沁對台灣文化小傳的一聲「大哼」。這個「哼」的姿態貫徹

出的嚴肅詰問。

了倪再沁的整體創作思惟，他並不是將社會與文化的熱切關懷當作某 我們可以在〈畫中仙〉系列五十幾件畫報看板中，看到「倪

種「創作題材」，反而是將社會與文化當作某個持續對其投注關懷的

氏出品」的所謂「佳作」，其實是透過對各種「文化經典」的「翻拍

「他人」，因而這些關懷在他的作品中自然不會以同一的形式反覆出

重製」而成的。這些包羅萬象的文化經典涵括了中國古典戲曲與小

現，而更像某種函數式的見招拆招。他對大眾媒體的挪用來自於他對

說、金庸武俠小說、西洋現代文學經典、迪士尼童話故事、日本現代

社會溝通的期待，他的多變與戲謔看似某種後現代藝術遊戲，實則是

文學，也有當代日本卡漫與西洋奇幻文學等流行文化，及當代華人電

以遊戲的姿態，對公眾知識份子的社會責任感的積極實踐。

影與台灣電影。即便挪用的對象看似無所不包，但正是透過這個「看 似」，我們了解到台灣對文化認知的「疆界」：這是一個隱約由「古 典中國—現代西洋—當代台灣」構成的文化領土。然而這樣的描述並 非絕對或線性的，我們在倪氏電影中看到的台灣文化，面對各種「中 國

西洋、古典

現代、高雅

通俗」等二元對立的意識型態，不但

不感到矛盾衝突，反而以某種普普式的高包容度涵攝一切；對於歐、 美、日等少數強勢的外來文化的依賴，造成狹窄而特殊的「西洋—東 洋」國際觀，對外來文化的浸潤滲透採取開放寬容的姿態，對自己的 文化主體雖然保有相當高的自信，但這自信卻又有部份是建構在某種

The Biography and Scorn of a Movie Mogul – On Tsai-Chin Ni’s Illustrious Illustrated series

By Yu-Chang Shen

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If within the method of message transmission is concealed a message

According to Tsai-Chin Ni, the Chinese title for the series Illustrious

unrelated to the content of the transmission itself, then before the method

Illustrated is inspired by prose from the Tang dynasty poet Li Bai: “[He]

― which bears the content ― fulfills its function as transmitter, a certain

cared not about anyone. Not even orders from the king, for he did think he

preconceived scope has already determined the final appearance of the

was a/the god of wine”? Maybe from the classical lighthearted and fearless

message. In the face of foreign experiences, even if the subject is capable of

poetic portrait of Li Bai, we can observe part of Ni’s self-identity. The

producing unexpected gaps in the boundaries of the scope, it cannot escape.

resulting depiction is the image of a carefree prodigy who is plentiful in talent

Thus, the gaps become fissures that will be referred and remembered as part

and who looks down upon mundane affairs, living in a hazy and out-worldly

of the history that tells the fate of the subject. Who are the ones that, even

state in order to transcend the regulations and structure of classical stories.

when knowing the conclusion of their fates, are willing to take action? If it

Differentiating himself from Li, the reclusive strategy of Ni is not fueled by

is not the tragic heroes of the Greek age, or the supermen of Nietzsche and

unrestricted ramblings after long sessions of drinking, but a satirical attitude

their will to power, what is the form of a subject that knows its destiny and yet

that lets out calm, sharp cries of discontent. However, before this humorous

welcomes it?

yet vicious critical language is released, an initial “cry of discontent” bursts from the chest with a great sound of “humph!”

Presented at MOCA Taipei, Tsai-Chin Ni's 2010-2011 solo exhibition Mediaholic displays the artist's cross-disciplinary works from the past 30

With this perspective in mind, we can state that this exhibition shows Tsai-

years. This exhibition not only intends to look back on the creative life of

Chin Ni’s great scorn against the grotesque, chaotic media in Taiwan. At

the artist, but also portrays his attitude towards the world in the last three

the same time it is Ni’s retaliation, a full-fledged media manipulation that

decades. Mediaholic is the artist's examination of the transformations in the

satirizes the full-fledged sensationalization of the media itself. Most of all, in

appearance of his attitude, and the reestablishment of self-direction. In this

this exhibition Ni conveys through all genres of media art his critiques against

exhibition, Tsai-Chin Ni presents his works of ink painting, oil painting,

every injustice he has ever witnessed. In the series Illustrious Illustrated, Tsai-

sculpture, installation, performance and new media art. These creations

Chin Ni fulfills by himself the different roles of the film industry: producer,

of diverse forms are not easily classifiable into particular creative themes

director, poster designer, and billboard painter ― as if he were an independent

or problem issues, which begs the question: Is Tsai-Chin Ni’s continuous

movie mogul. We cannot see his films within the exhibition space, but

perception of a language structure framework and the boundaries of his

instead nearly fifty A4-sized canvases spread across white walls, where

creations a recurring theme in his works? Is this perception the cause of the

each one is an illustration of a movie poster or small-scale billboard. Just as

artist’s active attitude, which encloses him in a perpetual cycle of location and

maps somewhat serve as proof of the existence of territories, the presence of

dislocation? Perhaps through the discussion of Illustrious Illustrated ― one of

pictorial billboards also hints towards the existence of the films they promote.

the work series displayed at Tsai-Chin Ni’s solo exhibition, we can answer the

Contents of billboards convey the main points of a film; important fragments

above-mentioned inquiries.

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of its message are selected and delivered to a public that cannot otherwise

in a narrow yet peculiar Western/Oriental international perspective. As a

grasp the content of the film in a short span of time. The significance and

consequence, there is an open attitude to the influence of foreign cultures,

the extension of the message conveyed through the billboard’s writing

while maintaining a high level of confidence toward the local cultural subjects.

and imagery interweaves with every variety of the audience’s exaggerated

This confidence is in part built on the ideal of “achieving a presence on the

imagination about the absent body of the films. Tsai-Chin Ni has captured

international stage.”

this concept behind promotional posters and their effects on the consumers’ logic of comprehension, thus creating these “film-less billboards.” Tsai-Chin

Illustrious Illustrated seems to be Tsai-Chin Ni’s effort to easily fulfill his

Ni never intended as his ultimate objective to reveal the consumerist structure

dream of becoming a movie mogul through several dozen billboard paintings.

in advertising media. The intention behind Illustrious Illustrated is, on the

Ni created a “Taiwanese movie mogul” persona and exhibited movie

contrary, to borrow the control and operation of the mass media in order to

billboards of every film he has supposedly produced, hinting at his great

examine and question closely the so-called “Taiwanese culture.”

achievements. We can say that these billboards are the biography of the movie mogul Ni, while also Tsai-Chin Ni’s great scorn against Taiwanese culture.

The billboards and prints in the Illustrious Illustrated series present the

Through this “humph,” the artist has revealed his entire creative thinking.

masterpieces of “Ni Production,” which are in reality remakes of classical

He does not consider social and cultural concerns as “creative themes,” but

works. Among the cultural classics are: traditional Chinese operas and

instead attends continuously to social and cultural issues as an “individual just

novels; Jin Yong‘s martial arts novels; classics of modern Western literature;

like any other.” In his works, these concerns are never manifested in the same

Disney fairy tales; modern Japanese literature; contemporary Chinese and

way, but according to and corresponding to the circumstances at the time.

Taiwanese films; popular genres such as Japanese animation and comics, and

He borrows mass media to communicate with society, and while his diversity

Western fantasy literature. Inspiration for these works appears to come from

and facetiousness appear to be some kind of post-modern artistic game, it

everywhere. However, it is through this “appearance” that we understand the

is through such an attitude that he actively carries out his duties as a public

boundary between Taiwan and its cultural awareness ― a cultural territory

intellectual.

based on ancient China, the modern West, and contemporary Taiwan. This definition is non-absolute and non-linear, just as we see that the Taiwanese culture portrayed in Ni’s films faces contrasting ideologies: the Chinese versus the Western, the classical versus the modern, and the refined versus the popular. Under these circumstances, there is not a sense of contradiction, but of a high inclusiveness which subsumes everything in a pop art manner.

The dependence on foreign cultures from Europe, America, and Japan results

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畫中仙，現場展出圖 Illustrious Illustrated, MOCA Taipei

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左 畫中仙系列〈老殘遊記〉，2010，電腦輸出、油畫、油畫布，29.7x21 cm Left: Illustrious Illustrated 右 畫中仙系列〈天地一沙鷗〉，2010，電腦輸出、油畫、油畫布，29.7x21 cm Right: Illustrious Illustrated

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左 畫中仙系列〈艋舺〉，2010，電腦輸出、油畫、油畫布，29.7x21 cm Left: Illustrious Illustrated 右 畫中仙系列 Right: Illustrious Illustrated

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畫中仙系列 Illustrious Illustrated

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畫中仙系列 Illustrious Illustrated

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畫中仙系列 Illustrious Illustrated

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畫中仙系列 Illustrious Illustrated

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倪再沁的選舉 文：王文宏

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之一、雲豹的生活：〈台灣雲豹競選總統〉

曲，和悲苦的、聳動的話語，對選民進行洗腦，雲豹們選擇以沉默與 偶爾為之的吼聲回應。除此之外，我們聽到的就是隊伍每走十步一敲

一九九五年十二月十三日台灣雲豹台中競選總部成立，揭開 了〈台灣雲豹競選總統〉的序幕。這場由東海大學美術系老師倪再沁

的單調鑼聲。一路上，李登灰和林羊港熱情的跟著隊伍發傳單，並在 遊行的最後，在用紙糊成的講台上高談闊論起來。

帶領選修「環境藝術」課程同學的總體藝術，一反選舉總是充滿了叫 囂與謾罵的慣性，強調以歡樂和理想來應戰。雖然校方也曾顧忌和學

沿街拜票是選舉時最重要的動作，一般都配合著喧囂的語

生「搞政治」並不恰當，然而經過溝通與了解，知道他們其實是「搞

言和大量的競選文宣，還有一臉的誠懇和偽裝。……在已經沒有真面

藝術」，競選活動終於能順利進行。

目的時代，雲豹也只有透過「人的異化」（戴面具）去刺激人們的思 考，我們究竟身處在一個甚麼樣的時代裡？不同的場景換上不同的面

位於東海別墅內的〈台灣雲豹競選總統〉競選總部成立當 天，震天嘎響的鞭炮聲，引起了左鄰右舍的側目，紛紛聚集到總部一 探究竟。沿路上插滿了競選旗幟，居民很容易就找到了總部位置，不

具，不同的政治氣氛中，當然也會有不同的表態。面具之後的自我究 竟是甚麼？以沉默對抗文宣暴力，以面具防止認同暴力，雲豹的拜 票，是荒謬而有力的控訴。

同於大人們的狐疑觀望，跟著大人來的小孩們，興奮的吃著競選團隊 準備的糕點，在總部裡頭遊戲奔跑起來。突然間，一些有頭有臉的人

之二、節慶的生活：〈選舉嘉年華〉

（學生喬裝）陸續趕來祝賀：「首先登場的是李登灰先生，他帶來巨 額的捐款一億萬元來到，受到熱烈的掌聲歡迎，接著來到的是彭明冥 先生，他捐了一百萬，還有葉子媚送來大號胸罩兩百件……。」就在 大家high到最高點的時候，對岸總理江澤民先生忽然造訪，「雖然不受 歡迎，眾人還是象徵性的接受了他廿顆模型飛彈的賀禮。」剎那間笑 聲與蛋糕齊飛，引爆了成立慶祝的高潮。

手拿競選旗幟，浩浩蕩蕩的在台中市區與台北Sogo百貨進行 遊街拜票。在Sogo那場展演，不像一般的選舉，用震耳欲聾的愛國歌

二○○一年，倪再沁夥同出馬競選立委的沈懷一及東海美術 系數十名學生，進行一場別開生面的選戰秀〈選舉嘉年華〉。主角沈 懷一在台大哲學系畢業後，除了開計程車謀生之外，還是觀世音樂團 的主唱，嘗試著以音樂普渡救世。這次出來競選，可以說是其音樂理 念的延伸，也肩負了為社會上大多數「無力者」發生的責任。

在雙方協議政治與藝術護不干涉的同時，卻也產生了相依 存的緊密關係。〈選舉嘉年華〉可以恣意改裝競選總部（「無力者食 堂」，占據巷道的鐵皮屋違建），在裡面設置神壇，也可以在沈懷一

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的臉上塗塗抹抹，或叫他做一些無聊可笑的動作，這兩組人馬甚至同

之三、快閃的生活：〈凍蒜．凍未條〉

心協力地共同演出這場總體藝術。 台中報導：軍隊驚爆街頭！持槍軍人搶超商！2001年12月2 競選總部歡慶成立的那天，籌畫佈置許久的展演終於展開。

日，〈凍蒜．凍未條〉幾乎攻佔了中區報紙的版面。一場由台中市政

食堂被漆成了粉紅色，競選旗幟與車輛也被粉紅化，總部裡裡外外多

府所主辦的「台中國際城市藝術節」，〈凍蒜．凍未條〉就是參展的

了一些奇奇怪怪的東西，抬頭一看，一台以麻布袋為機身的飛機，倒

作品之一。倪再沁率領將近五十人，手持玩具步槍的迷彩軍隊，從一

栽蔥似地撞入食堂，大馬路上多了粉紅色的斑馬線和紅綠燈，還有人

台插滿了競選旗幟的粉紅車站裡鑽出。頓時槍聲大作，煙霧彈四處飛

倒臥其上。進入室內，居然有個四大天王的神壇，敬拜的香卻是插

散，整支隊伍在大馬路上匍匐前進，幾乎癱瘓了台中最熱鬧的自由路

在大便上。電視螢幕裡，不斷播放著沈懷一面對電扇講話、不斷點蚊

和中正路。仔細一看，這一票人似乎剛經歷過一場大戰，很多人身上

香、不斷傻笑的畫面。

都掛了彩......。（本文為節錄稿）

在記者不斷聚集到會場的同時，一群叫囂「凍蒜凍未條」的 群眾，拿起雞蛋對著參選人和總部移陣猛砸，剎那間，情勢大亂，歡 聲雷動。掃街拜票的車隊也在這時候浩浩蕩蕩的出發。粉紅宣傳車上 裝滿了十來個沒有接電的大喇叭，在需要的嘶聲吶喊的時候居然裝聾 作啞了起來，好不容易有麥克風，卻被樂團唱起歌來，沈懷一卻默默 的坐在一旁，微笑著不發一語。競選車隊尾隨著一群穿著奇怪的人， 有巫婆、辣妹、吉普賽人還有流浪漢。他們在街上、市場，公然發起 了紅包，無法想像，一般民眾收到流浪漢發的紅包是甚麼感受。到了 晚上，在總部前面的公園，有許多地下樂團聚集起來表演，也有賣二 手物品的跳蚤市場，吃吃喝喝的攤位也一應俱全。〈選舉嘉年華〉整 個的展演活動，就在音樂、烤肉、啤酒、煙火與笑聲中，圓滿落幕。

王文宏 〈 雲豹的生活〉 、〈 節慶的生活〉 、《 台灣當代藝術大系．總體藝 術》、p88-92 110-122

Introduction to Tsai-Chin Ni’s Election

By Yu-Chang Shen

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I. Life as a Clouded Leopard: Taiwan Clouded Leopard

laughter and pastries took flight, exploding in a climax of celebration.

Electoral Campaign Courageously and with election banners in hand, the group held campaign The Taiwan Clouded Leopard campaign headquarters was established

rallies in Taichung City and at the Taipei SOGO Department Store. The

in Taichung on December 13, 1995, marking the beginning of the Taiwan

performance at SOGO was unlike conventional elections, which use loud

Clouded Leopard Electoral Campaign. This total art project was led by Tsai-

patriotic songs and sensationalist messages to brainwash potential voters.

Chin Ni, professor at the Tunghai University Department of Fine Arts, and

Instead, the Clouded Leopard chose to respond with silence and the

included the participation of his environmental art course students. Together,

occasional roar. The audience could also hear the monotonous sound of a

they aspired to break through the electoral tendency of being full of clamoring

gong that was repeated every ten steps the troop took. Teng-Hui Lee and

and abusive, entering the electoral arena instead with nothing but ideals

Lin Yang-Kang passionately handed out leaflets and brochures and delivered

and celebrations. The university faculty appeared reluctant to the notion of

speeches on a stage made of paper and glue.

students “getting involved with politics,” but after some time it realized they were actually “getting involved with art,” and the electoral campaign was able

Campaign rallying is one of the most important actions in an election, is often

to proceed successfully.

accompanied by loud language, massive amounts of campaign advertisements and disguised sincerity. In an era when the true faces of things are often

On the day the Taiwan Clouded Leopard Electoral Campaign headquarters

concealed, the Clouded Leopard could only use “human alienation” (masks) to

was inaugurated in the Tunghai Villa Community, the deafening sound of

make people wonder: What kind of times are we living in? Different masks are

firecrackers attracted the interest of neighbors — who gathered around to see

suitable for different occasions, just as under different political atmospheres

what was going on. Along the road were election banners guiding residents

there will be different stands. What is the truth behind the masks? By using

to the headquarters. Disregarding the suspicion and reservation of adults, the

silence as opposed to advertisement violence and masks against identity

accompanying children enthusiastically ate pastries prepared by the campaign

violence, the campaign rallies of the Clouded Leopard served as an absurd yet

team while running around the headquarters. All of a sudden, students

powerful indictment.

disguised as influential figures came one by one in order to congratulate the campaigners: “The first guest is Teng-Hui Lee, donating the incredible sum of a hundred million NT dollars. After a wave of applause, Ming-Min Peng donated a million, while Chi-Mei Yip sent two hundred large-sized bras …”

At the height of the performance entered Tse-Min Chiang, previous leader of the Chinese Communist Party. “Even though unpopular, the public has symbolically accepted his gift of twenty model missiles.” And in that instant,

II. Life of Festivities: Election Carnival In 2001, Tsai-Chin Ni worked with the legislative candidate Huai-Yi Shen and dozens of students from the Tunghai University Department of Fine Arts. Shen made a living driving taxis after graduating from the Department of Philosophy at National Taiwan University. He was also the lead singer of

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the Avalokitesvara music band, through which he attempted to use music as

remained silent when loud noises were called for. When they finally had a

a mean to save the world and its people from suffering. His run for election

microphone, the band started singing and Huai-Yu Shen sat there quietly,

can be seen as an extension of this musical concept, and as such it carries the

smiling without speaking a word. Following them were people dressed in

responsibility of becoming the voice for the “powerless” individuals in society.

strange attire, including witches, attractive women, gypsies and the homeless.

They handed out red envelopes on the streets and in markets — it is hard to

While there was a mutual agreement that politics and art were non-interfering

imagine the feeling of the public as they received red envelopes from homeless

subjects, an intimate relationship of dependency between them was born

people. In the evening, at the park in front of the campaign headquarters,

at the same time. Election Carnival was able to transform the campaign

several indie bands gathered and performed, with second-hand flea markets

headquarters into the “Mess Hall of the Powerless” (a sheet-metal shed

and food stands accompanying them. And so, the entire performance of

which illegally occupied road space) and placed altars there. As a team, they

Election Carnival concluded with music, barbecueing, beer, fireworks and

collaborated and performed together in this work of total art.

laughter.

On the day the campaign headquarters was established, the long-planned

III. Life in Flashes: Election Eruption!

and prepared performances were exhibited at last. The mess hall was painted pink, together with election banners and campaign vehicle. All sorts of bizarre

News from Taichung: The army has invaded the streets! Soldiers with guns

things appeared on both the inside and outside of the headquarters. Upon

are looting convenience stores! On December 2, 2001, Election Eruption!

lifting the head, an airplane made of burlap sacks was positioned as if it had

made the headlines of every news outlet in the central region. In the Taichung

crashed head-on into the mess hall. On the streets, the roads were invaded

Cityscape Arts Festival held by the Taichung City government, Election

by pink pedestrian crossings and streetlights with people lying on them.

Eruption! was one of the participating works. Tsai-Chin Ni led an army of

Inside the headquarters there were altars to the Four Heavenly Kings, but

approximately fifty camouflaged solders carrying toy rifles, emerging from a

the incenses of worship were placed in excrement instead of censers. On the

pink vehicle decorated with election banners. All of a sudden, fake gunshots

television screen, images of Huai-Yu Shen speaking to an electric fan, burning

rang out and smoke bombs flew everywhere, with the entire troop crawling

a mosquito coil and cackling were repeated again and again and again.

across roads and thus paralyzing the most popular streets of Taichung City: Zihyou and Jhongjheng roads. On a closer inspection, these people seemed to

As the reporters gathered around, a group of people shouting “Election eruption!” fiercely threw eggs at the candidate and campaign headquarters, creating immediate chaos and thunderous cheering. In such circumstances, the campaign team vigorously began the task of street canvassing. The pink campaign vehicle, equipped with a dozen large and unplugged speakers,

have gone through a great battle and many of them were injured.

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凍蒜凍未條，現場展出圖 Election Eruption , MOCA Taipei

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凍蒜凍未條，2010於台北當代藝術館 Election Eruption, MOCA Taipei

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2012總統競選總部 Election Eruption, MOCA Taipei

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凍蒜凍未條-街頭示威，2001年12月2日於台中市自由路和中正路 Election Eruption, Taichung

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凍蒜凍未條-街頭示威，2001年12月2日於台中市自由路和中正路 Election Eruption, Taichung

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凍蒜凍未條-街頭示威，2001年12月2日於台中市自由路和中正路 Election Eruption, Taichung

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2012總統競選造勢晚會 Election Eruption, MOCA Taipei

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左 2012總統競選紅包鈔票（正面），2010，電腦輸出、鈔票紙 Left: Election Eruption, DM (Front) 右 2012總統競選紅包鈔票（背面），2010，電腦輸出、鈔票紙 Right: Election Eruption, DM (Back)

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左 2012總統競選贈品面紙外包裝（正面），2010，電腦輸出、鈔票紙 Left: Election Eruption, DM(Front) 右 2012總統競選贈品面紙外包裝（背面），2010，電腦輸出、鈔票紙 Right: Election Eruption, DM(Back)

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凍蒜凍未條，2010於台北當代藝術館 Election Eruption, MOCA Taipei

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凍蒜凍未條，2010於台北當代藝術館 Election Eruption, MOCA Taipei

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凍蒜凍未條，2010於台北當代藝術館 Election Eruption, MOCA Taipei

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誰的關鍵字？ 文：黃寶萍

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十年前，倪再沁回顧從《雲報》到《沁報》的創作歷程，曾

值體系。倪再沁用塗黑的手法將一個隱形的操縱價值體系顯性化了；

經如此表白自己心理的變化：「一樣屬於藝術創作，但其內在精神卻

十六年來，倪再沁發行的七份報紙，一直在做此種嚐試，儘管這永遠

已大不相同，四年多前是懷抱理想與社會改革信念的浪漫英雄，如今

是藝術家這隻小蝦米對抗權力體系大鯨魚的無謂嚐試。塗黑關鍵字的

則是百般無奈、恣意嘲諷世俗的藝術家。」從1995年的《雲報》到此

手法，彰顯了倪再沁即便看得再清楚，也不改他就是要發聲的率直藝

次為台北當代藝術館個展而全新發行的《頑皮報》，十六年來倪再沁

術家本性。

共發行了七份報紙；倪再沁的的藝術創作內在精神，是否又歷經了不 同的轉化過程？

塗黑關鍵字的手法，予人甚多聯想。

解嚴之前的台灣，自國外進口的出版品，均須受檢查；若

不論《雲報》、《沁報》或《頑皮報》，報紙名稱更迭，不 變的是：形式完全符合一分報紙所需具備的元素，報紙的創辦人、工 友、記者、編輯，到被報導者、評論者、廣告業主，全由倪再沁一人 擔當，所有角色疊合為一；其中充滿了虛實難辨的訊息，此一特質雖 不易，但倪再沁在《報紙系列的〈北京版〉》中，將內文所謂的關鍵 字塗黑，所有的頁面因此佈滿了長方形黑色方塊；黑色方塊無疑是倪 再沁愈玩愈「火」的痕跡。

是「思想不純正」，自然整本遭禁，若是其中部分用語──亦即所謂 的「關鍵字」，涉及大陸國號、領導人名字、地名（例如不能用北 京，須用北平）等，一概以塗黑處理。倪再沁在大陸宋莊美術館展出 時採取的手法，其實就和解嚴前的台灣近似。只是讓人不得不有種時 空錯置感：歷史軌跡原來並非直線前行，反倒是來來回回劃過，儘管 時間推移、空間轉換，宰治媒體的霸權體制，始終存在。更何況，當 年所謂的「關鍵字」，如今看起來十分可笑，塗黑關鍵字不過是一種

玩得愈火，無奈愈深、嘲諷愈強。倪再沁表示，塗黑關鍵字

維繫霸權的荒謬手段。倪再沁在作品中塗黑關鍵字，正是對此種荒謬

的手法緣於他在大陸北京宋庄美術館舉行個展時，一些用詞不容於大

霸權的反諷和顛覆。倪再沁從有意塗黑部分用語，到此次隨興塗抹，

陸官方，於是他想出了將這些「關鍵字」塗黑的作法。倪再沁愈塗愈

更強調了：在霸權下，關鍵不在於文字本身是什麼，而是體制價值觀

有興味，於是這次在台北當代藝術館發行的報紙，乾脆隨意的，想塗

的選擇權，選擇何者為宜、何者不宜，倪再沁就是要「打著媒體反媒

那些字眼就隨意塗掉；結果招來了質疑：哪來那麼多關鍵字啊？！

體」。

關鍵字究竟是什麼？不是關鍵。關鍵是背後決定關鍵字的價

大陸近年出現了頗多的詐騙案。詐騙者用明礬水在紙上畫出

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圖案，水漬乾後，圖形隱去，他們再以此誑騙受害者。手法是：將原

十年過去了，倪再沁「沒出事」，一如遭受嘲諷的媒體般

本備妥的紙張沾濕，圖形顯現，意味著受害者家中將有災厄，若不破

「沒事」、還能變本加厲地操弄權力、大行「塗黑關鍵字」的伎倆。

財，無法解厄。明礬水的作用是使圖案能隱形，一如塗黑的手法，其

倪再沁彷彿是希臘神話裡那個不斷將滾落下山的石頭推上山的薛弗西

實是要使關鍵字不被看見；倪再沁看似戲謔的塗黑，反倒使意欲不被

斯，只是他推的不是石頭，而是那一塊又一塊、塗去關鍵字的長形方

看見的，更為彰顯：看見的並非究竟是那些字，而是媒體權力的運作

磚。

本質。也就是此種手法，將無形體制的影響及運作具象化。

倪再沁發行的七份報紙，一概以他自己為報導、評論和廣 告宣傳的主角；有評論認為，這種手法充滿了「自戀與自我嘲諷的雙 重矛盾」。此種觀點自然無可厚非，但是，與其以「自戀」的角度詮 釋，不如以「象徵轉化」的寓意看待。在這些報紙形式的創作中，不 論文字或圖像、不論是發行人、被評論或報導者、廣告業主的「倪再 沁」，已不再等同於原本的「我．倪再沁」；倪再沁將自身轉化為那 個掌握著決定關鍵字為何的媒體霸權，「倪再沁」愈是被放大，隱身 的權力體制反倒愈能被看得清楚而無所遁形。因此，一個又一個「倪 再沁」，就像是一面面的放大鏡，也像是一個個傳達訊息的大聲公， 試圖喚醒多數無感的大眾。

2000年的《沁報》有一頁全版廣告，是「再沁國際實業有限 公司」刊登的〈倪再沁大全集〉郵購廣告。當時倪再沁仍是國立台灣 美術館館長，館內會計主任託同事「勸告」倪再沁，此舉違反公務人 員任用條例，這樣會出事的。

Whose Key Words?

By Pao-Ping Huang

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Ten years ago, as Tsai-Chin Ni reminisced on the creative process from

Ni utilized the method of blackening out texts with the intention of revealing

Cloud News to Chin News, he explained the psychological transformations

the invisible value-determining system. Over the past 16 years, Ni published

he went through: “The works are indeed artistic creations, but their essence

seven newspaper series. He is always experimenting with a variety of ideas,

is absolutely different. Four years ago, I was a romantic hero who believed

even if they are futile attempts made by his identity of artist, like a small

in ideals and social reform. Now I am just a helpless artist who recklessly

shrimp against the power system of the big whale. The method of blackening

criticizes and satirizes worldly matters.”From Cloud News in 1994 to

out text conveys Ni’s artistic nature: Even if he possesses a clear vision of

Tenacious News – made and issued exclusively for his solo exhibition at

things, he will make his voice known no matter what.

MOCA Taipei, Ni has published seven newspaper series over the past 16 years. Has the essence of his artistic creativity gone through another process

The method of blackening out key words can be associated with many, many

of transformation?Despite having different names, the essence of the artist's

more concepts. Before the lifting of martial law in Taiwan, all publications

newspaper series Cloud News,Chin News, and Tenacious News remains

from overseas were subject to inspection. If the message of the publication

the same. Their format and elements are identical to those of traditional

was considered to be “impure,” then it would be banned from the country.

newspapers, with assuming the roles of founder, worker, journalist, editor,

On the other hand, if part of its phrasing (or the so-called “key words”)

interviewee, critic and advertiser. In addition, through the careful and peculiar

were related to certain names, leaders, or places of China, then it would

crafting of the newspapers' contents, the readers have trouble separating fact

be blackened out. The method used by Ni in his solo exhibition at the

from fiction. In Tenacious News, Ni blackened out key words from texts,

Songzhuang Art Museum in China reflected the state of Taiwan before the

filling the newspaper pages with long, black rectangles; they are the traces of

lifting of martial law. There is a sense of displacement: History advances in

Ni getting “caught in the heat of the moment.”

a nonlinear trajectory, going back and forth. No matter how much time or space changes, the hegemony system of the media will always exist. The “key

As his involvement deepens, the sense of helplessness and satire strengthens.

words” of the past seem ridiculous in the present, and the action of blackening

Ni explained that the idea of blackening out key words came from his solo

out keywords seems to be nothing more than an absurd way to hold together

exhibition at the Songzhuang Art Museum in Beijing, China. During

the hegemony.

its course, Chinese officials deemed several descriptions of the exhibition inappropriate, leading the artist to come up with the concept of blackening

Ni blackens out key words in his works in order to satirize and subvert this

out these sensitive “key words.” Ni grew increasingly fond of this method the

absurd attempt at maintaining hegemony. From a selective to a randomized

more he used it, and thus applied it in the newspaper work he published for

process of blackening out texts, Ni emphasized that under hegemony,

this exhibition at MOCA. Only this time he blackened out whatever words he

keywords are less related to the body of text itself than to the power of

pleased randomly and gave it no second thought. As a consequence, suspicion

selection of the value-determining system, which decides what is appropriate

and questions were raised: Can there possibly be so many forbidden words?

and what is inappropriate. Ni’s intention is to “turn the media against itself.”

231

There has been a rise of fraud in China over the past years. The defrauders

director, the account officer of the museum urged the staff to “advise” Ni not

paint images on paper with alum water, and as it dries the images fade and

to publish the advertisement. Such publicity violated civil service employment

are used to deceive the victims. The setup: They dampen the rigged paper,

regulations, and it was only trouble waiting to happen.

revealing the hidden image as if it were a bad omen that would befall the victim’s family. The curse can not be lifted unless a fortune is spent to remove

In the ten years since, trouble did not happen for Ni. Trouble did not happen

it. The purpose of alum water is to hide images, which is just what the method

to the satirized media either – quite the opposite. Its manipulative prowess

of blacking out text aims to accomplish. Ni’s humorous reinterpretation of

grew increasingly stronger, employing the method of blackening out key

this method deliberately reveals things what were originally intended for

words as it deemed fit. Ni is like Sisyphus from Greek mythology, who was

hiding. Therefore, what is visible is not the body of texts, but the nature and

condemned to roll an immense boulder up a hill only to watch it roll back

operation of the authoritative media. In other words, his method attempts to

down, and repeat the process through eternity. But opposed to Sisyphus,

materialize the influence and operation of the unseen system.

Tsai-chin Ni rolls not boulders, but the long-shaped tiles that are used to blacken out key words.

In the seven newspaper series published by Ni, he has filled the roles of journalist, critic and advertiser; some art critics consider this methodology to be a “contradiction between narcissism and self-irony.” Even though such a perspective is natural, perhaps it would be more adequate to interpret it as “symbolic transformation” instead of “narcissism.” In the creation of these newspapers, the “Tsai-Chin Ni” reflected in the elements of text, images, publishing, critiques, journalism and advertising do not correspond to the original “ego” of Ni. The artist transforms himself into the hegemony of the media that determines the value of key words – as long as “Tsai-chin Ni” is put in focus, the invisible authoritative system will have nowhere to hide. As a consequence, this work functions as a magnifying glass or a megaphone that attempts to awaken the numbed audience.

Chin News, published back in 2000, contains a full-page advertisement for the Tsai-Chin Ni Collections mail order, a product of the Tsai-Chin International Industry Co., Ltd. At that time, Ni was the director of the National Taiwan Museum of Fine Arts. Upon hearing the intentions of the

232

當代館石瑞仁館長於展覽現場解說作品 Director of Moca Taipei J.J.Shih attended in Exhibition

233

234

235

台灣雲報，

，報紙， 95x127 cm ， Taiwan Cloud News 1995

236

左 台灣雲報(北京版)，2009，報紙，95x127 cm Left: Taiwan Cloud News (Beijing Edition) 右上 台灣雲報，1995，報紙，95x127 cm Right Above: Taiwan Cloud News 右下 台灣雲報(北京版)，2009，報紙，95x127 cm Right Below: Taiwan Cloud News (Beijing Edition)

237

238

239

左 台灣雲報，2009，報紙，95x127 cm Left: Taiwan Cloud News 右 台灣雲報(北京版)，2009，報紙，95x127 cm Right: Taiwan Cloud News (Beijing Edition)

240

241

沁報，

，報紙， 95x136 cm ， Chin News 2000

242

243

沁報，

，報紙， 95x136 cm ， Chin News 2000

244

245

沁報(北京版)，2009，報紙，95x136 cm Chin News (Beijing Edition)

246

247

沁果日報，2005，報紙，95x126 cm Chingou News

248

249

愛ㄍㄡ

報， 2006 ，報紙， 95x120 cm ， Aigou News ˋ

250

251

愛ㄍㄡ

報， 2006 ，報紙， 95x120 cm ， Aigou News ˋ

252

253

愛ㄍㄡ

報， 2006 ，報紙， 95x120 cm ， Aigou News ˋ

254

255

愛ㄍㄡ

報， 2006 ，報紙， 95x120 cm ， Aigou News ˋ

256

257

頑皮報，

，報紙， 95x120 cm ， Tenacious News 2010

258

259

頑皮報，

，報紙， 95x120 cm ， Tenacious News 2010

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261

獨到成奇—論倪再沁的藝術創作 文：朱青生

262

倪再沁在學術上見地獨到。他對在台北故宮如何確定館藏代

倪再沁的「古畫新作」，在歷年在古畫上的題字經過他用電

表作的過程，即故宮自己如何確認的「鎮館之寶」這樣一個看似平常

腦的方法取消，恢復了畫家當年畫出來的形態，重新檢討中國古代繪

的行為上，看出了近代國人文化信心的漂移和懷疑。這個學術結論正

畫的原初狀態，進而更為細緻地剖析繪畫傳統之間的精妙差異，事情

與我們在中央電視台做「羅浮宮遇到紫禁城」十二支紀錄影片的專題

看起來很簡單，但是卻有深意在。我們觀之如畫家觀之，今人觀之如

論證中得到的結論相應，我們看到羅浮宮雖然在西土，其實它所承載

畫家所遇當世人的狀況觀之。經過如此恢復，就有了看待藝術微妙差

的藝術精神早已東來，覆蓋和遮蔽了以「故宮」（紫禁城）做為原本

異的進一步證據。

固有的審美判斷。但是，已經到了反省的時候！ 趙孟頫的〈鵲華秋色〉經倪再沁處理之後，我們才第一次看 北京故宮裡，三希堂依舊存在，但三希堂中早已空空如也。

到竟然這幅圖畫和黃河之濱的風塵有如此的接洽，山東秀麗之氣曾經

晨陽照著灰塵的朦朧，這裡已經不再承載中國自己對於藝術的判斷並

被趙孟頫描述得如此真實，如此傳神。而後，在山樹之上的空間裡，

確立欣賞的標準。正如倪再沁所揭示的，在西方藝術史家和在西方受

只要有幾個字附在上面，加上幾顆紅印，這種氣氛則頓然消失。

教育的中國的藝術史家的解釋之下，（台北）故宮的「鎮館之寶」 已經從乾隆時期選擇的〈快雪時晴帖〉轉向了當代選擇的〈谿山行

整舊之後的錢舜舉〈傍晚待渡〉，夕陽欲沉於群山之外的湖 上，如此縹緲，一派江南，開向寧靜，使人超越江山風雨之歎！而多

旅〉。

少年來，正是後代的題字掩蓋了畫面的真相，竟然讓人注意不到那微 本來，無論〈谿山行旅〉還是〈快雪時晴帖〉，都不枉做為

茫中的那輪夕陽。倪再沁重新把它揭示給觀眾。

故宮的代表，但是這其中的「變化」背後所蘊含的文化自覺的衰減卻 被倪再沁所揭示，其中內涵就是西方的再現為基礎的傳統，已經悄然 滲透到以寫意為根基的傳統的國度。抽象地分析，每個文化都有一部 分相當於藝術的組成成分，但是，其所指示的現象和事實並不完全重 合，各自在自我文化之中發生作用的方式也不盡相同。這種差異是人 類「文化差異性」的結構方面的原因，因此，雖然我們將紫禁城中所 藏與羅浮宮中所藏都被籠統地稱作藝術，但此藝術非彼藝術也！

古畫清理本來是一份科學的工作，因為我們看待藝術史，既 可以從我們今天的當代立場去解釋和分析，也同時試圖用藝術品產生 的那個時代和那個地方，透過當時的文化，進入古人（古時當代人） 的心態。如何體會一個時期創作者的心態，實際上是藝術史學的一個 基本的工作。因為藝術作品做為一個獨立的範本，雖然可以訴諸不同 的人在不同的時間和地點作出的自己解釋，但是原創作者理論上只會

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有一種解釋，而發現和探究他的解釋本身實際上就是在探索和發現形

大、石濤、四王，使之登峰造極。

成這種解釋的社會、歷史和生態，以及這個藝術家個人的際遇，這是 經典藝術學的基本方法，並不會因為解釋學和新藝術史學而完全背 離。如果這樣的整體邏輯關係得到了充分的論證和揭示，那就是歷史 做為科學的目標。所以我們對史料首先是一個清理的過程，對於做為 視覺研究的史料——圖畫的清理，最為基礎的工作，就是把這幅畫當 時畫成的模樣（我們在漢畫學上稱之為原始狀態或原始功能）盡可能 恢復出來。從這一點上，我們已經非常感激倪再沁。但是如果我們僅 僅把倪再沁的活動看成是一個藝術考古學的溯源，那就降低了「倪氏 處理」的用意。

確立這個審美原則之後，反過來如何對待宋代的繪畫？實 際上就必然存在一個自覺不自覺的否定的過程，而這個否定的過程卻 是以對它的尊崇與敬畏的方式獲得表達。這種對原有的圖象遺產的背 叛與敬畏的雙重態度，是否就造就了用書法在畫上題字的這樣一個行 為？從此，所有創作於這個審美原則確立之前的作品，都被書法凌空 佔有，並且輔助以印章來增強這個佔有行為的威權。由於這種題款和 鈐印，兩宋元初畫作中的三度再現空間被穿透與破斥，歸入書法所具 有的一維空間——畫面的韻律被平面化，並在書寫（和閱讀）的時間 順序中一次性展開。

倪氏處理實際上有更深的學術作用和藝術作用。從學術作用 方面來說，恢復畫作的原始創作狀態是一個技術性工作，但是它卻引 發了新的藝術史問題。中國宋代末年逐步確立了以魏晉時代書法為基 本核心的審美原則之後，如何處理和改造審美原則確立之前的作品？ 以北京故宮博物院藏的趙孟頫〈枯木秀石〉一作中補題文字為標誌， 中國藝術確立了書畫同源的思想，而這個思想引發出來的對藝術品的 審美判斷，就不再是以三度空間再現的程度來判別圖畫營造現實的能 力。中國的繪畫沒有繼續沿著宋代的繪畫朝再現的方向擴展，而是愈 來愈強調筆法本身的寄託和表達性質，這就是所謂的筆墨。經由徐渭 的實踐、董其昌在實踐和理論的自覺，進一步完善了藝術作為「人的 高貴本質（品行和修養）的直接表現」這一基本的審美原則，再到八

這些古畫經倪再沁恢復，使我們突然回復到「前趙孟頫時 代」，似乎中國在魏晉時期完成的藝術自覺，只是建構了自我意識， 那時，以〈快雪時晴帖〉為代表的書法審美經驗尚未覆蓋在三維再現 空間的山水和人物繪畫之上，中國藝術觀念並沒有覆蓋藝術的全部。 倪再沁給我們證明：趙孟頫的復古的追尋中將書畫的最後的壁壘擊穿 之後，從此做為書法的題款才有權力堂而皇之地複壓於做為圖畫空間 的畫面空白之處，寫意傳統因為這次復古而復興，從此直貫三希堂， 直到西方再現傳統引進，而三度空間這一點正是文藝復興的藝術繼承 希臘的藝術審美原則以來的主要追求目標。倪再沁是在誘導我們意識 到圖畫做為人對世界的結構性認識，起初並沒有重大的差異。而決定 破斥幻覺，消解這種幻象反而是一個重大的文化的自覺行為。基於這

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種文化自覺的選擇之後，中國藝術才真正與西方藝術分道揚鑣。宋末

含了與之相關的「歷史台階」。但是我們對古畫題款和鈐印已經適

元初中國的藝術終於與魏晉的那次書法上完成的藝術自覺統一起來，

應，文化記憶已經被建造完成，對原來的那個過程從來不需要我們自

從此世界上分出了對於繪畫的一條道路：繪畫是一種書寫。所以在倪

己對之重新體驗，自然而然地適應之後，當我們的眼光已經被塑造成

氏處理中，實際上是一個反向的逐步追溯，中國的審美原則確立威權

一種文化邏輯的時候，其實我們也被這種文化邏輯所奴役和限制，我

的過程游離而躊躇，歷史上的形相學變化如此微妙，但最終還是用新

們已經逐步喪失了對於自身所處的精神的被禁錮狀態的警惕，不再會

確立的方法覆蓋舊作，經由處理，從而揭示昭然。

質疑文化習俗對我們感覺的封閉和奴役。因此，當我們重新面對一個 被倪氏處理的原作，我們實際上是在面對一個「新作」，會從被奴役

從藝術方面來說，當被倪氏處理「復原」的藝術作品是一

狀態中驚醒。

次當代藝術創作行為，因為當被恢復的古畫重新放置在我們眼前的時 候，出現的作品的歷史與觀眾之間的一次觀看的割裂和驚喜。也就是

有如上述，倪再沁曾經揭示了故宮鎮館之寶的選擇變化過

說對於每一個後來的觀看者來說，其實並不知道這些作品原本的樣

程中所包含的中國藝術審美判斷價值被西方藝術審美判斷價值逐步影

子，我們卻知道古代作品被題款和鈐印之後的實際的樣子。也就是

響，從而被覆蓋和滲透的過程。似乎如此一來，我們是否又回到了北

說，對於我們今天的文化記憶來說，有題款的畫面本身的現象是真實

宋再現的傳統之中了呢？問題的關鍵並不在此，而在於這種變動是出

的，而沒有題款的本來的圖畫早已經被忘卻，而現在我們看到的「作

於自覺還是出於被動。首先，對「西方判斷標準之接受」這個過程，

品原本的樣子」反而是人為塑造的，這是「倪再沁的作品」。當這個

根源於歷史的誤會。發生在五四運動前後的中國新文化運動，如同一

重新塑造出來的圖畫突然又返回到我們面前迫使我們重新觀看的時

切傳統社會形態的國家和民族被先行現代化的西方在政治和軍事方面

候，歷史的連續意義中突然強制性的打破，產生一種創新的感覺。也

擊敗之後，為救亡圖存而做出的一個幾乎相同集體誤判。誤判就是將

就是說文化記憶被這次「復原」所擊破，我們自我的文化習性被挑

現代化的優勢擊敗自己誤認為是他種文化中擊敗了自己。即把列強侵

戰，因此，被復原的作品就不再是歷史本身，而是激發對歷史的一種

略者和殖民者的傳統文化價值與他們得以強大的反傳統的現代文化價

重新觀看。這種重新觀看使得我們對於自己如何被塑造成今天的我們

值混為一談。本來中國從鴉片戰爭和甲午戰爭一系列近代戰爭的失

（文化存在），增加了反省的意識。雖說當年畫作被題字和鈐印，不

敗，並不是西方傳統文化優越于中國傳統文化，而是西方和學習西方

是單獨一次完成的行為，它是不斷積累的過程，每一次的行為中都包

的日本在現代化進程中領先於落後的中國。

265

並不是現代化一味就正確，進步對人類和自然就正當，但是

所以，倪再沁的「古畫新作」工作，也不再是一個簡單的藝

在國際政治的較量中，先進的國家和民族就是落後的國家和民族的壓

術創作，由這個藝術的創作以及他的學術判斷的直覺，把中國文化做

迫者，不僅一代，而且子孫許多代都會處在這樣的壓迫中，最後，被

為一個後發展的在現代化進程中被動的文化內在的隱祕揭示出來，這

壓迫的民族和國家的菁英和平民自己都不再相信自己的傳統和文化，

樣的一種工作，正是我們今天要從所有的文化的方面進行深刻反省的

新文化運動的誤解，實際上是失信的心態導致的判斷勢利。同理，

組成部分，這就是現代的立場。

並不是寫實繪畫傳統優越於寫意繪畫傳統，也不是由寫生為基礎的希 臘—文藝復興藝術創作方法優越於以臨摹為基礎的書法與筆墨主要創 作方法；而是西方在現代化的過程中，不間斷地否定自己的傳統，用 理性的精神建造了一個現代性的社會基礎，並由此建立了藝術在使人 成其為現代人的創造性作用。而當年中國派出的留學生到了當時的巴 黎和東京自然導出雙向性誤解：把西方寫實主義當作先進藝術的榜 樣，或者把西方的現代藝術看作對中國舊傳統的支援。

倪再沁的把繪畫上的題字和印章去掉之後，實際上正在激發 一種反省能力。把中國文化中被否定的部分重新揭示出來，與按照西 方的傳統重新提示出來標準相對比，促使「故宮鎮館之寶的變化」背 後所包含的內在的文化心態受到質疑。也許故宮的評價者不必也不會 把西方的傳統的標準作為評價藝術品的基本的原則；本來，對於自己 文化中的評價的變化也是不可避免的，關鍵是在於變化的動力是主動 的還是被動，這才是重要的地方，更為重要的是在變化的過程中，是 否有著對一種集體的誤解的警惕。任何一種判斷的變化，重要的是考 量它是否有利於這個民族本身建造自己的理性傳統和反省能力。

倪再沁是以一種什麼樣的獨到的洞見，發現如此深刻的問 題，並以這樣獨特的角度揭露，這大概就是出於天賦吧！天才的特點 經常是才氣橫溢。也就是說當一個人的才能在一件事業或一種職業的 容量中裝不下，就會漫漶到別的地方，不僅溢出，而且橫流。倪再沁 學問如此，藝術亦如此。（本文為節錄稿）

朱青生〈獨到成奇〉、《藝術家》雜誌、2011年 2月 429期 p188-p193

Tremendous Uniqueness ─On Tsai-Chin Ni’s Art

By Qing- Sheng Zhu

266

Tsai-Chin Ni is known for his unique viewpoints on institutional issues.

may also be dissimilar. This delineation is due to the structure of humankind’s

From Taipei National Palace Museum’s process of defining the museum’s

“cultural differentiation.” Therefore, although we have called what is inside

emblematic works, he saw instability and uncertainty that people of this era

the Forbidden City and the Louvre art, they are quite different artistically

have been sensing about our own culture. This observation also happens

from each other.

to correspond with the twelve documentary videos of “When the Louvre meets the Forbidden City” we’ve produced with China Central Television.

Ni’s series of “Return to the Original” has taken the liberty to expunge

What we’ve observed is that although the Louvre is situated in the West;

digitally the inscriptions on ancient paintings from the past centuries, and the

the artistic spirit it embodies have long traveled to the East, and has heavily

paintings have hence been returned to the original states that the artists have

influenced the aesthetical judgments at Beijing’s “National Palace Museum”:

intended. The act is to reevaluate the original condition of ancient Chinese

the Forbidden City. However, it is time to introspect and reflect on these

paintings, and also to meticulously examine the delicate differences between

matters.

paintings and traditions. The act may seem quite simple, but it does hold a very profound significance. As we see what the artists saw, people of today

At the National Palace Museum in Beijing, the Hall of Three Rarities

are able to encounter what the artists of the past have witnessed. After this

remains, but its inside is quite empty. As the sun filters in through the dust

recovery, further evidence is made available to inspect the subtle differences in

in the air, this place no longer holds China’s standards for judging and

viewing art.

appreciating its own art. Just as Ni has revealed, under the explanations

by Western art historians and also Chinese art historians that have been

After being processed by Ni, we are able to see for the first time the

educated in the West, the “treasure of the museum” at the National Palace

connection between views by the riverbank of the Yellow River as depicted in

(Taipei) has switched from Clear Day After Brief Snow chosen during

the Autumn Colors on the Ch'iao and Hua Mountains by Chao Meng-Fu.

the Qianlong Period of the Qing Dynasty to the contemporary selection of

Chao portrayed realistically the majestic ambiance of the landscape, but as the

Travelers Among Mountains and Streams.”

red seals and inscriptions began to compile amidst the empty spaces between the mountains and trees, the special atmosphere disintegrated.

Originally, either Travelers Among Mountains and Streams or Clear Day After Brief Snow would live up to the expectation of being the National

For the restored Qian Shun-Ju’s Evening to be Crossed, as the sun is about to

Palace Museum’s emblematic masterpiece, but Ni’s revelation has pointed

set on the lake beyond the cluster of hills, the mood is illusive and serene and

out the process is linked to cultural self-awareness and its weakening.

surpasses all tangible forms within the setting. However, as time progresses,

To analyze it abstractly, each culture holds a portion that is composed of

the inscriptions by people of later generations covered the genuine face of the

artistic elements, but the actual phenomena and realities indicated may not

artwork, and the subtle and enchanting sunset was made unnoticeable until

completely match, and the way each element functions in its individual culture

Ni rediscovered it and presented it to the audience.

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The clean-up of antique paintings is originally a scientific task, because the

later era of the Song Dynasty, the aesthetic principles of the Wei-Jing era

way we see art history is explained and deciphered from our contemporary

calligraphy style were solidified, but how could the previous works’ aesthetical

standpoint. At the same time, through the culture of the specific era and the

values be standardized? At the National Palace Museum in Beijing, Chao

location and the timeframe of the art production, attempts could also be

Meng-Fu’s Withered Wood and Delicate Rock has inscriptions added to

made to enter into the states of mind of the ancient people (contemporary

the piece to act as emblematic marks, and the act demonstrates Chinese

people of ancient times). The fundamental principle of studying art history

art’s philosophy of integrating calligraphy and painting. This concept brings

is to try to understand the mindset of the creator of the specific artworks

out the proposal of an evaluation of aesthetics for artworks not based on the

during the specific time they were created. Each individual artwork, although

portrayal of a three-dimensional space dictated by one’s skills to recreate a

decipherable by different people under different times and locations, carries

realistic setting on paper. The genre of Chinese painting didn’t extend further

only one description intended by the original artist. To discover and examine

with the direction brought forth in the Song Dynasty; instead, it went on to

the meaning within is a way to search and discover the formation of society,

concentrate on the expressive qualities of brushwork. This is what is referred

history, and ecology, and also the journey of the individual artist. This is

to as “brush-ink.” Through the realization made by Hsu Wei and Tung Chi-

the fundamental approach of classic art history research, and it does not

Chang’s self-awareness amidst realization and theory, a further step was taken

completely change because of the emergence of new ideas for hermeneutics

to directly express “mankind’s noble quality” (behavior and etiquette). The

or art history. If this comprehensive logic obtains enough evidence and

direction further went into its pinnacle by painters such as Badashanren,

revelation, it sets the goal for history as science. Therefore, the first step we

Shitao, and the Four Wangs.

have opted for is to clean up the sources of history at hand and to utilize them as sources for visual studies. The basic task of cleaning up paintings is

After the establishment of this aesthetic evaluation principle, how should the

to attempt to return these works to the way they were painted originally (as

paintings from the Song Dynasty be examined? In actuality, it is for certain

referred to in the studies of Han paintings as the original state or original

that there exists a process of denial regardless of it being self-conscious or not.

function). From this point, we should be very appreciative of what Tsai-Chin

However, this process of denial is expressed through a manner of respect and

Ni has done. However, if we were to view Ni’s activities as a mere tracing

veneration. Has this dual attitude of betrayal and respect toward the original

of the archeology of art, it would certainly undermine the objective of “Ni’s

visual heritage formed the behavior of adding calligraphy to paintings? After

treatment.”

such an act, all the aesthetic standards for the specific piece are dictated by the inserted writings, and the accompanying seals also act to enhance

Ni’s treatment actually holds more profound academic and artistic functions.

ownership. Regarding the existence of inscriptions and seals, the recreation

From the academic perspective, to return a painting to its original state is

of three-dimensional space in paintings from the Song eras and early Yuan

a technical job, but the act has roused new issues with art history. In the

Dynasty were penetrated and disregarded, and were categorized into the

268

one-dimensional space of calligraphy. The rhythm of the images was then

been attempting to take an opposing route to trace what has happened.

flattened, and expanded once and for all in the chronological order of writing (and reading).

From the perspective of art, the works that have been “restored” by Ni are being treated as parts of an act of creative contemporary art. As the antique

These antique paintings, upon being restored by Tsai-Chin Ni, bring us back

works are being restored and placed before our eyes, there exists a sense of

to the “Pre Chao Meng-Fu era,” and the realization on art that was formed in

disintegration and surprise between the history contained in the pieces and

China during the Wei-Jing era was merely just a construction of awareness

the experience of the audience in viewing the works. In other words, as recent

on the self. The aesthetical evaluation for calligraphy as represented in Clear

viewers of these works, we have no comprehension of how these paintings

Day After Brief Snow was not utilized on the three-dimensional space for

were originally intended, but we do know how these ancient pieces look like

landscapes and portraitures. The concepts embodied by Chinese art were by

with inscriptions and seals placed on them. In today’s world, these inscribed

no means covering the full extent of art in general. Tsai-Chin Ni has given

paintings are a part of reality, and artworks without the inscriptions have

us proofs for this: Chao Meng-Fu’s pursuit of penetrating the last fortress,

long been forgotten. The fact that we are seeing these works being “returned

whereby authorization has been granted to freely cover over the empty spots

to their original states” has ironically been perceived as something artificial

on paintings with calligraphic inscriptions.

or man-made. In other words, they are being viewed as “artworks by TsaiChin Ni.” As these newly reconstructed paintings are being placed in front of

The reemergence of the traditional poetic essence was revived by this

us and force us to reevaluate them, the continuing significance of history has

restoration act, and directly influenced the Hall of Three Rarities until the

been forcibly broken to allow for new points of view. The cultural memory

reemergence of tradition by Western influences. Focus on three-dimensional

previously attached has hence been broken down by the act of “restoration.”

space has been the prime goal for cultural renaissance, as following the

As our cultural habits are being challenged, the restored works are no longer

principles for aesthetic evaluations passed down from the Greeks. Tsai-Chin

a part of history; instead, they have become a channel to encourage viewers to

Ni is attempting to encourage us to recognize that in the beginning there

reevaluate history.

wasn’t a great differentiation in using paintings as a representation of people’s structural awareness for the world. On the contrary, the decision to break

This opportunity to see things in a new perspective has allowed us to rethink

and dissolve the illusion is an act of self-awareness with great critical cultural

how we have been shaped into the way we are today (our cultural existence).

value. Based on this decision of cultural self-awareness, Chinese art has than

Although the inscriptions and seals on these paintings were added on at

diverted from Western art. In the late Song and early Yuan period, Chinese

different times, this process of accumulation and each gesture performed are

art was able to unify the concept of using calligraphy to complete art, which

all containments of “historical platforms” related to them. Although we are not

emerged in the Wei-Jing era. Since then the world has come up with another

well accustomed to inscriptions and seals on antique paintings, the cultural

path for painting that views painting as a form of writing. Therefore Ni has

memory related to them have been established. The previously formed

269

process didn’t require us to see within ourselves and reevaluate, and as habits

ahead of China in the process of modernization.

were formed naturally, our perspective has than been shaped into a certain type of cultural logic. We are actually confined and enslaved by this form of

To blindly pursue modernization is not necessarily the correct way.

cultural logic, and we are losing the awareness in recognizing the state of

Advancement may be appropriate for mankind and nature, but for

being spiritually restrained. Hence, we will no longer question how cultural

international political power play, advanced nations and races have

habits are shutting down and enslaving our senses. Therefore, as we are faced

traditionally been the oppressors of the less advanced ones. This situation

with original pieces that have been treated by Ni, we are actually facing a

does not just happen for one generation. The future generations of the

series of “new artworks,” and are jolted from our state of enslavement.

oppressed will also face the same predicament. It will eventually lead to the elites and civilians of the oppressed nations and societies losing faith in their

As mentioned, Ni has revealed the changes in the way the National Palace

own traditions and cultures. The misapprehension with new movements

Museum selects its greatest treasured works from its collection, and how the

has in led to the loss of faith. Similarly, realist paintings are not necessarily

evaluation process of Chinese art has gradually been influenced by Western

superior to the traditions expressed through freehand paintings; nor is the

standards. From such a direction, have we than been reverted back to the

landscape-based Greek cultural renaissance’s artistic approach better than the

traditions that were made prevalent during the era of the Northern Song?

fundamental way of mimicking employed in calligraphy.

The key element of the question is actually irrelevant to that; it is related to whether or not this change has been prompted by self-awareness or

The critical point is that through the modernization process occurring in

passiveness. First of all, for the process of “acceptance of Western standards of

the West, continuous self-negation has been occurring in other regions. As

judgment”, the root is in the misunderstanding of history.

rationality is used to build the foundation of a modern society, art is used to play the role of creatively allowing people to be considered modern. The

As in the May Fourth New Culture Movement in China, as traditional

students that China had sent to Paris and Tokyo at that time have naturally

societies and nations were defeated both politically and militarily by Western

formed a double-sided misunderstanding, whereby they consider Western

nations that had decided to modernize, misjudgments were made. The

realism as the role model for advanced art or treating Western modernism as

misjudgment here is based on mistakenly thinking that being defeated by

the support for the old traditions in China.

modernized forces is equal to being defeated by other cultures. Therefore, modernized cultures of invaders and colonizers were mixed in with traditional

Since Ni removed the inscriptions and seals on the paintings, he has

cultural values. From the Opium Wars to the Sino-Japanese War, China

prompted a motivation to self-reflect. As the parts that have been negated in

encountered a series of failures, but they were not due to a superiority of

Chinese culture are being revealed and compared with the set of standards

Western culture over traditional Chinese culture. It was because nations of

based on Western traditions, the change in the National Palace Museum’s

the West and also Japan ― in pursuit of learning the ways of the West ― were

selection of treasured works is a cultural behavior that needs to be scrutinized.

270

Perhaps the museum’s evaluators haven’t really changed the standards of being based on the traditions from the West, and it is unavoidable for one’s own cultural standards to change over time. The key is whether or not the changes occurred assertively or passively. More importantly, during the process of the changes, are there any warning signs about misunderstandings occurring in a group? In considering any alteration in the guidelines for evaluation, it is critical to think about whether or not the move is beneficial to the formation of the entire race’s rational traditions and its ability to selfreflect.

In conclusion, Tsai-Chin Ni’s task of “Back to the Original” should no longer be thought of as a simple act of making art. Chinese culture’s hidden passiveness in facing modernization has been exposed through his artistic gesture and his instincts on institutional critics. This task is what we should utilize for profound introspection about all aspects pertaining to our culture.

This is about making a modern stance.

How Tsai-Chin Ni discovered such a profound issue with such a unique vision is perhaps due to his natural aptitude. A genius is often blessed with an abundance of talents. In other words, when a person’s talent can no longer be contained by a particular career or profession, it is bound to overflow to other places. Ni’s knowledge and art proves he is such a person.

以機械複製向靈光致敬 －評「原作重現」倪再沁之中國古代書畫名品展 文：陳苑禎

271

長年對於東方書畫的研究與創作，倪再沁發現中國水墨畫

值判斷的文字與記號。這種還原並非修復，而是一種企圖跨越時空的

常令人困惑的現象是：何以在畫面上會有書法和鈐印，大量的題跋和

重返，時空的抽離製造了上友古人的新詮釋與可能。但是如果沒有精

收藏章不僅坐落於畫面空白處，甚至侵入筆墨線條之中和原作合成一

確掃描、電腦繪圖和高質感印刷等新科技的配合，這樣的還原真貌計

體。通常除了作畫者自身的題款與印鑑外，收藏章與題跋如同「違章

劃是不可能完成的，為了消除畫面的印記，複製或許依然僅能停留在

建築」般搭蓋其中，雖然相安無事，但畫面純淨的空間被外物介入，

臨摹的階段。然而，這樣的複製並不是新觀念，日本二玄社的書畫複

不僅使形式被破壞，也使純粹的欣賞被嚴重干擾混淆，後人難以再見

製便頗負盛名，那麼倪再沁的舊瓶新酒究竟散發著怎樣的吸引力？

畫作完成後的原貌。 真實與虛擬的新辨證 這樣的現象在觀看【大觀】展中也能發現，雖然北宋繪畫 壓印在古書畫上的印記彷如寄生其上的幽靈，因為倪氏誑

中畫家題款的形式尚不普遍，但後世加蓋的收藏印章卻歷歷在目。對 此，倪再沁決定將畫面中額外的題款與印鑑一一移除，借助科技的幫 助，以版畫限量印刷的方式複製，這個實踐將還原古畫的真貌，使得 今人得以再遇那垂垂老矣的靈光。

語後的實踐，或許吾人可以期待，一個複製品也許有機會超越原作， 重新具現靈光。在這之中，倪氏對後現代的真實與虛擬創造了一個邊 際模糊的新辯證，實存的真貌不完全真實，虛擬的原貌重返了真實初 創的樣態。這樣一個觀念先行的創作，抓取了達達的現成物與普普的

跨越時空的除魅行動

複製觀念，也多少呼應了他最近的偶像傑夫˙孔斯的擺爛哲學，不同 的是倪氏所施展的是立基在理想之上的擺爛技法挪用。倪氏版的原作

倪再沁原作重現的行為其實是相當前衛的舉動，在書畫上 蓋印彷彿一個一再重複的儀式行為，在反覆的實踐中，成就了名跡書 畫的「神話」，卻湮滅了畫作原貌的「靈光」（註一），但在閱讀之

重現可以說是「既傳統又創新」、「既破壞又建設」、「既趙氏又倪 氏」、「既繪畫又版畫」、「既卑劣又功德」的動作。 （本文為節錄 稿）

際，這一些印記除了充滿涵義之外，都跟真實不再有直接關係。在題 記和印章成功造神之後，倪氏的移除行動如同達達主義的除魅，抹除 一切形塑神話的符號與言說，拋棄了附身其上所有脈絡與流傳史，讓 觀者得以返回原貌重新審視鑑賞，直接與原貌對話，而非透過具有價

註一：華特˙班雅明將靈光（aura）定義為遙遠事物的獨一顯現，雖遠，仍如 近在眼前。在此對應於作品原貌所具現的光采、風貌，而不僅止於原作獨特的 「此時此地」。陳苑禎〈以機械複製向靈光致敬〉、《藝術家》雜誌、 391期 p350-354)

An Homage to Aura through Mechanical Replication On “Returning to Original” — A Solo Exhibition by Tsai-Chin Ni

By Yuan-Chen Chen

272

Through extensive studies and creative works relating to Asian paintings,

have successfully created a legendary appeal, Ni’s act of removing is similar

Tsai-Chin Ni has discovered a perplexing phenomenon with Chinese ink

to Dadaism’s disenchantment, whereby all mythical and symbolic references

paintings: Why are there calligraphic inscriptions and seals on many of these

are removed. By abandoning the attached patterns and progression, viewers

paintings, with a large number of inscriptions and collection seals not only

are able to appreciate the work in its original state, and a dialogue can

located on the blank spaces on the paintings, but even overlapping into the

be conducted directly and not through other text and marks. This act of

ink brushstrokes to become one with the original artworks? In addition to

returning is not restoration; it is intended to return to the original state by

the artists’ personal dedications and signature seals, other collector seals and

crossing time and space. The abstraction of time and space allows for new

inscriptions are also prevalent within the artworks, just like illegal buildings

definitions and possibilities for the antiquated form.

latching onto the main structures. Although these elements seem to coexist without harm to one another, the once pristine images are interrupted by

Nevertheless, without the help of technology, such as precise scanning,

foreign objects, disrupting the overall forms and muddling the artworks’

computer graphics and high-definition printing, the project of returning

ability to be appreciated in a pure state.

to original would not be possible. If the imprints on the paintings were removed without technology, the act of replicating would still just be copying.

This phenomenon is also observed in the Grand View Exhibition. Although

However, such replication is not a new concept; The Japanese publishing

the gesture of writing a dedication was not yet common during the Northern

company Nigensha is quite well known for its replicated calligraphy and

Song Dynasty, seals stamped by the later collectors are clearly visible. With

painting. So, what exactly is the attraction with Ni's interpretation of an old

these observations in mind, Ni has removed these extra inscriptions and seals

trick?

on the paintings, and through technology, the artworks are replicated as limited prints. The endeavor is intended to return these antique paintings to their original states, and people of the present day are able to catch a glimpse of the aura once possessed by these artworks.

Time and Space-Crossing Disenchantment

The New Dialectic for Reality and Simulation The imprints pressed on the antique paintings are like parasitic spirits, and because of the realization of Ni’s actions, perhaps people can look forward to a replica surpassing the original and for the aura within the piece to reemerge. Ni has created a new dialectic with ambiguous boundaries for

Ni’s act of returning to the original is actually quite avant-garde; the ritualistic

post-modern reality and simulation. However, the tangibly existing reality is

gesture of repeatedly stamping on an artwork is an act that attempts to create

not the complete reality, and the simulated circumstance has allowed for the

a “legend,” but by doing so, it has also demolished the original aura contained

return to the original reality. This conceptually based endeavor is utilizing

within the piece. Except for the additional meaning these marks convey, they

Dada’s concepts of the ready-made and the idea of replication used in pop art.

do not have any actual connection with reality. As the inscriptions and seals

There is also a certain reference to Ni’s recent idol, Jeff Koons, and the artist’s

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deliberate nonchalant philosophy. However, Ni’s approach appropriates this nonchalant philosophy with specific ideals. Ni’s version of returning to the original could be considered “traditional yet innovative,” “destructive yet constructive,” Zhao yet Ni at the same time,” “being a painting yet also a print,” and “despicable yet also with merit.”

Walter Benjamin has defined aura “as the unique phenomenon of a distance, however close it may be.” In this case, it is used in response to the new vivacity projected by the returning of the artworks to their original state, and is not limited to the “specific time and place” as indicated in the original writing.(Excerpt from Artist magazine issue 391, December 2007)

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原作重現，現場展出圖 Back to the Original Landscape and Artworks, MOCA Taipei

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左 唐 韓幹 照夜白 右 照夜白(復原版)，2007，電腦輸出、絹本

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左 唐 韓幹 牧馬圖 右 牧馬圖(復原版)，2007，電腦輸出、絹本

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下 鵲華秋色圖 復( 原版 ，) 上 元 趙孟頫 鵲華秋色圖

，電腦輸出、紙本 2007

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左 明 仇英 仙山樓閣圖 右 仙山樓閣圖(復原版)，2007，電腦輸出、紙本

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右 函關雪霽圖 復( 原版 ，) 左 明 唐寅 函關雪霽圖

，電腦輸出、絹本 2010

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左 明 宣宗 花下貍奴 右 花下狸奴(復原版)，2010，電腦輸出、絹本

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左 明 劉鈺 清白軒圖 右 清白軒圖(復原版)，2010，電腦輸出、紙本

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右 華燈侍宴圖 復( 原版 ，) 左 南宋 馬遠 華燈侍宴圖

，電腦輸出、絹本 2007

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上 北宋 蘇軾 黃州寒食詩卷 下 黃州寒食詩卷(復原版)，2007，電腦輸出、紙本

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左 南宋 無款 宮中行樂圖 右 宮中行樂圖(復原版)，2007，電腦輸出、絹本

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左 南宋 李嵩 月夜看潮圖 右 月夜看潮圖(復原版)，2007，電腦輸出、絹本

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左 元 顧安 墨竹圖 右 墨竹圖(復原版)，2007，電腦輸出、紙本

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下 中山圖 復( 原版 ，) 上 元 吳鎮 中山圖

，電腦輸出、紙本 2007

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右 中秋帖 復( 原版 ，) 左 晉 王獻之 中秋帖

，電腦輸出、絹本 2010

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左 北宋 米芾 春山瑞松圖 右 春山瑞松圖(復原版)，2007，電腦輸出、紙本

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下 枯木竹石 復( 原版 ，) 上 元 趙孟頫 枯木竹石

，電腦輸出、紙本 2007

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右 大士像 復( 原版 ， )

，電腦輸出、紙本 2010

左 南宋 賈師古 大士像

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Super Superflat ─ 倪再沁的後普普藝術創作 文：石瑞仁

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1988年，傑夫˙昆斯將＜String of Puppies一排小狗＞(一對夫

性、普及化（雖然不免庸俗）。昆斯的主題是在大眾生活中可見的廉

婦抱著八隻小狗，某攝影師的攝影作品)轉化為雕塑，後來還引發了著

價且低劣物品，它們比沃荷的世界更庸俗也更荒謬。村上隆的主題是

作權的爭議而對簿公堂，2009年，倪再沁則把昆斯這件雕塑作品在轉

御宅文化中常見的動漫造形，它們比沃荷、昆斯的世界更窄化更卑

換成絹印版畫，然後據為己有。

賤。倪再沁的主題是上述新普普名作中的圖像，它使藝術的世界更為 庸俗、低劣、窄化、卑賤。現代主義所謂「藝術終於成為藝術的內

1997年BOME所塑的MISS KO KO原型由村上隆放大成巨

容」，在Super Superflat中已然具見。

大的雕塑作品，並成功躍上國際舞台，2009年，倪再沁把村上隆這件 雕塑作品再轉換成絹印版畫，然後成為新的創作。

2.內容：沃荷將大眾媒體的圖像轉化，使之再影像化（或媒體化）， 他雙重作用，使其與「實物」相距愈遠。昆斯將庸俗的實物或影像轉

自杜象的「現成物」之後，安迪˙沃荷、傑夫˙昆斯乃至村 上隆，普普大師都擅於剽竊既有的藝術典範而以挪用或改造的方式再 創出自己的藝術「事業」。沃荷直接用大眾媒體影像（如夢露），昆 斯則改造日常習見的世俗商品（如兔子氣球），村上隆的DOB則來 自米老鼠，而倪再沁最為直接坦率而不假外求，他把這些普普大師 「轉換」過的立體作品進行其再轉換成平面絹印版畫。換言之就是重

化，使之純粹化（現代性）或實體化（真實性），由於他轉換了尺 度、材質或色彩，結果卻使作品更為虛假。村上隆將虛擬的動漫造形 轉化，使之實體化且情慾化，他以虛為實的手法的確使藝術更趨扁平 化。倪再沁將上述大家作品實體化、純粹化、情慾化、扁平化的實物 造形予以再影像化，使之更為荒謬，虛無並更扁平，故名之為超超扁 平。

返其「原典」的策略，使之愈為現代（絕緣），也使之愈後現代（拼 3.手法：沃荷的手法是機械化，以印刷複製且大量生產的方式，把藝

貼！）

術當成「生產」來經營。所以有大批代工執行生產過程，藝術家只 此為立基於普普藝術之上的「“玩笑”普普」主義，它的意 圖是開玩笑是揶揄，也比普普更空虛、更艷俗。

以下分幾點分述之：

1.主題：沃荷的主題是在大眾媒體上流行的人、事、物，它們具普遍

負責發想，中間的製作多分工合作製成。昆斯則只負責選擇「現成 物」，其他由工廠完成。村上隆則負責發想，有近百位助理協助完成 作品。倪再沁也如上述大師，委請助理和工廠製作。

4.造形：沃荷的作品均無背景，他把人物從場所中切割出來，在印製

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時還刻意顯示出大量生產時的誤差所造成的粗糙感。昆斯的作品也遺

的）。倪再沁不事創造，把「現成藝術品」當成創作元素，大膽挪

世而獨立，但他刻意金光閃閃、銀光熠熠，製造出似奢華實庸俗的卑

用、剽竊，因之他更無人性更無自我，與「真實」的距離更為遙遠！

劣感。村上隆的作品是孤絕而虛幻，但他強化了性徵，美化了容顏，

他把虛無的價值更推到極點。

製造出既天真又情慾的荒謬感。倪再沁的作品則集上述之大成，各家 特點兼而有之。

Super Superflat 用了兩個基本觀念，一是杜象的「現成 物」，二是沃荷的「機器複製表層影像」，他以東西方當代最紅的也

5.意義：沃荷以冷然喧嘩的形式使影像喪失其實質，只有空虛的表層

最能賣的幾位藝術家為踏板，藉著上述兩種手法，印證了當代藝術已

影像，顯出強烈的空虛感，而複製使空虛感更強，更加無意義。昆斯

然自我演化之高妙，其既接納又反噬的作用力，令人驚訝！

以庸脂俗粉的姿態使其雕像喪失其實質，也只剩金玉其外的表層形 態，顯出敗絮其中的腐朽感，而代工製造亦使空虛感更強，更加無意 義。村上隆以身材誇張的慾女使其人偶愈加物化，只剩下空洞的軀體 和虛假的大眼睛，其精雕細琢的做工更使其造像呈現出既無感情也無 意義的空茫感。倪再沁以虛假空虛的再製品為對象，進行再影像化， 使之更加空虛、荒謬也更無意義。

沃荷說「要把藝術當成生意來經營才有意義」，村上隆說 「藝術如果沒有與商業結合，就是社會的垃圾」，顯然大師們已視藝 術為賺錢的工具(太誠實了)，此所以他們要把無意義的﹝對象﹞當成 有意義的﹝圖象﹞來做。在這個不需內省，不談感情、喪失自我的空 虛年代，以彼之道還諸彼身，把「藝術」變得更為扁平，也許是我們 最好的選擇。

6.結語：沃荷之重要性，在於其內涵之「低限」，他排除具體內容與 意義，使一切都如「媒體化」般空虛，那些俗世影像似擁抱一切卻也 是選擇的放棄，因為我們活在一個如此虛無的時代。昆斯雖有選擇， 但他那些又廉價又低俗的對象，使之戴上無感情無所謂卻又金又銀的 假面具，才愈顯出人生之虛假。村上隆也有選擇，他選擇御宅族文化 中虛擬的青春美少女，使之乳汁精液四射而情慾滿溢，愈顯日本文化 之誇張與萎弱。倪再沁順著沃荷－昆斯－村上隆路線，使其主題愈來 愈小眾愈偏狹，從大眾文化到低廉商品到御宅人物藝術造形（別人

Tsai-Chin Ni’s Super Superflat

By J.J. Shih

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In 1988, Jeff Koons turned the photographic work String of Puppies into a

occurring in mass media, and in general, they have a sense of popularized

sculpture and caused a big controversy over copyright issues; the case was

commonality (the sense of kitsch being unavoidable). Koons’ theme is based on

even brought to a court of law. In 2009, Tsai-Chin Ni turned this sculptural

cheap and lower-end objects found in everyday life, and is more outlandish and

piece into a silk-screen print and claimed ownership of the piece. In 1998, the

ridiculous than the world created by Warhol. Murakami’s theme is centered

prototype of BOME’s Miss KOKO was enlarged into a grand sculptural

around anime subjects found in “otaku” culture, and these subjects are even

piece by Takashi Murakami; it gained international fame. In 2009, Ni turned

more narrowed and garish than the worlds of Warhol and Koons. Ni’s theme

the sculpture by Murakami into a silk-screen print again, transforming it into a

is based on the images taken from the above-mentioned pop art, and has

brand new piece of art.

made the world of art ever more outlandish, cheap, narrowed, and garish.

Modernism’s “art for art’s sake” has finally been made tangible through Super

Since Marcel Duchamp’s concept of the “ready-made,” Andy Warhol,

Superflat.

Jeff Koons, Takashi Murakami and many other pop masters have made appropriated artworks by ripping off classic representative artworks. Warhol

2.Content: Warhol transformed mass media images by re-transforming them

has directly utilized mass media images (such as Marilyn Monroe’s portrait);

(or making them become more related to the media). His dual approach

Koons has transformed everyday common objects (such as a rabbit-shaped

made the subject matter grow ever more distant from their originals. Koons

balloon); and Murakami’s DOB originated from Mickey Mouse. Tsai-Chin

transformed kitschy objects or images through purification (modernity)

Ni has taken it further with an even more direct approach whereby he has re-

or materialization (authenticity). Because he altered the measurements,

transformed these pop masters’ “transformed” 3D works into 2D silk-screen

materials, or colors, the resultant artworks are, however, even more superficial.

prints. In other words, these pieces have been returned to their original

Murakami transformed simulated anime styles by making them more tangible

condition. These works have been made ever more modern (discontinuity), yet

and desirable. His approach of making the illusive into reality indeed made

ever more post-modern (collage!) as well.

art even more “flat.” Ni has made the above works more materialized, purified, desirable, and flat, and the re-imaging has made them more absurd, illusive

Tsai-Chin Ni’s Super Superflat Series

and flat; therefore, the series is called Super Superflat.

This series is referred to as “Hilarious Pop Art,” which has been transformed

3.Approach: Warhol opted for the mechanical approach, utilizing printing to

from pop art. Its intention is to make fun and satirize, and also to be even

mass-produce and treating art as a “production.” The process involved mass-

more hollow and kitsch than pop art. The discussion could be divided into the

production with help from others, and the artist was only responsible for

following points:

coming up with the ideas. The production process was divided into many

1.Theme: Warhol’s theme is based on popular figures, events, and things

collaborative steps. Koons is only responsible for choosing the “existing objects,” and the rest of the steps were carried out by factories. Murakami

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is responsible for coming up with the ideas, and he has close to a hundred

6.Conclusion: The reason that Warhol is important is because of the “low

assistants helping him to complete the artworks. Ni Tsai-chin, like the

limitation” of his contents. He has ruled out any concrete context and made

above-mentioned masters, also hires assistants and factories to carry out the

everything empty due to its “media purpose.” These mundane images seem to

production of his pieces.

be embracing it all but also appear to have chosen to forfeit, and it boils down to the current state of time being illusive and empty. Koons, although with

4.Form: The works by Warhol do not have any backgrounds attached to them.

decisive rights, has taken cheap and tacky subjects to create masks of non-

He has detached these characters from their settings, and has also deliberately

emotion and nonchalance that are also glitzy with silver and gold; overall, the

made visible the errors and roughness of the mass-production process. Koons’

feeling projected shows the superficiality in life. Murakami also has made a

works are detached and independent as well; however, he has intentionally

decision. He has decided on the simulated youthful beautiful girls from the

created the garishness to add to the glitzy kitsch appeal. Works by Murakami

culture of the otaku, and as breast milk and semen squirt out of them, the

are isolated and illusive, but he has placed emphasis on sexual indicators with

extreme and weak sides in Japanese culture are made visible. Ni has followed

beautified facial features. What he has created is a sense of absurdity with a

the route of Warhol-Koons-Murakami, and his themes are more concentrated

combination of innocence and sensuality. Ni’s works have incorporated all the

and narrowed. The range spans from popular culture to cheap commodities

above key points, with integration of various elements from these artists.

to otaku figure art (taken from others). Ni does not create; instead, he uses

5.Significance: The authenticity of the images has been lost through Warhol’s detached approach. The sense of void projected from the superficial images has made even stronger the sense of emptiness. The reproduction also adds to the emptiness with an emphasized sense of lack of meaning. Koons’ kitschy

“ready-made art” as a creative element, and boldly appropriates and plagiarizes.

Because of the even greater lack of emotion and also lack of the self, the distance of “authenticity” is hence drawn even further! He has pushed the value of the emptiness to the extreme.

stance has denounced the authenticity of his sculptures. The remaining

The Super Superflat has used two fundamental concepts: One is Duchamp’s

superficial form of their glitzy outer layers has made visible the corruptness

“ready-made,” and the second is Warhol’s “mechanical reproduction of

within, and the outsourcing of production also creates stronger emptiness

superficial images.” Ni has taken from two of the globally best-selling

with a greater lack of significance. Murakami has created lustful female figures

contemporary artists, and with the above-mentioned concepts, he has proven

with accentuated bodily features, and the more objectified these figures are,

contemporary art’s ingenuousness with self-evolution. His approach is truly

the greater the sense of void that is created through their hollow bodies and

amazing with its incorporation of both acceptance and counter attack! Warhol

superficial eyes. The meticulous craftwork also adds to the lack of emotion

believed that the only way for art to be meaningful is to treat it as a business. In

and empty, meaningless feeling. Ni’s subjects are these superficial and empty

other words, to treat the meaningless as meaningful. In this empty era of lack

reproduced works, and through re-imaging, they are made even emptier, more

of introspection, avoidance of emotions, and loss of the self, the best option is

absurd and more meaningless.

perhaps to give back to it what it has given to us.

Super Superflat ─“KISS MY ASS!＂的正義 文：王挺宇

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倪再沁身為一個媒體藝術家，一路走來經歷過許多藝術風貌

助於生產的過程。1991年倪再沁在《雄獅美術》所提出的：「西方美

的改變，水墨、繪畫、雕塑、現成物及新媒體。這種五花八門的藝術

術，台灣製造。」無非質疑當時留學歸來的藝術家以及他們的作品是

創作模式，建構了一個儼然有如便利商店的脈絡，也就是說，你假如

否具有在地性，當然這也許是一種文化衝擊之下的某種文化焦慮。但

要什麼，倪再沁都能夠包君滿意。從這些年來的《沁報》、〈原作重

的確我們無法否認西方的藝術，在在地的藝術生態中發生，無論是被

現〉，到〈super Superflat〉時將藝術市場檯面上的賣座作品，諸如：

再製，或是被加工。但是加工、代工不就是台灣長久以來在國際產業

村上隆的動漫角色、傑夫˙昆斯(Jeff Koons)的八隻小狗，這些普普藝

之中所扮演的角色嗎？

術要角的作品影像，重新以安迪沃荷的絹印方式印刷，基本上已經朝 向了大賣場/宏觀的方式來進行。這也是長久以來對於藝術是什麼？ 觀者要什麼？身為東方、台灣藝術家的我們該何去何從？〈Super Superflat〉突顯了倪一直關注的核心議題。

但無論是自身的複製，或是複製他人，藝術家的主體，在這 樣的勞動下終究被異化成什麼了？答案除了基本需求之外，也難免與 資本主義合流。在〈Super Superflat〉中我們看到了藝術家身分的潛 隱，並刻意張顯藝術中的山寨文化，很像在對著大家喊著：「我就是

什麼東西才有「搞頭」？倪一直是周星馳的影迷，周星馳的

抄襲誰誰誰的，我爽！」毫不掩飾的以再製為王道。很像周星馳電影

〈唐伯虎點秋香〉為何能夠居於播放次數最多的電影類節目，那就是

中「打不過的話，那就死纏爛打吧！」的那種擺爛精神。這時候「受

因為有「搞頭」。牛丸要搞到爆漿已經是十分厲害，顯然「爆漿」是

難」就出現了，因為文化本身已成為一種流氓，那藝術家本身就必須

個搞頭，但除了視覺震撼之外，令人莞爾的效果才是重點。在這裡我

成為一個更大的流氓(藝術家流氓了，而藝術就委屈受難一下吧！)，

們可以借由喜劇的原則，來看〈Super Superflat〉這系列作品，那就

以一種「KISS MY ASS」的姿態與其扭打，只為博君一笑。除此之

是「重複」以及「受難」。(一個人重複的犯錯，然後受難，總會使人

外，〈Super Superflat〉也操作了一種系統內的反轉。

發笑)，在卓別林的〈摩登時代〉中，重複操作吃飯機器又不斷受難的 形象，我想正是倪再沁想要在〈Super Superflat〉呈現的「笑果」。

在1960年代，安迪˙沃荷所帶領的普普藝術風潮，其最主 要就是將藝術生活化，打破了架上繪畫將藝術形式化、崇高化。

所謂的「重複」，指的是機械複製時代後的工業大量製造手

〈Super Superflat〉似乎對安迪˙沃荷開了一個小小的玩笑。其使用

法，安迪˙沃荷與後來的跟隨者皆深諳此道，重點是「複製」。當自

安迪˙沃荷的形式來揶揄當今賣座藝術，反而突顯了，因為歷史的推

身的風格被不斷複製後，除了有品牌效應，手法也十分單調簡單，有

演，安迪˙沃荷作品也成為了一個徒具有影像意義的擬像－某種指涉

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普普藝術的符號(諸如此類的絹版任意套色，就如同在國高中美術課本

了，這也是觀看倪再沁的作品，總有一絲的暢爽。好像他就是個捉妖

中所認識的安迪˙沃荷一樣)。當此種符號(1960年代的老普普)套用到今

的道長，挽起袖子，今日就要為民除害。

日賣座的普普藝術作品圖像上，反而造成前後兩者共屬於普普藝術文 本之間的批判。

「自體的批判」，怎麼好像有一種很熟悉的感覺？沒錯！ 這正是現代主義的精神，現代主義的抽象繪畫不是也在強調繪畫材質 內的純粹性嗎？〈Super Superflat〉那種聲色犬馬的外表，居然也等 同於羅斯柯(Mark Rothko)運用色彩的精神。倪再沁當然不只是一個 現代主義的信徒，因為他很清楚在這後歷史時代的藝術體現，現代/ 後現代的模式，都只是一種符號的操作。倪曾說過：「在普普藝術發 生至今的六十年後，我們仍逃離不了它的魔掌。」也許這句話點出了 一些問題：「藝術是必須與生活有關嗎？」「我們仍舊在普普的脈絡 中嗎？」無論我們如何認為藝術與資本主義間的關係，或許〈Super Superflat〉無奈的、訕笑的、狗腿的、頹廢的映照出某種藝術所該呈 現的姿態。

〈Super Superflat〉，Super於字義上具由特大的、特級的 與特佳的意思；而Superflat則是村上隆所提出了超扁平的藝術兮兮的 字眼。無論多麼優秀的字眼，兩個「Super」一前一後曖昧的相連， 讓我們想起了倪再沁的〈東京、紐約、倫敦怪談〉系列，將村上隆、 達米˙賀斯特(Damien Hirst)、傑夫˙孔斯的作品也大搞了4P，來看看 哪一隻比較爽。無論如何，倪再沁讓大師與大師之間「KISS ASS」

“KISS MY ASS!” — Justice in Super Superflat

By Ting-Yu Wang

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As a media artist, Tsai-Chin Ni’s art forms have undergone changes over

that “Western arts, made in Taiwan” questioned the uniqueness of works by

the course of time: ink, painting, sculpture, readymade and new media. The

Taiwanese artists who were educated overseas. The criticism may have been

diverse modes of art creation are just like the design of a convenience store

some sort of cultural anxiety resulting from a cultural shock, but it cannot be

— that is, Ni can give you whatever you need. From the series of Chin News

denied that Western art is taking shape in Taiwan’s art community, whether

and Return to the Original to the more recent Super Superflat, a series that

it is reproduced or processed. After all, aren’t OEM and processing roles that

employs Andy Warhol’s use of silk screening to print the images of popular

Taiwan has long played in international trade?

works in the current art market, such as the animation figures of Takashi Murakami and the Balloon Dogs of Jeff Koons, the styles of Ni's works are

Be it a reproduction of oneself or a reproduction of others, the identity of an

as diverse as the product lines in superstores. Super Superflat highlighted

artist will eventually be foreignized. Besides the basic needs, it is inevitable

core issues Ni has long been concerned about: What is art? What does the

for artists to give in to capitalism. Super Superflat conceals the artist’s identity

viewer want? What is the future of Eastern artists, and Taiwanese artists in

and intentionally exhibits the Shanzhai culture in art, as if it were shouting

particular?

out loud: “I’m a copycat and I’m happy with it!” The series blatantly sees reproduction as the last word, just like the spirit portrayed in Stephen Chow’s

What are the things that have the “trick” that can catch the eyes of people? Ni

films –– “If one cannot win a fight, he may as well keep prolonging the fight.”

has always been a fan of Stephen Chow. The reason why Chow’s film Flirting

That is when the idea of suffering comes in. As the culture itself has turned

Scholar holds the record for being broadcast on television the most times

into a type of hooliganism, the artist has to become an even more vicious

is that it has that “trick.” It is obvious that the “explosive pissing beef ball” in

hooligan. (Since the artist has turned into a rogue, the art cannot but suffer.)

The God of Cookery is a “trick” meant to amuse the audience. In addition

The act of fighting each other with an attitude of “kiss my ass” is just an

to its visual impact, the impression that it makes in the audience is the key.

attempt to amuse viewers. Super Superflat conducts an inversion within the

Likewise, the “tricks” of Super Superflat are “repetition” and “suffering.” (It

system.

is always funny to see someone repeat his mistakes and then suffer from it.)

In his Modern Times, the image of Charlie Chaplin repeating the process of

In the 1960s, the trend of Pop Art led by Andy Warhol aimed to bring art into

operating a feeding machine and suffering from it is exactly the “trick” that Ni

everyday life and break the formalization and sublimation of framed paintings.

wants to present in Super Superflat.

Super Superflat seems to play a joke on Warhol. Ni’s attempt to use Warhol’s form of creation to mock the current popular arts unintentionally accentuates

The repetition refers to mass production in the era of machine reproduction.

the case that over the course of history, Warhol’s works have become a mere

Andy Warhol and his followers know well that the key is “reproduction.”

simulation with image meanings –– a signifier that refers to Pop Art. (The

When a style is continuously reproduced, it not only creates brand effect but

random combination of colors in silk-screen printing is similar to how Warhol

also facilitates the process of production. In 1991, Ni’s criticism in Lion Art

appears in high school art textbooks). When this signifier (Pop Art in the

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1960s) is applied to contemporary pop art works, it leads to criticism that both the former and the latter belong to the territory of Pop Art. Does self-criticism sound familiar? That’s right! It’s the spirit of Modernism.

Isn’t the purity of painting materials highly emphasized by the modernist school of abstract paintings? The decadent appearance of Super Superflat surprisingly fits in with the spirit of Mark Rothko's color use. Ni is certainly not a believer in modernism, for he knows well that the artistic embodiment in the post-historical era, whether Modernism or Postmodernism, is merely a manipulation of signs. Ni once said: “Sixty years after the Pop Art movement emerged, we still cannot get out of its clutches.” The comment may have pointed out some questions: Does Art have to be attached to everyday life?

Are we still confined in the realm of Pop Art? No matter how we conceive the relationship between art and capitalism, Super Superflat may have reflected, in a reluctant, mocking, fawning and decadent fashion, a posture that art should assume.

Literally, the “Super” in Super Superflat connotes superiority in size, level, and quality. “Superflat,” on the other hand, is an artsy term coined by Takashi Murakami. No matter how well the term is defined, the implicative linkage between the two “Supers” reminds us of Ni’s Who is the Happiest? in Tokyo, New York, and London. The series put the figures from works of Takashi Murakami, Damien Hirst, and Jeff Koons in sexual foursome positions to see which one is “the happiest.” In any case, Ni literally makes those art maestros “kiss” the “ass” of one another. This is also the reason why one always feels a sense of satisfaction after viewing Ni’s works. It is as if Ni were a Taoist monster buster rolling up his sleeves and getting ready to eliminate public scourges.

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超．超扁平系列，現場展出圖 Super Superflat, MOCA Taipei

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左頁 飛行少女與Miss Coco，2010，絹印，32.5x324cm Left Page: Fly Coco and Miss Coco 右頁 噴射兄妹，2010，絹印，380x208cm， 魚蝦滿堂，2010，絹印，150x340cm Right Page: Middel: Jet Brother and Sister, Fish and Schrimp Full House

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左 猴犬抱抱，2010，絹印，246x260cm，右 鑽石花花，2010，絹印，149x340cm Left: Monkey Dog Hug, Right: Diamond and Flower

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左 噴射兄妹，2010，絹印，380x208cm，中 噴射兄妹，2010，絹印，380x208cm，右 Miss Coco，2010，絹印，32.5x324cm Left: Jet Brother and Sister, Middel: Jet Brother and Sister, Right: Miss Coco

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左 魚蝦滿堂，2010，絹印，150x340cm，右 飛行少女，2010，絹印，149x340cm Left: Fish and Schrimp Full House, Right: Fly Cocor

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左 鑽石花花，2010，絹印，149x340cm，右 猴犬抱抱，2010，絹印，246x260cm Left: Monkey Dog Hug, Right: Diamond and Flower

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遺憾與自珍：談倪再沁水墨畫 文：林銓居

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我們唯有被粉碎時，才釋放我們的精華。—赫拉巴爾(註一)

長的藝術政策顧問)、一位著作等身的作者與著名畫家；在採訪之後的 十年間，他緊接著成為正職教授、研究所所長與院長，並出任美術館館

一九九三年我在《典藏雜誌》任職時開闢了「藝術家的一 天」專欄，每個月選取一位藝術家做為採訪對象，進行全面性的攝影記 錄，並以多達六頁的圖文篇幅，紀實的呈現藝術家當下的創作與生活。 九四年夏天我將倪再沁先生納入名單，與攝影同仁蕭榕到高雄與台中兩 地採訪他。當時倪再沁因為台北藝術大學的聘任出現問題，而中山大學 與高雄醫學院的教職也已經辭去了，因此只能從高雄搭車到台中東海大 學兼課，並在自己的畫室開班授課來謀生。除了撰寫《藝術家雜誌二十 週年》專書的文論仍可看出本有的雄心壯志之外，當時倪再沁的生活景 況與心境可說跌到谷底。拍攝完他在東海大海上課的場景，我陪他從 台中搭車到高雄，我們一路聊著台灣與大陸水墨畫的發展與變革，把畫 家的作品圖像與人物性格說了一遍，對照兩岸、品評古今，好像下了一 盤盲棋一樣；車抵高雄時已經半夜，從藝術精彩的對話棋局上跳出來，

長。總之他是一位出頭的強者，他的形象與作為和孤單身影、與同情憐 憫無關。但這也正是我所要說的：在強者形象的背後，倪再沁可能是一 位孤獨受苦的人——在身心方面，他長期與肝病抗爭著，生命不斷迫使 他進而復退、在生死邊緣掙扎；在家庭方面，他曾經離婚並與父母子女 長期的分居兩地，過著苦修般的學者生活；在身份認同方面，他是一個 熱愛台灣的外省人第二代，經歷了融入與被割裂的意識形態之折磨；在 藝術表現方面，他是一個古為今用的行動主義者，但卻不可避免的背負 著沉重的傳統包袱而被(包括他自己所參與在內的)快速變化、充滿嘲諷 與虛無的當代藝術所消解。總之他的內心雖不至於有「君門深九重，墳 墓在萬里」(註二)那樣的訴說無門，但也一定經驗過「也擬哭途窮，死 灰吹不起」那樣的哀傷絕望。也就是說，這位強者的背後也有著被愛、 被了解、被串聯與被同情的孤獨脆弱。

眼前的現實是夜深無人的街景與暗淡的街燈，我站在街口目送他，將近 二十年了，他騎著腳踏車消失在港都小巷的孤獨身影，至今我仍無法忘 懷。

從這個非常個人的背景與心理轉折的角度出發，也許就更能 理解倪再沁多元角色、多元創作的動力，他總是不斷的發聲、不斷的闖 蕩、不斷與外界對應，企圖被了解並得到他者的回響。他的《沁報》與

倪再沁孤獨的身影一直引起我很深的同情，因為那樣的氣氛 與形象是我親眼看到、親身領受到的。但他給外界的印象則完全相反， 他一直是一位能言敢言的鬥士(例如掀起「台灣美術的台灣意識」之論 戰)、一個社會運動的先驅者(例如發起愛河與柴山的環保運動)、一位橫 跨政治界的文膽(例如撰寫民進黨的文化政策白皮書與擔任國民黨籍首

〈4P〉更赤裸裸的說明他是個語驚四座、不甘寂寞之人。當然我也樂 意相信倪再沁的動力同時來自潛在的知識份子之責任感：也就是「達則 兼濟天下」的那種改變世界的良知與理想。但即便有了以上的理解，在 倪再沁的各類創作中，我仍然最喜愛他的水墨畫，原因只有一個：我認

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為他的水墨畫感人至深。只有在他的水墨畫裡，我們可以看到「窮則獨

他作品，或許一九八七年用水墨畫來畫病房的那件作品已經起了絕對的

善其身」那種自我對話、自我珍重、將外界的喧囂與翻天覆地的時代拋

作用：也就是必須尋找、使用合適的筆墨來畫合適的對象。因為很明顯

在腦後的藝術家之精神面貌；而非常幸運的，他把這種精神面貌投射在

的，我們不能用任何一個傳統流派的筆墨來畫病床。這張看似平淡的一

美濃這個被包圍在群山中的南方小鎮，為台灣藝術的地方圖誌增添了無

張畫所預示的是一個極端重要的方向：以當時的水墨發展局面來看，與

比深沉與豐厚的意義。在他的水墨畫裡，我看到一個被病痛痼疾、被冷

倪再沁近似的路線在尋求水墨畫突破之道的人，包括了台灣的鄭善禧、

暖人情、被無常的江湖與命運推到小屋一隅的藝術家，他的經歷與學

李茂成、于彭和大陸的陳平等人，但因為這個預示，使倪再沁的水墨畫

識與感懷或有百千條來路、有百千萬條思慮，但眼下卻四顧茫茫、無有

最終走向一種更貼近自然、更貼近對象景物的方向。相形之下，同樣出

去處，他推窗所見的田園山巒，層疊交錯，在最孤獨的一刻成為他唯一

自寫生與寫實的實踐，鄭善禧最後成就了揉和金石畫派與重彩山水的風

寄託的夢想家山與心靈宅第。這是山水畫發展一千年來的歷史軌跡中不

景畫，于彭成就了遊戲性的空間感與文人筆墨，李茂成與陳平分別成就

能或缺的質地，也是一條不著文字的鐵律：即藝術家沒有孤絕到此，山

了藉由黃賓虹與李可染的筆墨加以變化的結構性的現代感。總之在一個

水之靈不會與他合而為一，山水永遠都只是遙遙相望的對象物；只有在

由自然對象與傳統筆墨分屬兩端的藝術天秤上，上述的畫家的成就略向

藝術家孤絕至此的狀態下，所有修練過的筆墨功夫、營造構圖、氣韻想

傳統筆墨傾斜，而倪再沁的成就則向自然對象傾斜。而這個自然對象就

像、文化底蘊，便會與山水之靈、與無主的花木蟲魚的靈魂一起走入藝

是我們所熟悉與熱愛的寶島風光。進一步說，倪再沁比較精彩與嚴謹的

術家心裡，與他一起完成一件無需言語卻能感染人心的作品。在倪再沁

水墨作品實則解決了兩個台灣美術史的巨大難題：即五月畫會以來的筆

的水墨畫中我所看到上述這個鐵例在當代藝術的實踐中再次得到印證。

墨之爭與本土意識抬頭之後認為水墨畫與本土性相牴觸的民族感情問 題，即他的作品說明了筆墨是不需要被革除的、筆墨之美是存在的、筆

我對倪再沁水墨畫的深刻印象，最早可溯及九○年代初期 《炎黃藝術》的一期封面，那封面刊印的正是一張美濃田園的山水畫。

墨是有能力為眼前事物來服務的、及「筆墨當隨時代」(註三)這句話不 是虛構的；即水墨畫與台灣風物的本土性是可以並存的。

畫面中央有一彎田間小徑，兩邊是秋收後的田野，田地裡佈滿了稻苒與 散落的稻草束，遠山與地平線被推得極遠極高，整張畫看起來有水墨畫

倪再沁這種結合了寫生與個人筆墨的功夫，在〈山下農家〉

特有的蕭瑟與枯筆所畫出來的澀感，但也跳脫了水墨畫的筆墨規矩而顯

與〈山邊田野〉兩張大幅作品裡達到了巔峰。這兩張從一九八八年起

現了一種寫實素描所直接流露的物理質感與心理情感。對照倪再沁的其

稿、遲至二○○八年才完成的作品使我們無法得知倪再沁真正的巔峰期

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是什麼時候，但想像二十年間倪再沁異動遷徙的過程中，多次捲起再打

(註五)的筆墨畫著雲煙飄渺的中原故土、借台灣風物的屍來還中國畫的

開這兩張未完的作品，試圖重拾原來的心境去繼續未竟的筆墨，箇中滋

魂是一種水墨畫的原罪，導致水墨畫被誤解誤導的話，那麼無疑的，

味恐怕如畫面的筆觸般千絲萬縷。仔細看〈山下農家〉的遠山還有許多

〈山邊田野〉這張畫所呈現的高度，即已經為水墨畫的原罪進行了最有

傳統筆法所畫出來的樹叢，但〈山邊田野〉的遠山已渾然自在的分不清

力的平反，同時為台灣風物的水墨畫打開了一扇真情真景的大門。或者

寫生與筆墨的經營，在這個傳統筆法逐漸退位與消解的漫長過程中，我

換句話說，〈山邊田野〉這張畫所呈現的高度即說明了水墨畫開放與進

們明確的看到一座座漂亮的、無言的「台灣的山」如晨霧散盡後的風

步的本質，許多的爭辯與誤解在這個前提下根本無關輕重——也就是

景般在宣紙上清晰浮現。有一次小說家七等生與我聊文學，他說：「在

說，「水墨畫與本土性相牴觸」的說法可能根本就是一個因為意識形態

普魯斯特的描述(註四)中，你看到很長很長的文字。但最後你看到的不

之爭所虛構出來的假議題，因為〈山邊田野〉這樣的作品說明了水墨畫

是文字，而是文學。」在〈山邊田野〉這張畫裡，我看到的也不只是阡

不但與本土性不相牴觸，而且能進一步的豐富本土性的實質內容。

陌連綿、屋宇錯落、山巒層疊的構圖，不只是「綠樹村邊合，青山郭外 斜」的景色，我看到的是經由水墨與宣紙這種特殊的質感與材料和美濃 田園的景緻所合成的藝術。當我在展廳裡再次看到這兩張畫，我只有一 句話想說：就是做為一個土生土長的台灣人，做為一個在農村長大的 人，我有無比的感激，我感激於倪再沁用他的筆墨畫出了生長著稻穗的 我的田野，畫出了生長著玉米與油麻菜的我的田野，畫出了生長著菸草 與矗立著菸樓的我的田野，畫出了被樸茂的林木與莊嚴的山巒所圍繞的 我的田野；我感激於他這個被意識形態歸類為外省人第二代的藝術家， 在他被病魔與命運之神壓碎的時候，當他像一顆榨油的橄欖仁或苦茶籽 被壓碎的時候，他把他全部的愛與自憐、他靈魂深處的菁華，毫無掩飾 也毫不保留的傾注在這片我所熱愛與眷戀的土地上。

如果說過去半個世紀以來，老輩的水墨畫家以「似真還假」

另一張我個人非常喜愛的作品〈大度山麓〉則表現了倪再沁 描寫都市與現代風景的能力。畫面有兩間被畫得像透明溫室一般的鐵皮 工廠，前方的水泥路、遠方的荒野與地平線上的高樓在深淺對照、強有 力的留白中顯得沉鬱而有詩意：一種水墨畫家、文化人特有的詩意，亦 即把被工廠污染的、被水泥過度覆蓋的、被繁華城市排擠在外的邊緣土 地畫成一首詩。像聶魯達的一首詩，使我們遺忘了文明的暴力、環境的 危脆、社會的不公與被放逐一般的孤獨與苦楚。

所以以我之見，倪再沁的水墨畫雖不是每一件都精彩，但其 中精彩之作的成就高度與時代意義兩者具足。然而李思賢先生在二○一 ○年所撰寫的文章裡卻傳達了另一種訊息：「儘管倪再沁的創作大方無 隅，藝術創作與人生發展都已算平步青雲，但他自己的心裡卻一直有一 絲小小的遺憾，正如他自己曾慨然地表示：「那些帶有遊戲或批判性質

337

的創作雖偶一為之，卻總能引動視聽，頗受矚目，而我最專注且持續

(通往更豐饒、更文明的境界)；還有，藝術的要求和當代的關切重點(某

已舉辦十餘次個展的水墨創作則始終乏人問津。」(註六)倪再沁所說的

某現代精神)有時可能處於矛盾狀態；還有，所謂『新的』(唯一的、不

偶一為之的其他類型的作品，以我主觀的看法，我認為他的〈微塵裡〉

可仿傚的、從未被言說的)可能和世人所謂的『進步』方向背道而馳。

裝置對時空與存在感的辯證可由Andy Goldsworthy的作品取代，他的

事實上，在巴哈的眼裡，同時代以及後輩藝術家的藝術成就應該是一種

〈4P〉赤裸的諷刺可由徐冰的〈一個轉換案例的研究〉(註七)取代，他

敗落。」(註八)我們不得而知在倪再沁的遺憾裡，是否包含了「當代審

的〈凍蒜凍未條〉選舉嘉年華與張永村以競選活動為軸心的行為作品可

美價值是一種敗落」的批判，但毫無疑問的，一旦我們發現當代藝術的

以互相替換，他與蔡國強的館長與藝術家互換身份的觀念作品毫無疑問

快速變化、充滿嘲諷與虛擬浮薄的過度發展成了歷史的下坡路(未能通

成就了蔡國強多一點，而他在美術館的當場揮毫更多的是場面上的集體

往更豐饒、更文明的境界或變得更空虛貧乏)時，一旦我們發現當代藝

表演而未能呈現往日文人的雅集、抒懷與盟約儀式的集體創作。當然他

術可能有它的狹隘性時，我們的遺憾才剛要開始：也就是我們這個過於

的〈回塑者〉環境藝術在1995年畫冊中所刊出的作品非常即興、簡約而

喧囂、媚俗與膚淺的時代，淹沒了另一種苦澀、深沉與厚重的美，也就

準確，可惜展覽未能重現那些作品的精髓；而他的〈原作重現〉對於古

是感官之美與過度解釋的符號語言淹沒了感覺的美。多少人在這樣的浪

代繪畫的重建與閱讀之功不可沒。簡而言之，我認為倪再沁的水墨畫在

潮裡改變航道、起伏不定、隨波逐流乃至耗盡了不世的才華與初衷？而

他各類型的創作中成就最為特殊、最不可取代，而他描繪美濃風景的作

我們必需共同承擔的結果是：倪再沁在〈山下農家〉與〈山邊田野〉等

品是他各種題材的水墨畫中成就最高者。然而倪再沁的其他類型作品卻

巨作完全之後，戛然而止，至今未有新的山水畫被創作出來。

往往「引動視聽，頗受矚目」，各種題材的水墨畫中，反應他入世情結 的〈浮生錄〉與反應九二一地震及九一一恐怖攻擊事件的〈從曼哈頓到 觀音山〉也同樣比大美無言的美濃風景更受關注。這樣的結果，豈能不 引人困惑與遺憾？

倪再沁曾說，影響他最大的兩位水墨畫家是江兆申與余承 堯。雖然倪再沁的筆墨乍看之下總是層層濡染、重覆而單一，不似江派 筆墨的使轉提按、變化多端，但他對構圖的掌握、留白的精準與筆墨時 代意義的思考，絕對可以看出他在江派及傳統筆墨中所下的功夫。至於

米蘭•昆德拉在一篇關於巴哈的音樂在被人遺忘兩百年後重

對余承堯的景仰則再次顯示了山水畫的終極境界，一種空山無人、水流

新獲得重視的論述中寫道：「巴哈作品的歷史定位昭示了一項真理，一

花開的自我完成的精神。余承堯一九九三年去世以後，多少畫廊、出版

項已經被後世淡忘的真理：也就是『歷史』並非一條永遠上坡的路程

社乃至藝術家都在尋找、挖掘下一個余承堯，但要找到一個隱士般不為

338

人知、靠著獨立的審美信仰而終身不改其志的人談何容易？要真找到能 夠欣賞山水精神的人談何容易？要生逢能夠蒙養山水畫藝術的時代背景 談何容易？噫，滔滔濁世，斯人何在？吾誰與歸？吾誰與歸？

註一：見赫拉巴爾 (1914-1997捷克作家)《過於喧囂的孤獨》頁125，大塊出版

註二：見蘇東坡〈寒食帖〉詩二首。下「途窮」與「死灰」二句同一出處

註三：見石濤題畫句

註四：指普魯斯特(1871-1922法國作家)花費十六年寫就的小說《追憶似水年 華》巨著

註五：見倪再沁著《台灣美術的人文觀察》頁240，雄獅美術出版。該文批評 「對筆墨的關心重要於對景物的關心」的寫生及其相應的本土化水墨風格

註六：見李思賢〈古月•今塵〉，香柏樹文化出版

註七：徐冰讓烙印著英文與中文字母的公豬母豬交配的表演作品，用以「指向中 西文化戰爭或原始性與現代性的衝突之類的議題」。見《徐冰的藝術及其 方法論》，高名潞著，誠品畫廊出版

註八：見米蘭•昆德拉《被背叛的遺囑》頁66，皇冠出版

Repentance and Self-Value: Talking About the Ink Paintings of Tsai-Chin Ni

By Chuan-Chu Lin

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Only crushed, so I can release the essence of my life. – Bohumil

fighter. For example, he launched the debate of "Taiwan fine arts with

Hrabal

Taiwan consciousness"; he was a pioneer of social movements (for example, he initiated the environmental movements to protect Tsai Mountain and

In 1993, when I worked in Journal Archive, I initiated a column for the

Love River); he was courageous across political borders (for example, he

magazine named Artist in a Day. I selected an artist each month for the

drafted the DPP's Cultural Policy White Paper, and also served as the head

main interview, and carried on a video record in all domains and presented

of the art advising board for the KMT). He is a prolific author and famous

an artist’s creation and life by using a documentary record of six pages. In

painter. A decade after the interview, he became a full-time professor and then

the summer of 1994, I added Tsai-Chin Ni to my interview list, and my

served as the head of the graduate school at Tunghai University, the director

colleague, the photographer Xiao Rong, and I traveled between Kaohsiung

of the institute, and dean of the art gallery.

and Taichung to interview him. At that time, Ni had a contract problem with Taipei Art University, but he had already resigned from his two teaching

In short, he is a strong person. His success has nothing to do with his image.

jobs in National Sun Yat-sen University and Kaohsiung Medical College,

Behind the strong image of Tsai-Chin Ni, he can be a lonely and suffering

so he could travel to Taichung’s Tunghai University to take a part-time

person in body and mind. He has been struggling with liver disease; life

teaching job and also make some money supervising students in his personal

continues to force him to move forward and backward, and he struggles

studio. His ambition could still be seen from his thesis entitled Journal of

between life and death. As for family, he and his wife divorced and he was

the Twentieth Anniversary of the Artist, but Ni’s life and mood were both

forced to leave his children and parents, living the ascetic life of a scholar. He

in a desperate state. After filming him teaching at Tunghai University,

is a second-generation mainlander who loves Taiwan and has been tortured

we traveled with him from Taichung to Kaohsiung and we talked about

by the process of integration and by ideology. In terms of artistic expression,

the development of ink painting in Taiwan and China. We chatted about

he is an activist who adopted the past and applied it to the present, but

artists’ images and certain calligraphers. Comparing Taiwan with China, we

inevitably he bore the heavy burden of tradition and was driven away by irony

considered ancient and modern ink painting, which was just like playing blind

and nothingness in contemporary art. In short, although he did not show the

chess. When our car arrived in Kaohsiung at midnight, it was as if we jumped

feeling of “the emperor's door is shut tightly, the tomb is a thousand miles

out from the chessboard. Twenty years later, I cannot forget the scene in front

away,” he also knew: "Even crying helplessly, the ashes cannot be blown

of me. When I saw him off, his lonely figure disappeared into the night with

away". In other words, behind this strong man, there was also the man who

the darkness and gloom of that port city.

was loved, widely known and who was vulnerable in a sympathetic way.

Indeed, Tsai-Chin Ni’s lonely figure caused me to have great sympathy, for

From the personal background and psychological changing process, perhaps

I saw in person the atmosphere and figure of Ni at the time. The impression

it will be easier to understand Ni’s multiple roles and creative power. His

that he gave the outside world was exactly different. He was an outspoken

voice has been constantly heard with everlasting battles and corresponding

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with the outside world, trying to be understood and gaining response. His

My impression of Tsai-Chin Ni’s ink paintings can be traced back from the

Chin News and Who is the happiest" more frankly and openly tell us that

cover of "Yan Huang Art" from around the early 1990s. The cover shows a

he likes extraordinary remarks and is not willing to be alone. Certainly I do

scene of the pastoral landscape in Mei-Nung. In the center of the painting,

believe that the power of Tsai-Chin Ni could stem from the responsibility

there are trails and harvesting scenes on both sides of the fields, which are

of being an intellectual: that is, "a successful person has responsibility for

filled with rice ran and bunches of straw. The distant mountains and the

the world," which is a kind of conscience and ideal to change the world. But

horizon have been pushed far and high, so the whole painting seems to

even with the above understanding, in all kinds of Tsai-Chin Ni’s works,

have the unique features of an ink painting drawn with a dry pen with the

I can realize that "the poor can love himself only”, the kind of self-talk and

a stringent sense, but also transcending the rules of ink painting showing

self-treasure, away from the outside noise and shaking with the spirit of

realistic lines and directly revealing and psychological feelings. Compared

artists. Very fortunately, his spirit was reflected in Mei-Nung, a small town

with other Tsai-Chin Ni’s works, perhaps the ink painting with the scene

surrounded by mountains in the south, and gave Taiwan's art a very deep

of the hospital wards of 1987 had a great impact. In other words, we must

image and huge significance. In his ink paintings, I see an artist with chronic

find appropriate ink to draw an appropriate object. Because it is clear that

illness, changing human relationships, who was ignored and pushed into the

we cannot use traditional ink to draw wards. This painting seems plain, but

corner because of fate and society. His experience, knowledge, and gratitude

it predicts an extremely important direction: from the development of the

are like thousands of ways and thinking, which puzzled him greatly and he

prevailing situation in ink painting, there are people who seek a similar route

felt nowhere to locate himself. When he opened the window and saw the

to break through ink painting, such as Tsai-Chin Ni, including Taiwan's

pastoral mountains overlapping, this became his ideal spirit of home and his

Shan-Hsi Cheng, Mao-Cheng Li, Yu-Pin and Peng Chen from the mainland.

belonging at the loneliest moment. This is the essence of the development of

But because of this trend, Tsai-Chin Ni’s ink painting eventually moves

ink paintings through the historical track of a thousand years and is also a sort

close to nature, close to the direction of the object scene. In contrast, from

of wordless principle: if an artist does not experience desperate loneliness,

the practice of painting and realism, Shan-Hsi Cheng has finally succeeded

the soul of the landscape cannot unite with him as a whole and the landscape

in achieving gentle stone painting and heavy colorful landscapes; Yu-Pin

will always distance itself from the target object. Only in the state of an artist’s

succeeded in the game of the sense of space and the literati ink; Mao-Cheng

desperate loneliness, all practitioners will be able to create ink paintings and

Li and Peng Chen succeeded in the sense of modernism by using Bin-Hun

creative design, the spirit of imagination, culture, the spirit of the landscape,

Huang and gLi's ink with changing modern structure. In short, on the scale

insects, and fish all entering the artists’ mind, and accompanying him to

between natural objects and traditional ink, the achievements of the artists tilt

complete this amazing creation with human language. In Ni’s ink paintings,

slightly to traditional ink, and the achievements of Tsai-Chin Ni are tilted to

I saw that the above examples in the practice of contemporary art were once

the natural objects. And these natural objects are the island scenery that we

again confirmed.

are familiar with. Furthermore, compare Tsai-Chin Ni’s ink works with one

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another, it solves two big problems in Taiwan’s art history. That is, that after

not merely the view of "the tree lined village and the green mountains in the

the debates and the rise of Taiwanese identity since the times of the May-

countryside". I see a piece of art combining ink with the texture of the special

Painting- Association,.it was assumed that there was a conflict between ink

rice paper and the garden views of Mei-nung. When I see the two pictures

painting and Taiwanese identity. Namely, Ni’s work shows that there was no

in the showroom again, I have only one sentence to say: being a native

need to do away with ink painting, and that the beauty of the ink is a matter of

Taiwanese, a person who grew up in the countryside I feel great gratitude. I

fact. Ink has the capacity to serve the people, and it is true that "Ink paintings

am grateful to Tasi-Chin Ni who used his pen and ink drawing to portray the

go with the times" . This statement is not a fabrication; ink paintings and

growth of rice, drawing the growth of corn and rapeseed in my field, and also

Taiwan's local character can actually coexist.

depicting the growth of tobacco and the tobacco stands in the fields. He also drew prosperous mountains of trees surrounded by majestic fields. I am also

Tsai-Chin Ni’s achievement that combines sketches and personal ink

grateful to him, whom ideology classified as an artist of second-generation

culminated in the works The farm on the foot of the mountain and The field

mainlanders. When he was crushed like an olive or a bitter tea seed, he

beside the mountain. These two works were initiated in 1988 and completed

contributed all his love and self-pity, the essence of his soul, and completely

in 2008, so we can hardly know the real peak of Tsai-Chin Ni’s works.

devoted himself to this land that I love.

However, if we imagine the two decades of Tsai-Chin Ni’s being on the move, these two works were packed and reworked again and again in an attempt

During the last half century, ink painters used the idea of "plausibility can

to regain the original state of mind in order to continue his unfinished works.

also be false" to draw clouds of the misty homelands of the mainland through

His life is like his works with countless strokes. A closer look at his work

Taiwan scenery as their material, which was considered their original sin.

The farm on the foot of the mountain reveals, that there are many traditional

Then, no doubt, The field beside the mountains with its artistic depth has

strokes by the trees drawn on the far mountain, but in The field beside the

in the most powerful way redressed this original sin of ink painting. At the

mountainit is hard to distinguish the sketches in the ink. Here he gradually

same time, it has opened the door for Taiwanese ink painting to true nature.

dropped the traditional ink style that disappeared in the long process of

In other words, The field beside the mountainspresents its depth with a

time, and we clearly see the beautiful, wordless "Taiwan mountains," as if

high degree of openness and progressive nature of ink, and many of the

the morning mist cleared after the transparent picture emerged on the rice

arguments and misunderstandings in this context can make sense - that is, the

paper. One day, I was discussing literature with novelist Chin Deng-Sheng

statement of " the conflict between ink painting and local identity" can be a

and he said: "According to Proust's description , you see a very long text. But

false issue based on ideological argument. The ink painting The field beside

what you see in the end is not the text, but literature.” In the painting The

the mountains can demonstrate that there is in fact no conflict between ink

field beside the mountains, I see not only terraced rice paddies stretching into

painting and local identity, but rather shows the true spirit of local identity.

the distance, scattered houses and a composition of mountain layers; I see Another of my favorite works is Roots of Da-Du Mountain. This shows Tsai-

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Chin Ni’s capacity of depicting a city with a modern landscape. The two iron

collective creation which failed to show the former delicate performance as

sheet factories are like transparent greenhouses on the painting. The concrete

literati with poetic writing and the covenant of a collective ritual. Of course,

road in the foreground and the remote wilderness contrast with the high-

his Back to the The Original was related to environmental art in 1995, the

rise buildings on the horizon. The powerful blank looks gloomy and poetic:

painting album was published in a very improvisational, simple, and accurate

the special poetry of an ink painter, of a literati is thus polluted by the factory,

style, but unfortunately failed to show the essence of those works; and his

covered by the concrete and is squeezed out of the edge of the cityscape like a

Back to the Original contributed a lot to the reconstruction and reading of

poem by Neruda. In this way, we can forget about the violence of civilization,

ancient paintings. In short, I think Tsai-Chin Ni’s ink paintings are the best

the dangers for the environment, social injustice, loneliness and suffering of

and special achievements among all different types of his works, hardly to be

exile.

replaced, and his works of the Mei-nung landscape are the best among all types of his ink paintings. However, Tsai-Chin Ni’s other works often draw

So in my opinion, although not all of Tsai-Chin Ni’s ink paintings may

popular attention, a variety of ink paintings react his complex of his accession

be considered the most brilliant, his best works can reach the highest

“Bliss recorded”, a response to the earthquake of September 21, and the

achievements and are an expression of his time. However, Si-Xian,Li in his

terrorist attacks of September 11.From Manhattan to Kuanyin Mountain also

article 2010 actually conveys another message: "Although the creative work of

gains greater attention than Mei-nung’s beautiful and silent scenery. People

Tsai-Chin Ni is vast, the development of his art and life have been considered

may feel confused and regretful to this kind of circumstance.

a meteoric rise, very successful, but he himself has been feeling a little regret, as he himself expressed that: “those creations which were playful or critical

Milan Kundera wrote in an article discussing Bach's music that had been

were just once in a while, but they always draw popular attention; and yet

forgotten for two centuries before regaining attention: "The historical

people showed little interest in the ink painting that I continue to focus and

position of Bach's work has demonstrated a truth, a truth that was forgotten

organize more than ten solo exhibitions" . The works that Tsai-Chin Ni’s

by subsequent generations: that is, history is not always a perpetual uphill

created before, in my personal view, I think the dialectic of his installation In

(leading to a richer, more civilized state). Also, what is called ‘new’ (unique,

the dust between space and time and the sense of existence can be replaced

not to be followed, never to be mentioned) may be contradictory to what we

by Andy Goldsworthy's work; his Who is the happiest” with naked irony

call “progress”. In fact, in the eyes of Bach, contemporaries and younger artists’

can be replaced by Xu Bing's "A Case Study of Conversion" ; his “Election

achievements are a kind of decline. We do not know whether the repentances

Eruption” and The Election Carnival and Yen-Chin Zhang’s campaign work

of Tsai-Chin Ni include the criticism of a “decline of contemporary aesthetic

as the axis can replace each other; he and Kuo-Chiang Tsai, whose roles

value”, but there is no doubt, as soon as we become aware of the rapid

of curator and artist intermingle, Kuo-Chiang Tsai has no doubt achieved

changes in contemporary art , sarcasm and over-development of virtual

little more than Tsai-Chin Ni, and his drawing of the gallery scene is more

looseness can result in historical decline (not leading to a richer, more civilized

343

, or even emptier state). Once we find that contemporary art may have its narrow limitations, our regret has just begun: that is, our too noisy, kitschy and superficial times, drowned another bitter, deep and heavy beauty and overwhelmed through over-interpretation the feeling of symbolic language.

How many people in this wave of will change their routes, follow the crowd and even deplete the world of talent and mind? And we must share the outcome that: Tsai-Chin Ni in the Hill farm and The field on the foot of the mountain and other giant masterpieces came to an abrupt end, and no new landscape paintings have been created until today.

Tsai-Chin Ni once said that the two ink painters Chao-Shen Chiang and Cheng-Yao Yu had great influence on him. Although Tsai-Chin Ni’s ink layers at first glance show repetition and singularity, unlike Chiang’s faction of the transferred by the changing of ink, but his mastery of composition and blank ink precision can be the significance of the reflection today. As for the respect and admiration for Cheng-Yao Yu, it once again demonstrates the ultimate realm of landscape painting, a deserted mountain, the spirit of selfcompletion just like water flowing and flower blooming. Since Cheng-Yao Yu passed away in 1993, there were a number of galleries, publishers and even artists who were looking for the next Cheng-Yao Yu, but to find a hermit-like and unknown person who relies on independent aesthetic beliefs and does not change his mind in a lifetime is not easy. To find someone who can appreciate the spirit of the landscape is hard, too. Also, it is not easy to be born in a time where landscape art can grow and matures. How can I find such a person in these gloomy times? Where can I go? Whom can I follow?

微塵裡—談倪再沁的水墨 文：吳繼濤

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2010年歲末於台北當代館所舉辦「媒體大哼」個展，含括倪

而轉攻油畫，楊茂林、蘇旺伸、鄭建昌、蕭文輝都是他大學同學。而

再沁二十多年來的創作風貌，除了是他藝術面向的總回顧，也顯見其

後一頭鑽進中國美術史的研究，日後卻在藝術評論界崛起，成為九○

創作思想的溯源、藝術價值的探索與生命情境的轉換。包含〈當眾揮

年代台灣美術界的一枝健筆，並擔任過台灣美術館館長、東海大學創

毫〉(再現文人雅集的行為)、〈怪談系列〉(以4P嘲諷權力)、〈回塑

意學院院長等職位。或許也是浪漫本性使然，年輕時的倪再沁便對政

者〉v.s〈宋庄改造計畫〉(社會運動)、〈畫中仙〉(批判藝術套路的規

治、媒體頗為狂熱，對體制的批判不久便轉為環保與社會運動，他曾

格化)、〈凍蒜凍未條〉v.s〈報紙〉(反選舉與媒體)、〈原作重現〉(反

經抗爭財團對土地變更的企圖、行政部門對高雄愛河快速路的修築計

威權)、〈超•超扁平版畫系列〉(反當代藝術的扁平化)、〈微塵裡〉

畫，還擔任過高雄都市計畫委員，協助過藍綠、官野「文化政策白皮

(回歸質樸)、〈夢幻泡影〉(生命內省)，還有他一路衷情、難棄難捨的

書」的撰述——雖然日後他發現這些都是鬼扯，都是玩假的！對政治

「水墨畫」。在認識倪再沁的十餘年間，對於他藝術創作、評論、史

的敏感與熱情，日後便延續出對台灣美術發展理想的期許，但寫《西

論、策劃、行政的涉獵龐雜，遠非獨鍾書畫的筆者所能企及，不過意

方美術、台灣製造》時得罪不少西畫界大老，寫《中國水墨•台灣趣

欲評析其思想歷程，唯有透過此間的情性與際遇，方能耙梳糾葛不清

味》則冒犯了水墨門閥，甚至對於某些藝術團體把持行政資源的評

的表象，洞悉其藝術脈絡的核心。

論，又獲咎於當代藝術圈，使他日後吃了不少悶虧。

回溯倪再沁的藝術形式看似興之所致、紛亂龐雜，除了內

回首處

化著個人對美術史的博觀外，也牽涉到他對藝術板塊失衡的透析。 從小學業成績就很爛，倪再沁自嘲初中、高中到大學沒有 一次不重考，文化美術系念到大二才開竅，隨後進入文大藝術研究 所就讀，畢業之際因為打球感冒，進醫院打了一針而得到肝炎，至此 輾轉住過各大醫院，歷經穿刺、切片、酒精注射、栓塞、電灼、割 除……。回頭看看前半生，他自己也很無奈的笑笑：「運氣不好，爛 命一條！」

大學時期常在水墨碰壁的他，因為對西洋美術史鑽研出興趣

對他來說，當代藝術往往只見藝術家的策略與心機，如杜象(Marcel Duchamp)、安迪沃荷(Andy Warhol)這些當代藝術，其實不過仰賴著 越形巨大的視覺以造成驚奇聳動；當代藝術目迷五色、耳昧五音的驚 世駭俗，與看似蓬勃發展的主流意識，仍難掩其與西方霸權的依存關 係，但這文化殖民風潮下的顯學，卻仍存在優越感與排它性，當年他 批評「西方美術•台灣製造」的迷思至今依舊頑強的屹立不搖。從2001 年開幕以來，台北當代館從未展出過水墨畫——何謂當代？何以水墨

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不當代？倪再沁藉跨領域的手段迂迴進入當代，「以子之矛、攻子之

喧囂，八○年代的水墨界確實顯得守舊、寂寥與形式化，著實無法遏

盾」直入核心，其顛覆根源於以書畫人自詡所投身當代反政治、社

抑住倪再沁此時對社會、藝術超越的企圖，或許就在恨鐵不成鋼的深

會、主體的叛逆，展現出內在的反體制性格。這基於時代糾葛、文化

沈期許下，讓他投身於此進行徹底的改造運動。當時他在美濃租了一

斷裂、自身失衡的衝撞，其實有著知識份子時不我予的不平：

間畫室，逐漸從人體油畫轉成水墨田野，山水符號變為黝黑的土地關 注，可說是他浸淫最久的內在荒原(甚至至今仍有不少未完成的起稿)，

從此，我就在水墨和另一種創作形態間擺盪，除了油畫(遊戲 規則)、環境(回塑者) 、政治(選舉嘉年華) 、媒體(雲報沁報) 、雕塑(台 北怪談) 、觀念(原作重現)，這些帶有遊戲或批判性質的創作雖偶一為 之卻總能引動視聽，頗受矚目，而我最專注且持續已舉辦十餘次個展

那時作品所顯現著傳統、自我與際遇、前途的交錯，一種找不到出路 的悶與怨，以筆墨交臻出此時壓抑的鬱堙不偶，但隨著此後生命體悟 的翻揚，與對藝術思辨的游移切換，每每一個展覽的發表，幾乎便成 為一個時期的脈絡彰顯。

的水墨創作則始終乏人問津。（倪再沁•〈浮生錄 序〉） 然而，「筆墨」雖然是他所堅持，卻由於個性使然，總會有 水墨傳統直入內在的言傳深刻，才是貫穿他創作生命的無 法割捨，透過當代形式所進行「遊戲或批判性質」的拼貼與攪和，實 是植基於書畫心源所進行的擺盪。對他而言，牧谿、趙孟頫、吳鎮、 黃公望、沈周、龔賢、四僧，是他心中文人意識的高度境界，那才是 「超乎象外，得其環中」的性格投射，但如果水墨彰顯著他源於中國 美術史透澈內省下對潮流的反動，毋寧說那其實是他終始無法割捨的 心靈原鄉，進入當代藝術的行為恐怕只是他的一種策略，觀者或可藉 此剖析，何者才是倪氏藝術映照其心靈深處的悸動？

來時路

意識的要重新“搞”它一下！他提到過：「我想繼承水墨傳統之蒼潤 又想破壞它的孤高，所以總是靜默、和緩的畫山光水色及四君子，但 又往往以拼貼、潑彩的方式畫俗世風采及無厘頭。」(倪再沁•〈浮生 錄 序〉)從美濃時期的沈鬱轉為都市喧囂煩躁的描寫，他的水墨畫一 直處在主流的邊際外，卻相當程度的開拓了當代水墨的視野，挑戰著 水墨意義的底線－－筆者雖不免對其間的出出入入詫異不已－－然而 從無我之境到有我之境，他卻總能在密密麻麻中重新撕開傳統，並位 移、拼貼出傳統所不能的面貌，成就自身的新企圖。

在1949年後，上一代渡台的水墨畫家隱然有一種文以載道 水墨傳統裡隱微、出世的人生觀，多半夾雜著生命昂揚過後

的體悟，但隨著渡台水墨畫家的逐漸凋零，面對現代主義西潮紛至的

的使命感，以「為往聖繼絕學」的思索，試圖在水墨畫的南渡後開創 出新局——無論是抽象表現的劉國松，或是意匠經營的何懷碩，處在

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文化強權下自我形塑的焦慮，或是神聖道統壓力下興起的情懷，都不

的思索，他確實解決了筆墨面對當代轉換的困境，而凸顯出山水形貌

免影響著上個世紀中期的知識份子。然而，隨著政治局勢的轉變，隨

的時代意味；在〈失樂園Ⅰ〉中，傳統筆墨的一貫性被手持鋤頭的現

著中美斷交、解嚴與終止動員戡亂，兩岸不同政治實體的相互承認，

代農人，以紙張錯位、造型比例的差異破壞，而路徑撕開後的重新拼

意味著「反共復國」神話的徹底幻滅，眼見著「傳統水墨依然以『國

貼，更衝突著畫面的對立空間，而後這種思索便進一步發展出〈從世

粹』的姿態在台灣傳承」(倪再沁•〈中國水墨•台灣趣味〉)，年輕

紀末到世紀初〉、〈從曼哈頓到觀音山〉等風貌。

時緊繃的意識型態，面對此時自身的身份認同，顯然起著一部份微妙 的尷尬與糾結，他或許意識到：水墨畫，必須面對台灣歷史認同的轉

大約從2003年開始，倪再沁突然對傳統四君子畫產生興趣， 這個系列從典型的純水墨、設計畫面，進而以油彩作畫，以小品方式

變！

呈現出他對牧谿〈六柿圖〉簡約自在的景仰，也可以看到他一直以來 二十年來他以中體西用的意念，顯現在對於用筆清潤、墨氣

對傳統回歸，並再次變異傳統的企圖。稍早於四君子的「在藍藍大

淋漓的揚棄，並取代以積、疊、塗改、撕、拼貼，但他並非完全沒有

海」系列，約末起源於幾次遊歷東北角、花東沿岸的經驗，那鮮豔刺

包袱。美濃時期對於水墨的探索，卻不斷回想著江兆申上課揮毫的渾

眼的鈷藍，扭轉了他晦澀深邃的田野的情懷，以一望有際的湛藍伸展

然忘我，與余承堯創作中自在、出世的傾慕，他坦承，創作中為了抽

著面對文人傳統、兩岸相隔裡聊以自慰的諷喻。從藍藍大海所帶來的

離所受傾慕與師承影響，以至形成了延續或斷裂的內在衝突；在山澗

疏離與荒謬，便不難想像倪再沁此時對於自身黑色風格的瓦解與色彩

幽微的層次裡，為掙脫師承所學筆墨清潤的桌案揮運，他便改以蹲坐

的突破，如果說，以往他是藉助墨色去壓抑住自己深沈、無奈下的不

作畫破除枷鎖，甚至以繁複的筆墨錯疊痕跡，如〈幽谷圖〉；但蔥融

得不然，那麼色彩所帶來的全面騷動，便完全釋放在2008年所發表的

蓊鬱的意念實際又受余承堯所啟迪，這揮之不去的影響便必須以形式

〈浮生錄〉系列。這個時期他租了一個工廠創作，隨著研究生的分租

破壞，如〈失落的山河〉。有一天他終於發現，自己不會是心儀對象

與出出入入，那雜處的氛圍就凝聚出一種相對嘈鬧、奇異與遊戲的特

的再現，他瞭解自己的粗糙、強悍、鈍拙，與師承言傳身教的細膩、

質；無論是受到刺激而放膽使用的色彩，或是隨手塗抹了底色後的修

質樸全然不同，甚至在見到對岸戰後水墨發展中，那當代筆墨的摸索

改，甚至那些混雜著抽象表現、普普意念的滴流，都像是受到某種異

鑽研與形式化的缺失後，他的畫面開始揚棄對物象的取捨、構圖形

質介入的人工俗豔，令人想起風景區或溶洞裡的詭異燈光，人在此間

式、暈染設色，進一步探詢著黝黑的筆墨摸索。正由於有著西畫背景

反而意欲落荒而逃。閃耀的山林、拼貼跑車、裸女與個人照，都介入

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在原有山水城市的鬱悶，而霓虹障幕般的螢光綠、粉紅彩圈住了底層 的騷動，實際上更是他嘻笑玩世與自嘲的經典重現。從形式上看，潛 意識中似乎也隱藏著對趙春翔的致敬，他曾以〈漂泊的靈魂〉(2004)一 文評述過趙春翔，就其創作心靈的漂泊、生命的失衡、文化的困惑、 內在的糾葛，衍伸出創作色彩的悸動；筆者認為，倪氏能如此透析趙 春翔的內在糾結，恐怕也與自身生命情境的體悟相近，甚至對筆墨精 神的闡釋有關：當筆墨不再依附形象，線條的獨立性大於對象的描形 性，筆墨自然有其精神性，當筆墨精神勝於形象再現，當再現是表， 精神是裡，就是「具象的抽象」。(倪再沁•〈論水墨藝術之抽象性〉)

可以說，從美濃時期的自然取景，到藍色大海以至紅花綠 柳的山水，那營造而來的內省正逐漸被一種無法言述的隨性、解放所 取代，隨著中年心境的轉變，他坦言美濃時期的風格已經回不去了， 那刻意攀爬瞭望山水的黝黑與濃重，那密密麻麻重複的勾染、填劄， 與模糊、刷洗後重建的厚實幽光，實在太大、太重、太久、太累。但 回顧這一路向來，他不斷透過出世、入世的深沈反芻，以鈍拙遲重的 用筆、慢淡濃鬱的墨染，甚至紛擾奔放的面目，歷經著黑、白、彩不 同時期的轉變，走來卻益發後現代，迥異於多數藝術家風格的從一而 終，而照見本我現狀的真誠。如果要為倪氏定論，恐怕油畫界、當代 藝術界或水墨界，他都算是邊緣，從年輕氣盛到天命之年，他永遠是 藝術界的「異議份子」，然而這藝術風格的不執著與無所求，實是他 每每在喧囂煩累之後，所產生對生命內省與境界承載的深層悸動。

微塵裡 回首前塵，他自己說到：「很難想像，當年為什麼要畫得那 麼密那麼厚那麼黑，而且非實景不畫。也難以想像，我後來畫的正是 從前不屑為之的『胸中逸氣』，當然更想不到我正在畫我以往視之為 譁眾取寵的『俗事風采』。」(倪再沁•蕭瑟處〈序〉)可以看到，年 輕時期對於藝術傳統的評價、痛斥或不屑，現在反而成為他藝術思想 對待自我的嘲弄。他回憶當年一度非常不屑於書畫界當眾揮毫、炫技 的墮落，但如今藝術行為的世代更迭，已使藝術從現代主義轉成後現 代、從神聖變成世俗、從純粹變成娛樂性，自己年輕時義正辭嚴的批 判，轉眼已成嬉笑怒罵；現在他認為：藝術行為不過是生命的對待， 心念一轉藝術便無謂高低優劣，以藝會友其實是很好的文人傳統。因 此為展覽開幕所舉辦的當眾揮毫，美術館館長、教授、藝術家、藝評 家、策展人，便成為這個身份認同的支撐，古典文人的雅集當代化， 便是最好的註腳。

近五十歲時他重讀了金剛經，雖然有人讀經是為了生命迷 失後的慰藉，他卻認為是重新體悟生命境界的提升。回溯自己過往所 為，對於自己的病痛也就沒有怨恨，年輕時的好學與知識吸收，對藝 術的見解似乎透徹無比，然而人生看開、看淡後，現下對於美術史、 傳統、經典的閱讀，卻再次啟發他深刻的領略。「年輕時不斷往外追 求，沒有時間去體認自己究竟為何？便逐漸失去了本我自身的靈性， 如今一切放掉之後，更能從生活的體驗往內看待。」年輕時他意氣風

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發的批判，現在他體悟自己不過是小老百姓，藝術不是救贖，藝術不

路——從無知到隱然自覺，從求知的懷疑、否定、批判，以至最後徹

是生命的一切，「藝術其實就是生活」他說：「人生的歷練恐怕使我

底圓證菩提的悟、回歸本質道。

們無法真的回歸本質，然而真正最後可以帶走的也只有智慧。」 回顧一九九○年初，倪再沁透過對李唐山水畫的研究，延伸 筆者以為，此次展出最能照見其內在者，便屬〈微塵裡〉。

為《宋代山水畫南渡之研究》一書，在最後的結論中他認為：北宋是

這源自於他小時候調皮被母親處罰為地板打蠟，俯看那光澤如同時間

中國文化成熟而內斂的時期，遠離了魏晉的悲慘世界，那些虛幻的歌

的沁潤，在一片無塵中找到內心的快慰。過去他不斷在生活、藝術上

頌的宗教藝術當然要沒落，藝術走向現實是不可避免的，……北宋中

填實，現在卻想著如何消減，想是自己的身體、心境所致——其實意

期以來，中國文化的一切都正在轉變，美術中的客觀模擬、形式、色

氣風發、致仕的十多年間他並非沒有再登高峰的機會——人生看來

彩都正走向不同的兩極發展（寫實，寫意），不過，看似兩極，那條

即便大富大貴，其實仍如金剛經揭示「如夢幻泡影」，凡走過必留痕

歷史的軌跡仍隱然可見，那是一條「南化」的必然路線。

跡，而痕跡更易抹滅。身處微塵所顯現、光耀與曾經存在，最後都會 山水畫南渡偏安一百五十三年間，受到蘇杭政經活動繁榮

褪卻、消失、了無痕跡，此刻心靈的寵辱皆忘、平淡無意，方是他所 嚮往的境界，唯有水墨的深沈方能使人吟詠眷戀，這沁潤心靈的內在 滋味，已然超越形象而照見本心。生命價值、意義、學術、藝術、名 聲，或許當下看來如此真實，數十年後或許灰飛煙滅，如此證悟，便 直入〈夢幻泡影〉的境界。

的影響，文藝成就可與北宋並立，對於傳統延續與新的探索，更開啟 日後水墨的簡筆風尚；相對當前，或許也比擬著海峽兩岸戰後的藝術 分立狀態，在傳承與再造、保守與創新、正統與變異間，無時無刻帶 來改革的量變質變。當年倪氏瞻矚所見與日後在水墨所為的翻攪，雖 然自始至終有著對於水墨一以貫之的深切，卻未必把水墨創作視為一

生命最有趣的，是前人所經歷悟證的過程，永遠存在於傳

種必須的責任，但也或許終因如此，他將在台灣當代的水墨發展留下

統與典籍之中，而每個人勢必親身經歷，方能透析這契機的淺深，參

無可抹滅的印記，其影響力恐怕不僅僅限於當下我們所見到的藝術形

酌古往來今，這人生境遇起伏體悟或許自有其規律，無論如杜甫詩風

貌。

「少而銳，壯而肆，老而嚴」(宋吳可•《藏海詩話》)，或是宋代青原 惟信禪師揭示以「見山見水」為例的禪修三境，甚至近代王國維《人 間詞話》所提人生的三重境界，都指涉著自我生命價值追尋的必經之

In the Fine Dust

By Chi-Tao Wu

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The special exhibition, Mediaholic –– Arts of Tsai-Chin Ni, launched at

in all the major hospitals in Taiwan. Looking back at the first half of his life,

the end of 2010 at the Museum of Contemporary Art (MOCA), Taipei,

he only smiles and says: “Bad fortune and a terrible life!”

displayed a comprehensive review of Tsai-Chin Ni’s works over the past two decades, presenting the origin of ideas, the exploration of artistic value,

During his undergraduate studies, he often found himself frustrated in ink

and the transition of life experiences. The exhibition included ink painting

painting. Because of his growing interest in Western art history, he switched

demonstrations (a representation of cultural gatherings among the literati),

his focus of study to oil painting. Artists Mao-lin Yang, Wang-shen Su,

Who is the Happiest? (an image of a foursome to mock the authorities),

Chien-chang Cheng and Wen-hui Hsiao were all his classmates in university.

The Reshaped vs. The Village Song Reformation Plan (a social movement),

Later on, he delved into the study of Chinese art history and unexpectedly

Illustrious Illustrated (a critique of the standardization of artistic forms),

began gaining a reputation for art criticism. Not only was he a vocal critic in

Election Eruption vs. Newspaper (opposition to elections and media), Back

Taiwan’s art industry in the 1990s, he has served as curator of the National

to the Original (anti-authoritarianism), Super Superflat (opposition to the

Taiwan Museum of Fine Arts and dean of the College of Fine Arts and

“flattening” of contemporary art), In the Fine Art (a pursuit of the essence

Creative Design at Tunghai University. Perhaps due to the romantic traits

of life), Illusions of a Dream (a reflection on life experiences), as well as ink

in his personality, Ni was quite fanatic about politics and media in his young

paintings, to which Ni is sensationally attached. I have known Ni for more

age and became involved in environmental and social movements. He resisted

than ten years, yet I can hardly surpass his diverse knowledge of art creation,

corporations’ attempts to change land rights and the government’s plan to

criticism of art and history, planning, and administration, as I am only in

build an overpass expressway across the Love River in Kaohsiung City. He

love with books and paintings. In order to analyze the development of Ni’s

also served as a member of the Kaohsiung Urban Planning Commission,

thoughts, one has to read beyond the entangled appearances to gain an

assisting in the composition of the “White Paper on Cultural Policy.”

insight into the core of Ni’s artistic context.

Although he found out later that all this was futile, his sensitiveness and passion about politics weighed on his expectations for the development of

Recall

art in Taiwan. His Western Arts, Made in Taiwan displeased many bigwigs in Western painting while his Chinese Ink Painting, Taiwanese Delights

Tsai-Chin Ni was never academically inclined. He jokes that from high

fell foul of heavyweights in ink painting. He even held the contemporary

school through university, he never missed a re-examination. While studying

art industry to blame for the monopolization of administrative resources by

art at Chinese Culture University, he was not interested in fine art until his

certain arts groups, leading him to suffer from many hidden losses in later

sophomore year. Upon completing his studies at the Graduate Institute

years.

of Arts at Chinese Culture University, he contracted hepatitis from a flu injection in a hospital. He went through treatments including liver puncture,

Ni’s art forms seem driven by freewill, disorderly and multifarious, yet betray

liver section, ethanol injection, embolism, electric cautery, and liver resection

his broad knowledge of art history and his in-depth analysis of the imbalanced

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art industry. To him, contemporary art only shows off an artists’ strategies

contemporary art, either entertaining or critical, is in fact a manifestation of

and deliberation, such as those of Marcel Duchamp and Andy Warhol, who

his conflicting minds. To him, Chinese painters Mu Qi, Zhao Mengfu, Wu

merely relied on the sensation of stupendous visual splendor. The dazzling

Zhen, Huang Gongwang, Shen Zhou, Gong Xian and the Four Monks are

colors of contemporary art, which may seem a rising mainstream trend,

the representatives of the ultimate state of the consciousness of literati. But

cannot cover its interdependence with Western hegemony. This school of

ink painting doesn’t manifest his reactionary thoughts on current trends,

thought, which was developed under cultural colonialism, still manifests

and his passion for the arts doesn’t allow him to abandon a comprehensive

a sense of superiority and exclusiveness. His criticism in Western Culture,

understanding of Chinese art. Perhaps delving into contemporary art is just

Made in Taiwan, nevertheless, stands firm up to date. The Museum of

one of his strategies. From this perspective, viewers may try to find out what

Contemporary Art Taipei has not exhibited traditional ink paintings since

the real drive behind Ni’s artwork is.

it was established. What is contemporary art? Why doesn’t ink painting fall into this category? Ni has finally had his works displayed at MOCA by defining them as interdisciplinary in a bid to subvert the core value of contemporary art. The subversion stems from artists’ self-acclaimed rebellion against the conventional political and social principles of a society and artists’ anti-establishment nature. In fact, this conflict, which results from an entanglement of the times, cultural rupture and imbalanced identity, reveals a sense of injustice felt by the intellectuals: Time waits for no man.

The Development of Ni’s Style Traditional ink painting comes from a life philosophy that focuses on a renunciation of the mundane world and a realization following the peak of life. However, as immigrant ink painters from China have gradually died away along with the arrival of Western Modernism, the field of ink painting in the 1980s appeared conservative, desolate, and rigid. Indeed, the environment could not meet Tsai-chi Ni’s ambition to surpass the society and art of the

Since then, I have swung back and forth between ink painting and another

time. Perhaps due to Ni’s high expectations of Taiwanese ink painting, he

type of creation form. Except for those entertaining and critical works that

dedicated himself to a reformation movement. He rented a studio in Meinong

had once created sensation and drew attention, including Game Rules, The

at the time, and the focus of his work gradually shifted from figurative oil

Reshaped, Election Carnival, Cloud Newspaper, Who is the Happiest, and

painting to pastoral ink painting, showing his concern for the land through

Back to the Original, my ink painting collections, which I have concentrated

his ink and brushes. One can say that Ni has cultivated an interior land of

on the most and displayed more than ten times in solo exhibitions, have never

inspiration for a long time. Interweaving tradition, self, life experiences and

been popular with the public. (Tsai-Chin Ni, preface to the handbook of A

future prospects, the works produced in this period conveyed a sense of

Record of the Floating Life)

boredom and resentment derived from the failure to find a way out. Ni’s ink and brushes showed his depression from failing to succeed. However, with

The profound meanings imbedded in ink painting are the indispensible

a realization of the meaning of life and a shift in his artistic reasoning, every

part of his creation career. The blending of his collages in the form of

single exhibition became a clear representation of the social context of the

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time.

subtle contradiction between the political ideology in his youth and the selfidentification of the time (Tsai-Chin Ni, Chinese ink painting in Taiwan).

Although adhering to the form of ink painting, Ni could not help but “mess

Perhaps Ni came to realize that ink painting also had to face the change to

up” with it. He once said: “I wish to keep the mellowness of ink painting

Taiwan’s historical identity.

and destroy its inapproachability at the same time. So I always painted the landscapes and the ‘Four Gentlemen’ in tranquil and unhurried tones with

Over the past two decades, Ni discarded the traditional methods of ink

collage and splashed paint techniques to show the mundaneness and nonsense

painting and replaced it with techniques of piling, layering, tearing, and

of everyday life” (Tsai-Chin Ni, preface to the handbook of A Record of the

collaging. Yet Ni was not completely free from the burden of tradition. When

Floating Life. Transforming from the gloomy style of creation in Meinong

he was based in Meinong, he tried to explore new techniques of ink painting,

to the depiction of the hustle and bustle of modern cities, Ni’s ink paintings

but couldn’t help recalling the free will and unworldly painting styles of his

were always left outside the mainstream, although his works had challenged

teachers— Zhao-Shen Jiang and Cheng-Yao Yu. Ni admitted that he was

the boundaries of art forms and expanded the horizons of contemporary ink

torn between passing down the legacy of his teachers and distancing himself

painting. I cannot deny that I am surprised at his inconsistency. Yet, shifting

from the impact of admiration for them. In order to break away from what he

from a state of selflessness to a state of self, Ni was able to decipher tradition

had learned, Ni decided to paint in a squatting position, instead of painting

out of complexity and turn it into a collage with a whole new appearance to

on a table, and employed layers of complicated ink washes and amorphous

achieve his own goals.

brushstrokes in his paintings, such as in Deep Valley. Ni also broke the conventional formality of painting to avoid the luxuriant style inspired by

After 1949, Chinese immigrant ink painters from the previous generation felt

Cheng-yao Yu in paintings such as The Lost Landscape. One day, he found

a sense of mission to maintain the art form and try to open a new phase for it,

out that his works would never be the representation of those of his admired

be it the abstract presentation of Guo-song Liu or the artistic management

painters as he came to realize that the roughness, toughness, and tactlessness

of Huai-shuo Ho. Both the anxiety to form self-identity under the cultural

of his painting styles are entirely different from the subtleness and earthiness

dominance and a sentiment of keeping the tradition alive affected the scholars

of his teachers’ works. With the development of ink painting in mainland

from the middle period of the previous century. However, with the change

China following the Chinese civil war, Ni observed flaws in the exploration

of political situations, including severing ties with the US, lifting of martial

of contemporary ink painting. He therefore started to give up on the choices

law, terminating the Period of National Mobilization for the Suppression

of the objects, the style of composition, and ink density arrangement in a

of the Communist Rebellion, and the mutual recognition of political entities

bid to further explore ink painting techniques. Thanks to his knowledge of

across the Taiwan Strait, the political myth of destroying the communists

Western paintings, Ni successfully solved the dilemma facing the field of ink

and recovering mainland China was debunked. Seeing that “traditional

painting in the changing times and underscored the contemporary image of

ink painting is passed down as a national legacy in Taiwan,” Ni sensed a

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landscapes. In Lost in Paradise I, Ni made use of paper misplacement and

people of the eerie lighting in scenic spots and limestone caves. Glittering

the difference in model proportions to portray a modern farmer carrying a

woods, collaged sports cars, nude female figures and personal photos were

hoe. The design destroyed the consistency of conventional ink painting. The

incorporated into the gloominess of a modern city. Fluorescent green and

collage of a path presented a greater contrast against the asymmetrical space.

pink neon signs were in fact a classic representation of Ni’s playfulness

With this thread of thought, Ni further developed works like From the End

and self-mockery. In terms of the formality of his works, Ni seems to also

to the Beginning of the Century and From Manhattan to Guanyin Mountain.

subconsciously pay his respect to Chun-xiang Zhao. In his article entitled Drifting Soul published in 2004, Ni reviewed Chun-xiang Zhao’s works,

In 2003, Ni started to gain an interest in paintings of the “Four Gentlemen”

where his wandering soul of creation, an imbalanced life, cultural confusion

— an assembly portrait of cherry blossoms, orchids, bamboo, and

and the internal struggle turned into a temptation of colors. Ni’s in-depth

chrysanthemums that is a traditional theme of Chinese painting. This series

analysis of Zhao’s inner struggle may have been attributed to their similar life

of paintings, from pure ink painting to oil painting, showed Ni’s admiration

experiences, as well as Ni’s own interpretation of the spirit of ink painting.

for the simplicity of Six Persimmons by Muqi Fachang as well as his intention to revisit and change traditional painting techniques. Before the Four

When the form of ink painting is no longer an attachment to images, and

Gentlemen series, a few trips to the East and Northeast Coast inspired him

when individual lines and strokes become more important than the accurate

to make In the Vast Blue Ocean. The bright, vivid cobalt blue had an impact

depiction of objects, the spirit of ink painting emerges. When the spirit

on his dark and obscured pastoral styles of creation. The large portion of

of ink painting overpowers the representation of images, and when the

azure blue becomes a self-comforting sarcastic allegory in the face of the

representation is the skin and the spirit is the bones, it is a representation of

tradition of literati and the division between mainland China and Taiwan.

abstractness. (Tsai-Chin Ni, A Discussion on the Abstract Nature of Ink

The sense of aloofness and ridicule represented by the vast blue ocean makes

Art.)

it not difficult for one to see Ni’s attempt to make a breakthrough by replacing black with other colors. Ni used to employ black to express his profound

It can be said that from the portraits of natural scenery in his earlier period

reluctance to obligations, but in A Record of the Floating Life, published in

of creation in Meinong to the current works displaying the blue vast ocean

2008, he used other colors to create sensation. During this period of time, Ni

and colorful mountains, his self-reflection is gradually being replaced by

rented a factory to work on his creations. With the coming and going of other

indescribable liberation. With the change of his state of mind in middle age,

tenants working in the factory, a relatively noisy, novel, and playful ambiance

Ni admitted that he could no longer go back to his former style of creation.

was formed. The bold application of colors, painting over a random daubing

The reconstruction of dim lighting through the techniques of outline drawing

on the backdrop, and even a mixture of abstract presentation and the drip

and the blurring and the washing appeared to be too much work. Differing

and pour paintings of pop art all displayed artificial gaudiness, reminding

from most artists who keep a consistent style, Ni ruminated on his findings in the experience of renouncing and rejoining the secular life, which showed

353

in the transition of his style –– from heavy brushstrokes to light and rich ink

Ni re-studied the Diamond Cutter Sutra of the Perfection of Wisdom when

washes, and then to a diverse and liberated style, from the period of black and

he was almost 50 years old. Some read the sutra to find comfort after a loss

white to that of color. Throughout the process, Ni’s style became more and

in life, but Ni read it to learn a lesson of life. Examining his past, Ni does not

more postmodern, showing the true self of an artist. Should one judge Ni

complain about the diseases he suffers. All the artistic interpretations seem

against other oil painters, contemporary artists, and ink painters, he always

to be crystal clear in his early life, but in revisiting the art history, tradition,

sits at the periphery. From his adolescence to his 50s, Ni has always been seen

and classics with a lighter view toward life, Ni attained a newer and more

as a dissident in art circles. However, the inconsistency of his artistic style is

profound understanding of art. “When I was young, I kept looking for

indeed an aspect that can be seen in his self-reflection on life.

external growth, but forgot to seek who I really was. Therefore, I gradually lost my soul. Now I have given up on everything, which granted me a chance

In the Fine Dust Looking back, Ni thinks to himself: “It is hard to believe that I insisted on using such thick and dark paint and only painting real scenes. It is even harder to imagine that I’d paint something that I used to disdain and regarded as a low deed to please the public.” (Tsai-Chin Ni, preface to the handbook for The Desolate Ground). This shows that his bitter criticism and disdain for

to observe my inner self through the experiences of life.” Ni used to be a daring and active critic, but he has come to realize that he is only a common person. Art is not a salvation, neither is it everything one has in life. “Art is a veritable life,” he said. “Though life experiences may not show us the very essence of a person, one can only bring his wisdom with him at the end of the day.”

artistic tradition in his youth has now turned into a source for self-mockery. Ni

In this exhibition, In the Fine Dust is the collection that reflects Ni’s internal

says that he used to despise public painting and calligraphy demonstrations,

world the most. During his childhood, he was once punished by his mother

but with the transition of artistic trends, art has shifted from modernism to

and forced to wax the floor. Looking at the burnish of the floor, he found his

postmodernism, from the sacred to the secular, from pure art to a form of

consolation in the dustless air. He constantly tried to fulfill himself with art

entertainment. The righteous criticism in his early life has become a series of

in life, but now he tries to retract from it, which he attributes to a change of

playful remarks. Now Ni thinks that art performance is merely a presentation

mind. In fact, he didn’t have any chances to advance further during the decade

of one’s treatment of life. The distinction of higher or lower art only exists

when he was daring and energetic in his career. Life seems wealthy and

in the mind. The cultural gathering of the literati is indeed a fine tradition.

prosperous, but it fades away like a dream as indicated in the Diamond Cutter

The ink painting demonstration held on the opening day of the exhibition,

Sutra of the Perfection of Wisdom. Although every contact leaves a trace, it is

which brought together the museum director, professors, artists, art critics,

even easier to wipe out the trace. Glory and existence will eventually whither

and curators, serves as the best footnote for the modernization of traditional

and disappear without a trace. This peaceful and simple state of mind, neither

literati gatherings.

glory nor shame, is what he truly yearns for. Only the profoundness of ink

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painting makes one sentimentally attached. This enlightening inspiration has

In the 153-year reign of the Southern Song Dynasty when landscape painting

already surpassed the form of objects and displayed one’s true nature. The

reversed its center of development to south of the Yangtze River, under the

value and meaning of life, academic performance, art and reputation may

influence of the flourishing social and economic activities in Suzhou and

seem real at the time, but decades later, they will all vanish like flying ashes.

Hangzhou, the artistic achievements of the time could be as competitive as that of the Northern Song Dynasty. The continuity of tradition and the

The most interesting thing in life lies in the fact that the journey of

exploration of new possibilities opened a new phase of simplicity in ink

predecessors is always recorded in tradition and history. One must experience

painting. The situation may be parallel to the current situation, with the

it before seeing clearly the profoundness of life. Through the ages, the ups and

divided development of art across the Taiwan Strait following the Chinese

downs of a life might come in cycles, but Chinese classics, including the Song

civil war. Tradition and reformation, conservation and innovation, orthodoxy

Dynasty Wu Ke’s Canghai Shi Hua and Wang Guowei’s World Notes and

and unconventionality bring a revolution to quality and quantity all the time.

Comments on Earth, all indicate one and only one path to pursuing the value

Regardless of his consistent passion for ink painting, Ni has never taken it

of life: From innocence to self-awareness and from being doubtful and critical

as a responsibility that must be fulfilled. But perhaps this is the very reason

in the pursuit of knowledge to the awakening of the true self.

that Ni, with what he foresaw and what he did to break down the art form,

A look back to the early 1990s shows that Ni further did research on Tang Li’s landscape paintings in his publication entitled A Research on the Development of the Landscape Paintings Following the Court of the Song Dynasty’s Retreat to South of the Yangtze River. In the conclusion of the book, he observed: The Northern Song Dynasty was the time when Chinese culture was becoming mature and reserved. Away from the miserable times of the Wei and Jin Dynasties, Chinese art inevitably saw the falling of the intangible religious art that was forced to face reality […] Ever since the mid-Northern Song Dynasty, everything in Chinese culture underwent transformation. The objective simulation, style, and coloring in art developed in two extremes: realistic and symbolic. But despite this, the traces of history can still be seen vaguely — it is an inevitable path of becoming compatible to the development in the south.

will leave an ineffaceable trace in the field of Taiwanese contemporary ink painting, with an impact that could be more far-reaching than what we have seen thus far.

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當代館石瑞仁館長於展覽現場解說作品 Director of Moca Taipei J.J.Shih attended in Exhibition

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359

幽谷圖，1983-1992，水墨，89x33.5 cm A Deep and Secluded Valley

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361

返鄉時分，1993-1994，水墨，31.5x40.3 cm Time to Return Home

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363

山城農家，1991-1993，水墨，31.5x40.3 cm Farmhouse in Town

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365

山居圖，1991-1993，水墨，31.5x40.3 cm Living in Mountain

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367

山下農家，

，水墨， 194x290 cm ， Farmhouse at the Foothill 1989-2008

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369

山邊田野，

，水墨， 168x290 cm ， Hillside Field 1989-2008

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371

大肚山麓，

，水墨、紙板， 79x137 cm ， Dadu Foothill 1997-1998

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373

失落的山河，1998-1999，水墨，53x162 cm Lost Homeland

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375

山中河灣，2001-2004，水墨，70x137 cm River Bend in the Mountain

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377

山林與耕地，

，水墨、宣紙， 180x270 cm ， Forest and Land 1992-2003

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山林與山路，2002-2004，水墨、宣紙，136x136 cm Forest and Road

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，水墨、宣紙， 240x150 cm ， Right: In Between blue sea and islands 2003 ，水墨、宣紙， 243x150 cm ， Left: Flutter in the sea 2002-2004

右 在藍籃的大海與島嶼間， 左 在大海中漂遊，

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泳池與大海，2001-2004，水墨，176x190 cm Swimming Pool and Sea

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從世紀末到世紀初，

，水墨、水彩、粉彩、壓克力彩、宣紙， 180x280 cm ， From the End to the Turn of the Century 1992-2003

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從曼哈頓到觀音山，

，水墨、水彩、粉彩、壓克力彩、宣紙， 180x280 cm ， From Manhattan to Guan Yin Shan 1992-2003

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浮生錄(七)，2008，水墨、宣紙，177.5x96 cm The Way We Live Now No.7

浮生錄(四)，2008，水墨，96x355 cm The Way We Live Now No.4

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左 窗外．海景(二)，69x69，7 cm·水墨，2010 Left: Beyond the Window•Seascape (ii) 右 窗外．海景(四)，69x69，7 cm·水墨，2010 Right: Beyond the Window•Seascape (iv)

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左 窗外．樹叢(四)，69x69.7 cm，複合媒材，2010 Left: Beyond the Window•Bush (iv) 右 窗外．樹叢(一)，70x84 cm，複合媒材，2010 Right: Beyond the Window•Bush (i)

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倪氏訪談錄—從熱血改革到遊戲世間 訪談 / 張正霖 整理 / 林妤玲、羅裕瑛

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張正霖（以下簡稱張）：您如何看待這次展覽在創作生涯中的意

甚至還當過某個環保團體的領頭人物，策畫過很多抗爭活動。創作

義？

亦同，我實地去住過美濃、阿里山等地、感受土地，所以我早期的 山水畫沒有瀑布、雲海，也不可能出現梅蘭竹菊，有的就是眼睛所

倪再沁（以下簡稱倪）：首先我感到很意外，沒想到能有機會將我 所有作品一次展出。過去別人都是邀請我參加水墨展，或是近幾 年我所創作一系列古代繪畫的重現。很多作品都是我做完、展完就 算，有時連廣告都沒上，藝評也沒登，對我來說創作是一種內在的 慾望，想要去創造一個東西或緬懷過去的一段歲月，而不會在意有

見的南台灣，田野和山林畫得特別多。那是一個活得很猛的時代， 寫起文章來也就「兇」，批判性很強，所以當時應該得罪了全台灣 的藝術界， 《西方美術，台灣製造》就得罪了現代派，寫《中國水 墨．台灣趣味》就得罪了水墨派，寫《經濟的美術教育》又再得罪 了美術教育界，很多人對我相當不以為然。

沒有被看到。這個展覽對我來說是種回顧，開策展會議時，很多時 候石瑞仁館長說你當時在哪裡做了什麼，我都回答我忘記了。石館

張：當時您所提出的觀念，特別是1980年代，打開了一個討論主體

長是很細心的，他幫我記住很多我現在已經忘掉的作品。

性的面向，如今事隔20多年，這個概念發展到今天，其開展是否如 您所預期？

張：我們都知道您創作生涯的某一部分與南部有關，大約是在1980 年代（1980年代中至1990年代中），甚或可稱為「從南方開始」，

倪：這可分做樂觀面和悲觀面去看，樂觀面是：今天很多年輕人做

您如何回顧具奠基和轉折性的這段時期，包括其後的《西方美術，

的、詮釋的，經常都是自己或生活周遭的事，某種程度來說，大家

台灣製造》觀點？

的主體確實是放在台灣，但若更深入地去挖掘，其語言本身來自西 方的還是太多。由此面向思考，你可以說當初的主體性論述是起了

倪：那時候是熱血青年，到了一個非常草根性、感情非常炙熱的南

作用，也可以說其實沒發起什麼真正的作用。

方，（情感）就會被燃燒起來，在學術的一面則是談主體性、本土 化。為什麼我們畫的畫都是跟著西方的潮流走？為什麼要同樣地叫

張：您之前為了競選總統而發行過《愛ㄍㄡˊ報》以及《台灣雲

「超現實」、「超級寫實主義」、「普普」、「新表現」等創作類

報》，其中還是有很強的行為藝術參與介入的手法。

別呢？ 倪：《台灣雲報》那段時期我正參與環保團體，還有很多的社會實 有關美術主體性的觀念，事實上受到文學影響，我讀了很多台灣文

踐使命感；《愛ㄍㄡˊ報》則沒有，那純粹是調侃嘲諷，沒有什麼

學，台灣文學就是很清楚地意識到要寫自己的事，於是我反思台

使命感，我年紀已經大了，將之當作嬉笑怒罵。

灣美術為何使用別人的語言。當時這種很強烈的批判意識，跟整個 1980年代解嚴前後的環保運動，社會運動、自力救濟的興起也有關 係，無論是當時的黨外運動、或是環保運動，我都深入參與其中，

張：我們可以將之稱為另一種解構的過程嗎？

倪：或許可以這麼說。

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張：您能多談些關於《愛ㄍㄡˊ報》的事情嗎？

倪：我們小時候對國家民族的觀念是非常強的，常常桌子上放的箴 言是「博學，審問，慎思，明辨，篤行」，或「為天地立心，為 生民立命，為往聖繼絕學，為萬世開太平」。後來發現這些都是假 的，偉大的中國對我來說只是一個概念，我這個人翻轉是很激烈 的，「咻」地就轉到台灣來了。當時我大四，和楊茂林是室友，我 們主張國歌、國旗都要改掉，國號也可以改，還幫陳婉真、陳鼓應 發過傳單，還去聽康寧祥的政見，我自己買了一大堆當時查禁的雜 誌，可以說20多歲的我是一個熱血青年，覺得國民黨很腐敗，但並 沒有轉為藝術創作，到了1980、90年代，因為政治不那麼好表達， 所以某種程度就表現在畫上，有很濃厚的本土味，或是做環境藝 術。進入2000年以後，創作，我已經不相信國家了，不相信偉大神 聖的形態，所以《愛ㄍㄡˊ報》中強調大家不要愛國，甚至表示我 不愛台灣，還舉了一些小國家也能活得很好為例，證明千萬不要有 愛國意識，「愛國還不如愛狗」。雖然都是做報紙，但從《台灣雲 報》、《沁報》，再到《愛ㄍㄡˊ報》，其實改變很大。這次展覽 我會做一個《頑皮報》，第一版是關於美術館：我和石瑞仁已交接 完畢，要當館長。第二版是我辭掉館長要參選2012總統，第三版則 是我已經當選為總統，頒布施政目標。當我越是假借別人之口，表 示我還有理想；當我自己上場，反而是比較看淡、或是不相信的。

張：您做為一個另類的媒體大亨，這一系列的報紙有無任何回響？

倪：很多人很認真在看待，我舉一個好笑的例子，我把報紙拿到中 國去，看過的人都以為是真的，栗憲庭看完了《沁報》一整版面， 抬起頭來說：「哇！你在台灣很紅呢！我都不曉得你在台灣這麼重 要！」翻到第二版又驚嘆：「哇！還在報導你。」一邊看一邊感嘆

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我在台灣怎麼這麼重要，還入閣，連總統都來拜訪我。因為中國對

居。我思考什麼才是這個文化體系所認定的，便做了這番追究，想

媒體的管制是很嚴的，他們無法想像有個人可以自己做媒體。很多

恢復它們的原貌，恢復其最初純樸的樣貌。當我完成這項創作，很

人看到媒體都會當真，而我想要控訴的正是媒體不但是一種暴力，

多學水墨的人反而看不習慣，要蓋得滿滿地才看得慣，我說：蒙娜

還假到極點，就是一個以其意識形態和立場去亂說話的罪惡淵藪，

麗莎蓋50幾個章你會習慣嗎？這就是你住違章建築住久了，有一天

我以《沁報》證明媒體的暴力、不公正和自吹自擂，媒體就是一個

房子變得整齊清雅，反而不習慣。我消掉了違章才看得出〈月夜看

混蛋，用媒體來反媒體，然後再用媒體拆解國家意識，拆解大家的

潮〉一畫的原貌！天空多麼清朗！歷代都是加法，我則使用減法，

堅持，都是假的。

回復其純真的樣貌。後來念頭再一轉，也就成為我做「微塵裡」的 概念，難道我們真的是要把展場弄得越熱鬧、越驚悚越好？

張：從我的角度來看，您的《沁報》系列某種程度上還是在呼應台 灣本身特別的脈絡、價值觀與意識形態，可是反過來說，您晚近做

張：延續這個線索，您提到「把玩」與「性靈合一」，是與進入了

了一些關於經典古代水墨名畫的原貌重現，這是否跟台灣脈絡之間

另一個人生跨度有關，您現在似乎處於一個重尋「臥遊之樂」的狀

產生某種跳躍？

態，那麼上個階段、再上一個階段又是如何？

倪：辦報紙的源頭其實是我所寫的一篇文章，是我在上課的時候講

倪：我們在青壯年時都是標準的儒家，想要做一番事業、改革一些

述關於故宮三寶的內容：故宮三寶是一段「神畫」形成的過程。因

什麼，所以會得罪這麼多人是其來有自。我從事環境運動多年，包

為我的背景（碩士班時代）是研究南宋美術史，我對某些元代中國

括我到宋莊、到栗憲庭那邊，還清了一個垃圾坑、幫人種樹、做了

畫很有興趣，比如說〈富春山居圖〉、〈鵲華秋色〉或倪瓚作品，

一個亭子。只要環境不好我就會去改善，唯一停頓的時間是我住在

這些畫上面滿滿的都是印章和題跋，而且歷代著錄談很多，為什麼

東海大學，附近也沒什麼好改的。但我辭了館長到東海以後，就轉

三寶不是這些，而是北宋的那三張巨碑山水？我深入探討才發現，

入道家了，甚至開始畫以前最痛恨的四君子，水墨畫風從最早期的

北宋這三張畫被封為三寶其實是1960年代前後的事情，而且是美國

濃郁轉變為鬆弛，到最近幾年又再變得五彩繽紛。

學者吹捧拉抬的，天啊，故宮三寶的形塑過程竟然是如此，於是我 寫了〈神畫的形塑——論故宮三寶〉，並從中轉出我欲恢復文人畫 經典的意圖。同一時期，我跟學生講畫，說畫論文獻上記載這幅畫 是非常清朗、一片開闊，但上面卻都是印章和題跋，我一火大，就 說我把它們全部消掉，看看效果是不是和著錄說的一樣。我這件創 作的源頭，就是從主體性的立場看什麼是文化的瑰寶，而不是康德 美學的崇高雄偉悲壯。這或許也是因為我年紀到了，已經不喜歡那 種「大山堂堂」的東西，喜歡性靈合一、展卷把玩、可以遊，可以

張：您在東海美術系是水墨領域的專任教授，同時，我也記得您曾 經在一些場合談過作為水墨核心的「筆墨精神」，如何用此一精神 來解釋您的水墨創作？

倪：中國山水畫經過三個歷程，一開始是全境山水，懷抱了整個大 世界，這是北宋的山水，而後南宋山水便開始轉向微觀，一兩棵 不同的樹、一塊岩石就成了一張畫，畫家的視野從懷抱世界轉到一

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個小世界，元朝則再轉到心靈，那時候畫什麼就都不重要了，主 要是筆墨。吳鎮敦厚，倪瓚冷澀，八大孤絕，這就是筆墨精神， 管他畫雞畫魚畫山畫水畫松樹，精神生命皆能躍然紙上，表面上 來看所畫的對象雖越來越小，但反過來看，其精神力量卻越強， 筆墨是有精神的！所以我教水墨時，學生是可以交油畫作品當作 業的，只要材料、語言有精神性就都算數。在我看來，常玉的作 品、甚至莫蘭迪（Giorgio Morandi）也可算是水墨，學生都知道我 喜歡羅斯科（Mark Rothoko），喜歡畫馬畫狗的蘿森伯格（Susan Rothenberg），我愛其形象是一種假藉，真正傳遞的是語言本身的 力量；不是曲調而是音質。

張：您提到形象是假借，真正要探索的是背後的精神性，我們可以 用這樣的觀點來讀您的作品嗎？特別是水墨這區塊，您的水墨表現 相當多元，這也是來自同一種精神性嗎？

倪：現代人無法像過去那樣單純，前一天我也許在看〈四百擊〉或 是〈單車失竊記〉等經典的現代主義電影，但是過兩天我們可能會 看〈駭客任務〉或是〈全面啟動〉。今天資訊太雜亂。堅持一種原 則是現代主義的天性，但是到現在、生活在後現代的人這麼做卻會 違逆天性；在藝術上亦然，除非是我要賣作品，為了提供人們可清 楚辨識的品牌。關於此點，我有長久的思考，如我某個最大型的創 作計畫「皮包計畫」，親近我的人都知道，為此創作我花了很多 錢投入卻一直失敗：簡單的說，這個計畫要做的是「PDARA」、 「GICCU」、「ARNIMA」，一切反過來做，逆反品牌本身， 不僅價格比原品牌貴，設計與質地更要比他們好。可惜迄今尚未成 功。

張：這種追求比真實還要真實，無法無天的後現代精神，與您說過

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自己有隻腳是跨在現代主義的美學訓練，另一隻腳大部分是跨在水

我寫文章太快，卻不知道我做作品更快，你不可能寫了文章放家裡

墨的精神性，是否會帶來創作上的拉扯，或者說這種拉扯是有創造

不發表，但做完作品卻可以不發表。沒有啦……一切都是因緣嘛，

性的？

我覺得寫文章或創作都是想做就做，就是一個真實的人走過來的一 條藝術的路，沒什麼特別的了不起。比較特別的是，可能很多人不

倪：一定會有拉扯，我有時候甚至很迷惑。我一邊寫古代中國的美 學日誌，一邊批評、談論當代藝術，不可諱言會帶來某種錯亂。 林曼麗曾問我，為什麼會去做「原作重現」，學中國美術的人這麼 多，為什麼會是你？我說，學中國美術史又做當代創作的人不多，

知道，我跟肝病纏鬥了30年，最後輸了。我之前本來要去住院，但 醫生說開刀的條件不好，甚至不適合開刀，但我還很輕鬆地在這邊 談這個展覽。人到了某個年齡，年輕時該做什麼事，年老時做什麼 事，該做什麼就做什麼。

所以這件作品才會由我做出。我經常都在矛盾跟夾縫中生存，我激 賞某些當代藝術，也很眷戀偉大的傳統，無法分割兩者。就像我最

張：我們都知道，陳丹青旅居美國多年，後來回到中國寫了《退步

後對政治失去興趣，因為那太撕裂人。我熱愛台灣這片土地，也緬

集》，整合他的藝術哲學跟創作隨筆，不知道老師是否計畫出版一

懷悠久的文化，但在激烈的政治分化中，卻逼人一定要做出選擇。

套創作集？

張：您這種狀態可以稱做是真正的跨領域嗎？跨越了兩個衝突性的

倪：沒有特別的計畫。其實我寫〈神畫的形塑——論故宮三寶〉，

文化及系統。

其中有個非常強烈的、談主體性的意圖——台灣連自己的國寶都 失去主體性。我的文集中收錄了一篇〈大道何方－給青年藝術家

倪：我不是刻意要跨領域。我家很多人，照顧我媽的越傭看韓劇， 大嫂看購物台，我姐夫看DISCOVERY，我兒子看周星馳，電視 台打開，從第一台到最後一台我什麼都能看。吃東西、交朋友也一 樣，人家是往來無白丁，談笑盡鴻儒，而我往來的鴻儒多，白丁也 多。人本身界限不多，所以創作、寫文章的界限就不多。

張：您希望透過當代館這個展告訴藝術界的朋友跟觀眾什麼？如果 某種程度上這是個有回顧意義的展覽，就像每個大展會有一個理 念，您準備給觀眾什麼？希望他們從中得到什麼啟發？

的一封信〉，內容談到杜象（Marcel Duchamp）是法國思辨哲學 的產物，波依斯（Joseph Beuys）是宗教救贖的產物，沃荷（Andy Warhol）則是美國消費文化的產物。因為有那樣的文化，才能凝 結形塑出杜象、波依斯那樣的人，另一種文化則形塑出沃荷那樣的 藝術家。20世紀以來，我們搞當代藝術基本上不脫杜象、波依斯、 沃荷；我想請問年輕人，離開了這三個人，你自己的傳統是什麼？ 你們對儒、道、釋到底懂不懂？這些不只是中國的，也是台灣的， 甚至已然在台灣生根，你對這些傳統的想法是什麼，有什麼深刻體 驗？陳丹青寫《退步集》造成轟動，是因為他生在中國，回應著該

倪：一切都是因緣嘛，時間到你就做，勉強不得的，想做就做，高

處的獨特問題。而我們的作品，也應從自身的文化裡面生長出來，

興就去做，這世界不能想太多，想太多就做不了、想太多就沒有行

我常常思考這個問題，也如此期許。五十而知天命，天命就是知

動力。我在想跟做之間的距離很短，就像我想跟寫很快，有人嘲笑

「道」；我們努力過了，結果怎樣就不管它。

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張正傑〈倪氏訪談錄—從熱血改革到遊戲世間 〉、《今藝術》雜誌，1月 220期 p134-138

Ni’s Interview — From Fervent Revolution to the Playful Mundane World Interviewer: Cheng-Lin Chang, Organization: Shu-Lin Lin, Yu-Yin Lo

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Cheng-Lin Chang: What significance does this exhibition hold for

At that time, a strong critical sense was burning in me, and in conjunction

you in your artistic career?

with the various movements following the 80s liberation, including environmental activism, social activism, and self-help action, I was actively

Tsai-Chin Ni: First, I am very surprised to have this opportunity to

involved in the non-KMT political activities and also environmental

exhibit all of my works at once. In the past, people have always invited

movements at that time. I was even the head of an environmental group,

me to show ink paintings, or in recent years, I’ve created a series of

and planned many protests. It is the same with creating art. I’ve lived in

reproduced classical paintings. Upon the completion of many of my works,

Meinong, Ali Mountain, and other rural areas where I’ve felt intimately

they are often considered done; sometimes they are not even promoted

connected with the land; therefore, my earlier landscape paintings were

or critiqued. For me, to create is an internal yearning; a desire to create

not depictions of waterfalls, seas of clouds, or plum blossoms, orchids,

something or to reminisce about a time passed. I don’t really mind if they

bamboo, or chrysanthemums. The images conveyed were of the southern

are seen or not. This is a retrospective exhibition. During the curatorial

Taiwan before my eyes; I painted a lot of the fields and forests from that

meetings, Museum of Contemporary Art Taipei Director J.J. Shih asked

region. That was a time when life was full of vigor, and the writings I did

me several times about where I was or what I was doing when a particular

at that time were particularly “hostile” too, full of angst and criticism. That

piece was made, and my answers were always that I’ve forgotten. Director

was probably why I offended the entire art scene in Taiwan at that time.

Shih is a very meticulous person, and he has helped me to remember many

Western Art, Made in Taiwan insulted the school of modernism, and the

pieces that I have forgotten.

writing of Chinese Ink Paintings with Taiwanese Fun insulted the people

Chang: We know that a segment of your creative career is related to southern Taiwan, around the 1980s (from the mid 80s to the mid 90s), and it could even be referred to as “Starting at the

in the school of ink painting. The writing of Art Education offended the people in art education in the same way. Many people felt quite indifferent with me.

South.” In retrospect, how do you view that particular cornerstone

Chang: The concept that you proposed at that time, especially in

and turning point at the time? Also, please talk about your

the 80s, opened up an outlet to discuss the idea of subjectivity.

viewpoint on the later Western Art, Made in Taiwan?

Two decades have passed since then. Has the development of that

Ni: At that time I was a passionate young man, and had traveled to a very

concept turned out as you’ve expected?

rustic and emotionally ardent South, and one’s emotions would also be

Ni: We can view this from an optimistic or a pessimistic viewpoint. The

infected and flare up under that circumstance. Scholastically speaking, it

optimistic side is that today there are many young people making and

could be referred to as subjectivity and localization. Why are our paintings

depicting events happening to them or around them. At a certain level,

all following the Western trends? Why must we refer to them also as

people are making Taiwan the subjective core of their works. However,

“surrealism,” “hyperrealism,” “pop,” “neo-expressionism” or other art genres?

if we were to analyze it deeper, the language used is still composed of

About the concept of subjective art, it is actually quite influenced by literature. I’ve read a lot of Taiwanese literature, and the writers are all fully aware of the need to write about one’s own subjects. This made me think about the art in Taiwan, and why we use other people’s language for it.

many Western elements. If we view it from this perspective, you could say that the concept of subjectivity proposed at that time has evolved into something substantial, or you could say that it has not turned into anything concrete.

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Chang: You’ve published I-Go Paper and Taiwan Cloud Paper during the presidential election, and utilized strong performance art tactics in them.

Ni: During the time of Taiwan Cloud Paper, I was involved with the environmental group, and felt a strong sense of social responsibility. I-Go Paper,” on the contrary, was not as serious. It was purely based on satire and poking fun, and didn’t carry any sense of mission. I am older now, so I simply see it as making fun and goofing off.

Chang: Can we consider it a process of deconstruction?

Ni: Perhaps you could say that.

Chang: Can you talk in more detail about I-Go Paper?

Ni: When we were young, we had a strong sense of patriotism. We often had mottos placed on our desks reciting statements about the nation and the society. I later discovered that those are all false, and “greater China” to me is just a concept. I am the type of person that tends to turn around quite aggressively, and I took a speedy turn back to Taiwan. I was a senior in college then, and was rooming with Mao-Lin Yang. We were declaring that the national anthem and national flag all needed to be replaced, and the national motto also. We also made fliers for Wan-Zen Chen and Gu-Yin Chen. We went to hear Ni-shian Kan’s political speech, and I bought a whole bunch of banned magazines at that time. I was an enthusiastic 20-something young man at that time, and felt that the KMT was failing and corrupted. I didn’t turn to art until the 80s and 90s, but politics being difficult to convey, at a certain point I turned to expressing myself through paintings with artworks that were saturated with localism or pieces for environmental protection. Coming into the year 2000, I no longer had faith in the nation and didn’t believe in any stance with sacred or great agendas behind it. This is why I-Go Paper asks everyone not to be patriotic, and even declares that I don’t love Taiwan. Examples of some small countries getting by quite well were raised as proof, and warned

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everyone that it’s better to love a dog than to love the country. Although

on returning classical ink paintings to their original states are

they were all newspapers, the difference between Taiwan Cloud Paper,”

they intended to create a certain jump away from the context of

Chin and I-Go is quite vast. For this exhibition, I will be coming out

Taiwan?

with Naughty Paper . The first issue is about the art museum, where I’ve taken over from J.J. Shih, and will become the director. The second issue

Ni: The origin of publishing newspapers is based on a piece of writing by

says that I’ve resigned from being the director and will run for the 2012

me. During class, I was talking about the three treasures of the National

presidential election. In the third issue, I’ve been elected president and

Palace Museum, and there is a process of how these three artworks

announce my political goals. When I speak through other people’s mouths,

became glorified legends. Because of my background (my graduate school

it is an indicator that I still have ideals; however, when I represent myself,

days), I studied the art history of the Southern Song, and I am quite

it is actually an act of detachment and skepticism.

interested in Chinese paintings from Yuan Dynasty, such as Dwelling in the Fuchun Mountains and Robins in the Autumn or works by Zen Ni.

Chang: As an alternative mediaholic, have you received any

The works are all scattered with various marks of seals and inscriptions.

response to this series of papers?

Furthermore, many works were discussed throughout history. Why were none of them selected to be the crowned three treasures, and instead it had

Ni: Many people are viewing them quite seriously. I will give one funny

to be those three particular landscape pieces from the Northern Song?

example. I took the papers to China, and many people thought they were

I researched it further and discovered that these three pieces were not

real. Upon reading a full page of Chin Paper,” Xiang-Ting Li exclaimed,

crowned the three treasures until after 1960, and it was due to praise from

“Wow, You are quite well known in Taiwan! I didn’t know you were so

American scholars. My gosh! The process of the forming of the National

important there!” And as he turned to the second page, he exclaimed

Palace Museum’s three treasures was unbelievable, and this is why I

again, “Wow, it still reports about you.” As he was reading, he continued

wrote The Shaping of the Legendary Paintings ― On the National Palace

to be surprised at how important I am in Taiwan. Even the president pays

Museum’s Three Treasures.” I expressed in the writing that I would like

a visit to me, as I have become an important cabinet member. Because

to bring back the intended classic images painted by the ancient literati.

China exercises strict media control, it is unthinkable for them that

At the same time, I talked with students about paintings, and discussed

someone could make their own media. Many people take the media as

how on the documentation it was stated that a particular painting is

the truth. What I want to criticize is that media is not only just an act of

intended to be refreshing and unrestrained; however, what we see now

violence, it is overtly superficial. Through Chin Paper, I wanted to prove

is that it is covered in seals and inscriptions. I was so angry that I said I

that the media is violent, unjust and full of its own agenda. They are the

would erase them all to see if it would result in the same effect as stated

origin of sin with the crap that they put out. The media is a jerk, and to use

in the documents. The initiative for this series of works is to view from an

the form of the media to counter the media, and then to use the media to

objective standpoint what is considered to be a cultural treasure, and not

dismantle national conscience, is aimed at proving that what people have

just some lofty grand tragedy. Perhaps it is because I’ve reached a certain

been adamant about is all false.

age and no longer appreciate things that are “grandiose.” I like to combine

Chang: From my point of view, your Chin Paper to some extent corresponds to the particular context, values, and conscience in Taiwan. However, to come back to talk about your recent works

the characters with the spiritual side, and to playfully toy with the art scrolls, and to wonder and to dwell. I think about what is accepted by this cultural system, and I conducted an investigation as an attempt to return it

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to the original. To return to the most pristine state. Upon the completion of my endeavor, many people practicing ink painting were not used to such a clean slate; they have grown accustomed to seeing a painting covered in seals. For this, I asked them, “If the Mona Lisa were covered in 50 seals, would you be used to that?” It is because you’ve lived in this illegal construction for too long, and one day when the place is cleaned up, you feel out of place. By expunging the illegal fixtures, I am now able to see the original state of Tide Watching on Moonlit Night! The sky in it is ever so clear! In the past, people have added to it; I’ve taken the approach of subtraction to revert it back to its pure form. And then later upon a reversion of ideas, I took this concept and turned the exhibition space for In The Fine Dust to be as busy as possible, with many shocking factors.

Chang: Following this line of thought, you mentioned that “playing” and “combining character and spirit as one” are related to the entering of the next phase in life. You seem to be in a state of rediscovering the “joy of wondering.” In that case, what was the last phase like, and the phase before that?

Ni: When we were in the prime of our lives, we were the standard followers of Confucianism. We wanted to make a great career and change something, and that drive was what caused me to offend so many people along the way. I was involved in environmental activism for many years, and even when I was visiting the Songzhuang Artists Community in Beijing, visiting Xiang-Ting Li, I even helped to clear up a waste dump, plant trees, and make a gazebo. If I see an environment that needs improving, I will go head and do it. The only time that I’ve stopped doing that was when I lived in Tunghai University. There is nothing around there that needs to be changed. After I resigned as the director of Taiwan Fine Art Museun and moved to Tunghai, I was converted to Taoism, and even started to paint what I used to despise, the “Four Gentlemen.” My ink paintings went from the earlier richly saturated style to becoming loose and relaxed; however, in recent years, they have become vivid and bright again.

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Chang: You are a professor of ink painting in Tunghai’s Art

Ni: People today can no longer live a simplistic life as in the past. One day

Department, and I also recall you talking on some occasions about

I could be watching classic modern movies, such as The 400 Blows or ,

the “spirit of the brush and ink.” Could you explain your ink

and the next day I could be watching or Inception. The information of

paintings through the concept of this specific spirit?

today is very complex and messy. To insist on one principle is the nature of modernism, but in today’s time, for post-modern people to follow that

Ni: Chinese landscape paintings have gone through three progressions. In

doctrine would be against their nature. It is the same for art. Unless I want

the beginning it was all about the mountains and the waters, and it tried

to sell my works, then I will offer to the people a clearly defined brand.

to embrace the entire world; this is the style of the landscape works from

I’ve spent a long time thinking about this. For example, I have a very

the Northern Song. Following that, the landscape works of the Southern

large creative project, “The Bag Project,” that people close to me all know

Song began to focus on the less obvious, and then Ma Yuan of the Yuan

about. I’ve invested a lot in this project but it is still a failure. Simply put, I

Dynasty made paintings with just one or two different tress or even a

want to make “PDARA,” “GICCU,” and “ARNIMA,” to revert everything

piece of rock. The artist’s perspective went from embracing the world into

about those brands, and to make products that are more expensive than

focusing on a microcosm and further turned to the spiritual. And from that

the originals with higher quality and better materials. However, I have yet

point onward, the subject of the painting was not important anymore. It

to be successful with it.

was all about the brush and the ink. Wu Zhen was robust and Ni Zen was cold; the “eight extraordinaires” were all about the spirit of the brush and

Chang: This pursuit for a reality that is more genuine than the

ink, and it didn’t matter if they painted chicken, fish, mountains, water, or

actual reality is unquestionably post-modern. You mentioned that

pine trees. The spirit of life was able to leap on the paper. From the outer

you have one foot riding on the aesthetic training of modernism

appearance, the subject of the painting may seem to be getting smaller;

and another stepping on the spirit of ink and brush works. Does

however, if viewed from a different perspective, the spirit within was

this stance bring any tug-and-pull when you are creating, or in

becoming more powerful, with the spirit exuding itself from the brush and

other words, does this pull have any creative purpose?

the ink! Therefore, when I teach ink painting, students are allowed to turn in oil paintings as homework. As long as the medium and the language

Ni: There is bound to be some tug-and-pull, and sometimes I feel very

used contained a certain spirit, it counts. To me, works by Chang Yu and

perplexed. On the one hand, I am writing journals on classic Chinese

even Giorgio Morandi all could be considered ink paintings. My students

aesthetics, and on the other hand, I am doing critiques on contemporary

all know that I like Giorgio Morandi and Mark Rothoko, and also Susan

art. There is no doubt that this brings a certain sense of confusion. Man-

Rothenberg, who painted horses and dogs. I like the fact that the image

Li Lin once asked me why I am doing the Returning to Original; there

portrayed is just a disguise, and what’s real is the power coming from the

are so many people trained in Chinese arts, why you? I replied that there

transmission of the message contained.

aren’t a lot of people out there learning about Chinese art history and also making contemporary art, and this is why I am the maker of this series.

Chang: You mentioned that the image is just a disguise, and the

I often dwell between the cracks of irony and try to survive. I admire

real exploration is with the spirit contained inside. Could we use

contemporary art and am also mesmerized by great traditions; I can’t

the same perspective to view your works? Especially with the

separate the two. It’s just like why I finally lost interest in politics, because

genre of ink painting, you use ink to express in a very diverse way.

it is too dividing. I love Taiwan and also adore extensively long culture.

Is it derived from the same spirit?

However, standing amidst the dividing political turmoil, it is demanded

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that one make a choice, pick a side.

Chang: Could what you’re doing be considered a true interdisciplinary practice? The crossing of two conflicting cultures and systems?

Ni: I do not intentionally try to be interdisciplinary. [Smile.] I have a lot of family members, and the Vietnamese help that takes care of my mom watches Korean soap operas, and my sister-in-law watches the home shopping network, and my brother-in-law watches Discovery. My son likes to watch movies by Stephen Chou, and as for me, I can watch anything on any of the channels. Eating and making friends are the same way. Usually people like to say that one should try not to talk so much with the common people and try to mingle with the grand and the educated.

However, for me, I do not hold such restraints; I am surrounded a lot by both. Therefore, I do not hold any confinements for my art or my writings.

Chang: What do you have to tell the friends and audience about this exhibition at the Museum of Contemporary Art? At a certain level this is a retrospective, and as with every big exhibition, there is always one central concept presented. What are you bringing to the public? What kind of inspiration do you think they could get from this?

Ni: I think it’s about a predestined cause. When the time is right, you will do it; it can’t be forced. If it makes you happy, just do it. Don’t think too much, because if you do, you won’t be able to act. For me, there is a very short distance between thinking and doing. I think and write very fast, and some people have made fun of how fast I write, but they don’t know that I make art even faster. It’s not common to write something and not publish it, but art doesn’t have to be published. Well, everything comes down to the predestined cause. I think if I want to write or create, I do it. This is just a path that a real person has traveled; there isn’t really anything so special about it. What’s worth mentioning is that perhaps not a lot people know that I have been battling liver disease for three decades, and I’ve lost

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in the end. I was supposed to be hospitalized, but the doctor told me the conditions necessary to operate aren’t ideal.

However, I am still here talking about this exhibition as if nothing is wrong. When a person reaches a certain age, what needs to be done comes with ease; there are things one should do in one’s youthful days and also things to do as one gets older.

Chang: There is this artist that we are all familiar with, Dan-Qing Chen, who has lived in the US for several years and has returned to China and wrote the Regression Collection, which is an attempt to integrate and compile his art philosophies and also some creative informal writings. Do you have any plans also to compile a creative publication?

Ni: There isn’t a particular plan. When I wrote The Shaping of the Legendary Paintings – On the National Palace Museum’s Three Treasures, within that piece, there is a very strong intent to talk about subjectivity. Taiwan has even lost the subjectivity to its own national treasures. Amongst my collection of writings, there is a piece that is a letter to young artists, and it talks about how Marcel Duchamp is the product of French speculative philosophy. Joseph Beuys is the product of religious salvation, and Andy Warhol is the product of American consumerism. Because of those cultures, Duchamp and Beuys were formed. Another culture created artists like Warhol. In the 20th century, people in the contemporary art world can’t step away from Duchamp, Beuys, and Warhol. I would like to ask the young people, aside from these three, what is your own tradition? Do you know anything about Confucianism, Taoism and Buddhism? These are not strictly Chinese; they are also of Taiwan too. Since your root is here, what are your thoughts on these traditions? Do you have any profound experiences? When Dan-Qing Chen wrote the Regression Collection, it caused quite a stir. It is because he was born in China and is responding to the unique questions there.

For our own works, they should also be derived from our own culture. I often contemplate this, and this is what I strive for. When one reaches the age of 50, one should know about fate, and it is important about fate to have a sense of “knowing,” which is to say that we’ve tried and put forth efforts, and as for the outcome, it’s not so important anymore.

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台式新普普 : 從聲東擊西到百花齊放 —兼探倪再沁的跨領域縱橫藝術 文：曾長生

414

台灣的藝術發展近年來，已逐漸由形式、媒材的探究，進入

宋畫以及其整體創作背景的細膩理解，即有超越此領域的學者之處。

跨領域、跨文化時代。倪再沁是台灣少數在跨領域的實踐上有深入体

美國堪薩斯大學藝術史博士吳超然，讚許倪再沁研究宋畫的心得報

會的藝術家，無論從文學、美學、藝術史、藝術創作、藝術行政到藝

告。比如說，他把南北宋的山水畫發展比喻成 「有如西方十六世紀到

術教育，幾乎與藝術文化相關的領域，他都有很深的涉入，且有其獨

十九世紀，亦即由文藝復興到浪漫時代的變化過程」。其次，倪再沁

到的見解與做法。此次台北當代藝術館所舉辦「媒體大哼∼倪再沁特

又把中國山水繪畫從北宋初期到南宋時代的風格一一從西歐的文藝復

展」，即是藉由倪再沁的跨領域藝術創作表現，呈現解嚴以來台灣當

興、巴洛克、洛可可到浪漫主義找出其中的類似性。

代藝術多元發展的情態與趨勢。 此誠如余英時在〈史學、史家與時代〉一文中對十九世紀德 當代藝術與現代藝術最大的區別就在於，藝術創作、藝術展

國史學者蘭克 (Leopold von Ranke)史學所做的反省：「今天的學院裡

覽乃至於藝術言說，無一不與社會脈動緊密連結，一九八七年之後的

面檔案性的研究很多，如果沒有一些人將它綜合起來，這些千千萬萬

台灣藝壇生態，處處可以找到這種反應由下而上的新歷史主義趨向，

的專題研究，都沒有了生命。今天散在無數種專門性刊物中的歷史論

而倪再沁即親身濃縮集結了這種台灣式的新普普特質。從媒體即是訊

文，如果沒有人把它們的結論綜合起來，加以融會貫通，那麼這些論

息，到媒體即是一切，他的藝術創作不僅跨越了傳統的藝術定義和界

文便只能是歷史的研究，而不配叫做史學。」

線，也充分發揮了「打著媒體反媒體」的當代批判精神。 2、左諷右剌

倪再沁的藝想天開 2006年三月二十四日∼四月二日大選前夕，當時仍在擔任東 倪再沁在藝術圈闖蕩已三十餘載，難得的是他的藝術探索

海大學創藝學院院長的倪再沁，創作了另類當代藝術，以「三號總統

仍然保有童心般的初體驗心情，他曾這樣描述他的藝術初体驗:「仔細

候選人」之姿出版「愛ㄍㄡˊ報」，倪再沁還比較兩陣營候選人。他

想想，這個問題不好回答，因為每個階段都會有不同的美感經驗。剛

說，馬英九是善良會讀書的帥哥，比較適合選好人好事代表，蕭萬長

上大學時接受的是梵谷熱烈的情感，快畢業時嚮往的是高更深鬱的心

是專業且精準的技術官僚，適合當部長；謝長廷是機智且左右逢源的

靈，後來行走藝壇才體會到塞尚睿智的觀照，這些大師的作品在不同

精算師，當律師比較好，蘇貞昌則是敏銳且火力十足的批判者，當民

時刻給了我不同的初體驗，直到如今依然如是，這就是藝術令人著迷

意代表最適合。

的原因吧 ! 」 在〈愛ㄍㄡˊ黨理念聲明〉中，倪再沁則說：「愛ㄍㄡˊ黨 現在我們就約略地談一談倪再沁的跨領域縱橫藝術特色。

是『無』色主義者，因為『無』為所以不會陷在框框裡，既非藍也非 綠也不是中間派，因為什麼都不是所以沒有大是大非，這就是『空』

1、聲東擊西 倪再沁可謂「學貫東西」，就以藝術史的研究言，倪氏對於

性，唯有「空」才能接納一切，唯有如此才能『無所得』，這是遠離 顛倒夢想的究竟法門，在愛ㄍㄡˊ人士看來，腦子裡只有統獨藍綠就

415

是『無明』，內心深處有如此深的怨恨和恐怖，非常可悲，台灣現在

治實體隨著當代主體、客體的相互廝殺，使台灣到處充斥著政治性議

都是這些心有障礙的人，難怪我們的幸福指數那麼低。」。好一個左

題，而後現代主義的破碎、斷裂、解構、多元以及民族、國土、文化

諷右剌的倪再沁，真是有膽有識。

間交雜的曖昧模糊關係，讓台灣整體環境處於搖擺不安的狀態中。

3、百花齊爽

如今在西方，一種新類型(自省性和對話性)的史學已經誕 生，他們想要創造一種有關人民、生命韻律、工作和死亡的新歷史。

倪再沁對創作的看法始終認為，作品完成後就應該交給觀 眾去評斷，創作者不宜多言，以免影響觀者的看法，我們就以倪再沁 最引人爭議的雕塑作品「台北怪談」為例，見識一下他驚人的創作手 法。

大眾文化不只是各種社會利益的反映，那更是一個論述衝突的舞台， 透過這些衝突，某些特定的身份認同與主体性得以形成。如今人們不 再壁壘分明，要嘛主張政治主要只是一個受利益考量支配的遊戲，要 嘛主張政治只是由社會關係所決定的附帶現象。相反地，來自不同傳

此作品油畫的前身是漫畫, 漫畫的前身則是個笑話, 一群狗搞 在一起被畫成兩、三百號的巨幅油畫後, 就具有了超現實的力量, 如今 改成雕塑, 那種荒謬感就更突出了。作品通常得有個名字, 當笑話看是 「哪一隻最爽」, 當藝術品看則變成了「叢林記事」、「同心協力」、 「倪氏預言」, 不管用什麼名字, 最重要的還是要看作品的造形力量, 除 此之外, 別想太多了。

謝鴻均評稱：當代藝術的明顯策略是藉著具有「爭議性」 的議題來切入討論主題, 而「台北怪談」則以性慾的「怪異」、「爭 議」、「笑鬧」等爭議鬧劇手法, 以配合當今政治情色時事, 並揭露當 代人在思考上的無知。或許情色的頹廢表象會讓衛道人士深感威脅, 但 且看藝術家誘人且邪門的笑意, 扮豬吃老虎的心機,他大辣辣地震撼了人 們對荒謬藝術的感官性回應, 用力過猛, 將我們甩醒了, 於是,渾沌已久的 心靈就此稍稍甦醒。

結語: 新歷史主義下的台灣新世代空間意識 由於台灣過往歷史的特殊性，蕞爾小島上混合了日本、中 原、美國和台灣的雜交性文化，政治上則背負著歷史悲情的包袱，政

統的歷史學者現在都極為重視對政治論述與政治文化的研究，如今我 們逐漸相信政治領域有相對的自主性。

同時，也正因為台灣位處於亞太地區既邊緣又交匯的時空坐 落點，其原住民加上來自大陸各地區華裔移民的傳承交融，經不同時 期外來族群(荷、西、日、美)文化的沖激，其文化藝術演變也自然受到 「原始思維」的生命力，以及「跨東方主義」的多元性等機緣因素之 影響，而此一既原生又多元的「跨文化」獨特條件，在華裔當代藝術 發展史上，理當成為台灣藝術家的基本優勢。(本文為節錄稿)

Neo-Pop Art in Taiwan: From “Through the East and the West” to “The Blooming of Art” with a Study of Tsai-Chin Ni’s Cross-Disciplinary Art Creation

By Pedro Tseng

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In Taiwan, the current development of art has gradually moved from an

1.Through the East and the West

era of forms and media exploration to an era of cross-disciplinary and cross-cultural practice. Tsai-Chin Ni is among the few artists in Taiwan

Ni has indeed learned from the East to the West. In terms of the history of

deeply involved in almost every aspect of art and culture –– ranging from

art, Ni’s sophisticated understanding of paintings from the Song Dynasty

literature, aesthetics, art history, and art creation to art administration

and the backgrounds under which they were made might have surpassed

and art education –– and has developed his own distinctive perspectives

the other experts in this field. Wu Chao-jen, who obtained a Ph.D. in Art

and practices. Through Ni’s practice of cross-disciplinary art creation, the

History from the University of Kansas, speaks favorably of Ni’s studies on

special exhibition Mediaholic –– Arts of Tsai-Chin Ni launched at the

paintings of the Song Dynasty. For example, Ni compares the development

Museum of Contemporary Art Taipei illustrates the diverse development of

of landscape paintings between the Northern Song Dynasty and the

contemporary art in Taiwan following the lifting of martial law.

Southern Song Dynasty to the art development between the 16th century and 19th century, i.e., from the Renaissance to the Romantic Period in

The main difference between contemporary and modern art lies in a

the West. Furthermore, Ni studied the similarities between the styles

close connection between the social context and the creation, exhibition,

of Chinese landscape paintings from the early Northern Song Dynasty

and criticism of contemporary art. This bottom-up tendency of New

to the Southern Song Dynasty and the styles of Baroque, Rococo and

Historicism can be found everywhere in the Taiwanese art environment

Romanticism in Western Europe.

after 1987. Ni embraced all the characteristics of Taiwanese Pop Art. From the concept that “the medium is the message” to the idea that “the medium

In his Historiography, Historians and the Times, Ying-Shih Yu reflects

is everything,” Ni’s art creation not only goes beyond traditional definitions

on German historian Leopold von Ranke’s concept of history: “Today,

and boundaries of art, but fully demonstrates the contemporary criticism of

there exist many documentary studies in academia. If nobody synthesized

“using the media to fight against the media.”

them, then these hundreds of thousands of case studies would be lifeless.

Likewise, if nobody synthesized the conclusions of those historical

Ni’s Wild Fantasy of Art:

dissertations in numerous specialized publications, these papers are at most historical studies and would not be qualified to be called historiography.”

Even though Ni has been in the art industry for more than three decades, he still keeps a childlike heart of wonder and awe when exploring the arts.

2.Ni’s Sarcasm and Mockery

He has once described his first experiences with art: “Come to think of it, it is not easy to answer this question as in every stage, there are different

In the run-up to the presidential elections between March 24 and April

aesthetic experiences. When I first went to university, I was immersed in

2 in 2008, Ni, who served as the dean of the College of Fine Arts and

the intense feelings of Vincent van Gogh’s works. But towards graduation,

Creative Design at Tunghai University at the time, created an alternative

I became attracted toward the gloominess of Paul Gauguin’s works. It

contemporary artwork by publishing a mock newspaper entitled Ai Gou

was not until after I entered the art industry that I started to appreciate

News seeing himself as the third presidential candidate. Comparing the

the wisdom of Paul Cézanne. These great artists’ works gave me different

other candidates representing the ruling and opposition parties, Ni said

experiences at different points of time. It is still the same way now. I guess

that Ying-Jeou Ma is a kindhearted, intellectual and good-looking man, who

this is why art is so fascinating.”

would be better off running to be a model of good morals and deeds. His running mate Vincent Siew is a professional and precise technocrat, more

Now let’s take a brief look at the characteristics of Ni’s works.

suitable to serve as a minister, Ni said. Frank Hsieh, on the other hand, is a

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witty and resourceful actuary, who would be better off working as a lawyer.

a ‘contentious’ issue to get to the topic of discussion. ‘Who is the Happiest’

His running mate Su Tseng-chang is a shrewd and aggressive critic who Ni

employs the farcical technique of portraying the absurdity, contention and

said should is run in councilor elections.

mockery of a sexual desire along with current political sex scandals in an attempt to disclose the ignorance of modern people’s thought. Perhaps the

In his statement of patriotic belief, Ni said: “Ai Gou Party is a ‘colorless’

erotic and decadent appearance of the sculpture may have posed a threat

political party. Because it has no affiliation toward the pan-blue camp or

to those defending traditional moral principles, but the artist’s appealing

the pan-green, it is not self-confined and will not be involved in the right

and eerie smile and his craftiness bluntly serve as a blow to the sensible

and wrong on issues of major importance. This is the nature of ‘emptiness’

responses of people toward absurd art. When the blow is too powerful, it

as a doctrine in Buddhism. Only by going ‘empty’ in mind can one accept

will awaken us and thereby the long-lasting bewildering soul will slowly

anything and understand that there is ‘nothing obtainable.’ It is the only

begin to wake up.”

way to break away from illusory desires. Those who only care about independence and unification are deluded. It is very pathetic for one to have

Conclusion- Taiwan’s New Age Spatial Consciousness Under

such deep resentment and fear. Taiwan is full of this kind of people, and

New Historicism:

they have mental obstacles. No wonder our country’s index of happiness is so low.” It was very daring for Ni to say so.

Due to the particularity of Taiwan’s history, this tiny island boasts a hybrid culture of Japan, mainland China, the United States and Taiwan.

The Blooming of Art

Politically, Taiwan carries a burden of historical sorrow. The constant disputes between the ruling and the opposition parties have made Taiwan

Ni’s perception of art creation has always been the same: When a piece of

rife with political issues. The ambiguity and obscure relationship between

work is completed, it should be left for the audience to judge. The creator

ethnicity, territory and culture makes Taiwan lie in a vacillating and

should refrain from giving too much opinion lest it affect the thoughts of

insecure state.

the viewers. Let’s take Ni’s most contentious sculpture work, Who is the Happiest, for example and see his astounding art creation techniques.

In the West, a new type of historiography (self-introspection and dialogue) has emerged, a type of new history with regard to people, life rhythm, work

The predecessor of this sculpture is an oil painting based on a caricature

and death. Popular culture is not only a reflection of various social interests

that was inspired by a joke. When an image of a group of dogs mating

but a stage of portraying conflicts, through which certain identification

together is portrayed on a huge canvas as big as 300 standard postcards,

and national consciousness thereby take shape. Nowadays, people are no

it is endowed with a surrealistic power. When the image is turned into a

longer in clear-cut confrontations. They argue that politics is either mainly

sculpture, the sense of absurdity is even more striking. An artwork usually

an interest-driven game or merely a subsidiary phenomenon decided by

has a name. “Who is the Happiest” is the original title of the joke, but when

social relations. By contrast, historians from different traditions now all

it becomes an artwork, the name is changed to The Chronicles of Jungles,

attach great importance to studies of political discourse and culture. We are

Work Together with One Heart and The Ni Prophecy. Whatever the

gradually convinced that the political field is relatively autonomous.

name, it’s the form of the artwork that matters most. Other than that, don’t think too much.

Meanwhile, Taiwan is located at the converging point in the Asia Pacific region, witnessing the blending of Aborigines and Chinese immigrants.

Juin Shieh’s comments: “The apparent strategy of contemporary art is to use

Through the stimulation of foreign ethnicities (Holland, Spain, Japan

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and the United States) at different times, Taiwan’s cultural and artistic development is naturally influenced by the vitality of “primitive mentality” and the diversity of “trans-orientalism.” This original and unique crosscultural nature has inevitably become the fundamental advantage of Taiwanese artists in the development of contemporary art for people of Chinese descent.

大挪用再造的台灣大風景與歷史 —用快到來不及思考的方式看倪再沁的創作回顧展 文：黃海鳴

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倪再沁1955到2010年的大事年表，就像一個小風景

大風景的

哼，做了再說！

歷史，疾病在他的身體內部長年肆虐，他也用這附於疾病對抗共存的 關於「媒體大哼」，用台北當代藝術館展覽特刊2010年12月

身體，在百病叢生的台灣，處處、時時留下他揭露病態，對抗病態、 對抗衰弱、改變體質的介入痕跡。

15日星期三出刊的展覽特刊上面的說法：「……90年初又因從事環保 運動成為環境藝術創作的先行者；之後有感於政治惡質與媒體霸權

他一口氣讀了廿年的《雄獅美術》雜誌，他一口氣讀了卅年

憤而自辦媒體為己喉舌，甚至還曾結合候選人惡搞『選戰』而轟動一

的《藝術家》雜誌，將其中的問題及精華抽取出來，加以批評，以及

時；還有把四隻狗排成一列的〈台北怪談〉雕塑，不僅令人絕倒還躍

加以詮釋延伸。透過閱讀二百四十本《雄獅美術》，他寫了《藝術家

上頭版新聞……。媒體大哼，也可說大哼媒體，有一口氣要吐出來就

台灣美術》，透過閱讀三百六十本《藝術家》雜誌，他寫了《台灣當

怒而發之，不管時間、地點，也不在乎人多、人少，更不在意是順、

代藝術通鑑》。對於高雄藝術生態的長期觀察，他寫了《高雄現代美

是逆。這就是身為創作者的倪再沁，他的個性就是——哼，做了再

術誌》，台灣美術的地景被他精要地呈現出來，沒有哪個人曾經下過

說！」仔細觀察，他的批評帶有某種直觀，他的批評對象也是不分藍

這麼多的功夫。除此之外，還有對於台灣工藝、台灣公共藝術等發展

綠的。

的整理。90年代初，他那篇弄得滿城風雨，啟動兩年多的本土國際論 戰的〈西洋美術，台灣製造〉，也應該被提及。我們可以這麼說，他 的言論、行為多少影響了整整一代人對於台灣藝術的理解。他巨大的 影響力和善於透過媒體掌握時代脈動，以及善於運用大眾媒體傳達個 人有針對性的理念有關。

當「媒體大哼」與「媒體大亨」結合在一起，那大概包括了 運用媒體，操作媒體，扭曲事實，創造利益，以及懂得運用媒體批判 媒體，甚至懂得運用媒體批判社會、改變社會等等相當對立的特質。 策展人把最懂得運用媒體

批判媒體

批判時事的倪再沁的整個創

作，放在「媒體大哼」的題目下來展開，是一個相當厲害的策略。

媒體大亨的霸氣 我這裡要用進一步的方式，也就是「改造台灣社會地景、 對於媒體有深刻理解的策展人石瑞仁，用【媒體大哼】做

改造台灣美術歷史地景」的方式來看待大約類似的操作。倪再沁對於

為這個回顧展的標題，很傳神地掌握了倪再沁的創作特質。「媒體大

「大」情有獨鍾，我所下的標題〈大挪用再造的台灣大風景歷史〉中

亨」是什麼意思？「媒體大哼」又是什麼意思？兩個名詞合併在一起

足足用了兩個大字，有點誇張，但是要改變台灣，要提高影響力，一

又是什麼意思？關於「媒體大亨」，這邊的幾段描述當今第一媒體大

定要做大、做久，做久、做大，倪再沁觸碰的東西無一不大。

亨梅鐸的文字，能夠很傳神地突顯：「梅鐸的媒體帝國不斷擴張，是 好是壞尚難以斷定，但他在媒體界縱橫捭闔，歷多年而不衰，堪稱 『媒體經營之神』。」倪再沁確實有他自己的報紙，他可以在上面完 全主控內容及方向，他也寫了大量的多少有點主觀的藝術生態普查的 專書，他確實有一些「媒體大亨」的霸氣。

台灣藝術與個人心境的量繪形貌 公共建設1%的公共藝術資源非常的龐大，甚至還遠遠多過台灣幾個美 術館加起來的典藏經費，而公共藝術在台灣各地不斷地增加，如果沒

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有一個嚴格的把關機制，將會是嚴重浪費資源，甚至也會擾亂城市地

藍藍的大海與島嶼間〉、〈山中河彎〉、〈在大海中漂流〉，而且使

景。倪再沁帶著學生遍查台灣實施公共藝術政策以來的所有公共藝術

用的顏色還是很地中海的藍色。這似乎很不倪再沁，因為這裡面有一

與周邊環境的關係，這是國土普查層級的工作。在回顧展第一個資料

種虛無的美感，這是他曾經批判過的特質。

展示間桌上的無數資料及數十本專書出版，很能夠傳達他的這種社會 介入型的藝術態度。

在當代美術館最大的二○一室中的主要牆壁上，呈現了倪 再沁對於台灣的不同描述，在〈從世紀末到世紀初〉及〈從曼哈頓到 觀音山〉這兩件巨作中，他給我們的幾乎是台北城市世紀末的景象。 遠景看起來都像是觀音山，可是在聖山前面密密麻麻地堆疊了又高又 密、毫無章法的建築團塊，幾乎像是由垃圾所構成的城市建築聚落。 除了建築的外表之外，他那種特別的鉅細靡遺，並且同時表現內裡及 外表的透明表現法，讓人感受到在密不通風的建築團塊之中，有各種 能量，充滿各種慾望的、正面的、負面的、醜陋的，在裡面穿梭、流 轉、糾結。這幾件描繪台北城市的作品，可以說是淋漓盡致，驚心動

足跡終會消失．精神卻恆留微塵中 在這展場的另一邊，他用虛擬的方式把大家耳熟能詳的中國 水墨名作上的歷代皇帝加在上面的印章提字從原作上除掉，還原回溯 了這些名作上面的景色情境，它也改變了水墨歷史的風景。我們可以 把絕對的政治權力加在藝術上面的印章、文字和人類在大自然上造成 的汙染，以及藝術家在環境中所製造的霸氣的介入悄悄地等同起來。 在2008年7月21日至31日台中創意文化園區的個展中，就展出非常低調 幾乎看不見的創作，只留下曾經擺放過作品的痕跡，並且圖說上他是 這麼寫的：「在大陸看到的一個流行現象是——藝術家介入一個空間 後，喜歡用霸氣的藝術姿態徹底改變這個空間，我喜歡的是一種很謙 遜的做法——尊重現況、保留環境原貌，我的作品輕輕地來過，足跡

魄。

終究會消失，但精神留在微塵中。」 在另一邊，例如像在〈山林與耕地〉、〈山林與山路〉這幾 件作品，他用水墨的手法畫台灣的大山大水，不因為大或是遠看黑黑 一片，而忽略細節。這些作品乎是鉅細靡遺，倪再沁用水墨再造了台 灣的大山大水，在他的筆下，大山大水以另一種姿態重新復活。就在 觀眾眼底下，這些台灣大山水以一種有機的秩序在現場生活與變動。 台灣的田野風景當然沒有那麼和諧，因為濫墾及濫建已經破壞了整體 的美感。而在他的大山野田園的作品中，我們看到的是很自然的和諧 秩序與低調溫潤的生機，他必然除掉了許多人工的添加物及濫墾留下 的傷口，那是一種回溯的工程。

在一件運用科技的互動影像作品中，觀眾站在舞台上，他 的影像也會被擷取呈現在巨大的螢幕上，但是，不用多少時間，這些 影像就逐漸消解，變成微塵，然後隨風飄散於無形。這裡我們看到大 量減法的藝術操作，不光是一種操作，也是一種物萬物皆空的感歎。 在「回塑者」環境與行動藝術系列中，包括了高雄市柴山、愛河兩 岸、中正文化中心庭園、四維路與民權路交街口、扶輪公園等行動地 點。倪再沁說：「於是，我擱下畫筆，走入自然裡另謀出路。然而， 深入觀察，看到的是已奄奄一息的自然，工業文明和人性貪婪是它的 頭號天敵，為了『回塑』既往，尋找往昔生意盎然的自然，我被迫揭

就在兩種巨大的山水之間，是一種完全逃離塵世的表現，那

竿而起，不過，那是極為沉默的行動，只是靜靜地做，做完靜靜地離

是一個沒有任何其他人會打破他的安靜的渡假的個人世界，例如〈在

去。」這裡當然有所謂不強勢干擾生態的謙卑，但是這裡也有強烈的

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靠個人力氣無以回天的感慨。

反轉過度西化藝術地景的未竟志業 事隔多年，倪再沁的〈西洋美術，台灣製造〉仍然記憶猶 新。顯然倪再沁並不全然地反對做為成長輔助工具的西方文化。在這 個展覽中，有兩個系列能夠清楚地表現出他所能夠接受的運用西方元 素的方式。在「畫中仙─廣告看板，既是媒體也是藝術」的這個系 列，整個展場放了幾十幅手繪的廣告草稿，當然有不少國片，例如 「英雄」、「台北人」、「北斗神拳」、「夢中夜」、「水滸英雄 傳」、「金瓶梅」、「笑傲江湖」、「艋舺」、「竇娥冤」等等，其 中也不乏西方的名著，例如《罪與罰》、《哈利波特》、《魯賓遜漂 流記》、《少年維特的煩惱》、《灰姑娘》、《三隻小豬》、《白雪 公主》、《地獄變》、《十日談》、《飄》、《一千零一夜》、《基 度山恩仇記》、《瘟疫》、《老人與海》、《鐘樓怪人》、《戰地春 夢》、《小飛俠彼得潘》等等。有趣的是，他一人身兼「電影製片 人、導演和電影看板畫師，包辦了電影的劇情與圖象、安排卡司、公 關文宣等不同工作，一方面自吹自擂『倪氏出品，必屬佳作』，另一 方面，當場為自己貼上金棕櫚獎、紐約時報五星獎等集所有光環榮耀 於一身的廣告文案」，上面這段精采的文字是石瑞仁寫的。我覺得這 裡面最重要的是他將所有外來物，不管是國外的、國內的材料，透過 他全面的介入，變成他融合了複雜多重源頭的生命產物，而且是很台 灣的。(本文為節錄稿)

黃海鳴〈大挪用再造的台灣大風景與歷史—用快到來不及思考的方式看倪再沁 的創作回顧展〉 、《藝術家》雜誌，2011年3月429期 p182-187)

Great Moves to Reconstruct the Great Landscape of Taiwanese History: A Look at the Retrospective Exhibition by Tsai-Chin Ni in a “Too-Fast-To-Think” Fashion

By Hai-Ming Huang

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The chronicle of Tsai-Chin Ni’s life between 1955 and 2010 is like a history

the survey of Taiwan’s art landscape. He does demonstrate the air of a

of both himself and the outer environment. Afflicted with disease for years,

domineering media tycoon.

Ni leaves the marks of his battle against and exposure of the morbidity of Taiwan as well as transforming the constitution of the heavily ill country.

Humph, Just Do It!

After reading twenty years of Lion Art magazine and thirty years of Artist

On Mediaholic, the December 15, 2010 edition of a special exhibition

magazine, Ni criticized and interpreted the problems and the good parts

program published by the Museum of Contemporary Art Taipei says: “In

of the magazines. Ni writes Artist: Art in Taiwan and A Comprehensive

the early 1990s, (Ni) became a pioneer in environmental art creation as he

Mirror to the Contemporary Art in Taiwan after reading 240 issues of Lion

was involved in environmental protection campaigns. Later on, he launched

Art and 360 issues of Artist respectively. Based on a long-term observation

a newspaper to speak for himself as he was angry at political deterioration

of the art environment in Kaohsiung, Ni composed A Record of

and media hegemony. His mockery of the presidential elections even caused

Contemporary Art in Kaohsiung. No one else has ever made such an effort

a sensation. What’s more, the sculpture of Who is the Happiest, with four

to present the art scene in Taiwan as well as the development of Taiwanese

dogs mating front to back, not only sent a shockwave through the public

craft and public art. “Western Arts, Made in Taiwan,” a contentious article

but also made the headlines. Mediaholic seems to be used by Ni to defy

that sparked off a heated discussion between local and international critics

the media and vent a grudge against it, regardless of time, place and public

in the early 1990s, is worth mentioning. It is fair to say that Ni’s statements

opinion. This shows exactly the freewill of Ni as a creator – Humph, just do

and behavior more or less influence his generation’s interpretation of art

it!” With a careful observation, one can find that Ni’s criticism is subjective

in Taiwan. His enormous influence has to do with his capability to keep

and indiscriminate of political affiliation.

up with the pulse of the times through the media and express his personal viewpoints by means of mass media.

The Domineering Media Tycoon

When a media magnate promotes Mediaholic, it involves manipulating the media, distorting the truth, creating interests and using the media to criticize the media and the society. It is a rather skillful strategy to demonstrate the reasoning behind Ni’s creation under the name

Having a deep understanding of the media, curator J.J. Shih curates

“mediaholic.”

Ni’s retrospective exhibition Mediaholic, which vividly represents the distinguishing characteristics of the artist’s creation. What does “media

Here I will use a similar strategy to look at Ni’s work, which reconstructs

tycoon” mean? What does “mediaholic” mean? And what do these two terms

the landscape of Taiwanese society and art history. Due to Ni’s special

mean when they are put together?

preference to “greatness,” I use the word “great” twice when giving a title to this article. It may be a bit of an exaggeration, but it takes “great efforts” to

On “media tycoon,” here is a description of media magnate Rupert

change Taiwan and enhance impacts.

Murdoch: “The media empire of Rupert Murdoch is continuing to expand.

It is difficult to determine whether it is good or not, but he has been able to maneuver among various groups in the media industry for years. It can be said that he is the God of Media Management.” Indeed, Ni has his own newspaper in which he can completely control the direction of contents, and he writes a large number of somewhat subjective books focusing on

Taiwan’s Art and Artist’s State of Mind The budget for public art accounts for one percent of the funds appropriated for the country’s public construction. That is a great amount of money, which is even far more than the collective funds held by all the public fine art

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museums in Taiwan. Public art is showing signs of increasing in Taiwan.

escaping from the mundane world. It is a peaceful and personal world

Without a strict screening mechanism, it may result in a serious waste of

without any interruptions, as shown in Among the Vast Blue Ocean and

public resources and damage to the urban landscape. With his students, Ni

Islands, Around the River Bend, and Floating around the Vast Ocean.

looks into the relationship between public art and its surroundings since

These works also use the color of Mediterranean blue. This seems to not

public art policy was put into practice. This is at the same level as the work

fit Ni’s style, as the nihility seen in these works is the same that he has

of a national land resources survey. On the tables in the first information

previously criticized.

display room at the retrospective exhibition are the numerous documents and scores of published books by Ni, which fully convey his way of using art

Footprints Will Eventually Fade Away While the Spirit

to make an impact on society.

Remains in the Fine Dust Eternally

The main wall of Exhibition Room 201 at MOCA displays Ni’s different

As for the works at the other end of the exhibition hall, Ni removes the text

depictions of Taiwan through his two large pieces, From the End to the

and stamps from well-known Chinese ink paintings in an attempt to restore

Beginning of the Century and From Manhattan to Guanyin Mountain. In

the original scenery of these masterpieces. This move also changes the

these two masterpieces, Ni gives the audience the image of Taipei at the

landscape of the history of Chinese ink painting. We can equate the stamps

end of the century. With Guanyin Mountain in the background, layers of

and texts that represent political power inflicted on art with the pollution

disorganized highrises almost look like a community made up of garbage.

that humans cause to the nature as well as the domineering influence that

In addition to the appearance of the buildings, the great detail and the

artists make on the environment. The solo exhibition, which had been

transparent way of presenting the inner and outer look of the buildings

displayed in the Taichung Creative and Cultural Park from July 21 through

lead one to feel as if there were all kinds of energies and desires – positive,

31 July in 2008, shows almost invisible creations and the traces of works that

negative, and ugly – traveling between the buildings. The depiction of

had been exhibited previously. One caption says: “A popular phenomenon I

Taipei City in these works is indeed outstanding and astounding.

have observed in China is that when an artist intervenes in an environment, he or she likes to use the domineering nature of art to change the entire

On the other side of the exhibition room, there are works like The Woods

space. I prefer a more humble way – respect the status quo and keep the

and Arable Land and The Woods and the Mountain Trail. Employing the

original appearance of the environment. My footprints will eventually fade

technique of ink painting, Ni does not ignore the details just because the

away, but the spirit will still remain in the fine dust of the air.”

object is large or in the background. Rather, he re-creates the mountains and rivers in Taiwan with great detail. Under his pen, the mountains and

The environmental mobile art series Restorer of Nature includes places

rivers revive in another form of life. Under the eyes of the audience, the

in Kaohsiung city such as Chaishan, the Love River, the plaza of the

mountains and rivers live and change in an organic fashion. However, the

Kaohsiung Cultural Center, the intersection of Siwei Road and Minquan

real scenery of Taiwanese countryside does not exist in such a harmonious

Road, and the Central Park. “So, I put down my brushes to find another

way, as illegal cultivation and construction have destroyed the overall beauty

way out into nature. Yet, after a close observation, I only see a dying nature

of the scenery. In Ni’s pastoral works, we see a natural and harmonious

struggling in the hands of industrial civilization and the greed of human

order as well as a humble vitality, restoring the origin by erasing the wounds

beings. In order to ‘restore’ the past to find the vigor in nature, I am forced

left by artificial supplements and illegal cultivation.

to declare a war, a war with extremely silent action. I come quietly, and leave quietly when the war finishes,” Ni says. Clearly, one can see Ni’s

Between the two walls are the works that present a life philosophy of

modesty of not forcibly intervening in nature and his frustration of not being

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able to change the world on his own.

An Unfinished Task of Reversing the Overly Westernized Art Landscape Many years have passed. “Western Arts, Made in Taiwan” still remains fresh in the memory. It is clear that Ni is not entirely against Western culture serving as a supporting tool. In this special exhibition, two series clearly show the ways of employing Western elements that are approved by Ni. In the series Illustrious Illustrated – Billboards of the Media and of Art, scores of hand-drawn advertisement sketches are displayed in the exhibition venue.

Of course, many of them are made for domestically produced films such as Hero, Taipei People, Fist of the North Star, Ten Nights of Dreams, All Men Are Brothers, Forbidden Legend of Sex and Chopsticks, The Proud Youth, Monga, and The Injustice to Dou E. Among the sketches, there are some made for Western classics, such as Crime and Punishment, Harry Potter, Robinson Crusoe, The Sorrows of Young Werther, Cinderella, Three Little Pigs, Snow White, Hell Screen, The Decameron, Gone with the Wind, One Thousand and One Nights, The Count of Monte Cristo, The Plague, The Old Man and the Sea, The Hunchback of Notre-Dame, A Farewell to Arms, and Peter and Wendy. Interestingly, “as a film producer, director and movie billboard painter, Ni takes care of everything from the plots and images of a movie to its promotion and advertisement. He not only boasts that all his works are of excellent quality, but goes on to label himself winner of a Palme d’Or and a five-star award from the New York Times in the advertising text.” That is a quote from J.J. Shih. In my opinion, the most important message of this quote is that Ni turns all the materials, either foreign or domestic, into works with vitality through his complete interference. These works are all Taiwan-oriented.

愉悅的作品及工作的逾越：倪再沁的跨域創作 文：林宏璋

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從作品媒材及風格分類思考倪再沁創作，其水墨、繪畫、

倪再沁的身分正如他作品是多重的，不但是藝術家，也曾

裝置、行動、雕塑、科技藝術等格式表現有著豐富面向。在他的繪

經擔任過美術館館長，也是教育者、藝評人、策展人及藝術管理等等

畫中西合璧的技法與題材、詼諧的日常題材與山水並置，呈現傳統與

身分。倪再沁作品（work）與工作（work）中的「多」，這種平行關

現代並置；在雕塑中過度挪用現代藝術經典作品，如《台北怪談》

係可視為一個意義整體，由這個「自我反觀」邏輯中蘊含概念思考倪

以及《超超扁平》等作品；針對消費社會藝術生產，如昆斯（Jeff

再沁的遊戲（play），例如打亂展覽中的場地、物件、社會與觀眾之

Koons）、沃荷（Andy Warhol），及村上隆（Takashi Murakami）

間的權力關係等等，其間所牽涉到美學、語義、歷史、經濟觀點，以

作品的再次消費；又如架空展演場所的裝置（如《回塑者》以及《微

及規訓

塵裡》裝置）討論微型的空間表演性；「原作重現」中利用電腦修圖

之間的轉換，是評論者也是創作者，是管理者也是教育者，是歷史研

方式呈現水墨傳統讀者及擁有者的歷史斷面等等；以及利用報紙以及

究也是社會研究。這種經由將作品對象化做跨越類別的特性，將原本

政治活動所進行對奇觀社會的突刺（如《凍蒜、凍未條》及《選舉嘉

個別專業規訓混合與雜化的概念操作，其任務不再是一個涇渭分明的

年華》）等。這些複雜多樣作品難以歸納為單一創作主題及創作材

劃分，而立場是靈活的，因為變動不是遊戲本身，而是遊戲規則的改

質，因為在每個階段作品展示中，倪總是重新處理作品的物理與功

變。換言之，倪再沁作品中的多樣性是在於專業與規訓基礎中變動。

類型上文化主體的意義，這種跨越的基礎在於不同專業角色

能，更改材料的選擇及安排，甚至其整體印象與模式、所屬的空間特 質（社會空間及展演空間）、這種重新配置藝術家與作品的關係，好 似宣告每個倪再沁展出方式就是展覽主題，換言之，創作中「更換」 （renew）性質本身就是其主題。

這呼應著知識生產的跨界研究，尤其在藝術領域中，當代藝 術原本做為創作藝術文化的實踐成為批判與評論生產本身。可以說， 這種「遊戲」在於重新配置文化的關係，並非僅僅是嬉鬧；而是植基 在論述（discursive）實踐的方式，經由多元角色將原本場域中事、物

不過，如果我們因此而推論，「多樣、多變」就是代表著

與現象對象化所形成的創作狀態。因此，必須在既有背景與環境中，

在藝術創作中「後現代精神」的一種遊戲，認為由「多」所產生代表

改變物件、人、事、地方、場域與的脈絡操作，利用這種方式持續

著「越界」與「顛覆」，認為藝術創作如同衣裳僅僅是表面功夫（擬

地建構其本身的語義空間，這種概念化的實踐取代了物件形式生產，

像），將倪的多樣性做為藝術追求可能性的創新與實驗，認為這是藝

「判斷」與「研究」成為創作主軸。這是在倪再沁作品經由「認定」

術「恣意為之」的愉悅舉動，或是風格及美學中「流變」等等符號的

與「宣稱」標識的美學樣態，其多樣性實際上是跨域所呈現的批判行

運作，那會失去思考倪再沁作品「多樣及多變」特性中所涵蓋在專業

為。在「原作重現」中，倪再沁利用數位版畫方式呈現山水畫原作，

（profession）及規訓間的跨域創作的實踐意義，如此一來，我們會忽

出發點雖然是在西方藝術「挪用」與「現成物」技法，但是從文化史

略無法歸納的美學規訓（aesthetic disciplinary）之真正意義，這裡意

觀點考究讀者反映（reader response）與印璽的改變（例如斷代階段

味著在遊戲與工作、才情與作品之間當代藝術辯證關係的顯現，更為

式的呈現），也是中國繪畫傳統中讀者與擁有者（ownership）身分

重要的，是忽略了體現在作品中地位階級及權力在「跨域」（trans-

重疊的問題，這是在中國繪畫中特有的方式；因而「原作重現」重現

disciplinary）所扮演的位置及角色。

不僅僅「原作」而已，而是原作在文化及創作意義的不可能。這個作

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品的另一個層面是原作與複製所隱含的文化轉譯問題，藉由作者的宣

另外一個重要線索，在於當代藝術展示機制中對於意義生

稱「據為己有」，作品的文化屬性之不可歸屬：「西方媒材？中華主

成的競爭。換言之，重新宣稱擁有作品意義的詮釋權，而奪回這個權

題？」，還是「中華媒材？西方主題？」等問題，呈現屬於文化場域

利，必須更主動將作品做為將為「觸媒」或「道具」，調動著觀眾的

的現象；或者是作品中特意回應故宮館藏的政治社會事件，將宣稱為

判斷，因此將原本呈現作品「品質」的藝術生產，轉向為調整判斷品

己的作品做為一個政治寓言的操作。這些複雜的面向，必須將作品做

質標準的媒介。換言之，藝術家位置從單純生產者轉而為監控與調動

為論述方式的開展。

生產的運作，這種藝術呈現的方式，是當代展演重要特性。在藝術發 展的過程中，標識著這個轉折是在1972年史澤曼（Harald Szeemann）

藝術發展過程中，這種跨域論述操作，並非偶然。最為明 顯的線索是藝術觀念化之操作方式，從杜象（Marcel Duchamp）到觀 念藝術再到機制批判的作品中，觀察到這種以作品做為論述形式的方 式，將物件為主的具體生產，轉移到將觀念對象化，並聯繫其相關元 素，做為結構作品的藝術形式。其中「去技術化」特徵是必然的，因 為在概念化的過程中必須重新定義作者、作品與觀眾間之關係，並因 此動搖了作品做為一個整體（entity）之屬性，換言之，正是作品位 階及作者權（authorship）及原創性（authenticity）重新配置的關係。 參與創作過程、意義生成、美學經驗等是以「脈絡」做為藝術創作的 構成方式，藝術因此總是在「裝置」模式下進行，其意義在於字面及 象徵意義上，總是有意標識周圍空間並安置與其中策略。這是為何在 倪再沁作品的開展方式，必須將對象做為推演的展現，同時也必須將 論述者

作者投入對象之中，與之抗衡，也就是作品呈現的空間本身

轉換為創作本身的一部分，這個展示策略的重點是把作品放入物理與 社會的雙重脈絡之中。這種操作方式，在倪再沁的報紙類型（《沁 報》、《台灣雲報》、《愛ㄍㄡˊ報》等）的作品中是特別明顯的， 一方面聯繫著當時的媒體社會議題，將自己化身為媒體人物；另一方 面，其發放報紙又不限於畫廊空間的展出品，這種創作位置所產生的 移動透過不同觀眾屬性、呈現方式，成為一個未曾規範的範疇，這是 在概念化創作中所形成的特殊形勢。

所策畫的「卡塞爾文件展」（Documenta, Kassel，以下簡稱文件 展）所引發的一連串事件，在展覽中，史澤曼開始破天荒對展演下 了策展標題「調查現實：今日的影像」（Inquiry into Reality: Today's Imaginary），一方面表示藝術家角色的「去專業化」，同時也是策展 將藝術家作品做為其作品（指展覽）的組件。當時一些參展藝術家對 於這種決定意義的策展方式不滿，其中一些藝術家在雜誌上刊登文章 及廣告，或是以作品回應，更有些藝術家如賈德（Donald Judd）、 莫里斯（Robert Morris）則退出展覽，布罕（Daniel Buren）則是出 版自己的展覽畫冊，並在展覽空間中各處安插自己的作品，這種對於 作品展陳方式的改變，可視為對於藝術作品意義詮釋權的爭奪，更是 一種對於藝術家工作及身分的再次界定。在第五屆文件展中的各種爭 議與抗爭，其重要歷史在於當代展演中藝術家工作不再是單純的生產 作品，或是從作品生產意義，而是強調取得生產意義的位置與手段。 換言之，在當代展演中藝術家必須與策展人位置抗衡，經由藝術與相 關論述的界定做為策展的實踐，提出對於擁有意義者位置權力批判。 這個事件延續到現今的版本，正是霍夫曼（Jens Hoffman）在2005年 提出的《下一屆的文件大展應由藝術家策展》（The Next Documenta Should be Curated by An Artist），其意義在於創作者必須逾越本身之 工作

作品做為積極生產的角色，在不同的場景中，彈性的擴張其作

品，將藝術家工作為與觀眾互動的媒介，機動靈活的界定藝術實踐的 有效性。

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這兩條在藝術發展中的線索是做為瞭解倪再沁作品中「多樣 性」之註腳，同時也試圖在這個意義下思考「跨域」創作的意義，因 為重點不是在於題材的多樣，媒材的豐富等等表象，而是於跨越及逾 越做為在認識論上跳躍。做為跨越原本規訓（學科）的行動，這正是 端賴一個對於古老的成對概念work/play的重新詮釋，並重新配置其關 係的美學實踐，一方面標識在當代藝術中純粹美學凝視的不可能，因 為它被「懸置」，放入「括弧」之中做為被評論與思維的對象，同時 也呈現了一種他者的凝視，歷史、文化與社會大主體的「返回凝視」 （returning gaze），透過作品告訴觀眾面對著一個裝置場景，如同舞 台陳設，做為創作者擺弄道具。這是在「影像化」、「媒體化」等概 念之外，詮釋倪再沁作品的另一個路徑，同時也是當代藝術做為規 訓、專業及知識生產的考量，對於藝術家及作品

工作重新位置的調

整，其積極意義之所在。（本文為節錄稿）

林宏璋〈愉悅的作品及工作的逾越：倪再沁的跨域創作〉、《今藝術》雜誌， 2011年1月220期 p131-133)

Pleasant Works and the Transcendence of Work: Tsai-Chin Ni’s Trans-Disciplinary Artworks

By Hong-Zhang Lin

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When we look at the creations of Tsai-Chin Ni, we find many different

Tsai-Chin Ni plays different roles in the art world. He is not only an artist,

types of artworks, including ink paintings, Western paintings, installations,

but also an educator, an art critic, a curator, and an arts manager; and he

performances, sculptures, and technological art. From his paintings we

formerly held the position of director of the National Taiwan Museum of

can see the combination of Eastern and Western techniques and themes.

Fine Arts. The richness of Ni’s art creation and his different identities can be

Humorous stories from daily life and scenes of nature were both used as

regarded as one thing. The way he distorts the relationship between places,

subjects for some of his paintings, and classical and modern styles can be

objects, society and the public is related to aesthetics, language, history,

found in one single artwork.

economics, discipline and culture. He changes his identities by assuming different positions. He is a reviewer and a creator, a manager and an educator,

In sculptures like Who Is The Happiest? and Super Superflat, he takes on the

a historian and a sociologist. The mixture of his identities makes his position

themes of many modern works. He also makes use of the works of Jeff Koons,

very flexible. It’s not the “play” that changes; it’s the rules of the “play” that

Andy Warhol, and Takashi Murakami by reusing the subjects of their works.

change.

Ni’s works Restorer of Nature and In The Dust are installations dependent on the space where they are shown. In the Back To The Original series, he

This responds to trans-disciplinary research of knowledge production, which

digitally removed many collectors’ seals from ancient paintings. Ni hopes to

refers especially to the field of art. Contemporary art first plays a role as the

clear up the relationship between the collectors and their works. In Election

practitioner of art and culture, and then it becomes a critic and commentator

Eruption he used newspapers and held political activities to criticize our

itself. That is, the game of reconfiguring cultural relationships is not just for

weird society. It is difficult to generalize about these complicated and diverse

fun. Instead, based on discursive practice and through multiple roles, original

works under a single theme, because at each exhibition Ni displays his works

objects and phenomena become subjects of art creation. As a result, in certain

in different ways. He uses different materials to create his works, changes the

backgrounds and surroundings, the contexts of objects, people, things, places

presentation format, or reorganizes the relationship between the works and

and fields has changed, so the semantic space of the artworks should expand

the artist. It seems that “renewal” is the spirit behind each exhibition.

continuously. The practice of conception replaces the production of artworks.

"Judgment" and "research" become the main route of creation. The aesthetics

However, if we assume that "diversity and change" are the driving

of Tsai-Chin Ni’s work is known through "identification" and "declaration,"

characteristics of post-modern art, or if we think that “massiveness” will break

and the richness of his creation represents the critical thought of trans-

boundaries, or if we think that art creation is as superficial as the changing

disciplinary art.

styles of fashion (Simulacrum), we will fail to understand the true meaning of Ni’s works. Moreover, if we consider the richness of Ni’s works as some

In the Back to the Original Landscape and Artworks series, Tsai-Chin Ni

kind of renovation or experiment, or if we think that Ni creates his art works

reproduced the original landscape paintings into digital prints. This kind of

simply from his mind, we will miss the pointof his art. Furthermore, we

art creation was initiated by Western art techniques such as "appropriation"

would misunderstand the true meaning of the aesthetic discipline, which is

and the "readymade.” Classical Chinese paintings have often been stamped

the revelation of a dialectic relationship of contemporary art between play and

or written on by their owners, making it difficult at times to know who the

work, talent and artwork. Most of all, we might ignore the important roles

original artist is. The Back to the Original Landscape and Artworks series

of status and power that have great influence on the field of trans-disciplinary

not only displays the original art but also exposes one problem: There is not

art.

an “original” work that could represent its “original” meaning. The series also shows the problem of cultural transmission that occurs with the reproduction of original works. An author can make the announcement: I own the artwork!

429

Yet what is the cultural attribution of the artwork? Is it Western art with an

contemporary art, the Documenta, which was curated by Harald Szeemann

Eastern theme? Or is it Eastern art with a Western theme? Perhaps the series

in 1972, was an important turning point. Szeemann called the exhibition

by Ni is only a reaction to some social political incidences caused by policies

Inquiry into Reality: Today's Imaginary. This indicates that artists need

of the National Palace Museum. All these complicated reasons have been

not be “professional.” Meanwhile, the artworks are only components of the

inspirations for his artwork.

curator’s work-the exhibition.

It is not accidental that the conception of trans-disciplinary art has operated

Some artists were dissatisfied with the curatorial mode and wrote articles and

alongside the development of art. The most obvious evidence is the idea of

advertisements about this issue; Others responded through their artwork.

art that comes from works of art from Marcel Duchamp to Conceptual Art.

Donald Judd and Robert Morris pulled out of the exhibition, and Daniel

When artworks become the practice of a certain concept, “production of

Buren published his own exhibition catalog and placed his works throughout

specific objects” turns to the “realization of ideas.” Furthermore, it is necessary

the exhibition space. The exhibition changed its way of presentation and

to reduce the importance of “technique.” In terms of the conception process,

a contestabout the interpretation of artworks began. Moreover, this made

the relationship between the artist, the artworks and the audience must be

people redefine the identity of the artist. All the controversies and resistance

clarified again. In other words, the status of the artwork, its authorship, and

during the fifth Documenta reflect one truth: Artists aren’t the only ones

its authenticity will renew their relationships.

responsible for giving meaning to their creations. Artists and curators should balance their power and work together on the base of related conception.

Art creation is completed by its meanings, aesthetical experiences, and audience participation. Therefore, artworks are always presented as

Documenta continues to present similar debates. In 2005, Jens Hoffman

installations. Ni not only made the concept of the artwork by himself, but was

published The Next Documenta Should be Curated by An Artist, in which

also deeply involved with each piece. Even the exhibition space itself becomes

he said artists should go beyond their works and become active producers. An

the ground of the creation.

artist should extend creation to different spaces and act as a type of media that can interact with the audience.

The Newspaper Series of Ni, including Chin News, Taiwan Cloud News, and Tenacious News, show this kind of operation. He pretended to be a

The above-mentioned ideas provide us with some clues to understand the

media professional who cares about social issues very much. These fake

artworks of Ni well. At the same time, we need to think about the meaning

newspapers are not just to be seen in exhibition spaces. Instead, people can

of trans-disciplinary-art again. Trans-disciplinary art doesn’t simply refer

get them at different locations and in different ways. These series are good

to multiple subjects and media. In fact, it refers to the transcendence of

examples of “conceptual art,” as they are the realization of a certain concept.

Epistemology. It indicates that it’s not possible to see contemporary artworks in classical ways, for they have become objects that are to be criticized judged.

In the world of contemporary art, there is some competition in interpretation.

It represents “the gazing of others,” which refers to “the returning gaze” of

Many artists intend to take the right to interpret a work of art from the

history, culture and society. This is another approach for us to understand

audience and critics. As a result, artworks are no longer artworks. They have

the art of Ni. Through this approach, we will know the positive meaning of

been used as instruments to influence the judgment of the audience.

contemporary art regarding the production of professional knowledge.

Beyond their original function as artworks, are a medium of ideas. This is the most important characteristic of contemporary art. In the history of

紛紜天地，寂寥宇宙─倪再沁老師 與台北當代藝術館大展 文：薛仁明

430

一般人看倪老師，總覺得他不按牌理出牌，包括這回。

迥異於一般的當代藝術家，他傳統深、積澱足，畫了幾十年 老掉牙的水墨，還興沖沖地要展更老掉牙的「四君子」；他的水墨，

且不說他的雕塑作品〈台北怪談〉，當年惹來多大的譁然； 也不說他的《沁報》等報紙作品，引起了多少的驚奇；更別說十二年 前，他在館長任內，策劃了當時在台灣名氣尚遠遠不及今日的蔡國強 引爆台灣省立美術館的「不破不立」，那回爆破省美館，一陣騷然， 煙硝所至，有多少人對那個倪館長目瞪口呆抑或議論紛紛？

他的不按牌理出牌，就即便是自己最鍾情的水墨，也不放 過。他的水墨，文人畫，畫有濃墨大山、瀲灔藍海，在大山大海間， 他卻偏要畫個游泳的人兒，還一頭撞到了山壁，或是一旁有著鯊魚環 伺；怎麼看，都煞風景；這是倪氏水墨。倪老師畫水墨，愛水墨，更 講水墨。他一直在東海大學教水墨，大陸的中央美院以及北京大學，

明白地受了江兆申、余承堯的影響，動輒也向倪瓚、常玉等人致敬。 他的後頭，有個溥實深厚的老舊傳統，因此，他的「家底」雄厚，出 手便闊綽，絕不寒磣。所以，我們看到了這回他展的「原作重現」。 他將中國古代書畫名作上頭的收藏印章以及題跋，一一清除，還這些 名作一個本來面目。這〈原作重現〉，既是他浸淫中國水墨數十載的 作品，也是他的當代藝術作品。這些名作上頭累積數百年的「違章建 築」，只有當代才有能力清理；而這樣絕妙的構想，也得力於倪老師 素常的不按牌理出牌。倪老師這回的除魅，顛覆了歷代收藏家及日本 二玄社設下的天羅地網；這一清理，還給了大家一片白茫茫大地，真 乾淨。

近年先後也請他客座，其因緣，還是他水墨論述之鮮明獨特。他比絕 大多數人都明白，何謂文人畫的筆墨趣味。但他畫的水墨，尤其這兩 年〈浮生錄〉那種「金光」水墨畫，乍看之下，簡直無厘頭，那也只 可以是倪氏趣味。

倪老師年輕時，深受西方影響，也執念於藝術神聖，自然 不屑所謂「當眾揮毫」，尤其是那種數人協力之作；當時覺得，胡鬧 嘛！但，王羲之的〈蘭亭集序〉是什麼？不就是「當眾揮毫」嗎？顏 真卿的〈祭侄稿〉又是什麼？不就是一篇塗塗抹抹的祭文草稿嗎？有 何藝術嚴整性？哪裡是在書齋畫室苦心經營出來的？但不也同樣撼動 人心直逾千年？這理，原來大家是明白的，只是被西方那一套給攪糊 塗罷了！歷經數十寒暑，而今，倪老師總算也將藝術追溯到那本源 處，甩開西方霸權的糾纏，擺脫西方強勢文化的桎梧，回到那可以 興、可以群、可以游的藝術本然，於是，他要找些朋友在當代藝術 館，同心協力、清清爽爽就「當眾揮毫」起來了。

浮花浪蕊的當代藝術作品，絕大多數是朝花夕拾，都留不 下來的。但是，倪老師這「原作重現」，千真萬確，卻是一定會流傳 下去的。以倪老師涉入當代藝術之深，又以他如此好發議論、長於批 判，卻怎麼會是個沒戾氣的？他的沒戾氣，簡單說來，一因他不按牌 理出牌，二因其生命根柢，另有著當代藝術者極不易見的那份，平常 之心。

他的不按牌理出牌，某些時候，是絕妙奇想；某些時候，則 簡直無厘頭。倪老師最早在藝術圈成名，是因其美術評論；其評論， 直接犀利，撞擊力道猛烈，直可謂九零年代台灣美術界第一健筆；他 言人所不能言，更言人所不敢言者，經常是血濺五步。但他的直言， 固然備受稱譽，卻也飽受詬罵。圈內圈外，得罪之人，眾矣！彼時， 他經常文章賈禍，所得罪者，之所以如此之眾，雖說是因直言無諱， 其實，更是因為他的無厘頭。他對世間俗情，多有隔閡；每回真要拿 捏，稍不小心，就失了準頭，力道總是過猛；有時更慘，他根本不知

431

要拿捏，一卯起來，打擊面極大，關鍵點固然打著了，但更經常殃及

薛仁明〈紛紜天地，寂寥宇宙─倪再沁老師與台北當代藝術館大展〉、《藝術

了一票無辜，以致平白結怨。他但凡有話想說，也不太顧及旁人感

家》雜誌、011年1月 428期 P218-221)

受，不分青紅皂白，一股腦兒直喇喇就實話實講。哎呀！橫屍遍野、 血流成河啊！

但世間之事，饒有多弊，卻仍終有一利。倪老師的某些神 經大條，固讓他敵滿天下，卻也使他不易鑽牛角尖，也不容易執著過 激；於是他批判歸批判，議論歸議論，總還有些餘裕可供迴旋，不至 於把自己緊繃到生出戾氣。正如《沁報》等報紙作品，那當然是有 話要說，更當然是議論批判，但是，那裡頭，處處是搞笑，遍地無厘 頭。沒人會因看了這些報紙，投袂起身，悲憤莫名，激動難已。這報 紙對錯不論，但終歸就是好玩；好玩之人，是不可能生出乖戾之氣 的。

乖戾之氣，總源於個性張揚，也源於自視非凡，更源於無法 居於平常。迥異於評論文章的血濺五步，生活中的倪老師，其實是個 和善含藏之人；他的知名度，與他平素為人之內斂低調，其實不太符 合比例原則。而迥異於他當代藝術作品的勁爆生猛、光彩紛紜，平日 的倪老師，卻是生活簡樸，行止清寂；其踽踽獨行處，常常恍若一個 略帶病容、寂寥澹然的雲水頭陀。

傳統水墨畫裡，倪老師總愛談趙孟頫「鵲華秋色圖」的 「平淡天真」，還特別心儀倪瓚的「蕭疏淡泊」。他與這兩位元代畫 家，當然不同，但卻有極深的相契之處。他根柢的情性裡，確確實 實有著那麼一種天真，一種澹然寂寥。正因這樣的情性，昔日他當館 長，不像個館長；而今天他玩當代，也不見當代的習氣。當代藝術館 向來色彩斑斕、光影紛紜，今日，這麼一個骨子裡澹然寂寥之人來此 大展，究竟會是顛覆當代藝術？抑或是擴大了當代藝術呢？ （本文為節 錄稿）

A Diverse World and a Solitary Universe — Professor Tsai-Chin Ni ’ s Solo Exhibition at the Museum of Contemporary Art Taipei

By Ming-Ren Xue

432

People tend to think Professor Tsai-Chin Ni is always doing the

many in the past thousand years. With this analysis, it is clear that we are not

unpredictable, and this time is no exception.

void of this kind of internal clarity, but have just been confused by Western teachings! After the passing of countless seasons, Ni has finally traced his

First, let’s not discuss how much controversy his sculptural work Who is

way back to the origin and abandoned the dominance of the West; and with

the happiest caused some years ago, and also let’s not talk about the shock

this enlightenment, he called upon some friends to meet at the Museum

factor stirred by his newspaper Chin. Also, several years ago, Ni presented

of Contemporary Art to work together and, with a casual state of mind, to

Guo-Qiang Cai who was at the time far less known than today, for No

publicly begin to display his creative expressions.

Destruction, No Construction: Bombing the Taiwan Museum of Art and caused quite an upheaval with all the smoke and explosions that took place as

Different from other contemporary artists, Ni is full of tradition and

part of the exhibition. So, how many people were appalled at the then-Taiwan

experience, and has been working with the old-fashioned ink painting style

Museum of Fine Arts Director Ni?

for decades. However, even with such an extended involvement with the old art form, he is still eager to exhibit the even more antiquated theme of the

He certainly doesn’t play by the rules, and this attitude also goes for his most

classic “Four Gentlemen.” His ink paintings are clearly influenced by Chao-

beloved ink brush paintings. In his ink paintings of ancient literati, saturated

Shen Chiang and Cheng-Yao Yu, and also often pay homage to the likes of

landscapes and vibrant blue seas, Ni puts a swimmer in the natural setting,

Ni Zan and Chang Yu. He is supported by strong traditions, and because

with the figure bumping into the cliff and sharks waiting to attack. The layout

of his affluent family background, Ni acts with grandeur and is not confined

is bizarre from all angles. This is a unique Ni-style ink painting. He adores ink

by economic restraints. Therefore, we are able to witness this retrospective

paintings and talks passionately about the art form. Ni teaches ink painting

of Returning to Original. With the intention of returning the works to their

at Tunghai University, and Beijing’s Central Academy of Fine Arts and

original states, Ni has removed the collector’s seals and inscriptions on famous

Peking University have also invited him to be a guest scholar. His distinct

Chinese classical paintings and calligraphic works. These works of Returning

ink paintings and concepts are the reasons behind theses schools’ interest in

to Original are Chinese ink paintings that have been celebrated in the past

him. Ni understands more than others the elements of fun behind ink brush

decades and are also his contemporary art pieces. The “illegal fixtures” placed

works adored by ancient literati. In his ink paintings, especially works from

over parts of these works in the past centuries are only able to be removed by

the recent years in the collection The Way We Live Now, the “glitzy” ink

contemporary art gestures. This spectacular concept could only come from

paintings are almost illogical and satirical, and they exemplify the fun in Ni’s

Ni’s signature style of unpredictability. The disenchantment proposed by Ni

style.

this time has broken free from the constraints put forth by collectors of the

During Ni’s youth, he was influenced by Western philosophy and was adamant about the sacredness of art; therefore, he was put off by the socalled “public display of expression,” especially the kind that involves

past generations and also by the Japanese publishing company Nigensha.

The clean-up has given back to the audience a great blank void with a feeling of being refreshingly clean.

collaborative efforts. Ni felt then that this kind of showmanship was such

Amidst the abundantly varied contemporary artworks, many are transient and

a joke! However, isn’t Chinese calligrapher master Wang Hsi-Chih’s The

leave no trace behind. However, Ni’s Returning to the Original undoubtedly

Orchid Pavilion a public display of expression? What about Yan Zhen-Qing’s

will be passed on for generations to come. With Ni’s in-depth involvement in

The Manuscript of Funeral? Isn’t it an obituary draft that has been edited

contemporary art, and his enthusiasm in offering his viewpoints and giving

and smudged? Doesn’t it contain serious art values? Was it painstakingly

critiques, how does he do this without hostility?

crafted in a meditation studio? Even if not, it still has captured the hearts of

433

His lack of hostility could be simply explained by his disobedience to rules,

Compared with his radical and vibrant contemporary artworks, Ni’s life is

and also his sense of life’s vitality with a strong footing, which contains a

simple and down to earth. His everyday quiet and solitary behavior makes

casual outlook that is often lacking in contemporary artists.

him appear to be as contented as a cloud floating by.

His unpredictable acts are sometimes from strange quirky thoughts, and

With traditional ink paintings, Ni likes to talk about the innocent and

other times they appear simply illogical. Ni became well known in the art

subtleness in Meng-Fu Chao’s Autumn Colors on the Chiao and Hua

world with his art critiques, which are potent and make a great impact. In

Mountains, and he also especially reveres Ni Zan’s sense of nonchalance and

the 90s, he was considered the most revered writer in Taiwan’s art scene.

detachment. Ni is certainly different from these two painters of the Yuan

He talked about what others couldn’t or what others didn’t dare to mention,

Dynasty, but there are also profound similarities between them. Underneath

and his comments often caused quite a commotion. His direct opinions were

it all, there is a sense of innocence within him and also a kind of solidarity

much respected, but also offended many. Many felt insulted by him both

and casualness. Because of this personality, as a museum director, he was

outside and inside the art world. Actually, he did not offend these people

not a typical director, and today his subtle plays on the idea of contemporary

through his direct words; they were actually more insulted by his random

art can go unnoticed by his colleagues. The Museum of Contemporary Art

illogical lack of sense. There is a barrier between him and all things common,

is usually vivid with vibrant light and shadow, but as such a detached and

and with slight carelessness, overexertion caused him to lose grip of that

forlorn person comes to showcase a grand solo exhibition, will he overturn

line. What’s worse is that he is not even aware of the line that needs to be

contemporary art or cause it to expand?

controlled, and continues to strike with great force. Although the key target is hit, innocent bystanders are also struck, and this is why he has made so many foes. However, whenever he has anything to say, the least of his concern is the feelings of others. He straightforwardly spills out all his thoughts, leaving hordes of carcasses and streams of grueling red blood in his wake!

As with many common matters in the world, among the numerous faults is a beneficial factor within. Ni’s lack of sensitivity may have caused him to be the enemy of many, but has also kept him from being overly stubborn or extreme.

There is often room to maneuver within his critiques and commentaries, and one is not wound up so tight as to become hostile. For example, there are obviously comments and critiques to be made about his Chin Newspaper, but sarcasm and unpredictable illogical humor are also abundant in the writing. Not many would be distraught by these newspapers after reading them. These papers are making critiques but with humor intended, and a person with a good sense of humor is not likely to be hostile.

Hostility originates from extreme personalities and also a personal view of being above it all. Despite his potent critiques, Ni is actually quite friendly and introverted. His reputation and his reserved nature are quite contradictory.

(The above is an excerpt from the original essay.)

倪再沁 搖擺台灣藝壇30年 文：孫曉彤/吳嘉瑄

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是誰，可以一手搞創作、一手寫藝評？是誰，可以白天當老

報紙創作、畫中仙系列

師、晚上辦報紙？是誰，可以前腳進美術館當館長，後腳走上街頭發 動選舉游擊戰？

從1994年《台灣雲報》一直到今年為當代館個展全新創作的 《頑皮報》，倪再沁16年來共「自製、發行」了七份報紙—另外還包

他，是倪再沁。擁有30多年的藝界人生資歷，卻不曾辦過大

括《沁果日報》、《沁報》、《愛狗報》、《沁果日報》與《沁報》

型個展的他，終於2010年底，接受了台北當代館的邀展，推出由館長

（中國展出版），他以擬仿報紙媒體形式的手段，藉此大肆調侃或辛

石瑞仁親自操刀策畫的【媒體大哼】回顧個展，完整呈獻倪再沁多年

辣嘲諷了媒體此一他所謂的「社會亂源」。媒體，從解嚴之前被國家

來跨領域藝術的創作表現，而此也是台北當代藝術館開館十年來首度

黨政機器統治下的保守不敢言的狀態，到解嚴之後因為「綁太久而整

以全館規模呈現的台灣當代藝術家個展。石瑞仁在展覽前言中如是說

個彈開」在數量與品質上的氾濫無度，再到目前媒體在搶新聞、搶曝

道：「當代藝術與現代藝術最大的區別就在於，藝術創作、藝術展覽

光的競爭下的「噬血」狀態，台灣媒體以其強勢的發言權—SNG連線

乃至於藝術言說等，俱俱有意與社會脈動相呼相應，1987年社政解嚴之

報導、刺激大眾偷窺人性的24小時狗仔偷拍、政治立場對立的兩派名

後的台灣藝壇生態和藝術生產，處處可以找到相關人證物證；在這當

嘴在政論節目上的隔空交火……成為了扭曲社會、扭曲人性的最大幫

中，倪再沁無疑是個集各類角色之大成、並展現實際影響力的代表人

凶。對倪再沁而言，「媒體的霸權就是一種暴力，媒體一再呈現的只

物……倪再沁跨越論述與創作的藝術事業，大幅擴張了「藝術家」的

有假象—他們只講自己想講的話……遂行的只是自己的意識型態。」

定義和行動範疇，貫串於其多年藝業中的原則是，一種「打著媒體反

倪再沁辦報的特色是一人脫口秀，擔綱掛名報紙生產環節中的每個角

媒體」的當代批判精神，而這也是本展立意鋪陳的一個藝術脈絡。」

色—上至發行人下至廣告裡的主角，撲天蓋地佔據所有版面。報紙創 作系列一方面可視為他高度針貶時事的行為事件紀錄；同時也是對於

在【媒體大哼】展，匯集了平面繪畫、立體裝置與雕塑、 觀念、行為互動等多類歷年來的作品，包括倪再沁較廣為人知的「報 紙系列」、「怪談系列」、「選舉系列」、「水墨系列」、「原作 重現系列」以及「環境藝術系列」等各類作品，也包括本次首展的 「超超扁平」和「畫中仙」兩組平面系列、運用環場互動科技的

媒體此一承載、傳播訊息的最重要介面的批判。另一系列〈畫中仙〉 則是倪再沁以回憶自身童年記憶的溫和方式，來整理電影畫報、看板 等的大眾宣傳媒體在台灣幾十年來的演變。同樣地，倪再沁在這些 「倪氏出品」的宣傳品中一人身兼製片人、導演與畫師；此外，逗趣 的內容也展現了他說故事的幽默天分。

「夢幻泡影」以及戶外大型植栽雕塑「台北旺旺」。本期的《藝外 ARTITUDE》特別以這位搖擺台灣藝壇、堪稱「超級變色龍」的重量

路見不平…那就把它剷平！

級「大老」擔綱封面人物，就他30年間雜然紛呈的創作脈絡進行一次 以探討議題為軸線的梳理，除了藉此歸納他的藝術形式與觀念外，同 時也意圖釐清其藝術理念的特殊性和歷史價值。

老子我最大！

環境藝術、選舉系列

對《水滸傳》的英雄好漢來說，路見不平的唯一解決之道就 是拔刀相助；而現實中路見不平，倪再沁採取的則是坐而言不如起而

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行，以藝術行動直接介入社會改造。1990年代初期，因為「看不慣」

這件作品曾經存在並且逐漸演變，只能依循文件紀錄來得知。由20件

城市文明給自然環境帶來的破壞，倪再沁開始在高雄的柴山、仁愛公

小幅作品組成的「超．超扁平」系列，倪再沁要處理的藝術史議題往

園、文化中心、愛河沿岸乃至市區路邊的人行紅磚道「搞破壞」，他

前推進，表現上則又回到了其獨具個人特色的倪式嘲諷與抄襲手法，

以如落葉、枯枝、樹皮等隨處可見的自然物件，默默地在各處組合成

他使用安迪．沃荷（Andy Warhol）的加工複製版畫的方式，複製出

人造的作品，甚至趁著半夜把人行道的紅磚撬起，然後在裸露出泥土

多幅在藝術討論與市場上獨領風騷的明星藝術家，像是村上隆及昆斯

的路面上種草—這種以自然「反攻」文明的方式，反諷的是人類進化

（Jeff Koons）等打破成交紀錄的高價作品—這些作品，倪再沁認為

過程中的自私與狹隘。

都只是在販賣一種「庸俗化」的視覺品味，像是「以其人之道反治其 之三、快閃的生活：〈凍蒜．凍未條〉 人之身」地，將他所批判的作品類型「更用力地」在此系列中展現荒

除了對於自然環境的關注，2004年時倪再沁更將關懷的軸

台中報導：軍隊驚爆街頭！持槍軍人搶超商！2001年12月2 謬與狹隘的藝術觀。而「怪談系列」最經典的就要算是2000年創作的

線延伸到對岸的中國，當時他客居在大陸知名藝評家栗憲庭位於北京

日，〈凍蒜．凍未條〉幾乎攻佔了中區報紙的版面。一場由台中市政 動物或人物多P造型的雕塑系列「台北怪談」，藉由多P造型所暗示的

宋庄的家中，同樣是「看不慣」當地滿街垃圾、臭氣沖天的亂象，因

府所主辦的「台中國際城市藝術節」，〈凍蒜．凍未條〉就是參展的 猥褻意象，來影射台灣混亂的政治社會現象。而後，倪再沁延續此路

而捲起袖子，聯合栗憲庭和當地居民的力量，發起了社區景觀改造計

作品之一。倪再沁率領將近五十人，手持玩具步槍的迷彩軍隊，從一 徑，又創作了嘲諷歐美與東京藝壇只會製造話題、製造商品、而非製

畫。這個計畫的意義在於，透過實際的行動，倪再沁延伸了波依斯

台插滿了競選旗幟的粉紅車站裡鑽出。頓時槍聲大作，煙霧彈四處飛 造藝術之藝術家的「紐約怪談」與「東京怪談」（諧擬村上隆作品）

「社會雕塑」的概念—人人都可以透過介入和改造社會而成為藝術

散，整支隊伍在大馬路上匍匐前進，幾乎癱瘓了台中最熱鬧的自由路 系列，其中包括有〈氣球狗〉及〈小狗〉（諧擬昆斯作品）、〈母子

家。政治亂象也同樣讓倪再沁滿腹牢騷。2001年，倪再沁再度以政治

和中正路。仔細一看，這一票人似乎剛經歷過一場大戰，很多人身上 分離〉（諧擬赫斯特(Damien Hirst)作品）等作品。

為題，在當時立委選舉時與「真的」候選人合作，發起了〈凍蒜凍未 條〉行動，展開一場真假難分又撲朔迷離的街頭「選戰」，藉此嘲諷 他所觀察到的台灣選舉三大特色：選戰、謊言和賄選。

都掛了彩......。（本文為節錄稿）

雖不能至，心嚮往之 〈 雲豹的生活〉 、〈 節慶的生活〉 王文宏 、《 台灣當代藝術大系．總體藝

水墨系列、原作重現 術》、p88~92 110~122

對於藝術史的逆襲 一系列的水墨畫可說是倪再沁歷年來創作脈絡中，最具有核 微塵裡、超．超扁平、怪談系列

心價值、同時最貼近他內在本質的部分。從大學時代就主修水墨，純 粹的筆墨線條，是倪再沁在創作中運用的最熟悉也最直白的媒材；師

2008年創作的〈微塵裡〉可說是倪再沁作品中少見的抒情風 格的系列，儘管如此，〈微塵裡〉所欲處理的，其實是需要深思並再 三反芻的藝術史—關於觀念藝術中觀念優於一切的嚴肅議題，倪再沁 認為，無形的觀念與過程，最後仍必須訴諸「物」—亦即某種形式來 呈現。倪再沁在一間展間某些角落的地板上，以松節油塗抹，這些松 節油會隨著時間慢慢蒸發、消失在世間微塵中而不復見，如果要知道

承自江兆申的嶔崎秀麗、卻又傾慕余承堯的雄渾樸實，倪再沁深受前 者古典文人風範的感召，卻又嚮往後者創作上的自在與創造，他發展 出結合兩者特色、卻又獨創一格的美學觀點—早期他以「黑畫」風格 獨樹一幟，以台灣蓊鬱潮濕的山水景物為主題，表現出斯土斯民的親 切關懷；中期之後，倪再沁發展出另一條以靜物為主、畫風較為恬淡 舒緩的小品系列，想法來自於中國繪畫傳統中「四君子」和「清供」

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的傳統題材，倪再沁以周遭常見的盆栽和物件為題，為古典的主題賦 予了具有個人觀點的當代詮釋。除了以黑白墨色外，倪再沁另一條 「彩色」的繪畫軸線也在同時進行，相較於「黑畫」脈絡的出世，以 繽紛色彩為主的「浮生錄系列」顯得入世而熱鬧，雖然畫面仍以山水 結構為主，但細看其中卻隱藏了許多當代圖像的拼貼，反映出消費文 化流行的社會現象。

因為希望復初古代名跡的原貌，倪再沁近年開始了一系列 的「原作重現」計畫，他利用數位科技，刻意將多件膾炙人口的中國 古畫上、被歷朝歷代鑑賞家和收藏家填滿留白處的鈐印和題拔全數移 除，藉由這項「復古運動」，讓畫作的本來面目得以重新浮現，用意 在於提供每一位觀眾以個人的角度重新審視歷代名畫的藝術表現。

無論是水墨畫或是「原作重現」，倪再沁的意圖都在於寄託 個人對於中國古典藝術境界上的鍾情—雖不能至，然心嚮往之，倪再 沁透過藝術的手段，上追古人，並與之心照神交。

孫曉彤/吳嘉瑄〈倪再沁 搖擺台灣藝壇30年〉、《藝外》雜誌、2011年2月17期 P60-65)

Tsai-Chin Ni — Rocking the Taiwanese Art World for Three Decades

By Xiao-Tong Sun and Jia-Xuan Wu

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Who can make art and be a critic at the same time? Who can teach during the

uniqueness and historic value embodied in Ni’s art.

day and publish newspapers at night? Who can be a museum director and then turn around and conduct political guerrilla warfare?

I Am the Greatest!

This person is Tsai-Chin Ni, an art veteran with three decades of experience,

Newspapers and Illustrious Illustated

but who had yet to hold a large-scale solo exhibition until recently. Finally at the end of 2010, an invitation from MOCA Taipei was accepted and curated personally by the museum director, J.J. Shih. The retrospective exhibition, Mediaholic, displays comprehensively Ni’s multidisciplinary artworks throughout the decades, and is also the first time that MOCA, despite its more than ten years of history, hosted a solo exhibition for a Taiwanese artist that took up the entire museum space. Shih said in the exhibition preface: “The greatest difference between contemporary art and modern art is in the artworks, exhibitions, and even the expression’s close connection with the movement of the society. The art world and art production in 1987 heavily depicted people and objects related to the disbandment of martial law in Taiwan at that time. Within these movements, Tsai-Chin Ni is undoubtedly a representative figure embodying diverse personalities with great influential power. Ni’s multidisciplinary art career has expanded the definition and restrictions set upon the position of an ‘artist,’ and the contemporary critical spirit of ‘using media to fight against media’ is a central theme that has been employed throughout his extensive art career, and it is also the artistic direction that this exhibition’s layout is based upon.”

The exhibition of Mediaholic incorporated paintings, installations, sculptures, conceptual art, performance, and interactive arts created by Tsai-Chin Ni over the years. Also included are his well-known Newspaper Series, Who is Happiest? Series, Election Series, Ink Painting Series, Return to the Original Series, and Environment Art Series, and also exhibiting for the first time are the two series of Super Superflat and Illustrious Illustrated. Additionally, also included are Illusion as a Dream , an artwork that uses panoramic interactive technology, and large outdoor plant sculpture Taipei Own Own. The current issue of Artitude has chosen this chameleon-like heavyweight art master of Taiwan for its cover, and has attempted to comprehend his diverse artistic patterns throughout the past three decades. In addition to categorizing his art forms and concepts, the intention of the issue is also to elucidate the

Since the publication of 1994’s Cloud Paper to the latest Tenacious News , for the solo exhibition at MOCA this year, spanning 16 years, Ni has “selfproduced and published” seven newspapers, include Chin-Go News, Chin News, I Go News. For Chin-Go News and Chin News (published for exhibitions in China), he has mimicked the presentational style of mainstream media, and used the papers to freely criticize and poke fun of what Ni considers to be “the root of instability in the society,” the media.

The contents of the papers cover the pre-liberation era, when society was confined under the systematic robotic ruling of the KMT, to the period after the end of martial law, when the society went through a period of drastic flux as a result of being released after prolonged confinement. Mass quantities and of factors led to the media gradually turning into what we see today: blood–thirsty, news-hungry and privacy-invading predators. Media in Taiwan exercise extensive authority, through SNG live reports, 24-hour paparazzi voyeurism, political standoffs, and TV personalities arguing for the sake of arguing on national television programs, these phenomena have warped society and humanity.

Ni believes that, “the terrorizing power of the media is a form of violence, and what they project to the public are all false images. They only speak what they want to say, and their actions are based on their own ideology.” Ni’s papers are unique in the way that they are a one-man show. From the production details to each of the characters portrayed, and all the way to the subjects depicted in the advertisements, the person, Tsai-Chin Ni himself, is omnipresent. The creative series of the newspapers could be viewed as his extreme approach in documenting current affairs, and at the same time, they are also aninterface to criticize the messages transmitted by the media. Another series, Illustrious Illustrated is based on Ni’s childhood memories. With a gentle and subtle approach, movie posters and billboards painted by hand are organized to

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depict the transformations that have occurred in Taiwan in the last several

elections in Taiwan: campaign wars, lies, and vote buying.

decades in regards to mass media. Similarly, Ni plays multiple roles of producer, director, and painter for these “Ni Publications” of promotional materials. Additionally, the humorous content also demonstrates Ni’s talents in story-telling.

When Faced With Injustice … Be Sure to Deface It! Environment Art, Election Series

The Counteroffensive Against Art History In Fine Dust, Super Superflat, Who Is the Happiest?

The 2008 series, “In Tiny Dust,” is one of the very few collections of lyrical works by Tsai-Chin Ni. However, the approach taken for “In Tiny Dust” was based on elements of art history that needed to be profoundly contemplated.

In regards to conceptual art’s principle of placing concepts above everything

For many heroes in classic Chinese literatures, the way to combat injustice

else, Ni thought that the process of intangible concept would eventually

is to be courageous and fight. In real life, when Ni encounters injustice, he

still lead to a tangible form. With this in mind, at the corner of the

is a believer that actions speak louder than words, and the way he does it is

exhibition space, turpentine was splashed on the floor, and as the volatile

through performance art that directly acts to alter the society. In the early

substance evaporated through time, it became untraceable. The only way to

90s, because he couldn’t stand the destruction happening to the natural

acknowledge the existence of this artwork and its gradual transformation is

environment due to urban development, Ni began to deliberately “cause

through documented sources.

destructions” around many different well-known public destinations also pedestrian paths in Kaohsiung. He used found natural objects, such as fallen

On the other hand, 20 small pieces have come to comprise the series of the

leaves, withered branches and tree bark, and quietly began to assemble man-

Super Super-Flat. With this, Ni continues to move forward with the issues

made art pieces scattered everywhere. He even secretly cracked open parts of

of art history. The presentational style has reverted to a highly personalized

the pedestrian pavement at night and planted grass on the exposed soil. The

technique of satire and appropriation. He used Andy Warhol’s method of

approach was an anti-civilization battle for nature, and was a criticism on the

mass production prints and replicated many works by artists that have been

selfishness and narrowness that has occurred throughout human evolution.

popular in the art market, such as Takashi Murakami and Jeff Koons, whose artworks have sold at record-breaking high prices. These works, to Ni, are

In addition to concerns for the natural environment, in 2004, Ni further

commercial acts that are selling a “banal” visual sense. With an approach that

extended his attention to China. At that time he was a guest at well-known

is similar to “the devil must be driven out with devils,” he pushed even further

Chinese art critic Li Xiangting’s house in Songzhuang, an artist village in

with these works under scrutiny and came out with an absurd and narrow art

Beijing. Again, he couldn’t stand the garbage scattered on the streets. The

perspective. With Who is Happiest?, the quintessential piece has to be the

stinking mess prompted him to roll up his sleeves and unite Li and other local

one created in the year 2000, Who is Happiest – Taipei, which depicted a

residents in a plan to renovate the community. The purpose of the project was

mass orgy of different animals or people. The intention is to show the chaotic

based on Joseph Beuys’ concept of “social sculpture”; through actions, every

political and social state in Taiwan. Ni continued with this pattern and

person could be an artist by changing the society. Taiwan’s chaotic political

satirized the manipulation of the art market in Europe, the USA, and Japan.

scene was also disturbing for Ni. In 2001, once again utilizing politics as the

The results are a series of artworks, including Who is Happiest? – New York

subject, with the project Election Eruption, Ni launched his own election

and Who is Happiest? – Tokyo (appropriating Takashi Murakami). Also

along with the “real” legislative election taking place at that time in Taiwan.

included are Balloon Dogs and Puppies (appropriating Jeff Koons) and

The action was a satirical portrayal of three major traits he observed about

Mother and Child, Divided (appropriating Damien Hirst).

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Not Quite There, but Still Much Desired

to the Original, Ni’s intentions have been based on his personal admiration for classical Chinese art. Through art expressions, Ni attempts to catch up

Ink Paintings, Return to the Original Out of Ni’s extensive creative career, the series of ink painting works could be considered of the most central value, and it is also the most intimate to his inner core. Having majored in ink painting in college, the purity with the strokes in ink painting has been a recurring medium in Ni’s artworks. Though he studied under Chao-Shen Chiang, who was known for a fascinating majestic style, Ni was also an admirer of Cheng-Yao Yu’s earthy robustness.

Heavily moved by Chiang’s classical style, Ni was also in awe with Yu’s ease and free-spiritedness. He went on to combine the two styles and formed a unique aesthetic approach. In his earlier career, Ni created the distinctive series of “Black Paintings” utilizing Taiwanese landscapes as subjects. The emotions projected from these works are closely connected to the land and its people. Later on, Ni developed another pattern based on still life, and painted quiet and genteel small pieces. The concept was derived from traditional subjects in classical Chinese paintings: the “Four Gentlemen” (the orchid, the bamboo, the chrysanthemum, the plum blossom) and Qin-Gong (artifacts).

In this collection, these classical themes are bestowed with personalized contemporary twists. In addition to black and white ink works, Ni also simultaneously created with color. Compared with the Black Paintings, the Collection of Floating Life collection appears to be more of this world and much more lively. Although the subjects are still based on landscapes, the details are hidden with collages of many contemporary images and reflect on the current societal state of popular consumerism.

With the objective to bring back the original states of ancient artworks, in recent years Ni has started a series called Return to the Original. Using digital technology, he deliberately removes the colophons and seals added by collectors and scholars throughout the centuries on well-known Chinese ancient paintings. With this act of returning, the artworks’ original states reemerge. The intention is to offer to the audience a personal angle to reevaluate these renowned art pieces.

Regardless of whether one considers his ink painting or works for the Return

with the ancient literati and to conduct spiritual exchanges.

話說倪再沁 訪問節錄稿

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1.何政廣（藝術家雜誌社發行人）

品，曾經有一年為台灣策展年，我就策了第一檔平行輸入，全都是台 灣年輕藝術家。今年十周年考慮辦一個台灣有特殊性的大型展覽，因

和倪交往已逾二十餘載,對他最深刻的印象是他的身分一直在 改變。本身是一個畫家,又身兼評論家,還當過台灣美術館館長。還寫過 很多書，一般寫藝術評論的人,往往多著眼於已經成名者,而倪再沁的觀 點則放在台灣當時年輕尚未成名的藝術家。當然是主觀的選擇這些畫 家，但被選上的都成為台灣當代美術裡具有代表性的藝術家。我覺得

為去年做過台灣藝術新生代，所以今年想不要瞄準新生代，往台灣當 代藝術裡具有份量的人物找，因為去年開始在台灣出現一些大陸當代 藝術家的大型個展，比方說蔡國強、張洹；所以我們反思，如果在台 灣當代藝術裡面有沒有這樣的一個人可以撐一個美術館的展覽。在我 腦中浮現的第一人就是倪再沁。

倪再沁的眼光很獨到。 我認識他多年，幾乎我們說得出來的事他都做過了，從理論 藝術家雜誌創刊30周年的時候，請倪再沁撰寫台灣當代美術 通鑑。等於是由倪再沁閱讀這三十年來所出版的藝術家雜誌，從其中 選出關於台灣美術的重要的內容集結成書。雖然內容是藝術家雜誌對 台灣美術的報導加上倪再沁個人的選擇，之前藝術家20年的時候也請

論述到創作；即便單從藝術創作者的角度來看，他的創作也很多元， 常常是---用當代藝術的角度來說----能夠呼應社會的脈動、呼應時代的波 潮，用批判的角度去做。那這些是他的創作呼應他的論述，我覺得要 找一個從思想言行到創作都這麼一致的，其實他是第一人選。

倪做過類似的撰寫，當時倪還在高雄，尚未任職館長。倪說為了寫這 樣一本書，每天一早就帶著藝術家雜誌到麥當勞埋頭苦寫，費時幾個

所以今天如果要用一個大型的個展來凸顯一個台灣有特色的

月才完成，所以很佩服倪的毅力。雖然台灣當代美術通鑑內容針對台

藝術家，我想現在也差不多是時候了，因為他之前都在教學、做系主

灣美術，但是倪把這本書塑造成具有美術史一般的經典圖鑑。

任、院長、館長，那現在他卸除了這些工作在養病，然後我覺得是時 候給他在創作上做一個整理，因為過去他涓涓滴滴在創作，沒有把整

近幾年倪再沁自己也寫了一些重要的著作：＜台灣美術論 衡＞、＜台灣美術的人文觀察＞、＜藝術初體驗＞、＜公共藝術觸擊 ＞，這些都是跟台灣美術有關的論著。

個脈絡鋪陳出來，藉這個展覽把他鋪陳出來，我們會看到一個相當有 台灣精神的、相當倪再沁個人特色、相當多面貌的但又有一個總體脈 絡的展覽就呼之欲出了。

總括來說，倪再沁對台灣美術著作和論述方面的能力，非常 強。館長也做得很成功，因為他任職的時候，台灣美術館要從舊館演 變成新館，因為建物受到地震的損害，他策畫了蔡國強的爆破藝術，

當我向倪提出邀請的時候，倪本來準備年底要好好動刀一 下，最後決定不開刀，改用氣功自我理療，那我想這是一個擋不住的 機緣。

也表現了他對藝術策展的能力，讓很多人覺得他走得很前面。

3.曲德益（台北藝術大學電影學院院長. 關渡美術館館長） 2.石瑞仁（台北當代藝術館 執行總監） 我想大家是在90年代初在雄獅美術雜誌中認識倪再沁，倪的 今年當代館開館第十年，過去展出很多國外優秀藝術家作

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文章影響蠻大的，台灣的幾大天王也是當時崛起的，我想這方面他對

所以用筆流氣的油腔滑調和不會筆墨的生拙，兩者之間很難拿捏。就

台灣的貢獻很大。以前大家都覺得他是一個殺手，很可怕。

以上部分來談倪再沁的水墨畫，他的筆墨、墨色濃淡的層次、還有造 型原理，都可以在生拙間達到某種程度的平衡，算是相當有能耐的水

不過這個人對自己很節省，吃甚麼好像都不在乎，比如他在

墨畫家。

擔任館長的時候，我們難得去國美館開會---他沒當館長之前還可以有桌 菜可以吃---此後只有60塊便當可以吃，也不念在我們從台北跑到中部，

後來他發展各系列的彩墨，例如向常玉致敬系列的作品裏，

他是真的蠻節省的…….。據我了解，他有的時候會把買的作品捐給不

這些畫作有一些常玉的孤寂、疏離的味道，不過更多的是倪自己的味

同的地方，比方說美術館或藝術中心。靜宜大學的第一批收藏是倪再

道跟感覺，和常玉還是不大一樣，這部分我覺得是不錯的。在山水裡

沁捐的。

面加很多色澤鮮艷的彩墨效果（浮生錄），這部分我覺得比較花俏， 視覺意象上比較不那麼集中。黑山藍海的系列則有些拙趣與不錯的力 我記得最清楚的就是，他做館長的時候有一個議員要介入排

檔期，結果倪把他擋掉了。議員便要倪到市議會、立法院報告，後來 倪再沁就在館員面前生氣的說「如果身為館長連一個檔期都不能擋的 話，做甚麼館長啊」，我覺得這個蠻有氣魄的……。

有一次他跟李登輝去中南美訪問的時候，館長可以坐商務 艙，藝術家坐經濟艙，倪蠻厚道的，當時同行的還有潘元石，倪再沁 覺得潘的年紀比較大、也應該尊重藝術家，而且對他來講(兩個艙等)差 不多，反正在飛機上就是睡覺，所以他就跟潘交換機位，因為空服員 在商務艙會稱呼客人名銜，也讓潘做了一小段的館長，這部分我覺得 倪再沁做人蠻厚道的。

4.巴東 (台北國立歷史博物館展覽組主任)

道，蠻有特色的。因為倪是一個性格很多元且生命才性很豐富的人， 所以他的創作會有很多不同的面向跟風格，我可以瞭解他是一個很有 才氣的人，天生有很豐富的才情，所以你要一直侷限他在像以前那些 比較傳統的水墨表現，對他來說可能會有點委屈。

我認為藝術家應該是用生命感受來畫畫，而不是用聰明才智 來創作；現在當代藝術好像比較注重用聰明去想一些風格或花樣來創 作。我覺得倪在做比較新穎的當代藝術時，有些在反諷這些用聰明來 表現藝術的現象，好像在說「既然要用聰明才智搞一些風格花樣與特 色，那我來做一點示範好了。」比如說他的報紙，裡面有他的反諷跟 荒謬或是他對社會的詮釋。雖然這些跟我本身認知的傳統水墨畫差距 很大，但我也會覺得他有本領去做出這樣的觀念跟花樣，比起一般的 藝術家所做的倒是很有趣、也比較吸引人。

談到倪再沁的水墨畫，我個人比較喜歡他畫面很厚重的黑畫 風格。因為中國美學多講求筆墨的「生」和「拙」，相對而言就是不 能「熟」和「淺」，要避免「江湖氣」或「俗氣」。假如筆墨功夫太 差當然達不到流暢的境界，但有的藝術家本身已有相當熟練的筆墨訓 練，但卻故意要追求生拙的趣味，這時可能反而會有些造作的味道。

我認為中西融合是很難的，但我可以在倪的作品中看到西 方的、或是很現代感的元素，但是他在中國傳統的底蘊跟內涵上下了 很多功夫，也摭取很多養分；所以他的作品同時具有傳統中國內涵跟 西方現代元素，這也是我認為他比其他畫家要出色之處。他對古典中 國的學養激發他把古畫上的款題印章消除還原的作品（原作重現），

442

雖說這些也在我所認為是一種用聰明才智的創作範疇，但還是頗有意

為在那個時代沒有這樣的文風，大家都是吹捧文章一大堆，倪則是提

趣，同時也比許多人的作品更能引發觀者新的思慮跟想法，這些意義

出好的部分同時也提出他自己的評價跟討論，但當時的環境跟氣氛，

內涵不就是當代藝術最重要的追尋目的嗎？

這樣的程度大家就受不了，因為習慣看一片叫好的東西，所以當時他 已經是很爭議的人物了，但是我覺得他的文章寫得好，很準，所以心

5.林宏璋 (台北藝術大學副教授) 把素材、媒材媒體化的過程，正是讓他的作品在台灣的跨領 域藝術創作裡算是一個非常早的先驅。在(倪的作品)裏面我所要談的跨 領域藝術的”跨”，並不是一種”穿越”，或者是學科中間的交流， 我特別要談的”跨”是他對於原本規訓的一種鬆動，來形成一種對於 過去遊戲規則的一種破壞。如果說談到台灣的跨領域先驅的話，我會 思考到倪再沁的作品裡面其實我看到了這些概念。

我記得在2002年在策畫“台中好地方藝術節”的時候，當時 一開始就找倪老師來合作，因為當時我已經知道倪老師有很多非常當 代的創作，而不只限於平面繪畫，我跟倪聯絡上之後就來規劃整個作 品的執行，因為當時正好遇上選舉，也正好當時台中有一位另類的立 委候選人，叫沈懷一，我們想透過參選的過程去暴露出台灣選舉文化 的各個面向，其中也夾雜著對於台灣的社會環境的評論。

整個展演的過程裡面包含競選宣傳和各式各樣造勢活動，以 及東海大學美術系學生的遊行，這些後來發展成”凍蒜凍未條”這件 作品。而這整個過程在台灣藝術史的發展裡是相當有趣的一個面向。 因為它開始把觸角伸進社會脈絡裡面，而且是使用一種在競選裡面奇 觀社會的語言來切入，我覺得”凍蒜凍未條”是台灣版本的文化防

目中對他有一個想像的形象。後來第一次見到他，他穿著白襯衫卡其 長褲致詞，說話還有回音，當下我心中想到的是“風簷展書讀”，是 我心中想像的讀書人，所以我就自己去向他自我介紹，當時他的形象 在我心中是最高峰，從此以後他就慢慢回到平常人的高度(哈!)。

我覺他很好玩的事情就是，他的小氣已經變成一件無法迴 避的事情，比方說他請得最好的咖啡可能是麥當勞的咖啡。但他有一 種公益性，比方說他會把他過去買的價值超過千萬的作品全部捐給學 校，因為他覺得這個學校的藝術中心需要有台灣當代藝術收藏的基 礎，也因此你不能說他小氣，因為他覺得這個錢不該花，但說他的大 方呢，有時候又好像大方過頭了，也不是大方在自己人身上。但是他 覺得在公共的事情上他應該大方的時候就很願意大方。所以他的公益 行為對這大環境裡的人來說，倪有一個不大可能被跨過去的位置。

基本上來說他對於他的創作跟生命跟生活內容的連結很真 誠，你可以說他是野心很大的人，但另一方面你又會覺得說，他是不 是太沒有野心了，才會一直「跳越」，他不是很有策略的在甚麼路線 上貫徹一直爬到頂峰，因為跳越對藝術家而言是一個很大致命傷，在 傳統概念裡面看，一個藝術家要在某個路線上、風格、脈絡上累積他 自己的影響力、聲望，而這種跳越其實會造成殺傷力。所以我看倪再 沁常常會搞不清楚，有時覺得他腦子非常細密，有時又覺得他怎麼會

堵……。

甚麼都沒想到，但我覺得統歸起來，這跟他當時真正的狀態在關注甚

6.胡永芬 (獨立策展人.藝評家) 先讀過倪再沁在雄獅發表的文章，覺得這個人太厲害了，因

麼是有關的。因為他太關注重點，所以不關心細節。

他對水墨有很深的感情，但他又是一個寫評論的人，所以

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他對整個當代環境裡的議題非常關心，他又不能完全滿足於自己用這

過書寫、策展、水墨作品、雕塑…來試圖跟社會提出一個他個人的見

樣(單一)的媒材來做這樣的事情。他台北出身，但為某些原因從台北

解。

到高雄生活，他是不得已的避走而非遁世，所以對於整個大的核心議 題他還是非常關注，然後他另一部分在他生活周遭親身體驗到的現實 問題，例如愛河的汙水，或行道樹的花台，那些存在的狀態都市的容 貌，對他而言是很真實的東西，他真的就自己去敲磚，路過的人都不 覺得奇怪，以為是市政府的工人，但最後呈現出的東西絕對是一個藝 術家的觀點。我覺得他很難定位，但因為這樣所以你可以知道他的能 量超越很多一般的藝術家，這是他有趣的地方，也是他重要的地方。

7.姚瑞中 (藝術家、藝評家兼策展人)

＜沁報＞以他的名字來命名，來自於總統大選的時候所出的 一份報紙，規格有點像聯合報，幾可亂真，標題和內文都非常聳動。 特別記得其中一篇文章中提到台灣很少邦交國，我們乾脆移民到小島 去建國，然後再跟台灣建交，……。他有很多反向思考去挖苦嘲諷， 調侃社會時局，透過他擅長的犀利的文筆跟傳統報紙的出版形式，放 在很多展覽會場讓觀者信以為真，對社會的媒體亂象進行反向思考。

我認為這是文人該有的骨氣，做為時代的有為文人，他不應 該很快跟社會妥協，可以用他僅有的資源-----比如一支筆----就可以戳破

倪老師做為台灣藝術家、從事藝評、出任美術館館長，然後 也做了很多的創新的改造，在教育界也著力甚深，他在過去20年做過

時局的荒謬，讓大家看得更清楚。做為現代文人勇於批判媒體，改造 社會對於美術既有的成見，或是在教育上進行改造推廣……。

很多事情，台灣美術史的資料整理跟建構、寫藝術評論、對水墨畫處 境的關懷、擔任過館長、對藝術行政也有涉獵，還有藝術教育。所以 你會發現他是整個藝術界裡少有的全方位教父級人物。

他的創作領域非常多元，基本上我認為並無任何不妥，因為 在藝術界早期的分工沒有這麼細，資源也不多，所以藝術家常常練就 很多本領，包括書寫策展創作，我覺得是時代下的產物。如果說放大 來看的話，整個在文藝復興時代，也有很多這類的全才藝術家，例如 達文西、米開朗基羅，雖說他們不以藝術家自居，他們甚麼都做，對 於尚待開發的處女地會用各種方式去切入。

在這個時代做為一個藝術家，必然會跟很多正在發生的東西 有直接的接觸。在這樣的一個氛圍之下如何透過藝術的手段去跟這個 時代產生對話，就變成很重要的途徑，它不只是唯一的只著眼在美學 上的，它有很多跟社會對話的可能。所以倪再沁很多作品我覺得是透

8.謝珮霓 (高雄市立美術館館長) 在他擔任館長的時候，有一天見面他就開口說：妳有沒有考 慮回美術館?我回說不可能。因為我年輕時個性很直很衝，面對事情 比較不會客氣回絕。除了直接拒絕之外，理由也很誇張，我直接說： 因為我跟你對台灣美術史的看法差太多。結果，很驚人的是他馬上回 答：那這樣最好，最好看法完全不一樣。當時我蠻震撼，因為我以前 對倪再沁的瞭解都是透過轉述，或是透過他的文字。

我接著對他說：國美館自己處理的也蠻好，台灣也還有其 他的人才。他簡單的回說：如果國美館馬上要變成國立的機構，那它 不可能沒有國際性的展覽，……倪再沁是不一樣的學者出身來接任館 長，因為在一般行政體系之下，會把館的升格當成天大的秘密。但是 他卻是很大方的處理這些事情，面對我的表態也很大方，所以雖然倪

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只是很簡單的回答兩句話，卻可以讓我放棄所有國外的學業、工作回

不過過程中有很多艱辛的部分，比方說很多長官一聽到這麼

到國美館。也可以說，如果不是倪老師，我的職業生命不會有這麼大

大的場面，會認為按下按鈕或啟動儀式非他們莫屬，大家都想要按。

的改變。

這時倪下的指示是一律回覆：這是藝術家的創作，不是活動或表演。 可是抵擋到一個程度長官會不開心，在爆破一個鐘頭前我還接到長官 倪再沁是相當尊重專業的，當他跟我討論國美館有無可能延

攬新的人才的時候，其實他心中有其他的人選，但我認為很不適合， 那他就問我想要用誰，我說不是我想要用誰，而是在考慮這個時候國 美館需要的諸多條件下，我會傾向於建議另一位人選。事實上我跟這

垂詢的來電，只說八個字：爆破後果，自行負責。當我轉達的時候， 倪和蔡都愣了一下，不過堅持要炸，而且一定要炸得起來。所以雖然 看起來是很炫目的爆破，背後和長官的斡旋是很多的。外界可能批評 倪膽大妄為，但我認為應該說這是不計個人毀譽在進行他的信念。

個人選不熟，但在直覺上研判，我很確定會需要他。讓我震驚的是， 聽我說完之後，他就在我面前打電話給我推薦的人，邀請他來工作，

9.徐婉禎 (東海大學美術系兼任講師.藝評家)

這一切就在我面前發生。某個程度可以說倪再沁是感情用事，但他是 非常直觀性的，也不代表他沒有判斷力，其實他會透過閱讀你的文 字、觀察你的處事態度、默默觀察你的為人來檢驗，所以雖然是直觀 的方式，但他也會賦予你直觀的信任。

倪再沁老師是很好的老師，我研究所三年級準備要畢業口 試的時候，那時老師身體出狀況要開刀，他進手術房之前，想到我們 論文要補充的地方，還特地打手機給我們這些學生，做為學生在那一 個剎那，真是很感動。

相對也會有人對他這種子路型的做事態度感到擔心，跟他共 事到一個程度也會無法安心，但他有一種力量會感召你，或是讓你勇 往直前，但另一方面來說，他也不會保證一定成功，只是說他有一種 很強的感染力。

我到現在都放在心裡的一句話，是老師引用托爾斯泰的一句 話：一切藝術，莫不植根於本土，與自己同胞共哀榮。這是老師在我 通過畢業口試之後告訴我的，雖然事隔多年，一直都放在心裡。當然 這是老師很有共鳴才會跟我分享，我也覺得這應該是老師從事藝術工

倪再沁覺得國美館的典藏很有問題，或是館本身有問題，我

作---不管是寫作、創作，甚至面對所有的事情-----都是以這為出發點。

們都開玩笑說想找恐怖份子來把館炸掉。有一天就談到蔡國強，一開 始是討論拿（國美館）模型給蔡國強炸，形式上也不錯，那時他就說 幹嘛玩小的呢？幹嘛玩假的呢？結果就真的請蔡國強來爆破美術館， 那時沒有意識形態的問題，那時我們只考慮到如何讓國立台灣美術館 一開始就成為國際的話題。我們用幾十萬不可思議的少的經費，請了 蔡國強和他的團隊四個人來，還有和苗栗的爆竹工廠合作，透過一分 多鐘的爆破，讓台灣真的成為 ＣＮ Ｎ、路透社等兩百多家媒體的主要 話題，也讓台灣的展出第一次成為國際轉播。最後真的證明是對的。

我第一次看到老師的作品是他在撕畫，也就是後來他的拼貼 水墨，那時我覺得，哇!老師也蠻愛搞怪的。第二次看到老師的作品， 看到他早期在高雄美濃的黑畫，很深沉、結構很嚴謹，那時我被這樣 的作品震撼，因為我看到一層一層的筆觸堆疊，整體卻不亂。另一件 驚訝的事，老師畫畫的時候拿一碗公調好的淡墨，一筆一筆的畫，我 才知道原來這些深沉墨色是用淡墨慢慢積染出來，所以厚度非常有力 量，很讓人感動。

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10.倪晨 (淡江藝術工作室總監)

多書是為了甚麼，他說不為什麼，只為了豐富自己的生命。讀書給他 帶來很大精神上的愉悅。

倪再沁念光仁中學的時候，妹妹考進初中部，學校每次考 試結果都會有排行榜，從高中部貼到初中部，他們的名字往往都挨在

他的作品中我最欣賞＜原作重現＞，過去我們很習慣聽美術

一起，因為倪再沁常常是高中部最後一名，小妹是初中部前幾名，因

史怎麼說，聽所謂的故宮三寶，但從未想到是誰定義的故宮三寶，從

為大家都會比較，我父親是非常嚴格的人，很重課業，認為萬般皆下

未考慮過這是西方觀點之下的還是我們自己觀點之下的產物。我們有

品唯有讀書高，看見兒子在學校裡表現那麼差，常常會生氣、失望覺

無自己的詮釋?國人自己的觀點?所以倪提出的觀念我認為是一個很重要

得沒有面子，會趁倪再沁半夜熟睡的時候把他痛打一頓。以我女孩的

的體現。倪再沁是研究水墨的，研究所時期幾乎都在故宮過的，他很

眼光看來他是很堪承受痛苦的人，對照他以後一生受到很多打擊，他

早就想過為什麼歷代被皇帝題跋最多的作品不是西方學者認定最好的

一路挺過來，我認為這種韌性從他中學時就可以看出來。不管在事業

作品，後來他在講課中提出這些議題，我覺得很好，便鼓勵他完整寫

上、健康上、婚姻上，很多一般人難以承受的打擊，他都挺過來了。

出來。(也就是＜神畫的形成＞)，他在寫這篇論文的時候，覺得古畫上 被後人加的題字蓋印很礙眼，如果能去掉多好，忽然就靈機一動，現

他有今天的成就，不僅是他過去的同學驚訝，我們家人也很 驚訝，因為倪再沁從小功課不好，好像一直到大二才開竅。他高三快 畢業的時候跟家人宣布他要考美術系，全家都跌破眼鏡，他一張圖都 沒畫過怎麼會想去讀美術系呢?原來光仁中學很早給同學做性向測驗， 他大部分項目分數都低，只有美術跟園藝兩項分數高，就因為這個原 因他就決定讀美術系。當然第一年沒有考上，又準備了一年。我們看 他畫石膏像，在旁邊笑他，他也無動於衷，表示當他很想做一件事情 的時候，他完全不在乎旁人的觀感，這是我印象深刻的地方。

我們哥哥姐姐從小看很多書，後來我們才知道他無聊也會看 這些書，他書看得很雜，從中國章回到西洋文學都看，不知道這些是 否在他開竅之後也成為他的養分，如果今天能肯定我弟弟有一些成就 的話，這些不是憑空來的，他非常用功。他讀過的書都畫滿了註記， 他大約都看過十遍以上。他在台北台中高雄往返的時候，包包裡都是 書，晚上不看書沒辦法睡覺。

他不大應酬，除了創作之外幾乎都在讀書，有人問他讀那麼

代的科技加上他本身中國美術史的學養，就產生了＜原作重現＞這樣 的作品。

專輯執行

專員 | 黃翔、何立心、莊正琪、辜詩吟、郭子瑋、周文婷、 許格元、張瀞尹、徐慧娟、施富錡、趙沁琬、許翼翔、陳琬

總編輯 | 石瑞仁

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茹

副總編輯 | 林羽婕 執行編輯 | 陳志芳、徐慧娟、何立心 美術編輯 | Fritz Lee 特約攝影 | 李遊

教育推廣&發展行銷組團隊成員 副組長 | 高慈敏 專員 | 呂易穎、楊豐維、陳玟吟、廖芸菁、陳千筠

特約翻譯 | 廖蕙芬、紀宛妤、陳致偉、徐慧真 特約英文校對 |Blake Carter 、Gunter Whittome

行政組團隊成員

發行人 | 李永萍 發行所 | 財團法人台北市文化基金會 台北當代藝術館 地址 | 103台北市大同區長安西路39號 電話 | +886-2-2552-3721

副組長 | 曾清琪 人事出納 | 陳貞蓉 助理 | 廖禹瑄 工務 | 陳忠成 視覺設計 | 林婉筠、林菁慧、Fritz Lee

傳真 | +886-2-2559-3874 網址 | www.mocataipei.org.tw 印刷 | 采泥國際文化事業有限公司 定價 | 新台幣1600元 初版一刷 2011年04月 ISBN： 版權所有 請勿翻印

主辦單位 | 台北市文化局、台北市文化基金會 策畫執行 | 台北當代藝術館 協辦單位 | 大象藝術空間館 協力製作 | 爻域互動科技設計、真工設計工程 指定投影機 | 台灣愛普生科技有限公司、3LCD 指定電腦 | 華碩電腦 指定數位說明牌 | 創見資訊數位相框

展覽執行 執行總監 | 石瑞仁 副館長兼組長 | 林羽婕

指定保全 | 中興保全 特別感謝 | 華碩文教基金會、忠泰建築文化藝術基金會、痞 客幫、三商美邦人壽、小畫廊、初露藝術設計工作室、蔚龍 藝術有限公司、台中西窗讀書會、美德基金會、高雄無願讀 書會、高雄文化愛河協會、南港花藝、楊明迭、豐喜堂、台

展覽組團隊成員 副館長兼組長 | 林羽婕 副組長 | 陳志芳

灣蜜納國際集團、財團法人國家文化藝術基金會、財團法人 邱再興文教基金會鳳甲美術館、國立臺灣傳統藝術總處籌備 處臺灣音樂中心

Exhibition Catalogue

Assistant Curators | Hsiang Huang, Li-Hsin Ho, Rick Juang, Maggie Ku, Wayne Kuo, Ge-Yuan Hsu, Jinyin Chang, Dwadi

Chief Editor | J.J.Shih

Chou, Louise Hsu, Carol Su, Fu-Chi Shih, Tiffany Chao, Wan-

Vice-Editor | Maple Yu-Chieh Lin

Ju Chen

Executive Editors | Casper Chen, Louise Hsu, Li-Hsin Ho Designer | Fritz Lee Translator | Hui- Fen Anna Liao, Sylvia Chi, Griffith Chen, Juliana Hsu Proofreading | Blake Carter, Gunter Whittome

Department of Development and Promotion Deputy Supervisor | Beatrice Kao Specialists | Yi-Ying Lu, Feng-Wei Yang, Wen-Yin Chen, YunChing Liao, Ofelia Chen

Publisher | Yung- Ping Lee P ub l i s h ed b y | T a i p e i C u l t u r e F o u n d a t i o n / M u s e u m o f

Department of Administration

Contemporary Art, Taipei Address | 39 Chang- An West Road, Taipei 103, ROC Telephone | +886 2 25523721 Fax | +886 2 25593874 Website | www.mocataipei.org.tw

Accountant | Kate Tseng / Administration Affairs | Anita Chen / Assistant: Yu-Hsuan Liao / Visual Design | Wang-Yun Lin, Nicole Lin, Fritz Lee

Printer | Charming Art Corporation Price | 1600 NTD First Published in February 2011 ISBN | All Rights Reserved by Museum of Contemporary Art, Taipei

Supported by | Department of Culture Affairs Taipei City Government Presented by | Taipei Culture Foundation, Museum of Contemporary Art, Taipei, Special Thanks│ASUSTek Computer Inc., JUT Foundation For Arts & Architecture,

Working Team of Exhibition Executive Director | J.J. Shih Vice Director | Maple Yu-Chich Lin

Pixnet, MassMutual Mercuries Life Insurance, Show Gallery, Chulu Art+Design, Blue Dragon Art Company, Taichung Xichuang Dushuhui, Meide Foundation, KaohsiungWuyuan Dushuhui, Kaohsiung Aihe Dushuhui, Nangang Flower Mall, Yang Ming Dei, Fengxitang, Meala, National Culture and Arts

Department of Exhibition Head of Department | Maple Yu-Chich Lin Deputy Supervisor | Casper Chen

Foundation, Chew’s Cultural Foundation, Hong-Gah Museum, Center for Traditional Arts

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