解/嚴：台灣當代藝術面對戒嚴與解嚴｜The Aftermath: The Lift of Martial Law by Liang Gallery

展覽論述

策展人

解 / 嚴：台灣當代藝術面對戒嚴與解嚴

林志明

藝術家 15 19 23 25 31 35 39 43 47 51 55 59 63 67 71 75 79 83 87 91 95

新店男孩

夏陽

莊普

吳瑪悧陳伯義吳天章梅丁衍邱承宏

黃心健吳耀忠高俊宏謝春德陳界仁陳志誠吳其育王俊傑許家維姚瑞中

瓦旦・塢瑪許哲瑜林羿綺張皓甯

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錄

About Exhibition The Aftermath: Taiwanâ&#x20AC;&#x2122;s Contemporary Art Confronting the Declaration and Lifting of Martial Law

Curator

LIN Chi-Ming

Artist 14 18 22 24 30 34 38 42 46 50 54 58 62 66 70 74 78 82 86 90 94

Xindian Boys TSONG Pu HSIA Yan WU Mali CHEN Po-I WU Tien-Chang MEI Dean-E CHIU Chen-Hung HUANG Hsin-Chien WU Yao-Zhong KAO Jun-Honn HSIEH Chun-Te CHEN Chieh-Jen CHEN Chih-Cheng WU Chi-Yu WANG Jun-Jieh HSU Chia-Wei YAO Jui-Chung Watan UMA HSU Che-Yu LIN Yi-Chi CHANG Hao-Ning

Catalog

Starting from the Japanese colonial period, Taiwan has undergone four declarations of Martial Law. The most recent declaration was on May 19, 1949, by Chen Cheng, who as the governor and commander-in-chief of Taiwan province, announced the declaration of Martial Law and executed its implementation on May 20. On July 14, 1987, Chiang Ching-Kuo, as president, announced the lifting of Martial Law in Taiwan and Penghu starting from July 15. This period of Martial Law had lasted for 38 years and 56 days, a length that can only be compared with Egypt. Afterwards, the period of national mobilization for suppression of the communist rebellion ended in 1991, and Martial Law was lifted in Kinmen and Matsu in 1992. The never-reelected Congress then abolished general election for all members of Congress in 1992. From 1991 to 2004, seven constitutional amendments were made involving the direct election of the president and the suspension of the Taiwan Province Government. Up until today, the power has shifted between political parties for three times, as the process of democratization was gradually implemented in Taiwan. During the period of Martial Law, the freedom of speech, thought and assembly was under strict control. There was a period of white terror during which human rights were severely ignored. Before and after the lifting of Martial Law in the 1980s, Taiwan society as whole pursued greater levels of freedom and struggled against the authoritarian system. Art also entered a lively and energetic period. The process of democratization was carried out in leaps. As the authoritarian spirit gradually faded away, people began to reflect on how to heal the wounds of the Martial Law period, as well as how reconstruct the history in the past that had not been allowed to be discussed. This year coincides with the 30th anniversary of the lift of Martial Law. The goal of planning this exhibition for the Taipei Art District Festival is not to provide a retrospection on Taiwan art in the 1980s. Instead, it explores different generations of Taiwanese contemporary artists over a period of three decades, as well as their reflections and responses to the declaration and lifting of Martial Law. Based on the liberating and pluralistic spirit that came with lifting Martial Law, the exhibition adopts an organizing principal that is different from most exhibitions. This is an exhibition that is co-organized with artists. First, the curators invited representative artists from different generations to submit their works. Following this, they were asked to recommend an artist and artwork. In this process of working together to select works for exhibition, in-depth interviews were also conducted to understand

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THE AFTERMATH

The Aftermath: Taiwan’s Contemporary Art Confronting the Declaration and Lifting of Martial Law by

LIN Chi-Ming

Professor at the Department of Arts and Design, National Taipei University of Education

林志明

解嚴 / ：台灣當代藝術面對戒嚴與解嚴

文國立台北教育大學藝術與造形設計學系教授

月 7

年 1949

月 5

日， 19

日起實施。 1987 年 20

日起解除台澎戒嚴。這次戒嚴，共持續 15

月 5

台灣在歷史上，由日本時期開始，曾有四次戒嚴。最近的一次是日，蔣經國以總統身份下令自 14

︶涉及總統直選及凍省，而至今已經歷三次政黨輪替，台灣的 1991-2004

年又天，其時間之長，在世界上只有埃及可以比擬。之後，動員勘亂體制終結 38 56 ︶，金門、馬祖隨後解嚴︵ 1992 ︶，萬年國會廢除國會全面改選︵ 1992 ︶， 1991

月 7

由陳誠以台灣省主席兼台灣省警備總司令名義發佈，同年

︵七次修憲︵

民主化過程逐漸落實。

戒嚴時期言論、思想及集會結社自由受到高壓管制，甚至有嚴重迫害人權的白色恐怖

年代解嚴前後，台灣社會整體追求更多的自由並和威權體制抗爭，在藝術 80

上也進入了一段風起雲湧、活力充沛的時期；而民主化過程在顛簸中進行，威權巨靈

時期。

年 1980

逐漸離去之後，人們開始反思戒嚴時期的創痛如何癒療，過去受壓抑而不能談論的歷史如何重見。

今年正值解嚴三十週年，為大內藝術節策劃此一展覽，其目的並不在於回顧

代的台灣藝術，而是要探討不同世代的台灣當代藝術家在三十年後，面對戒嚴及解嚴

有如何的反省及回應。基於解嚴的精神即解放與多元，在策展的方法上，也採取一個

與一般展覽策劃不同的方式。這是一個與藝術家共同合作策劃的展覽：首先由策展人

邀請不同世代的代表性藝術家自行提出作品，接著也請他們推薦一位創作者甚至建議

一件作品。在如此共同完成展出作品選擇的過程中，也進行深入的訪談，了解創作者

提出這件作品的緣由及為何他們會作出如此建議或推薦。

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About Exhibition 05

the reasoning behind each artist’s submission as well as suggestions or recommendations. In the course of these interviews, one artist labeled this method as, “Lifting the Martial Law of Curation.” There could be a theoretical problem with this label because it is difficult to say whether the curation had experienced Martial Law. But, to grasp the spirit of diversity and not fall into a politically correct pattern, this is indeed the core principle behind this exhibition. The interviews produced fruitful results. After the exhibition, it is expected for these interviews to be compiled and published into a book. Here, I would like to bring up a few of the more obvious clues. First of all, for generations of artists that have experienced long periods of Martial Law, the historical experience of people suffering from oppression or brutal killings will appear in their works. For example, Hsieh Chun-Te’s early work in the media led him to directly witness a street movement that was repressed by police. The works of his first solo exhibition were also confiscated by various authoritative units. He chose to exhibit his The Tears of Danshuei River, to recall the Bali coast, an area frequently used as an execution ground. However, he uses symbolic methods to present the curled up and stiff body imagery of victims. Mei Dean-E chose to showcase Brilliant Post to commemorate the wood engraving artist, Huang RongCan, who came with the ROC government to Taiwan. Huang is one of the few artists who used the 228 Incident as his theme, depicting the army’s killing of civilians. Afterwards, during the White Terror period, he was convicted and shot to death on a race course. Bringing up Huang Rong-Can as an example, Mei Dean-E reminds people that the White Terror period persecuted victims regardless of their province of origin. Another artist who was oppressed during the period of Martial Law is implied in the work Lost in Interstellar Space by the creative group Xindian Boys. Although the background is a science fiction story in which a spacecraft falls to earth, one of the scattered objects is the sculpture, Finite to Infinite, by Lee Tsai-Chien, who was previously forced by the Taipei Fine Arts Museum to modify its appearance and colors. Tsong Pu, one of the co-creators of this video installation, stated that the mottled appearance of the composition reveals different layers of colors, which signifies that any political party can oppress art. In addition to depicting a history of oppression, Taiwanese artists once also intervened as a form of resistance. For example, Wu Tien-Chang previously volunteered to draw

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THE AFTERMATH

the cover of Dissent Magazine (called Tang-Wai Magazine at the time) on the eve of the lifting of Martial Law. He had always been fascinated by the artificial aesthetics that can be everywhere in Taiwan. Even though his works have undergone different stages of evolution in regards to media and technique, they still reflect how the current regime might still just be a shell masking the present problem (“the Republic of China as Taiwan’s official name”). His theme of masks shows a paradoxical sense of modernity. Before the lifting of Martial Law, Wang Jun-Jieh was still a young man in college. However, he had joined the avant-garde art group, Hsi Rang, and began experimenting with video and placing his focus on the power and lies of television media. This continued into his period conducting overseas studies in Berlin. After the lifting of Martial Law, the liberated energy of art and culture became primed for consumption and enjoyment. He changed his creative direction to conduct an inner exploration and response. Why was there Martial Law at that moment, and why was it lifted in the next? Did it really happen this way? For Chen Chieh-Jen, the lifting of Martial Law was a necessary step in a longer and more subtle process – that is, neoliberalism continued with the bio-politics. This process in Taiwan can be traced back to 1984 when Yu Kuo-Hwa served as chief executive. Doubt led him to store and package the air of July 14, 1987, into an ice pillow. As early as 1983, taking advantage of the “democratic holiday” during the election period of supplementary legislators, he and some friends braved the danger of being caught by police in Ximending to proceed with 20 minutes of action art, Dysfunction No. 3 and present the body under Martial Law. Though hailing from another generation, Kao JunHonn holds a view similar to that of Chen Chieh-Jen. He believes that the lifting of Martial Law in Taiwan should be interpreted through the lens of major international contexts, such as the post-cold war and globalization. In 1997, he created a video series, Socialized Boredom:Jump, comprised of five segments scattered through various locations of the exhibition site to express how there was seemingly no object of resistance after the lifting of Martial Law, or “some embarrassing conditions of bodies in the atmosphere of society.” In contrast, Yao Jui-Chung questions whether we truly are in the after-Martial Law. For example, many authoritarian powers were overturned in the 1990s. However, consumption and hedonism made people forget the ideals of the revolution. And, when reforms are not implemented, Yao believes that life under Martial Law can be seen to be extended to today. Between 2011 and 2013, Yao created two films, Long Live and Long Long Live, which provide a satirical look at the lingering ghosts of history.

在訪談的過程中，曾有受訪藝術家稱此方法為﹁策展的解嚴﹂。雖然這有點理論上的問題，因為很難說策展是否曾經戒嚴？不過把握多元的精神，不落入政治

除了描繪壓迫的歷史，台灣藝術家也曾反抗性地介入，比如吳天章曾經自告奮勇為解

嚴前夕的異議雜誌︵當時稱黨外雜誌︶繪製封面。他一直著迷於台灣處處可見的虛假

美感，即使創作已經歷不同階段的媒材和技術演變，但映照在至今國號是否只是一借

代感。在解嚴之前王俊傑仍是在讀大學的年輕人，但那時他已加入前衛藝術團體﹁息

殼上市外衣的當前問題︵﹁中華民國是台灣﹂︶，他的面具主題更顯出一種弔詭的時

壤﹂，並開始實驗錄像及關注電視媒體的力量和謊言，而這在他到柏林留學期間仍然

正確的窠臼，卻是這次策展最核心的原則。訪談的成果是豐碩的，在展覽之後也預計整理為專書出版。在

八里海岸，但使用象徵的方式，展現出受難者蜷曲僵

展出的是︽淡水河的眼淚︾，回到經常作為行刑場的

壓，第一次個展作品也被不同單位一一沒收；他選擇

德早年曾在媒體工作，直接目睹街頭運動和保警鎮

年，趁著增額立委選舉期間的﹁民主假期﹂，他也曾和一群友人在西門町，冒著被警

長。這樣疑惑導致他將

治的治理性，而這個程序在台灣的導入，至少可以上溯至

是一個更長久的、更潛沈的程序之中必要的一個步驟，也就是新自由主義結合生命政

為何這一刻還在戒嚴，下一刻就解嚴了？事情真的是這樣嗎？對於陳界仁來說，解嚴

方向往內在探討來加以回應。

持續。對於解嚴之後，藝術文化被解放的能量為消費化及享樂化消磨，他以轉變創作

這裡我先提出其中一些較明顯的大線索：首先，對於長期經歷過戒嚴的世代，人民受到壓迫甚

硬的身體意象。梅丁衍選擇展出的︽燦柱︾，紀念的

察捉走的危險，進行

或殘酷殺害的歷史經驗會出現在作品之中。比如謝春

則是隨國府來台的木刻版畫藝術家黃榮燦。黃榮燦是

屬於另一個世代，高俊宏抱持和陳界仁類似的看法，認為台灣解嚴應由後冷戰及全球

1983

年一系列︽社會化無聊：跳︾錄像，五 1997

分鐘的行為藝術︽機能喪失第三號︾，展現戒嚴身體。雖然 20

日的空氣裝入一具冰枕中封存，而早在 14

年俞國華擔任行政院 1984

極少數曾以二二八為題材，描繪其中軍隊殘殺百姓的

小段分散於展場各處，表達的是解嚴後仿佛沒有對抗對象，﹁身體在社會空氣裡面的

化這些大的國際脈絡來解讀。他提出的

月 7

情景的藝術家，他後來在白色恐怖時期被羅織入罪並

年 1987

於馬場町槍決。梅丁衍以黃榮燦為例，提醒人們白色

年代裡許多 90

威權被打破，但後來的消費及享樂主義使人遺忘革命的理想，而當改革沒有被落實，

一些尶尬狀態﹂。相對地，姚瑞中則質疑，我們真正解嚴了嗎？比如

壓迫的藝術家則隱含於創作團體﹁新店男孩﹂的系列

萬歲︾兩部影片，諷刺歷史幽靈之徘徊不去。

姚瑞中認為戒嚴的生命便延續直到現在，他在

恐怖的受難者是不分省籍的。另一位在戒嚴時期受到作品︽星際迷航︾。雖然背景是一部太空飛行器墜落

年間創作了︽萬歲︾及︽萬 2011-2013

地球的科幻故事，但散落的物件中含有曾被北美館強迫修改外觀顏色的李再鈐雕塑︽低限的無限︾。創作這件影像裝置作品的共同作者之一莊普表示，物件結構斑駁處顯露出層層不同的顏色，亦代表不同顏色的政黨都可能壓迫藝術。

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About Exhibition 07

The creative inspiration for the artists often comes from their personal experiences. For this time, Huang HsinChien introduces his new work, Bloodline, which is related to the history of his maternal family. For example, his maternal grandfather’s land was redistributed due to the policy of giving farmers their land. And, due to his mother sending assistance to his grandfather in mainland China, government organization marked her on a blacklist for surveying. This technological work, Bloodline, utilizes 3D scanning and 3D printing technology coupled with facial recognition software and digital computing. Using modern methods, he explores problems and memories passed down from his family heritage. Hsu Chia-Wei also uses a similar process for his works. In his course of development, many clues naturally appear and create connections. However, he continues to ask how the narrative of history has been constructed. His 2017 works, Industrial Research Institute of Taiwan Governor-General's Office and Takasago, are video works based on archival research. This can be considered historical reconstruction work that can only be done after the lifting of Martial Law. The Noh performance in Takasago extends upon the motif of his recent works: the precise retention of folk memories in ritualistic theatre. This exhibition, “The Aftermath,” not only provides a look at the past but also proposes a starting point for thought regarding the future of Taiwan contemporary art. In an interview, Chen Chih-Cheng points out that even when political prohibitions are lifted, the problem of values remains unclear. For example, art and culture should not belong to any politics. The autonomy of art should be highlighted and elevated. How to demonstrate this value? For Wu Mali, the deconstruction and criticism during the 1980s and 1990s often utilized binary ways of thinking. However, after the year 2000, her practices of art became more related to the community, which is a multi-faceted buckle of sorts. The problems tackled transcend politics and make a return to the most fundamental problem of survival, such as drinking water, food, the relationship between people and the environment. After all, what exactly is the ideal way of life?

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THE AFTERMATH

藝術家創作的出發點，許多時候是由自己切身的經驗出發。黃心健這次

列印技術，加上臉部特徵辨視軟體及數位運算， 3D

父這一代因耕者有其田政策導致土地被重新分配，而母親有接濟身在大掃瞄及 3D

年作品︽台灣總督府工業研 2017

嚴 / ﹂這個展覽不只是一個望向過去的展覽，它也由這個命題出發

年代的解構和批判，常使用二元的思考方式，但 80-90

環境的關係，什麼是人的理想生活型態？

年之 2000

題，超越了政治，回到最根本的人的生存問題，比如飲水和糧食，人和

後她的藝術實踐多和社區有關，這是一種多面向的扣連，其中關懷的問

言，

術的主體性應該受到彰顯和提昇。而如何彰顯這個價值，對於吳瑪悧而

解除，價值的問題仍尚未清楚，比如藝術文化不應臣屬於政治之下，藝

思考台灣當代藝術的未來。陳志誠接受訪談時指出，即使政治上的禁忌

﹁解

創作近期的母題：在儀式劇場中精確保留的民間記憶。

後才可能進行的歷史重建工作；︽高砂︾中的能劇演出，延續了他個人

究所︾及︽高砂︾，為兩部建基於檔案研究的錄像作品，而這是解嚴之

史和敘事如何受到建構。這次他展出

此，在他的發展歷程中，許多線索自行出現與連結，但他一直在提問歷

以新的方式提問探討家族記憶傳承的古老問題。許家維的創作也是如

作品利用

陸的祖父而被政府組織盯上作記號的歷程。︽血脈之線︾這件科技藝術

提出的是新作︽血脈之線︾，背景和其母系家族的歷史有關，比如外祖

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About Exhibition 09

Curator

LIN Chi-Ming

Lin Chi-Ming was born in 1965, Taichung, Taiwan. He has studied in Paris and became doctor of Ecole des Hautes Etudes en Sciences Sociales in 1999. Now professor at the Department of Arts and Design of National Taipei University of Education, he is specialized in the field of Theory of image, French contemporary thoughts, Crossboundary study of arts and Contemporary aesthetics. His publication comprehends more than several dozens papers and articles in the journals, magazines, exhibition catalogues and books of collective assays. His recent book titles are Multiple and Tension: On History of Photography and Photographic Portrait (Taipei: Garden City, 2013); Translator’s Introduction to l’Histoire de la folie à l’âge classique. Art critic and curator, he is the actual President of AICA Taiwan, board member of AICA Internationale and Taiwan Art and Technology Association. He is also translator of important European philosophers including: Jean Baudrillard, Michel Foucault, Walter Benjamin, Pierre Bourdieu and François Jullien. Participating actively in Taipei’s intellectual and artistic life, several-times jury member of Taishin Bank Art Award, he has co-founded Taiwan Avant-Garde Documenta and several new journals including Router: Journal of Culture Studies in Taiwan, dA (Documents of Contemporary Architecture and Aesthetics) and the Film Appreciation Academic Journal (published by Taiwan National Cinémathèque). He is actually board member of National

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THE AFTERMATH

Central University Journal of Humanities, The Sculpture Research Semiyearly, Tsing Hua Journal of Arts and member of the review committee of Savoirs et clinique: Revue de psychanalyse.

AICA international member, he works also as curator of the exhibition of contemporary art and his important projects in this field include the “Future Museum” for the National Palace Museum (2008, MUSE silver award 2009 by AAM), the “Digital Hand” (2010, for National Taiwan Museum of Fine Arts, with Dominique Païni), “Le Festin de Chun-te” for MOCA Taipei at the 2011 Biennale Arte, Venice (with Dominique Païni), “A Contemporary Dialogue with Michaelangelo” (Grand Opening of MoNTUE, 2013), “Jean Baudrillard: Photography and Passwords” (2014, Honggah Museum, Taipei). “Future Media”(2015, MoNTUE), “Soul’s Eyes” (Waley Art, 2016 as project leader), Taipei Art District Festival (2017, as curator and the general coordinator of exhibitions). Taiwan Coordinator of IPAA since 2009 and of GDRICNRS “Literature and Democracy” since 2017, he is also very active in the international exchanges.

展

人

林志明策

年，台灣台中。台大外文系畢業、法國高等社會科學研究學院文 1965

學藝術語言體系研究博士。目前為國立台北教育大學藝術與造形設計學系專任教授

林志明出生於

人

︵

。 (2016)

大利文出版；最近專著為︽複多與張力：論攝影史與攝影肖像︾︵時代瘋狂史：譯者導讀別冊︾

布赫迪厄、朱利安。

他曾參與多份刊物的編輯委員會，包括︽文化研究︾、︽電影欣賞學刊︾︵

集人

的審稿委員。目前他是聯合及法語期刊 Savoirs et clinique : Revue de psychanalyse 的總會國際理事 (board member) ，台灣分會國教科文組織國際藝評人協會 (AICA) 理事長。 IPAA 國際藝術與美學研究群台灣地區召集人 (2009 年開 (AICA Taiwan) 法國國家科學研究中心﹁文學與民主﹂國際研究網絡台灣地區召始、 ) CNR S GDRI 年開始。) (2017

委員會召集人、︽中央人文學報︾、︽雕塑研究︾、︽清華藝術學報︾的編輯委員

度召集人︶、︽政大哲學學報︾、︽現代美術學報︾，目前亦擔任數位藝術評論推動

年 2006

他同時也是許多重要歐洲當代思想家的翻譯者，其中包括了布希亞、傅柯、班雅明、

他同時是一位活躍的評論家，擔任了七屆台新獎觀察團委員及決選委員︵ 2013 年視年共同創立了台灣前衛文件展。策展包括國立故宮覺藝術決審團主席︶，也於 2002 、年美國博物館協會繆思獎多媒體裝置銀牌獎︶、博物院﹁未來博物館﹂︵ 2008 2009 ︶、台北當代藝術館 2011 年威尼斯雙年展謝春德個國美館﹁數位之手﹂展覽︵ 2010 年返台展、北師美術館開幕大展﹁米開朗基羅的當代對展﹁春德的盛宴﹂及其 2012 ︶、鳳甲美術館﹁布希亞：攝影 X 密碼﹂︵ 2014 ︶、北師美術館﹁未來話﹂︵ 2013 ︶、水谷藝術﹁靈魂之窗：未來媒體藝術創作工作坊成果展﹂ (2016) 媒體﹂︵ 2015 計畫主持人、 2017 年第四屆大內藝術節主題展區總策展人、尊彩藝術中心﹁解嚴 /﹂、大觀藝術空間﹁話時代﹂ (2017) 。 (2017)

︶，︽古典 2013

年兼系主任︶，並曾三度受邀至法國第七大學擔任訪問教授。主要研 2013 ― 2016 究領域為影像研究、美學、法國當代思潮。著有論文數十篇以中文、法文、英文、意

展

策

Curator 11

藝術家

Artists

Tsong Pu graduated from Fu-Hsin Arts School in 1969, and the College of Arts of the Complutense University of Madrid in 1978. He worked at the Department of Fine Arts of the National Taiwan University of Arts, as well as the Graduate Institute of Plastic Arts of the Tainan National University of the Arts. He participated in contemporary art platforms, including the Society of Contemporary Art (SOCA) and IT Park. He also participated in founding the art group Xindian Boys. His works are affected by abstract expressionism. Instead of pursuing realism, he emphasizes the material change of the medium in painting, as well as an abstract visual construction. During 1991-2010, he started to create spacial and installation works. His works can be found in Taipei Fine Arts Museum, Hara Museum of Contemporary Art, Yokohama Portside Gallery, National Taiwan Museum of Fine Arts, and other institutions.

č§Ł

ĺ&#x161;´

THE AFTERMATH

Xindian Boys TSONG Pu

197年 8 西班牙馬德里大學藝術學

新店男孩・莊普 196年 9 復興美工畢業，

院畢業。曾任職於於國立台灣藝術大學美術系、國立台南藝

S O C A現代藝術工作室和

伊通公園等當代藝術空間、異度空間、超度空間展覽、新店

術大學造型藝術研究所。曾參與男孩藝術團體的創立。創作受抽象表現主義觀念影響，不以

1991-201年 0 間衍生空間與裝置形式的作

具象寫實為追求，強調繪畫物質性的媒材變化，與抽象思維的視覺構成。品。作品獲台北市立美術館、日本原美術館、橫濱港邊畫廊、國立台灣美術館等多處典藏。

普

莊

・

孩

男

店

新

Xindian Boys TSONG Pu 15

《星際迷航―紅色》Lost in Interstellar Space: Red

複合媒材 Mixed media/ 依場地而定 Dimensions variable/2016

《星際迷航》

《星際迷航：（紅色的）遺跡》

Lost in Interstellar Space

Lost in Interstellar Space: (Red) Ruins

鐵皮 Metal/ 依場地而定 Dimensions variable/2016

1973 年時的莊普，認為在戒嚴時期的台灣創作缺少自由，於是留學進入西班牙馬德里大學藝術學院；直

到 1980 年初才回國，那時言論與雜誌已漸漸開放。在建設公司上班的他，淡季時每天來回遊蕩畫廊，而當時風靡並包裝著日據時代的畫家，彷彿整個時代的氛圍處於政府還沒監督，就已經自我設限的狀態。

莊普希冀能有其他的原生空間創作與展覽，和幾位藝術家共同創立了伊通公園。 2012 年起，莊普、陳順

築、吳東龍、蘇匯宇四位藝術家組成創作團體「新店男孩」，作品皆橫跨繪畫、錄像、攝影、平面、立體、物件等諸多面向。

陳順築英年早逝後，三人共同的創作《星際迷航》系列，從李再鈐作品《低限的無限》（ 1983 ）事件出發，事件說明在解嚴期間美術館對藝術家的壓制性：該作品於台北市立美術館展出時，有人寄黑函予當時的館

長，告知由正面觀看該雕塑時形似一顆紅星，館方便以「恐有思想問題」，要求將該作品的顏色重新漆上。而現在這件作品是用比較詩意、抽象一點的方式，有點美學、不是那麼清楚直接地表達藝術家本身或作品被政治迫害的情境。

《星際迷航―紅色》源自於塔可夫司基（ Andrei Tarkovsky, 1932-1986 ）《飛向太空》（又譯《索拉力星》）中，人類探索未知地域的迷惘與自身的虛無感。在作品《星際迷航》錄像裡，有顆星星是一顆外太空來的飛船遺跡，孤單地處在異樣的環境裡，荒蕪的河床是 2015 年風災後的新店溪畔，星星殘餘置放其上，

有著創傷的痕跡，痕跡裡一層層的顏色，像是經歷了各種政治力量的參與，改朝換代般的塗改。 16

解

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THE AFTERMATH

In 1973, unsatisfied with Taiwan’s lack of freedom under Martial Law, Tsong Pu went abroad, studying in the College of Arts of the Complutense University of Madrid until the early 1980s. By then, restrictions in free speech and starting new journals were being gradually lifted. Tsong worked in a construction company, and had a habit of visiting galleries during the company’s off season. The most common-seen works at the time were paintings from Japanese occupation era. It was an atmosphere in which restrictions toward creativity were carried out by the artists themselves even before the authorities ordered them to do so. Hoping to create other original spaces for art, IT Park was founded by Tsong Pu and a handful of artists. Xindian Boys was founded in 2012 by Tsong Pu, Chen Shun-Chu, Wu Tung-Lung and Su Hui-Yu. Their works include paintings, video clips, still photographs, drawings, sculptures, etc. After the early death of Chen ShunChu, the A Trek in the Stars series of the other three were inspired by the 1983 incident about Lee Tsai-Chien’s Finite to Infinite, which shows the oppression on artists by the museums of the late Martial Law era. Before it was publicly shown in the Taipei Fine Arts Museum, the museum received an anonymous letter, stating that the work, when viewed from the front, looked like a red star. The museum ruled that the work has to be repainted. The current work shown here takes a more poetic, abstract approach, using an aesthetic way to convey the message that artists and their works often face political oppression. The Lost in Interstellar Space: Red was inspired by Tarkovsky’s Solaris, in which a group of people explores the endless unknown as well as their own emptiness. In the video work Lost in Interstellar Space, there is a star

《星際迷航》Lost in Interstellar Space

黑白有聲三頻道錄像 Black and white three-channel video with sound/15min/2016

《星際迷航：邊境》Lost in Interstellar Space: Frontier 攝影 Photograph/54.5×81.5cm/2016

《星際迷航：墜落的紅星》Lost in Interstellar Space: A Falling Red Star 攝影 Photograph/90×150cm/2016

which was actually the wreck of an alien spacecraft, spending its time alone in a foreign land. The barren riverbed is Xindian River after the typhoon in 2015. The remains of the star sits on the riverbed, with the shades in its damaged parts reflecting the scars from the political oppressions of numerous administrations.

Xindian Boys TSONG Pu 17

新

店

男

孩

・

莊

普

Hsia Yan graduated from Nanjing Normal University in 1948. He studied painting under the guidance of artist Lee Chun-Shan after coming to Taiwan in 1949. Hsia, together with other art students, established the historically significant Eastern Art Group, or Ton Fan Group. He was also a member of “The Eight Bandits.” He is often referred to as one of the greatest representatives of the modern art movement in Taiwan in the 1950s. He then moved to Paris for studies, which coincided with the student movement, and went to New York later to reside. From 1990 and onwards, Hsia redirected his artistic focus to folk art and arts based on traditional myths. It is also in this decade that he developed the metal slices for The Furry People. Hsia Yan moved back to Taipei in 1999 and has been living and working in Shanghai since 2002.

解

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THE AFTERMATH

HSIA Yan

194年 8 畢業於南京師範大學。

夏陽夏陽，

194年 9 來台後隨藝

術家李仲生習畫，與其門生一同組成台灣藝術史著名之﹁東

5年 0 代提

倡現代藝術運動代表人物之一。後先赴巴黎留學，適逢學

方畫會﹂，當時被封為﹁八大響馬﹂一員，成為

199年 0 以後將創作重心聚焦在傳統神話和

199年 9 搬回台北，

200年 2 移居上海生活、創作至今。

民間美術的現代語言，亦發展﹁毛毛人﹂的金屬片雕。夏陽

運，後轉紐約，於

陽

夏

HSIA Yan 19

壓克力、畫布

︽太子爺︾ Acrylic on canvas/183×112cm/1990

Tai Tzu Yei (The Prince of Marshal)

THE AFTERMATH

嚴

解

《太子爺》

Tai Tzu Yei

(The Prince of Marshal)

《太子爺》一作，是夏陽在 1990 年代以傳統宗教神話和民間美術為基底主題，所進行一系列的畫作之一。

畫中特意模糊人物輪廓而表現動態的手法，而此畫面中哪吒聖像的衣著配飾均仍俱在，精神卻已遁隱。

此系列作品被藝評家視為以反聖像的再現，美學式地來表達其對台灣社會既有的體制或質疑。本展覽選擇展出

其哪吒畫像，亦反映著 80-90 年代台灣藝術家利用神話人物進行對體制的反抗及諷諭的風潮。

Tai Tzu Yei is one of the paintings of the series based on traditional religious myth and folk art created by Hsia Yan in the 1990s. In the center of the painting we see a deliberately blurred figure, Nezha, performing an expressive and dynamic movement. Both, his clothes and accouterments are clearly visible, yet his spirit is already in a recluse. Art critics considered this series of paintings as a reconstruction of antiidol worshipping. Hsia questioned Taiwanese society and its system through aesthetic style he applied in this work. This painting of Nezha on display in this exhibition reflects how mythical figures, often depicted by the Taiwanese artists during the 1980-90s, served as a rebellion against the system and were used as an allegorical agitation.

HSIA Yan 21

夏

陽

Wu Mali graduated from the Department of Sculpture at Germany’s Kunstakademie Düsseldorf in 1985. She currently is teaching at the Graduate Institute of Interdisciplinary Art at National Kaohsiung Normal University. In the 1990s, she created many works with feminist perspectives and those that involved social and political themes. Since 2000, she has been focusing on using art as a link between the community and public domain. From 2000 to 2004, she collaborated with Taipei Awakening Association on the Awaken in Your Skin art project, which explored the life of women through cloth and weaving. In 2005, she planned Art as Environment – A Cultural Action on Tropic of Cancer which invited the artists in residence in Chiayi county to establish a platform for improving the relationship between art and society. The Floating World: Tracing the Tamsui (2006), Return to Rivers and Mountains – Up and Below Keelung River (2012), and in collaboration with Bamboo Curtain Studio, Art as Environment – A Cultural Action at the Plum Tree Creek

(2010), all explore the impact of urban development on environmental and ecological development. In 2013, she received the Visual Arts Award at the Eleventh Taishin Arts Award and then the National Award of Art in 2016.

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THE AFTERMATH

WU Mali

吳瑪悧 198年 5 畢業於德國杜塞道夫國立藝術學院雕塑系，目前任教於國立高雄師範大學跨領域藝術研究所。 199年 0 代多以年女性主義角度及參與社會政治生態的作品， 2 0 0 0 起關注 2000-200年 4 與台北

藝術作為連結社群與公領域的可能。

200年 5 在嘉義縣

市婦女新知協會玩布工作坊合作︽從你的皮膚甦醒︾藝術計畫，透過布與織縫探討女性的生命歷程。策劃︽北回歸線環境藝術行動︾邀請藝術家駐地生活，創年︽人在江湖 ― 造改善藝術與社會之間關係的平台， 2 0 0 6 淡水河溯河行動︾、 2012 年︽還我河山 ― 基隆河上基隆 201年 0 起與竹圍工作室共同合作的︽樹梅坑溪環

河下︾、

境藝術行動︾，探討在城市發展下所影響環境生態發展的

問題，於 201年 3 獲第 1届 1 台新藝術獎年度視覺藝術獎。 201年 6 獲得第 1屆 9 國家文藝獎。

悧

瑪

吳

WU Mali 23

Chen Po-I is currently studying a PhD at the Department of Hydraulic and Ocean Engineering of Cheng-Kung University. He worked as a photography teacher and exhibition planner, among other jobs. He specializes in photography and ocean engineering. Chen’s photographs focus on abandoned villages and ruins, preserving the aftermath of disasters and the remains of objects in documentary photography while telling the story behind their past. He received the Taishin Award for the Best Performance Art in 2015 for his work Records of the Hongmaogang Village Relocation.

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THE AFTERMATH

CHEN Po-I

陳伯義目前就讀於國立成功大學水利及海洋工程研究所博士班。從事過攝影教學及策展等工作，專長為攝影及海洋工程。攝影創作拍攝

201年 5 以︽紅毛港遷

許多移村、廢墟的場景，在紀實的同時保留災害、物件去除後遺留的痕跡，來講述影像中過去生活的故事。村實錄︾獲台新獎年度五大最佳展演。

義

伯

陳

CHEN Po-I 25

吳瑪悧 WU Mali《新北市淡水區民生里樹梅坑溪 -I》The Plum Tree Creek (Minsheng Village, Tamsui Dist., New Taipei City)-I 雷射輸出彩色相紙 Lightjet C-print/28×38cm/2017

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THE AFTERMATH

《樹梅溪解剖》

Anatomy of the Plum Tree Creek

德國杜塞道夫國立藝術學院畢業後，吳瑪悧於

1985 年回台灣。正值解嚴前後，政治社會運動的氛圍充滿著街頭，早年如「時間空間」（ 1985 ）、「咬文絞字」（ 1993 ）等展覽，以創作回應社會批判的聲浪。在 90 年代初期，轉向性別為主題的創作，1997 年做了《墓誌銘》、《新莊女人的故事》，探討女性的生命經驗與社會角色，所投射出的性

別處境。而在完全解嚴後，更全觀地同時處理城市發展、土地、社區環境等多面向的問題。介入

社群的藝術型態，更能使藝術家思考如何去看整體的社會現象，進入到非藝術的世界。

吳瑪悧在 1999 年底與台北市婦女新知協會規劃的

「玩布工作坊」課程及自 2005 年起的《嘉義縣北

成一個創造對話的媒介，不同於在畫廊和美術館裡接觸的經驗，藝術家到了當地以後就創造了一種

新的情感交流的形式，還有一種相互理解的方法。《樹梅溪解剖》使吳瑪悧重新思考藝術和社群、及

所謂的非藝術家之間的關係，所謂的藝術生產，如何又邁向真正所謂的文化生產裡面，而不是只是在做一個所謂熟悉的美學物件的生產。她認為無論是何種政黨執政，要面對和解決的都是人的

生存問題，如何在土地上面安居樂業，水和糧食，是每個生命基本的需求。解嚴之後要面對的是如

何去安排、安置人的生活，還有甚麼是理想的生

活型態，都在《樹梅溪解剖》議題裡面被提出來。

回歸線環境藝術行動》等社群計畫，藝術基本上變

After graduation from Germany’s Kunstakademie Düsseldorf, Wu Mali returned to Taiwan in 1985. Around this time, during the abolition of Martial Law, the streets were filled with a social and political atmosphere. “Time and Space” (1985), “Gnawing Texts, Reaming Words” (1993) and other earlier exhibitions used works to echo waves of social criticism. At the beginning of 1990s, her works shifted towards themes of gender. In 1997, she created Epitaph and Stories of Women from HsingChung to explore the gender situations projected by female life experiences and social perspectives. And, after the complete abolition of Martial Law, she more fully tackled urban development, land, community environments, and other multifaceted issues. Art that intervenes in the community enables artists to contemplate how to see overall social phenomena and enter the non-artistic world. At the end of 1999, Wu Mali collaborated with Taipei Awakening Association to plan the “Textile Playing Workshop” course and Art as Environment – A Cultural Action on Tropic of Cancer project in Chiayi county since 2005, and other communal projects. In essence, art is a medium for creating dialogue, unlike the experiences in a gallery or fine art museum. After reaching the locale, the artist creates a new form of emotional exchange as well as a method for mutual understanding. The Anatomy of the Plum Tree Creek project allowed Wu Mali to reexamine the relationship amongst art, community, and socalled “non-artists,” as well as glance at how the so-called “creation of art” truly approaches the creation of so-called “culture” rather than just creating so-called familiar aesthetic objects. She believes that no matter what political party is in power, what we all need to face and solve is the problem of human survival – how to live safe and happy lives on this land with the basic needs of water and food being properly met. After the abolition of Martial Law, how to properly arrange and set people’s lives, as well as what exactly an ideal lifestyle was needed to be addressed. These are topics that are put forth in Anatomy of the Plum Tree Creek. WU Mali 27

吳

瑪

悧

《樹梅溪解剖》Anatomy of the Plum Tree Creek

雷射輸出彩色相紙 Lightjet C-print/28×38cm×15/2017

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THE AFTERMATH

攝影師陳伯義與紀錄片導演張景泓

共同加入了藝術家吳瑪悧的《樹梅溪解剖》的計畫。吳瑪悧於 2009 年開始進行樹梅坑溪計畫，而台灣在 90 年代解嚴後，

為重視環境議題所推行的生態工法，

在 2009 年的前後樹梅溪也因風災的崩壞，而改採硬石整治。

陳伯義以水利工程背景來審視此事：面臨極端氣候的改變與生態課題，

需要的不再只是單一的政策或規劃，而是更多面向的反思。

Chen Po-I and Jhang Jing-Hong joined the Anatomy of the Plum Tree Creek started by Wu Mali in 2009. Although the government implemented ecological engineering on the creek in the 1990s in response to the call for a more ecofriendly approach, it was reverted to more traditional, less eco-friendly approaches after the typhoon in 2009. With his water resources engineering background, Chen argues that in an era of extreme climate change and environmental issues, a wider picture of the problem we face is needed to replace unilateral policy or planning.

CHEN Po-I 29

陳

伯

義

Wu Tien-Chang was born in 1956 in Changhua, Taiwan. He graduated from the Department of Art of Chinese Culture University. In the 1980s, he earned a title of “the first Taiwanese artist who lifted the Martial Law on art” with his political and historical-themed paintings. In the 1990s, he established “Taiwanese aesthetics” by adding photography into his paintings. By the 2000s, he turned to computer graphics and its ability to accurately arrange the characters, and the “arranged photography” works were created with an overwhelming impression. In the 2010s, he again turned to video art with computer-based editing, creating his own, unusual style. Wu’s paintings are mostly based on historical facts and reflect history. His later motion and still picture works, on the other hand, combined history with dark comedy and tacky objects to create a tragic style exclusive to Taiwan. His style earned him the title of a “true Taiwanese artist.” His works were presented in Venice Biennale in 2015 under the title “Wu Tien-Chang: Never Say Goodbye.”

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THE AFTERMATH

WU Tien-Chang

吳天章 1 9 5 6年生於台灣彰化， 1 9 8 年 0 畢業於中國文化大學美術年代時，吳天章以油畫創作﹁政治、歷史﹂主題，系。 8 0 年代，以攝影複合被譽為台灣藝壇﹁解嚴﹂的第一人。 9 0 200年 0 轉以電腦修圖及媒材為媒介，開啟﹁台客美學﹂。

201年 0 更轉

合成技術，透過肢體設計和準確度的要求，以﹁安排式攝

影﹂進行創作，創造出驚悚有力的影像作品。型至錄像藝術，以一鏡到底的電腦剪輯，呈現詭異的錄像風格。吳天章的油畫作品，大多以歷史文本為創作依據，進而反思歷史發展。之後的攝影作品，巧妙地結合台灣歷史、黑色喜劇及豔俗現成物，自創台灣特有的嬉謔悲情風格，因而

201年 5 威尼斯雙年展以﹁吳

天章，別說再見﹂為名，於台灣館展出。

有著﹁台客藝術家﹂的封號，

章

天

吳

WU Tien-Chang 31

《日行一善》Do a Good Deed a Day

數位雷射相片 Digital laser print/240×394cm/2007

《日行一善》｜《心所愛的人》

Do a Good Deed a Day ｜ Beloved 由於父親曾繪製電影看板，以及生長於反國民黨

談到自己作品中的「假」美學，以變態心理學中

黨外雜誌畫過封面。當初單純的動機只是覺得這

意識，以此次展出的《日行一善》與《心所愛的人》

的黨外家庭的種種原因，吳天章在過去就曾經為些設計編很醜：「過去美工都很差、也沒有攝影，當時覺得有商機，我自己就畫了幾個範例去找雜誌主編，他當時是立法委員。我畫了四家週刊，

超好賺。當時百花齊放，但沒過多久又開始查禁，查了又開放。國民黨並沒有要真正把你給判刑，那時候在台大對面有個發財車都賣禁書，跟秋海

棠在賣海盜版一樣，都是我們開眼界的地方。以前我們的圖庫資料庫都這兩家，過去警備總部把

你的出版查禁，頂多賠錢，但一直到鄭南榕自焚，他主張百分之百的言論自由，才是真正被震撼。老闆也是賠得起，這一期被查禁就笑一笑，警備總部的風向球就是模稜兩可。當時我聽社長講，最

後一次國民大會開會狀況蔣經國身體已經不好了，沒過多久就死了，所以我畫《蔣經國的五個時期》是很自然的，因為我天天在畫蔣經國。」

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THE AFTERMATH

的恐怖谷理論做根基，並且反映了台灣民族的潛

兩件作品做為代表：「過去大家沒有國家認同，直

到 90 年代初台灣主體性主現，『假』好像成為台

灣的集體性」這個感受也反應在吳天章幫自己親戚製作葬禮相片的經驗，無論是最後遺容還是生

平，台灣人總在人生最後一刻只呈現美好的那面，台灣人允許作假；這也暗示著台灣與中華民國兩種國族認同間有著本尊與分身的隱喻，不斷在歷

史更迭、政黨輪替相互角力。他也提到黃明川曾

經說過的一句話，給予他的創作很大的啟發：「限制在哪，美學就在哪。」

For his background, including him being born into a family with strong antiKuomintang ideology and his father’s experience of drawing billboards for movies, Wu Tien-Chang had drawn cover arts for anti-KMT magazines long ago. However, his motivation at the beginning was simple: the cover art at the time was ugly. “At the time, the quality was poor,” he said, “and there were no photographs for cover art. So I sensed that there was a chance for me, and I submitted some samples to the editor. He was a legislator at the time. I drew a cover art for four different journals, and the income was great. It was an era with a strange atmosphere: they would open up for a while, and then start banning those magazines, and then open up again. The KMT was not trying to jail you, and there were trucks and stores selling forbidden and pirated books. Those were where we got a bigger picture of what was going on. Even if you were caught by the Garrison Command, you could usually walk away with a fine. The real shock only came after Cheng Nan-Jung’s suicide in support of complete freedom of speech. The owners of the shops were very easy about his books. If his books got banned, so be it, as the attitude of the Garrison Command was changing all the time. My boss at work said that Chiang Ching-Kuo was already ill at the last National Assembly shortly before his death, so it was very natural for me to portray him in my drawings, as this is what I was doing all the time.” About his “pseudo-aesthetics,” it is based on the uncanny valley theory and reflects the subconscious thoughts of the Taiwanese people. For example, the Do a Good Deed a Day and Beloved are the “(reflection of the fact that) in the past, we didn’t have an identity until the Taiwanese identity started to surface in the 90s, and it seems that fakeness has become the common part of Taiwanese people.” The thought also came around when he was making photographs for a relative’s funeral, as in the last part of one’s life, only the better part of their life was preserved and remembered. Faking is allowed in Taiwan. It also implies the relationship between the different sense of belonging and considering

《心所愛的人》Beloved

相片輸出 Print/220×120cm/2013

oneself as a Taiwanese and as a Chinese, as well as the constant fight between them among different eras and different administrations. Wu also mentioned that Huang Ming-Chuan’s words also inspired him, as in: “Aesthetics stands wherever limitation stands.”

WU Tien-Chang 33

吳

天

章

After graduating from the Fine Arts Department of Chinese Culture University in 1977, he went to New York to obtain his Master’s Degree at Pratt Institute in 1983, simultaneously laying a foundation for his identity and cultural politics. His creative style adopts the rebellious spirit of Dada and the parody techniques of readymade objects to transform daily objects and symbolic interpretations, as well as present criticism and ridicule of the historical orientation and cultural cognition in reality, such as Interpreting Silk-Road – Broche China, Give Me Hugs, Identity, Unifying China with Three, Don’t Rush, Be Patient!, Taiwan Cida series, and The Light of Taiwan. In 2003, he exhibited Displacement at the Museum of Contemporary

Art Taipei. In 2014, he presented a large retrospective exhibition, “WANTED DEAN-E MEI: A Retrospective,” at the Taipei Fine Arts Museum.

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THE AFTERMATH

MEI Dean-E

梅丁衍 197年 7 文化大學美術系畢業，

198年 3 赴紐約普拉特學院

研究所碩士，同時奠定了以身份認同、文化政治為主的創作之路。作品風格採取達達的反叛精神，與挪用現成物的戲謔手法，改造日常物件及符號詮釋，呈現批判與嘲諷現實中的歷史定位及文化認知，如︽思愁之路︵絲綢之路︶錦鏽華夏系列︾、︽給我抱抱︾、︽哀敦砥悌︾、︽三民主義統一

201年 4 1976-

中國︾、︽戒急用忍︾、︽台灣西打︾系列、︽台灣之光︾。

200年 3 在台北當代藝術館展出﹁梅式解讀玩﹂，

於台北市立美術館展出大型回顧展﹁尋梅啟事：

201回 4 顧﹂。

衍

丁

梅

MEI Dean-E 35

《中華民國全圖》Map of R.O.C.

噴墨輸出於藝術紙 Inkjet on art paper/65×94cm/1998-2008

For many years, Mei Dean-E’s creation has focused on a number of issues regarding the history, politics, and societies of China and Taiwan. His works reflect the multi-oriented meanings implied behind materials and culture during his personal experiences growing up in eras of great change. For him, Martial Law and white terror is a clamp down on speech, art, and culture. Living overseas in the early 1990s, Mei Dean-E received much information from newspapers and learned that Huang Rong-Can courageously used art to criticize the actions of authorities, becoming a model of political resistance for artists. However, after his death, none of Huang’s relatives attempted to address the injustices upon him. As a result, Mei Dean-E stepped forth and conducted relevant research and created the Brilliant Post series of works as a tribute. Invoking the life of Huang Rong-Can, he reflected upon his own context. Having been taught by a fine arts teacher with a Japanese education and values, he had also experienced the introduction of American culture to Taiwan along with the move of the Republic of China government. So, as an artist, what type of a work should he create to serve as a proper response? The Map of R.O.C. marks the first time Dean Mei-E utilizes digital post-production software. He creates an allegory to the mental state of the Republic of China in Taiwan when it previously laid claim to all of China.

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THE AFTERMATH

《燦柱》｜《中華民國全圖》

Brilliant Post ｜ Map of R.O.C 梅丁衍的創作長年關注多項議題，中國與台灣間的歷史、政治與社會。作品反映個人在大時代環境下成長時，物質與文化背後所隱含的多面向意義。對他而言，戒嚴與白色恐怖是對思想言論與文藝創

作的箝制。90 年代初，在海外的梅丁衍藉由接觸報社的大量資訊，得知黃榮燦勇於利用藝術品批判權威的行動，作為藝術家抵抗政治

的典範，卻未有親屬在他枉死後為他伸冤。梅丁衍便為他平反，做了相關的研究與《燦柱》系列作品致敬。藉由黃榮燦的生命歷程，他反思自己的脈絡，曾受教於日本教育與價值觀的美術教師，也經歷將美國文化帶入的中華民國政府遷台，而作為一個藝術家該做什麼作品來回應呢？《中華民國全圖》則是首度利用數位後製軟體，諷喻中華民國在台灣卻曾自認疆域擁有全大陸的精神狀態。

1980 年在龍門畫廊的一次個展，用諷刺社會政治的荒謬經驗來創作，達達主義的風格精神在台灣學院外得到認可。帶著對社會無形抵抗的達達主義態度精神到美國留學時，深切體驗到的卻是因政治而產生文化價值的落差，意識形態推動著戒嚴與解嚴，文化策略便同時影響著每一個人的身份認同：如 2000 年作品《給我抱抱》、

2003 年個展「梅式解讀玩」、以及 2014 年在台北市立美術館展出「尋梅啟示： 1976-2014 回顧」，即是用幽默的方式將物件中的符號並置、挪用，重構出台灣文化主體位置的糾葛。

《燦柱》Brilliant Post

不鏽鋼 Stainless steel/ 底座 41×41×6cm 柱高 20cm 直徑 7.5cm/2003

In 1980, in a solo exhibition at Lung Men Gallery, he satirized the absurd experiences of social politics with his works. There, his Dadaism style and spirit received the recognition of institutions outside of Taiwan. Bringing the attitudes of social resistance of Dadaism with him to study abroad in the United States, he profoundly experienced a gap in the cultural values produced by politics. Ideology promoted both the declaring and abolition of Martial Law, while cultural strategy also affected the identity of each person. For example, the work Give Me Hugs (2000), the solo exhibition “Displacement” in 2003, and “WANTED DEAN-E MEI: A Retrospective 1976-2014” in 2014 at the Taipei Fine Arts Museum utilize the symbols found in objects to humorously juxtapose, misappropriate, and reconstruct disputes in the subject-positions of Taiwan culture.

MEI Dean-E 37

梅

丁

衍

Chiu Chen-Hung was born in 1983 in Hualien, Taiwan. He holds a Master’s Degree from the Graduate Institute of Plastic Arts of National Taiwan University. Chiu’s works are as an archaeological expedition, in which he excavates particular objects from the time and space in which he exists. The source of these objects is a type of distant and eternal image, or some object that gradually vanishes as it nears. Stripping away the rules of logic that are rationalized and designed from the social structure, he attempts to provide each material with a range of perceptions and meanings before giving a new name, much like the process of reshaping a memorial. However, unlike a testimonial of remembrance, they serve as a simple examination that explores personal experience and logic.

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THE AFTERMATH

CHIU Chen-Hung

邱承宏 198年 3 生於台灣花蓮，國立台灣藝術大學造形藝術研究所

碩士。邱承宏的創作就像是進行一場考古探險，他挖掘著生存時空之中的某些特定對象，這些對象的來源是一種遙遠彼方的永恆形象，亦或是某種漸漸消失在咫尺的事物；他從中剝離那些在社會結構中被合理化及設計過的邏輯規則，試著給予每個材料知覺及意義的範圍，再賦予一個新的命名，就像是重塑紀念碑的過程般，但不同於過去那種對於懷昔的引證，反而是一種樸實的考究，探勘著個人經驗與邏輯。

宏

承

邱

CHIU Chen-Hung 39

《小花蔓澤蘭》

Mikania Micrantha 本作品是由混凝土浮雕、鐵件所構成的裝置，呈現藝術家在寶藏巖聚落及新店溪作為創作基地的藝術計劃。邱承宏當初選定了一個位於福和橋橋墩下方，一塊由淤泥及河砂所構成的小島為探查對象，同時小島也自成一個生態圈。藝術家在渡河登島調查了上頭的植

物生態後，從中轉化成為一系列的創作，以這個小島與第二次世界大戰時因戰術需求被引入亞洲小花蔓澤蘭的特殊脈絡，招喚寶藏巖過去作為軍事基地的歷史意義，並回應當地居民運用過去軍事碉堡的磚瓦及新店溪的鵝卵石所搭築的聚落。作品試圖引入植

物的脈絡，詩意地創造關於河流與生物／生命之間的特殊關係，同時打散既定的歷史與敘事，重新將建築、歷史與生物作為一種另類的生命書寫。

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THE AFTERMATH

《小花蔓澤蘭》Mikania Micrantha

混凝土、河砂、檜木、鐵 Concrete, river sand, Taiwan cypress, iron/63×102.5×3.5cm/2016

This work is an installation composed of a concrete relief and metal components, which presents the artist’s use of Treasure Hill and Xindian River for his creative foundation. Chiu Chen-Hung initially selected an island composed of mud and river sand near a pier located under Fuhe Bridge as the object of study. At the same time, the small island serves as an ecological circle. After crossing the river and reaching the island, he studied the plant ecology, which he then transformed into a series of works. Drawing on the special context of this island and mikania micrantha, a plant that was introduced to Asia due to

CHIU Chen-Hung 41

tactical demands of World War II, the artist invokes the historical significance of Treasure Hill as a military base, as well as the military bunker bricks used by local residents and the settlements built using the cobblestones from Xindian River. The work attempts to invoke a context of plants as a way to poetically create the special relationship between rivers and organisms/life, while simultaneously breaking up the established narrative of history and repositioning buildings, history, and organism as an alternative type of life story.

邱

承

宏

With a background in art, design, engineering, and video games, Huang Hsin-Chien is a new media artist and interdisciplinary creator who has been committed to exploring the latest technological possibilities in art, literature, design, and stage performances. His interdisciplinary works excel at integrating interaction, performance art, machinery, computer programs, video installations, and other large-scale new media. After graduation from the Department of Mechanical Engineering at National Taiwan University, he traveled to the United States to study product design at the Art Center College of Design in Pasadena, California. His work, Moon Shadow, was selected as a representative work used in the school enrollment process. Afterwards, he won a full scholarship from the Moholy-Nagy Foundation to obtain his Master’s Degree at Illinois Institute of Technology. Furthermore, he has worked with new media artist, Laurie Anderson, multiple times. In 2017, they jointly created La Camera Insabbiata, which received the Best VR Experience award from the first virtual reality competition at “Venice Film Festival.”

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THE AFTERMATH

HUANG Hsin-Chien

黃心健新媒體藝術家，一位跨界的創作者，有著藝術、設計、工程與電子遊戲的背景，一生職志探索最新科技於藝術、文學、設計與舞台表演的可能。他的作品擅長結合互動、表演藝術、動力機械、程式運算、影像裝置等的大型新媒體跨域製

S T E A M教育與出版。由國立台灣大學機械系畢業後，

作。他亦是國立政治大學數位內容學程教授，致力跨域整合的赴美在巴沙迪納的藝術中心設計學院主修產品設計，曾以︽月影︾作品獲選為學校招生的代表作品。之後獲得摩荷里納基︵ M o h o l y - N a g︶ y 全額獎學金進入伊利諾理工設計學院完成碩士學位，並與新媒體藝術家蘿瑞．安德森︵ L a u r i e A n d e r s o︶ n 數次合作， 201年 7 兩位合作作品︽沙中的房虛擬實境競賽單元間︾獲得威尼斯影展第一屆 VR Best V R E x p e r i e n c最 e 佳體驗大獎。

健

心

黃

HUANG Hsin-Chien 43

When Martial Law was abolished, Huang Hsin-Chien was a senior at the university. However, since he was studying science and engineering, he did not have too many feelings regarding this event. Afterwards, he went to study in the United States. It wasnâ&#x20AC;&#x2122;t until later that he looked back and sensed differences in the times. Even more strongly, the Tiananmen Incident and the economic take-off of Taiwan enabled him to sense the transformations in industry and economics. For this exhibition, in response to the 30th anniversary of the lifting of Martial Law, Huang Hsin-Chien chose to establish a dialogue with his new work, Bloodline, extending on the new technologies of his previous work, Inheritance (2015) to create a motif of family memories. Utilizing 3D printing, he takes head portraits of him and his grandfather constructed from old photos. Through computer programs, he draws parallels between similar colors on both sides of their faces, and then connects them using various colored lines in between. In addition to expressing these innate genetic links and inherited characteristics that skip a generation, the work also touches upon the maternal family lineage of Huang: how his first

č§Ł

ĺ&#x161;´

THE AFTERMATH

3D print, lucite/16.7×29.7×13.7cm/2017

Bloodline

列印、有機玻璃 3D

︽血脈之線︾

《血脈之線》 Bloodline 解嚴那年，黃心健正值大學四年級，但因為唸的是理

工科系，對於解嚴其實沒有太多感受，加上後來到美國唸書的經驗，才回顧感受到時代的不一樣。其中強烈有感的是中國發生的天安門事件，連結正值台灣經濟起飛，他更明顯的感受是產業經濟上的轉變。

回應解嚴 30 週年的議題，黃心健此次展覽選擇以全

新創作《血脈之線》作對話，延續過去作品《繼承之物》（ 2015 ）中以新科技試圖去作家族記憶傳承的母題，這次以 3D 列印出透過自己與外祖父老照片所

建構出的頭像，藉由程式運算將兩邊臉上相同的顏色

對應並用中間各色線條串連在一起。在這先天基因、

血脈連結、隔代遺傳等生物面相的表現之外，當中也觸及到黃心健自身母系的家族歷史：第一代的外祖父對於客家人的身份認同如何影響著第二代的母親與自

己，以及因耕者有其田等政策導致曾經擁有的土地被

重新分配；到了第二代的母親為了接濟遠在中國、身處文化大革命浪潮的祖父，而被政府組織盯上並被做

記號的歷程。個人家族史對應著國族的大歷史，世代間繼承的不僅是基因的遺傳，也是責任、包袱與那真實與虛構間的家族記憶。

此次推薦選件，黃心健提及師大畢業的母親所轉述其

學長藝術家吳耀忠的故事， 1968 年因參與陳映真的

「民主台灣聯盟」，被指「組織聚讀馬列共黨主義、

魯迅等左翼書冊」等罪名而被逮捕，在獄中遭遇許多折磨，包括以畫換酒，而導致吳耀忠之後酗酒的習慣，於 1987 年因肝疾病逝。

generation grandfather’s recognition of the Hakka identity influenced him and his second-generation mother. And, due to the land redistribution policies taking away and allocating his grandfather’s land for cultivators, his second-generation mother was marked and placed on a watch list by the government for attempting to provide assistance to his grandfather in faraway China during the Cultural Revolution. With a personal family history that echoes the history of the country, generational inheritance is not just that of genetics, but also of duty, burden, and that family memory which lies between truth and fiction. This time, it is recommended to hear a story told by Huang Hsin-Chien’s mother, a graduate of National Taiwan Normal University, regarding a senior artist Wu Yao-Zhong. In 1968, he was accused of participating in the Democratic Taiwan Alliance Incident organized by Chen Ying-Zhen, and arrested for “promoting the Marxist-Leninist Party, Lu Xun, and other left-wing books.” In prison, he encountered much suffering, leading him to drink instead of paint. He died in 1987 due to liver disease. HUANG Hsin-Chien 45

黃

心

健

Wu Yao-Zhong is regarded as one of the most prominent realist painters in post-war Taiwan. Born in 1937 in Sanxia, Taipei, he was a disciple of the renowned realist master painter Li Mei-Shu. Wu won numerous awards in the “Taiwan Provincial Fine Arts Exhibition.” After graduation from National Taiwan Normal University, he began teaching in the Fine Arts Department of the National School of Arts. Wu and Chen Ying-Zhen knew each other in middle school and they were best friends ever since. They started to read socialist writings in college, and were both imprisoned from 1968 until 1975 for their involvement in the Democratic Taiwan Alliance Incident. Wu was an idealistic character, and it was idealism that led him into contact with leftist thinking resulting into an imprisonment, which dampened his rising artistry. He died in 1987 due to liver disease, leaving many regrets and nostalgia.

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THE AFTERMATH

WU Yao-Zhong

吳耀忠台灣戰後寫實主義繪畫的代表人物。

1 9 3 7年生於台北三

峽，師承寫實主義大家李梅樹，作品多次於省展獲獎，並因此在國立台灣師範大學畢業後受聘於國立藝專美術科擔任助教。初中階段開始與陳映真結為莫逆之交，自大學起共同研讀社會主義著作，而後於 196年 8 因﹁民主台灣聯盟﹂案入 197年 5 出獄。吳耀忠的生命底蘊是一位具有理想主

獄，至義性格的藝術家，理想主義引領他接觸了左翼思想，也因此

198年 7 因肝疾病逝，留下了許多

使他關入牢獄，讓飛揚的藝術生命為之挫傷，從此暈染上以酒調出的悲劇色彩，並於的遺憾與懷念。

忠

耀

吳

WU Yao-Zhong 47

油彩、畫布

Teenage Shoemaker

Oil on canvas/38×29cm/1975

︽少年鞋匠︾

遠景出版《台灣文學》封面插畫六幅

Six paintings used as the cover art for magazine Taiwanese Literature published by Vista Publishing 此次展出作品為吳耀忠為遠景出版社《台灣文學》所作封面，材質為紙本油畫。在這些作品中，吳耀忠展現他對勞動人群的觀察及感情，進而成為許多讀者的共同記憶。

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THE AFTERMATH

Wu painted these six pieces for the dust jacket of magazine Taiwanese Literature published by Vista Publishing. In these oil on paper works, Wu expresses his observation and feelings towards working people, which have remained in the memory of many magazine readers.

《縫衣工廠》Sewing Factory

油彩、紙本 Oil on paper/41×33cm/1982

WU Yao-Zhong 49

吳

耀

忠

Kao Jun-Honn graduated from the Taipei National University of the Arts in 2003, and is the director of the Research on Art Squats in East Asia project. Kao has been an artist-inresidence in Berlin, Frankfurt, Munich and other cities. His works employ the media of photography, human performance and writing in exploring the issues of history and biopolitics, communities and the public, East Asia, and neoliberalism in Taiwan. In 1997, he started shooting Socialized Boredom, a series of photographs depicting the aimless emptiness of contemporary society. In 2013, Kao exhibited The Ruin Image Crystal Project, which uses human labor to conduct historical inquiry and thereby shed light on various aspects of neoliberalism in Taiwan. His other works include Bubble Love, The Home Project: Fond Memories Too Far, Multitude: Art Squats in East Asia , Fiction: The Taiwanese Japanese Trainee Solder Chang Cheng-Kuang and I, and Spintop: Creativity and Cultivation.

č§Ł

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THE AFTERMATH

KAO Jun-Honn

高俊宏 200年 3 畢業於國立台北藝術大學美術創作研究所，︽東亞

空間佔領藝術行動研究︾計畫主持人。曾於德國柏林、法蘭克福、慕尼黑等多地駐村創作。作品透過錄像、身體實踐與書寫為媒介，關注歷史與生命政治、社群與諸眾、東亞、新自由主義在台灣等議題。

199年 7 起拍攝︽社會化的無聊︾ 2 0 1 3年

系列，作品呈現當時社會無所適從的虛無狀態。展出︽廢墟影像晶體計畫︾透過身體勞動進行歷史踏查，投射出新自由主義在台灣的相關議題。撰有︽ BUBBLE L O V︾ E 、︽家計畫：一個太遠的緬懷︾、︽諸眾：東亞藝術佔領行動︾、︽小說：台籍日本兵張正光與我︾、︽陀螺：

創作與讓生︾。

宏

俊

高

KAO Jun-Honn 51

《社會化無聊：跳》Socialized Boredom: Jump

彩色有聲錄像 Color video with sound/3min37sec/1997

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THE AFTERMATH

《社會化無聊：跳》

Socialized Boredom: Jump 在 1996 年之後進入國立藝術學院，在台灣已經進

入自由化浪潮的當時，學生有著很強烈反叛學院

的特質，但卻也沒有辦法去回應社會甚麼事情：

缺乏一個標點、基礎點的感覺。野百合學運結束

以後的 3 、4 年，社會隨著解嚴失去了對抗的對象，不知道該把自己的身體放在哪裡，一個很奇怪的自由感，輕飄飄、有點虛無的狀態。當時的社會

有著表面上的寧靜，充斥一種欣欣向榮並追求賺錢的同時，卻缺少激情而慌張焦慮的感覺。

1996 年起拍攝的《社會化無聊》系列，即是呈現身體在社會空氣裡面的一些尷尬狀態，如系列中

切割出來的《丟雞蛋》、《跳啊跳》、《追火車》等等內容的錄像作品，看似日常卻又帶有脫序的一連串行為演出，呈現身體面對社會化過程時所演繹出的荒謬。此次展出特別安排放置於展場各過渡性空間。

By 1996, when Kao entered graduate school in the arts, Taiwan had entered an age of liberalization. Many art students rebelled against the academy but were unable to respond to changes in society at large. These students lacked the sense of having a structure or foundation. Three or four years after the end of the Wild Lily Student Movement, social resistance subsided with the end of Martial Law in Taiwan, and these students were left with an unusual feeling of freedom, not knowing where to situate their bodies while drifting gently in a state of nothingness. At the time, society appeared calm, but at the same time as many in Taiwan were prospering economically, there was the sense of a lack of passion, and of nervous confusion about the future. The series Socialized Boredom, shot beginning of 1996, depicts some of the awkward situations encountered by the body within the realm of society. Individual recordings cut from the series, such as Throwing Eggs, Jump, Jump!, and Chasing the Train, often appear mundane, but include a series of disorderly acts portraying the absurdity that results from the body’s encounter with the process of socialization. This exhibition was specially planned to be situated in a series of transitional spaces throughout the hall.

KAO Jun-Honn 53

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俊

宏

Born in 1949 to a family of farmers in Taichung, Hsieh Chun-Te decided at the age of 16 while at a technical high school that he wanted to become a painter. However, while taking pictures of people on the street for a drawing exercise, he instead fell in love with photography. Hsieh left home at 17 years old after having taught himself how to draw and paint, and discovered the charm of taking pictures with the Super 8 camera the next year. Less than two years later, he put on his first solo exhibition at the Fine Arts Gallery in Taipei, prompting one contemporary photography magazine in its inaugural issue to call him “a 19-year-old maestro.” At 23, after military service, Hsieh took his camera to shoot Taiwan’s many towns and villages, capturing images that were published 15 years later in a volume entitled Homeland. In 1973, he became one of the founders of Group Visual-10, and later diversified his repertoire, getting involved in photography of modern dance and theatre as well as the field of graphic design. Starting in the 1970s, Hsieh became active on the international stage, and at the 2011 Venice Biennale, he delighted critics from around the world with his work, Le Festin de Chun-Te. The Museum of Contemporary Art in Taipei recently hosted a large-scale solo exhibition of Hsieh’s works, entitled “The Parallel Universe of Hsieh Chun-Te – Brave the World.” 54

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HSIEH Chun-Te

謝春德 194年 9 生於台中農家， 1 6歲從高工輟學立志當畫家，為了拍路上行人做素描的訓練，結果迷上攝影。謝春德於 17 super ﹂ 8八釐米攝影機影像的奧妙，不到兩年便在台北市精工舍畫廊

歲離家，繪畫無師自通，翌年即發覺攝影及﹁

舉辦個展，當時︽攝影世紀︾創刊號稱謝春德為﹁ 1歲 9 綠手﹂。 2 歲 3 退伍後揹著照相機開始走遍台灣的鄉村及部落， 1年 5 後出版︽家園︾。 197年 3 為﹁視覺藝術群﹂的創歷

始員，之後還涉足拍攝現代舞丶劇場及海報設計，成為藝術

─

多面手。謝春德從 197年 0 代開始就活躍於國際藝術舞台， 201年 1 以﹁春德的盛宴﹂參展威尼斯雙年展帶給國際藝壇驚喜。近期於台北當代藝術館舉行﹁謝春德平行宇宙系列

勇敢世界﹂大型個展。

德

春

謝

HSIEH Chun-Te 55

《生－淡水河的眼淚》Raw – The Tears of Danshuei River 無酸噴墨輸出 Archival inkjet print/150×200cm/1987-2010

For Hsieh Chun-Te, the concept of the lifting of Martial Law has only slowly become clearer since the resumption of crossstrait exchange. After the lifting of Martial Law, Taiwan immediately felt the breath of freedom, but because of work reasons, Hsieh at that time was traveling in China, which had not yet opened up to the world from behind its iron curtain. Hsieh had sketched his previous impressions of China based on the poems of its poets and the songs of its singers, but having arrived in that country, he experienced the difference between the two personally. Both before and after the lifting of Martial Law in Taiwan, Hsieh attended many resistance movements, including the 20th May Incident in 1988. At that event, he was a photographer on the frontlines of activity, looking at how farmers and students were resisting the government system, and also at many scenes that were infiltrated or taken over by the partystate. Hsieh at the time participated in underground media organizations, in the hope of using different media to secure free speech. To him, the biggest difference between the eras before and after the lifting of Martial Law was that before 1987 the resistance had a tangible, external object; in the years after, resistance gradually faded away. Hsieh believes that art is the key to exploring one’s inner world. Hsieh’s artistic inspirations are closely intertwined with Taiwan’s contemporary historical background, from the lifting of Martial Law, to the political and economic context of Taiwan’s growth years, from his experience traveling north to study, to the seizure of his family’s property in Taichung. Since moving his studio from Taipei to Sanchong, New Taipei, Hsieh started to pay closer attention to the environmental changes happening in the districts bordering Taipei, a project which 56

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THE AFTERMATH

《生－淡水河的眼淚》

Raw - The Tears of Danshuei River

「解嚴」這個概念對於謝春德來說是從兩岸交流才

謝春德的藝術脈絡與台灣大時代的背景緊密連結，

由的空氣，因為工作原因謝春德去到仍尚未全面

書、台中老家被徵收，到結束台北市的工作室搬

逐漸成為清楚的。剛解嚴後的台灣開始感受到自

開放，還處在鐵幕內的中國，過去對於中國的想像都從詩人的詩、歌手的歌去勾劃，但踏上這個大國體會兩者間的差異。

解嚴前後，謝春德也曾參與許多反抗運動，包括

解嚴後一年 1988 年的 520 農民抗爭事件。當時他

從戒嚴解嚴、經濟起飛的政經背景，與自身北上唸至三重後，開始對台北邊陲地帶的環境變遷進行

觀察與關懷，也開啟了他對於「家」的意義之探索。從他自身影像的經驗脈絡，從過去《吾土吾

民》的台灣鄉土攝影計畫觸發他對於台灣土地的人文關懷，以及曾經為劇場、表演工作者拍攝照

片的經驗讓他在形式上受到的啟發，早在 1986 年

做為現場第一線的攝影師，看著農民與學生如何

謝春德就開始著手《生》系列的編導式攝影計畫。

與操作。當時他也參與地下媒體組織，希望透過

的眼淚》（ 2010 ）這幅以劇場表現手法再現白色

抵抗國家體制，卻也看到許多事件是被黨國滲透

回應解嚴 30 週年，此次展覽他選擇《生－淡水河

不同的媒介爭取真正的言論自由。對於他來說，

恐怖時期曾經作為行刑場的八里河岸，當中的裸

後來外在世界的反抗對象逐漸消失。他覺得藝術

著戒嚴時期看不見的國家權力如何宰制生命政治

解嚴前後最大的差別就是過去的反抗是有對象，是作為尋求內在世界的重要關鍵。

女手腳被綑綁被置於滿是荊棘的針床中央，透露與箝制個人自由。

also started his search to find meaning of the idea of “home.” His own experiences as a photographer and his encounters with other images of the Taiwanese pastoral touched off Hsieh’s love for Taiwan’s land and its culture. Photographing plays and theatrical performances inspired the form of his work. In 1986, Hsieh started RAW, a series of curated visual projects. To mark the 30th anniversary of the lifting of Martial Law, he has chosen to exhibit Raw-The Tears of Danshuei River (2010), which is staged in a theater to evoke better the means by which the Bali district was turned into an execution ground during the White Terror period. The naked woman, whose hands and feet are tied before being put in the middle of a bed of thorns, reveals the invisible power wielded by the state during the Martial Law period and shows how the state deployed biopower and cracked down on personal freedoms.

HSIEH Chun-Te 57

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Chen Chieh-Jen was born in 1960 in Taoyuan, Taiwan. Chen graduated from the Art Department of a vocational school and currently works and lives in Taipei. He was awarded the National Award of Art in the category of visual arts in 2009, and the Special Prize at the Gwangju Biennale in 2000. Although he mainly uses video recording devices as his creative medium, right from the production stage of filmmaking, he continuously performs and implements all types of experiments on his collaborators and on the composition of the participants. His art has the propensity to present a different conception of society and has therefore developed into telling a pictorial story of reflection upon the intertwining of post-colonial, post-cold war, and globalization eras. During the Martial Law period in the 1980's Taiwan, Chen disturbed the establishment at the time with guerrilla performance art. When Martial Law was lifted, he stopped making art for eight years to reexamine his own growth and the lessons given by the history of Taiwan. In 1996, he published the Revolt in the Soul & Body series of digital images to explore the “history of the photographed” hidden in the history of photography. In 2002, he began his film-making projects. Recently, he used Lo-Sheng Sanatorium and Hospital as the backdrop and created the Realm of Reverberations.

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THE AFTERMATH

CHEN Chieh-Jen

陳界仁 196年 0 生於台灣桃園，高職美工科畢業，目前生活和工作 200年 9 視覺藝術類國家文藝獎、 200年 0 韓

於台北。曾獲國光州雙年展特別獎。創作媒材雖大都以錄影裝置為主，但其從拍攝影片的生產過程開始，即對合作者、參與者的組構形式，不斷進行各種實驗與實踐，使其創作同時還具有提出另一種社會想像的行動性特質，並開展出對於後殖民、後冷

198年 0 代戒嚴

時期，曾以遊擊式行為藝術，干擾當時的體制。解除戒嚴

戰與全球化相互交織後的反思性影像敘事。

1 9 9年 6 發表︽魂魄暴亂︾系列數位影像，

後，曾停止創作沉寂了八年，經重新審視自身的成長與台灣的歷史經驗後。於

2 0 0年 2 以後，

開始進行影片拍攝計畫，近期以樂生療養院為背景，創作了

討論隱藏在攝影史中的﹁被攝影者的歷史﹂。︽殘響世界︾系列作品。

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界

陳

CHEN Chieh-Jen 59

《機能喪失第三號》Dysfunction No. 3 錄像 Video/8min/1983

解嚴⸺從大歷史的角度進行審視，總會聯繫著政治犯的遭遇、黨外運動的崛起等主軸敘事。但相對於當時的「經濟起飛」，以及陳界仁不斷提及台灣政府於 1984 年正式宣佈將執行新自由主義政策等事件，顯

示在討論戒嚴／解嚴的複雜性與弔詭性時，尤其對於當時身處不同位置的平民感受與觀點，無疑是最難被

呈現與轉譯的部分。對陳界仁而言，特別是出生、成長於戒嚴時期的「戒嚴之子」，在戒嚴後期的 80 年

代，很多事務都早已被「日常化」與「自然化」。如從他有記憶以來，他家對面的軍法局就已如「自然物」般的存在，而這唯有通過微細的觀察與各種扞格與摩擦經驗的積累，才可能發現戒嚴意識的無所不在。

如同他於復興美工求學時，因不願按常規畫畫，而被剝奪在校內展出的權利，激使他從此走向對任何體制的質疑精神。解嚴，對他來說，僅僅只是從死亡政治過渡到生命政治的節點，而非「民主」的到來。

The lifting of Martial Law, when inspected from the greater perspective of history, is always associated with the narratives of the plight of political prisoners, and the rise of the Tangwai movement. However, in contrast to the rapid growth of economy and events such as the announcement in 1984 by the Taiwanese government to embrace neoliberalist policies that Chen has repeatedly mentioned, discussing the complexity and paradoxical nature of Martial Law and the lifting thereof, especially the experiences and perspectives of civilians who were in a different position, proved the most difficult to represent and render. For Chen, and even more so for the “sons of Martial Law” who were born and grew up during the Martial Law era, a lot of things were already being seen as a natural part of everyday life by the end of the era in the 1980's. From as far back as he could remember, for example, the Military Bureau building across from his house was there, as a part of nature. It was this attention to minute details, and the accumulation of experiences of various incongruences and conflicts, that led to the realization that the consciousness of Martial Law was omnipresent. Just as when he was attending Fu-Hsin Art School, he was stripped of his right to exhibit in school because he refused to sketch by the rules. This sparked in him the attitude to question any and all establishment. The lifting of Martial Law to him was merely a transition from necropolitics to biopolitics rather than the arrival of democracy. 60

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《「氣味」紀念物：II：1987 年 7 月 14 日的空氣》｜《機能喪失第三號》 Smell Relic II: Air from July 14, 1987 ｜ Dysfunction No. 3 這件作品陳界仁以一個舊冰枕裝下解嚴前一天空氣的紀念物，直接指涉在電視新聞突然宣布將於

1987 年 7 月 15 日 0 時 0 分解嚴時，那一秒的間

隔與之後，就真的代表真正民主到來了嗎？這一系列從過去翻找出的紀念物，更是個人生命經驗

的碎片集合：從編號 0 的紗布衣、編號 I 的布袋、編號 III 的捕獸夾等等，這個「裝空氣」的行為，

如同他於 1978-1979 年所做的第一個行為藝術創作：撿拾家旁新店溪的石頭，將其編上號碼後再放回去的過程，更關於對生命意義的探尋，而非對前衛藝術的接續。

到 1983 年作的《機能喪失第三號》，這個他於

1982 年即開始籌劃的計劃，前兩號為練習作，第三號則為他邀請弟弟與友人，刻意選在「增額立法委員改選」期間的「民主假期」，並以當時聚集最

多電影院的西門町武昌街作為實踐的地點。這件起

《「氣味」紀念物 II : 1987 年 7 月 14 日的空氣》

Smell Relic II: Air from July 14, 1987

橡膠冰枕、1987 年 7 月 14 日的空氣 Rubber ice pillow and the air from July 14, 1987 /106.5×85.5×7cm /1987

因於過去當兵休假時，曾在那裡被便衣警察誤以

為是逃兵，而被當街逮捕過的經驗，使他知道那裡隨時都有便衣警察與線民監控街上的狀況，並覺得只有在這種狀況下實踐這個行動，才算真的把自身置於違反戒嚴法的臨界點上。在這個對戒嚴體制與戒嚴空間的挑釁行動，陳界仁反而在看

似危險的過程中，逐漸感受到某種莫名的「平靜」感；這個「平靜」感，也埋下他後來對戒嚴／解

嚴等各種看似龐大的議題，展開更為複雜與內在性的探索之路。

The Smell Relic II: Air from July 14, 1987, is a memento made by Chen by filling an old ice pillow with the air of the day before Martial Law was lifted, when the news on TV announced that it would happen at midnight, July 15, 1987. Did democracy truly arrive on that exact second? This series dug up mementos from the past, a collection of the pieces that made up personal life experiences: number 0 a gauze clothing, number I a sack, and number III a trap. This act of “filling with air,” as his first performance art piece in 1978 and 1979, where he picked up rocks in Xindian River by his house, numbered it, and put it back, was more about the search for the meaning of life than about connecting with the avant-garde. His 1983’s work, CHEN Chieh-Jen 61

Dysfunction No. 3, was a project he began planning in 1982.

Whereas the first two were practices, for the third he invited his brother and friends and performed on Wuchang street in Ximenting, where a large number movie theaters were situated, deliberately choosing to perform during the “democratic holiday” of the legislative election period. The piece was conceived from his experience of being arrested on the street by plainclothes police who mistook him for a deserter when he was actually on vacation from the military. From then, he knew that plainclothes and informants were monitoring the streets at all times, and felt that only by carrying out his piece in this situation would he really put himself on the brink of violating Martial Law. It was during his ostensibly dangerous act of taunting the Martial Law system and space that Chen felt an inexplicable sense of tranquility. This tranquility paved the way for the more complex and internal future explorations of seemingly immense issues such as Martial Law. 陳

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Currently serving as head of the National Taiwan University of Arts, Chen Chih-Cheng is also a man carrying multiple roles, such as an artist, a professor, a curator, a diplomat, a cultural policy researcher and administrator, among others. Chen worked in the Taiwan Cultural Center in Paris, where he was long committed to the exchange of art and culture between Taiwan and Europe (based in Paris, France), as well as actively promoted the relations between the two countries. In 2014, the French Ministry of Culture awarded him the Order of Arts and Letters in recognition of his outstanding contribution and promotion of culture. Regarding his artistic works, Chen’s unique interest lies in that he does not shy to abide by the method of language as his approach, and then, in the end, develop that into a kind of creative ontology through practical experiences. For him, creating artworks is a real way of existence, including the subject and its intended totality. It is open to him about his desire of backtracking, which becomes the footnote of the very existence.

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THE AFTERMATH

CHEN Chih-Cheng

陳志誠目前擔任國立台灣藝術大學校長，具有藝術家、教授、策展人、外交官、文化政策研究與實踐管理者等多重身份。曾任職巴黎台灣文化中心，長期致力於台、歐︵駐地在法國巴

201年 4 獲得法國文化部授予法國藝術及文學騎士勳

黎︶藝術文化交流工作，並積極促進台灣與法國暨歐盟各國關係。章，以表彰他對文化推廣傑出的貢獻。藝術創作上其關注迥異他人之處在於，他毫不避諱恪守著一個獲致語言的方法論進路，最終通過了實踐經驗，發展成一種創作的本體學。對他而言，創作乃是一種真切的存在，包含著人類行為主義存有標的，它如同一種回溯先驗本原的啟蒙開展，回溯即成為存在者的註腳。

誠

志

陳

CHEN Chih-Cheng 63

《1901》1901

複合媒材 Mixed media/ 依場地而定 Dimensions variable/2017

解

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THE AFTERMATH

《1901》

1901

解嚴作為一種命題對於陳志誠來說，若是直指藝術，藝術思潮解放絕對是個重要課題：當台灣已經進入到民主體制之公共性價值的進

程，又既然此課題作為一種價值，則它應該積極參與於公共話語權之轉譯與詮釋。對於過去此公共課題的討論都會導向一種淺層敘事

的功能論，而非公共性或創作自身的普世價值，這是台灣與台灣藝術發展史的問題，但是藝術家應該要能清明與自由地去呈現。

此次回應策展核心，陳志誠選擇的回應是對於台灣在進入今日政權體制的重要世紀起點，歷史上具有重要關鍵的 1901 年。在台灣的

社會情境中政治往往排在前列，可是，文化的位置理應如何？陳志誠不斷思考如此的問題：解嚴是不是被議題化了？文化形式、創作

實踐與作品不該被附屬在政治狀態之下，藝術主體性該有其實質呈現與提升。

The most obvious feeling for Chen about the end of Martial Law was that it had a significant influence on the liberation of artistic thoughts. When Taiwan introduced the political correctness of public value, such issues could then be highlighted and interpreted. Politics in the past has not yet been democratic so that one was worried about the public speaking of political issues. But now there is no such problem. However, the question of value is not yet so clear. For example, the discussions of many past political leaders would lead us to focus on their merits rather than the average public value. This is a question of history, but artists should be free to express their own opinions. This time, in response to curatorial focus, Chen chooses his answers selectively. Among these, there is an important historical milestone, the year of 1901, marking Taiwan’s entry into today’s political system. Social politics often stand in the first place in Taiwan, but what is the position of culture? Chen is constantly pondering this question: Has the topic of Martial Law become an over-focused issue? Cultural forms, as well as the status of artworks, should not be attached to politics, while the subjectivity of art should be highlighted and elevated.

CHEN Chih-Cheng 65

陳

志

誠

Wu Chi-Yu holds a Master’s degree in New Media Arts from the Taipei National University of the Arts. He received the first place nomination at the Kaohsiung Awards in 2010. Wu’s works often reconstruct historical narratives and legends by means of images and installations. He links the sites destroyed by the development of capitalism with the dispersed oral records to rebuild the connection between the forgotten and the world.

解

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THE AFTERMATH

WU Chi-Yu

吳其育 201高 0 雄獎﹂首獎。作品常以影像及裝置重

畢業於國立台北藝術大學新媒體藝術學系碩士班，曾獲高雄市立美術館﹁塑片段的歷史敘事及傳說，連結資本主義開發下所摧毀的場域、部分散落的口傳紀錄，重建被遺忘的事物與世界的連結。

育

其

吳

WU Chi-Yu 67

《開發中不思議事件》Local Stories

單頻道影像裝置 Single-channel video installation/8min20sec/2011

《開發中不思議事件》

Local Stories

《開發中不思議事件》以林口新市鎮為對象，從生

存的環境出發，挖掘出那些不起眼的部份和已經被埋沒的記憶。包含開發區附近發生的各種奇聞軼

事、住戶的神祇傳說、工作與生活經驗。在和當地居民的工作坊中與劇場導演黃鼎雲合作，透過整

理、改編的過程進行新故事劇本的創作，將被社會

遺落下的記憶重新編寫，尋找另一種存活的樣貌。

解

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THE AFTERMATH

The work Local Stories focuses on Linkou, a newly developed town. Starting with the environment, then moving on to inconspicuousness, and memories forgotten long ago, the video integrates various small-town anecdotes evidenced nearby the development area, the legends of the gods who reside there, as well as work and life experiences. A workshop with local residents and collaboration with drama director Huang Ding-Yun resulted in a new story script compiled of the memories of the community members, which mirrors a pursuit of a different kind of survival.

WU Chi-Yu 69

吳

其

育

Born in 1963 in Taipei, now living and working in Taipei, Wang Jun-Jieh is a professor and dean of the Department of New Media Arts at the Taipei National University of the Arts. He graduated from the Berlin University of the Arts (HdK Berlin), from which he received the highest “artist par excellence ” diploma. In 1984, he started to create video art and is now considered as one of the pioneers of new media art in Taiwan. He is the recipient of the Taishin Arts Award (2009), the Berlin Television Tower Award (1995) and the Hsiung-Shih New Artists Award (1984). In 2000, he was selected as one of the “most watched 100 artists” by Bijutsutecho International – BTI in Japan. In 2002, a 30-minute documentary produced by the Japanese NHK television for the “Asia Who's Who” was made about him and globally broadcasted. In recent years, he has directed new media theater works such as The Night of Sodom. His three-channel video work Passion (2017) is currently on display in the exhibition “Spectrosynthesis – Asian LGBTQ Issues and Art Now.”

解

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THE AFTERMATH

WANG Jun-Jieh

王俊傑 196年 3 生於台灣台北。現居住與工作於台北，現為國立台

北藝術大學新媒體藝術學系教授兼系主任。畢業於德國國

亞洲 ―

立柏林藝術學院︵ H d K B e r l i︶ n ，獲﹁卓越藝術家﹂最高年開始錄像藝術創作，為台灣新媒體藝術的開文憑。 1 9 8 4 ︶、德國柏林電視塔藝創者之一。曾獲台新藝術獎︵ 2 0 0 9 術獎︵ 1 9 9︶ 5 與雄獅美術新人獎︵ 1 9 8︶ 4 。 200年 0 獲日本︽美術手帖︾推選為﹁最受注目的 10位 0 藝術家之一﹂。 200年 2 獲日本 N H K電視台製作三十分鐘記錄專輯於︽亞︶全球頻道播映。近期多洲名人錄︾︵ A s i a W h o s W h o ’ 201年 7 合作用 •

以導演科技媒體劇場作品為主如︽索多瑪之夜︾，

以三頻道錄像裝置作品︽激情︾參與﹁光

當代藝術同志議題展﹂。

傑

俊

王

WANG Jun-Jieh 71

《以安魂之名》In the Name of the Repose

單頻道高畫質錄像轉藍光、彩色、有聲 HD video transferred to Blu-ray disc, color, sound/8min34sec/2015

《FACE / TV》｜《霹靂浪子情―第四代奧狄塞》｜《以安魂之名》

FACE / TV ｜ Love Die, Daredevil, Odyssee IV ｜ In the Name of the Repose 解嚴之前，王俊傑在高中階段即開始創作，在畢業

他對於藝術價值的焦慮與困惑。柏林的多樣性啟發

了雲門舞集夏令營，以舞團學員為角色，並使用

異國情調色彩，汲取西方文化中的東方元素，他創

前獲得「雄獅美術新人獎」肯定，因緣際會下到

當時還很稀少的錄像攝影機拍攝了他的第一部實驗錄像《變數形式》（ 1984 ）。當時當代藝術在

台灣尚未成熟，主要資訊來自雜誌但都是片段引

入，那是大家都在探索的階段。他認為解嚴前後

他這階段的藝術創作，諧擬當地土耳其電視台中的作一系列帶著黑色幽默卻反動、帶有劇情的錄像

作品，此次展出的《霹靂浪子情－第四代奧狄塞》是這個階段的代表。

的 1980 年代中期是台灣藝術的美好年代，那時

回國後，他意識到資本主義戰勝一切的態勢也影響

純粹的。當時他自己創作了五個以政治、性為主

放，卻發現瞬間被消費化、享樂化趨勢磨去。他開

許多機制都尚未建立，藝術家的創作或行動都是

題的錄像作品，此次展出的《 FACE / T V 》即是

這個階段的創作，那時他也參與影評書寫與「息壤」團體的藝術行動。

1989 年王俊傑前往德國念書，當時正值柏林圍牆

倒榻，對於他的世界觀產生巨大衝擊，這也影響到

解

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THE AFTERMATH

著台灣，當以為解嚴後能帶來藝術文化的大鳴大始進行一系列大型虛擬商品的裝置作品。而近年

來，他則回到內在的探討，與觀者、自己與媒介的

對話，並也對於藝術史、藝術生態進行回應，不斷探問：我／我們是誰？為什麼而創作？《以安魂之名》就是探詢這個很好的註解。

Before Martial Law, Wang Jun-Jieh began to create artworks in high school. Ahead of his graduation, Wang gained recognition by winning the Hsiung-Shih New Artists Award. By chance, he went to the summer camp at the Cloud Gate Dance Company and used the students in the company as roles for the subject of his first experimental video work Variable Forms (1984) while using the still-rare video camera. At that time, contemporary art in Taiwan was not yet mature. The major source of information was coming from the magazines but were only fragments. It was the period when everyone was in the stage of explorations. He argues that the period before and after the mid-1980s has been a good time for Taiwanese art. At that time many mechanisms of systems were not yet established and the creations or actions of artists were pure. He created five politics- and sex-themed video works at that time. FACE / TV exhibited here is the creation of this time. He also participated in writings as a film critic and the artistic actions of the Xirang group. 《霹靂浪子情―第四代奧狄塞》Love, Die, Daredevil, Odyssee IV

錄像帶轉數位檔案、黑白＋彩色、有聲 Video tape transferred to digital data,

B&W+color, sound/15min45sec/1991

《FACE / TV》FACE / TV

錄像帶轉數位檔案、彩色、有聲 Video tape transferred to digital data, color,

In 1989, Wang Jun-Jieh went to study in Germany when the wall of Berlin was torn down. This put a huge impact to his world view, and also affected his view about the artistic values, left feeling anxious and confused. The diversity of Berlin inspired his artistic creation at the time, complying with the exoticism on the local Turkish television station. Drawing upon the oriental elements inside the Western culture, he created a series of video works filled with black humor and yet reactionary, filled with stories. The Love, Die, Daredevil, Odyssee IV exhibited here is the representative of this period. After returning home, he realized that the attitude of capitalism winning over everything has also affected Taiwan. Just when he thought that the end of Martial Law could have brought the release and liberating voice for art and culture, then he found that, in an instant, they were worn off by the trends of consumerism and hedonism. He then began to carry out a series of large installation works of virtual goods. In recent years, Wang has returned to the inner investigations and dialogues with the viewers, himself and the media, as well as responding to art history and art ecology, keep asking: who are we/am I? Why are we creating artworks? The In the Name of Repose is a very good annotation on this inquiry.

sound/13min/1989

WANG Jun-Jieh 73

王

俊

傑

Hsu Chia-Wei graduated from the Institute of Plastic Arts at the National Taiwan University of Arts. He has done artist residencies in many places, such as New York, Thailand, Cambodia, and Singapore, among others. His artworks develop a sense of intellectual acuity between exploring realities and illusions as well as that of history and the present moment. Additionally, through establishing events beyond the lenses, he connects the relationship between people and the very place untouched by the standard narratives in history. The 2008’s Heping Island reflects how local identity is rooted in history and the operational identity of the national government. It also reverses the history and dreams as well as the image space and the physical space, and the real and fictional process, providing a new narrative dimension. The 2011’s Marshal Tie Jia series records the ultra-real experience of the dialogues about the local folk beliefs with the residents at Jingsi Village of the Beigan township in Matsu Islands. In 2016, Hsu held a solo exhibition “Huai Mo Village” at the Hong-Gah Art Museum to discuss the forgotten Taiwanese military troop retreated to the border of Thailand and Burma, facing the historical experiences of multiple staggering cultures during the cold war. In 2017, Hsu’s Huai Mo Village was awarded the Annual Grand Prize of the 15th Taishin Arts Award. 74

解

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THE AFTERMATH

HSU Chia-Wei

許家維 201年 0 畢業於國立台灣藝術大學造形藝術研究所，曾於紐

約、泰國、柬埔寨、新加坡、荷蘭等多地駐村。作品發展出對於探究現實與幻象、歷史與當下間的敏銳知性，並透過建立鏡頭以外的事件，連結正規歷史描述所未及的人與地方的

200年 8 ︽和平島故事︾反映了地方認同如何根植於

歷史，及國族政府的認同感操作，並翻轉歷史與夢境、影像

關係。空間與物理空間、真實與虛構的過程，提供新的敘事向度。

201年 1 ︽鐵甲元帥︾系列記錄馬祖北竿芹壁村居民與當地 2 0 1 6在鳳甲美術館舉辦個

民間信仰對話的超真實經驗。

2 0 1年 7 ，︽回

展。︽回莫村︾，討論撤退到泰緬邊界被遺忘的中華民國軍

1屆 5 台新藝術獎年度大獎。

隊，在冷戰中面對多重文化交錯的歷史經驗。莫村︾獲第

維

家

許

HSU Chia-Wei 75

《高砂》Takasago

單頻道錄像裝置 Single-channel video installation/9min20sec/2017

《高砂》｜《台灣總督府工業研究所》

Takasago ｜ Industrial Research Institute of Taiwan Governor-General's Office 許家維創作長期關注被遺忘的歷史經驗，連結現

的研究在當時成為主要的生產項目之一。作品邀

影像及人物敘事的手法，使作品成為實踐另一種

室町時代流傳下來的劇本《高砂》。此劇內容描

實與虛幻， 2008 年所做的《和平島故事》，重構能讓觀者同時感知古老敘事、以及當下時空經驗的載體。

請日本的能劇團，進入高砂香料公司，演出這部述著一對老夫婦同根與相互牽連的命運，高砂也曾是日本殖民時期對於台灣的通稱。

此次展出的作品，描述日本時期的「台灣工業總

許家維用外於具有意識形態的國族敘事，處理另

力，作為軍事與科學的研究中心。其中工業研究

生產與介面書寫方式成為新的課題。

督府研究所」，為因應台灣二戰當時總體戰的壓所與高砂株式會社合作，在台灣製造精油與樟腦

解

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THE AFTERMATH

一種不同的歷史記憶和經驗，在解嚴後新的影像

《台灣總督府工業研究所》Industrial Research Institute of Taiwan Governor-General's Office 單頻道錄像裝置 Single-channel video installation/3min/2017

The artworks of Hsu Chia-Wei have long been focused on concerns about the forgotten historical experiences, connecting the reality and the illusion. The 2008’s Heping Island reconstructs images and the narratives of the characters to make the work turn into another kind of practice that allows the viewers to perceive the ancient narratives while at the same time experiencing the current space-time of the carrier.

Taiwan has become one of the major production projects at the time. Hsu invited the Japanese Noh theatre troupe to enter the Takasago International Corporation to perform the script Takasago from the Muromachi period. The story describes a pair of an old couple with the same root and the interlocking fate of each other. Takasago was also the generic name for Taiwan during the Japanese occupation period.

The work exhibited here describes the Industrial Research Institute of Taiwan Governor-General’s Office during the Japanese occupation period. It was designed to serve as a research center for military and science in response to the pressure of the warfare in Taiwan during World War II. In cooperation with Takasago International Corporation, the industrial research institute producing oils and camphor in

He used the ideology of a national narrative to deal with another kind of historical memory and experience. The production of a new image, as well as methods of interface writings, have become the new topics after the end of Martial Law.

HSU Chia-Wei 77

許

家

維

Yao Jui-Chung graduated from the National Institute of the Arts with a degree in Art Theory in 1994. He now teaches in the Department of Fine Arts of National Taiwan Normal University and the Taipei National University of the Arts. In 1997, he represented Taiwan at the Venice Biennale, took part in the International Triennale of Contemporary Art Yokohama and numerous other international large exhibitions as well as the UnitedAction Project at the Taipei Biennial in 2010 and Shanghai Biennial in 2012. His works, such as Military Takes Over, Recovering Mainland China – Chapter of Action, Historical Ghost, Long Live, Long Long Live, and Mirage: Disused Public Property in Taiwan photography project, explore topics of the local movements, the subjectivity of Taiwan and the absurdity of political history. Apart from creating artworks, he has curated many exhibitions such as “KingKong Never Dies – The Contemporary Performance and Video Art in Taiwan,” “The Realm of Illusion – The New Wave of Taiwan Photography.” He has also published a few books, such as Installation Art in Taiwan 1991-2001, Beyond Humanity, Performance Art in Taiwan 1978-2004, A Walk in the Contemporary Art: Roaming the Rebellious Streets, Mirage, Long Live the Mountains and Rivers, and others.

解

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THE AFTERMATH

YAO Jui-Chung

姚瑞中 199年 4 國立藝術學院美術系理論組畢業，現於國立台灣師

範大學及國立台北藝術大學美術系任教。曾代表台灣參加 199年 7 威尼斯雙年展、橫濱三年展等許多 201年 0 台北雙年展聯動計劃、 201上 2 海雙年

國際大展、展。作品︽本土佔領行動︾、︽反攻大陸行動行動篇︾、 ― 台灣︽歷史幽魂︾、︽萬歲︾、︽萬萬歲︾、︽海市蜃樓 ― 公共閒置設施︾拍攝計劃，對於本土化運動及台灣主體性、政治歷史的荒謬進行探討。台灣當代行為藝術錄像曾策劃多檔展覽如﹁金剛不壞 ― 華人當代攝影展﹂。撰有︽台灣裝置藝 ― 展﹂、﹁出神入畫

術 1 9 9 1 - 2 0 0︾ 1 、︽人外人︾︽台灣行為藝術檔案 19782 0 0︾ 4 、︽流浪在前衛的國度︾、︽海市蜃樓︾、︽萬歲

山水︾等書。

中

瑞

姚

YAO Jui-Chung 79

《萬歲》Long Live

彩色單頻道有聲 Single-channel video, color, sound/5min30sec/2011

《萬歲》｜《萬萬歲》

Long Live ｜ Long Long Live 姚瑞中所做上、下集的兩部錄像，都在再現台灣

此次展出《萬歲》、《萬萬歲》兩部影片中的主

刺著談獨裁者的統治。當過去的法統無法維持，

營區禮堂內高喊著萬歲，冷戰與戒嚴結束後，過

冷戰時期與解嚴之前的狀態，以較幽默的方式諷

威權已經在歷史的廢墟上面，成為時代的灰燼。但在解嚴的同時，台灣也發布了國家安全法，設立了許多如警察、軍事情報局等單位的整編，其

實是否只是換個形式在整頓過去戒嚴時期的概念？藝術家反思著現今，是否革命已隨著新自由主義導入後失焦，而威權依舊復辟。

解

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THE AFTERMATH

角是一名獨裁者，在陽明山中山樓旁廢棄的青邸

去作為前線的金門依舊透過擴音喇叭對著廈門的方向，演著獨腳戲般地高喊著萬歲。鏡頭轉到空無一人的廢棄電影院，彷彿曾經的法統已伴隨著

觀眾群人離去而消逝。在《萬萬歲》的最後，鏡頭最後拉到景美人權園區裡的餐廳，播放著政治

教育影片：監視器下的人們在解嚴後，依然處於另一種形式的監控當中。

《萬萬歲》Long Long Live

彩色單頻道有聲 Single-channel video, color, sound/7min20sec/2013

This set of two video series by Yao represents the situations during the cold war period in Taiwan and before the end of Martial Law, with a more humorous manner to talk sarcastically about the ruling of the dictators. When the past legal system could not be maintained, then the authority became the ashes of time above the ruins of history. However, at the same time at the end of Martial Law, Taiwan had also issued a national security law, setting up a lot of establishments such as the police and military intelligence and other units of the reorganization. In fact, was it just another form of rectification for the past ideas of the Martial Law period? The artist reflects on the present that, whether, following the introduction of neoliberalism, the revolution has been lost while the authority is still restored and well alive.

YAO Jui-Chung 81

In these two video works exhibited here, Long Live and Long Long Live, the protagonist is a dictator, shouting loudly

“long live” in the abandoned green camp hall next to the Chungshan Building on the Yangming Mountain. After the cold war and the end of the Martial Law, Kinmen, the frontline spot, is still shouting long-live through the loudspeakers to the direction of Xiamen, playing a monologue. The lens turns to an empty abandoned cinema, as if the law has left and disappeared, accompanied by the crowds of audiences. In the end of Long Long Live, the lens is finally pulled to the restaurant of Jing-Mei Human Rights Memorial and Cultural Park. There is a political educational film playing that people under the camera are still in another form of surveillance after the end of Martial Law.

姚

瑞

中

Watan Uma is an aborigine from the Atayal tribe, Jianshi Township of Hsinchu County. He graduated from the Department of Political Science at Fu Hsing Kang College. Since 2000, he has been participating in art festival productions, such as “International Body Performing Arts Festival.” After introducing Photography Prohibited at Taipei Huashan 1914 Creative Park in 2004, he continuously creates works for various performance art festivals both domestically and overseas.

解

嚴

THE AFTERMATH

Watan UMA

瓦旦・塢瑪新竹縣尖石鄉泰雅族原住民。政戰學校政治系畢業。目前為水田部落藝術總監、行為藝術家。

200年 0 起，參與 200年 4 於台

北華山特區發表︽禁止攝影︾後，陸續在國內外各種行為藝

﹁國際身體表演藝術節﹂等行為藝術節製作，術節展開創作。

瑪

塢

・

旦

瓦

Watan UMA 83

《我的暴力王國》 My Nation of Violence

瓦旦・塢瑪的行為藝術以身體本身作為出發點，以身體所發生的行為形成事件，整個身體內外，從內而外，不論是硬的骨頭或軟的思想，一切都是身體，而這身體道盡了藝術家的一切。行為藝術在台灣，尤

其是自解嚴前後的 80 年代以降，具有一股針對體制的反叛性，而瓦旦・塢瑪透過水田部落主辦的國際行為藝術節延續著這一股精神。

解

嚴

THE AFTERMATH

《我的暴力王國》My Nation of Violence

錄像、行為藝術 Video, performance/24min37sec/2016

The performance art of Watan Uma uses the body itself as the starting point, with the body’s actions forming certain events. The entire inner and outer body, from inside to outside, regardless of hard bones or soft thoughts, all is the body. This body is everything to the artist. In Taiwan, performance art, particularly before and after the Martial Law period in the 1980s, embodies a spirit of rebellion against the system. Through the “International Performance Arts Festival” organized by the Saiku tribe, Watan Uma continues this spirit.

Watan UMA 85

瓦

旦

・

塢

瑪

Hsu Che-Yu graduated from the Graduate Institute of Plastic Arts of the Tainan University of the Art. His works mostly take on the form of videos and new media installations. His creative works explore the process of media intervention into viewing and the course of memory construction. With wondrous events that are hard to distinguish from reality, each video interprets how media influences the way we understand the world. In 2015, his "Microphone Test – Hsu Che-Yu Solo Exhibition" won the 14th Taishin Arts Award.

解

嚴

THE AFTERMATH

HSU Che-Yu

許哲瑜國立台南藝術大學造形藝術研究所畢業。作品形式多以錄像、新媒體裝置為主。創作探討媒體介入觀看的過程與記憶的建構，以難辨真實的

201年 5 ﹁麥克風試音

許哲瑜個展﹂獲第十四屆 ―

奇觀事件，一齣齣錄像演繹著媒介如何影響我們是理解世界的方式。台新年度大獎。

瑜

哲

許

HSU Che-Yu 87

《重新破裂》Re-rupture

單頻道錄像 Single-channel video/15min19sec/2017

《重新破裂》

Re-rupture

此次展出的作品《重新破裂》由兩段編織的劇本

組成。一是藝術家吳中煒於 1995 年「台北空中破裂節」中未能實現的計畫，另一是同年在重新

橋下發生的「全民計程車暴動」事件，串聯兩個重新橋周邊的場景，描繪 90 年代後解嚴時期的氛

圍。這次展出版本在展場另佈置與影片相關的攝影和文件。

解

嚴

THE AFTERMATH

《小人國》Window on China

攝影、手寫紙稿 Photograph and sketch/45×60cm. 23×35cm（攝影）30×30cm（手寫紙稿）/2017

For this exhibition, the work Re-rupture is a script composed of two interweaving sections. One is the unrealized plan of “Taipei Breaking Sky Festival” (1995) by artist David Wu, while the other is National Taxi Riot event which happened under Chongxin Bridge in the same year. Together, these two re-bridge the surrounding scenery, depicting the atmosphere of the post-Martial Law period in the 1990s. The version being exhibited this time also features film-related photographs and documents.

HSU Che-Yu 89

許

哲

瑜

Lin Yi-Chi was born in 1986 in Taipei. She received Master’s degree in Media Arts from the Taipei National University of the Arts. She is now studying in a Master’s Degree Program at the Department of Motion Picture of the National Taiwan University of Arts. Lin’s primary focus is on video art, experimental film, and new media performances. In her work, she intertwines memories of her family and conducts an archeological exploration of a heterogeneous environment, a low-level military community, in which she grew up. In recent years, long lasting homogeneous experiences have intrigued the artist to re-examine and review her childhood memories and their political relevance in the grand historical context. Lin recently held a solo exhibition named “Dream of Amber” and won the Silver Award of New Media in “National Art Exhibition” in 2017.

解

嚴

THE AFTERMATH

LIN Yi-Chi

林羿綺 198年 6 出生於台北，國立台北藝術大學美術系碩士班複合

媒體組畢業，現就讀國立台灣藝術大學電影系碩士班。主要創作以錄像藝術為主，也開始進行影像與身體等跨媒介的實驗。創作從自身家庭記憶出發，進行對於自小生長於眷村的異質環境經驗的考古。近年透過長期駐紮同質異地的經驗，

201年 7 舉行個展﹁琥珀之夢﹂，並獲得

10年 6 度全國

重新檢驗與審視童年回憶在於大歷史脈絡下極具政治的關聯性。美展新媒體類銀牌獎。

綺

羿

林

LIN Yi-Chi 91

《父域安魂曲》Requiem for the Realm of Father

Full-HD 單頻道黑白有聲影像裝置 Full-HD black and white single-channel video installation/20min/2017

解

嚴

THE AFTERMATH

《父域安魂曲》

Requiem for the Realm of Father

《父域安魂曲》以「安魂夜」、「進堂詠」、「奉獻經」、「羔羊贊」、「垂憐經」為章節共分成

五頻道錄像作品，針對童年時交雜著夢與記憶等家庭私密奇觀現場的探尋，藉由腦內影像回溯與

意識催眠的方法，透過儀式化的重演過程，再次重演童年時與父親的那些放蕩不羈的奇幻經歷，讓過往的黑色回憶重新復魅再生。並且借由影像

的不連續性、分割畫面以及畫面閃回，擬仿腦中的記憶片段，進行一段屬於自我與父親的雙向安魂。

The Requiem for the Realm of Father is a five-chapter (Requiem Night, Introitus, Offertorium, Agnus Dei, and Kyri) multi-channel video installation. It is an expedition of an intimate family spectacle focused on the childhood that was intertwined with illusions and memories. With backtracking the images from the brain and hypnotizing, along with ritually re-acting the past, it is an intention of representing the uninhibited and wondrous experiences during the artist’s childhood with her father to summon and resurrect the dark memories of the past. In addition, with the discontinuous images, segmented frames and flashback visuals mimicking the fragments of her memories, it is ultimately a two-way requiem between the artist and her father.

LIN Yi-Chi 93

林

羿

綺

Chang Hao-Ning was born in Pingtung. He graduated from the Department of Art at the National Changhua University of Education and is currently studying Master’s in New Media Arts at the Taipei National University of the Arts. The main focus of his creative work is the relationship between spatial memory and image. He conducts innovative experiments by using dynamic images, thus attempting to stretch our thinking and imagination of our place of being. Chang received the Austronesian International Arts Award in 2016, his works were exhibited in the “Exhibition of the Newly Emerging Artists in Taiwan” in 2015 and screened at “Rotterdam Video Festival” in 2013.

解

嚴

THE AFTERMATH

CHANG Hao-Ning

張皓甯 199年 1 生於屏東，畢業於國立彰化師範大學美術系，目前

就讀於國立台北藝術大學新媒體藝術碩士班。作品主要聚焦在空間記憶與影像之間的關係，透過動態影像的形式進行創作實驗，企圖開啟我們對於自身所處的位置的思考與想像。曾入圍

2 0 1南 6 島國際美術獎、﹁ 2 0 1 台 5 灣美術新貌展﹂， 201荷 3 蘭鹿特丹錄像藝術節﹂。

以及參加﹁

甯

皓

張

CHANG Hao-Ning 95

《街樂園》Street Park

單頻道錄像 Single-channel video/3min53sec/2016

《街樂園－場景》Street Park – Scenes

數位輸出鋁裱 Digital print mounted on aluminum/37×67cm/2016

解

嚴

THE AFTERMATH

《街樂園》

Street Park

《街樂園》系列作品由單頻道錄像及物件空間裝置所構成。以街景實拍的影像作為創作起

點，將日常的場景重構，形成

一個失序懸浮的狀態。經變異後面貌模糊的主體作為開

場，游移在日常和超維度時空之間，透過主體與外在的相對運行，交織一段被重新定義的歷史軌跡。空間中有一個仿數位格式存在的裝置物件《街樂園－超維度運行體》。透過數位符碼為介面，回返實體的空間，企圖在兒時歷史記憶的場

景中，搭建出跨越時空的場域，並指陳生活中的逸樂傾向。

The Street Park series includes a single-channel video and an objectspace installation. The images of street views capturing either daily life or disordered situations are the starting point of this series. After metamorphosis, a blurry subject appears at the beginning of the video. It shifts around between daily and extra-dimensional space-time. A re-defined historical trajectory is interweaved in video through the relative movement of the subject and external views. There is a device in the middle of space, Street Park – The Moving Object of Super Dimension, that subsists in a digital format. Digital codes are used to create its interface, return to the entity's space. It attempts to build a field in the childhood memories that spans beyond time and space, thus specifying and stating the dilemma of life. 《街樂園－超維度運行體》Street Park – The Moving Ocject of Super Dimension

空間裝置、FRP、螢光裝置 Spatial installation, FRP, fluorescent installation/120×76×54cm/2016

CHANG Hao-Ning 97

張

皓

甯

圖錄

Catalog

Page 14

新店男孩・莊普 Xindian Boys TSONG Pu Page 16

Page 17

《星際迷航：（紅色的）遺跡》

Lost in Interstellar Space: (Red) Ruins

鐵皮 Metal/ 依場地而定 Dimensions variable/2016

Page 18

夏陽 HSIA Yan Page 20

《太子爺》

Tai Tzu Yei (The Prince of Marshal)

壓克力、畫布 Acrylic on canvas/183×112cm/1990

100

解

嚴

THE AFTERMATH

《星際迷航：墜落的紅星》

Lost in Interstellar Space: A Falling Red Star 攝影 Photograph/90×150cm/2016

Page 22/24

吳瑪悧 & 陳伯義 WU Mali & CHEN Po-I Page 28

《樹梅溪解剖》

Anatomy of the Plum Tree Creek

雷射輸出彩色相紙 Lightjet C-print/28×38cm×15/2017

Page 30

吳天章 WU Tien-Chang Page 32

Page 33

《日行一善》

《心所愛的人》

Do a Good Deed a Day

Beloved

數位雷射相片 Digital laser print/240×394cm/2007

相片輸出 Print/220×120cm/2013

101

Page 34

梅丁衍 MEI Dean-E Page 36

Page 37

《中華民國全圖》

Map of R. O. C

噴墨輸出於藝術紙 Inkjet on art paper/65×94cm/1998-2008

Brilliant Post

不鏽鋼 Stainless steel/ 底座 41×41×6cm 柱高 20cm 直徑

7.5cm/2003

Page 38

Page 42

邱承宏 CHIU Chen-Hung

黃心健 HUANG Hsin-Chien

Page 40

Page 44

《小花蔓澤蘭》

Mikania Micrantha

混凝土、河砂、檜木、鐵 Concrete, river sand, Taiwan cypress, iron/63×102.5×3.5cm/2016

102

《燦柱》

解

嚴

THE AFTERMATH

《血脈之線》

Bloodline

3D 列印、有機玻璃 3D print, lucite/16.7×29.7×13.7cm/2017

Page 46

吳耀忠 WU Yao-Zhong Page 48

Page 49

《少年鞋匠》

《縫衣工廠》

Teenage Shoemaker

Sewing Factory

Page 50

Page 54

油彩、畫布 Oil on canvas/38×29cm/1975

油彩、紙本 Oil on paper/41×33cm/1982

高俊宏 KAO Jun-Honn

謝春德 HSIEH Chun-Te

Page 52

Page 56

《社會化無聊：跳》

《生－淡水河的眼淚》

Socialized Boredom: Jump

Raw – The Tears of Danshuei River

彩色有聲錄像 Color video with sound/3min37sec/1997

無酸噴墨輸出 Archival inkjet print/150×200cm/1987-2010

103

Page 58

陳界仁 CHEN Chieh-Jen Page 60

Page 61

《機能喪失第三號》

Dysfunction No.3

Smell Relic II: Air from July 14, 1987

錄像 Video/8min/1983

橡膠冰枕、1987 年 7 月 14 日的空氣 Rubber ice pillow and the air from July 14, 1987 /106.5×85.5×7cm /1987

Page 62

Page 66

陳志誠 CHEN Chih-Cheng

吳其育 WU Chi-Yu

Page 64

Page 68

《1901》

《開發中不思議事件》

1901

複合媒材 Mixed media/ 依場地而定 Dimensions variable/2017

104

《「氣味」紀念物－ II：1987 年 7 月 14 日的空氣》

解

嚴

THE AFTERMATH

Local Stories

單頻道影像裝置 Single-channel video installation/8min20sec/2011

Page 70

王俊傑 WANG Jun-Jieh Page 72

《以安魂之名》

Page 73

《霹靂浪子情―第四代奧狄塞》《FACE / TV》

In the Name of the Repose

Love, Die, Daredevil, Odyssee IV

FACE / TV

HD video transferred to Blu-ray disc, color, sound/8min34sec/2015

Video tape transferred to digital data, B&W+color, sound/15min45sec/1991

Video tape transferred to digital data, color, sound/13min/1989

單頻道高畫質錄像轉藍光、彩色、有聲

錄像帶轉數位檔案、黑白＋彩色、有聲

錄像帶轉數位檔案、彩色、有聲

Page 74

許家維 HSU Chia-Wei Page 76

Page 77

《高砂》

《台灣總督府工業研究所》

Takasago

單頻道錄像裝置 Single-channel video installation/9min20sec/2017

105

Industrial Research Institute of Taiwan Governor-General's Office

單頻道錄像裝置 Single-channel video installation/3min/2017

Page 78

姚瑞中 YAO Jui-Chung Page 80

Page 81

《萬歲》

《萬萬歲》

Long Live

Long Long Live

Page 82

Page 90

瓦旦・塢瑪 Watan UMA

林羿綺 LIN Yi-Chi

Page 84-85

Page 92

彩色單頻道有聲 Single-channel video, color, sound/5min30sec/2011

《我的暴力王國》

My Nation of Violence

錄像、行為藝術 Video, performance/24min37sec/2016

106

解

嚴

THE AFTERMATH

彩色單頻道有聲 Single-channel video, color, sound/7min20sec/2013

《父域安魂曲》

Requiem for a Dream of Father

Full-HD 單頻道黑白有聲影像裝置 Full-HD black and white single-channel video installation/20min/2017

Page 86

許哲瑜 HSU Che-Yu Page 88

Page 89

《重新破裂》

《小人國》

Re-rupture

Window on China

單頻道錄像 Single-channel video/15min19sec/2017

攝影、手寫紙稿 Photograph and sketch/45×60cm. 23×35cm （攝影）30×30cm（手寫紙稿）/2017

Page 94

張皓甯 CHANG Hao-Ning Page 96

《街樂園》

Street Park

單頻道錄像 Single-channel video/

3min53sec/2016

Page 96

Page 97

《街樂園－場景》

Street Park – Scenes

數位輸出鋁裱 Digital print mounted on aluminum/37×67cm/2016

107

《街樂園－超維度運行體》

Street Park – The Moving Ocject of Super Dimension 空間裝置、FRP、螢光裝置 Spatial

installation, FRP, fluorescent installation/120×76×54cm/2016

修天容 Daisy SHIOU

翻譯 Translators

白斐嵐、李樂蓉 Siraya PAI, Laura LYGAITYTE

訪談整理 Interview Assistants

王振愷、林漢慶 WANG Jhen-Kai, LIN Han-Ching

展場執行 Display Executives

洪鼎鈞、千鳥藝術、杰熙藝術工程 HONG Ding-Jiun, ThousandBirdArts, JC ART

設計 Designer

劉銘維 LIU Ming-Wei

印刷 Printing

日動藝術印刷有限公司 Jih-Tung Art Printing Co., Ltd.

出版 Publishing Date

2017 年 10 月初版

ISBN

978-986-94070-6-9

First Edition, October, 2017