2022台灣美術雙年展_畫冊

策展專文：問世間，情不為何物｜徐文瑞、張懿文 舞動虛擬 ｜艾琳．曼寧

泛靈論與生態：參與世界社群 ｜葛瑞姆．哈維 藝術家作品圖版

畸零地計畫 ｜徐文瑞、張懿文 畸零地計畫藝術家作品圖版

主視覺意象聯想—網際網路計畫 1997–2022

策展人簡介

感謝誌

Director's Foreword

Curatorial Essays: Love and Death of Sentient Beings｜Manray HSU, I-Wen CHANG

Dancing the Virtual｜Erin Manning

Animism and Ecology: Participating in the World Community｜Graham Harvey

Artists' Statements and Plates

The Lost Space Project｜Manray HSU, I-Wen CHANG

Artists' Statements and Plates of The Lost Space Project

Imagery Association of the Key Visual—The Internet 1997–2022

Curators' Biographies

Acknowledgements

Director's Foreword

「台灣美術雙年展」自 2008 年創辦以來屢屢突破既有框架，展演機制也經歷各種嘗試與變革，無 論是策展團隊的組成，或是藝術形式的多樣性，乃至機構對自身的實驗性探問，皆在歷年不同策 展團隊之操演下逐漸發展出別具一格之特色雙年展。策展人徐文瑞與張懿文分別見長於視覺與表 演藝術領域，相互激發出獨具新意之視野與問題意識，並藉由多元且豐富的展演形式，呈現臺灣 當代藝術的最新境況。2022 台灣美術雙年展以提問之姿追問數位時代之「情」：何為情？情為何？ 以及如何有情之技術問題，一方面與當代的前沿思想對話，另一方面更藉由藝術家所開展出的世 界觀與時間概念，重新看待臺灣歷史與主體形塑的各種問題，編織出多重民主但又極具地方性格 的藝術宇宙。

展覽題稱之否定問句：「問世間，情不為何物 (Love and Death of Sentient Beings)」，延伸自「雁 丘詞」中膾炙人口的「問世間，情為何物，直教生死相許」詞句，對充斥著數位資訊流的當代社 會提出質疑：當關係被資訊取代且受技術宰制後，人與人，人與事物，以及事物與事物之間的關

係如何被看待？有別與國際間流行的以「物」為導向之哲學思維，這層關係偏向更為動態的、形 而上的「情」，指向本然的生命動能與根本的生存情境。策展人更進一步從大乘佛教所提出之「眾 生皆有佛性」來理解「情」與生命存有的關係，不將「情」限定於伴隨意識的產物，也延伸到非 意識的眾生，包含了技術物或數位物。從有意識（sentient）到非意識（insentient）之間的擺盪 與生滅，或許才是現世的本來面目。

本次台雙展共邀請 32 位 ( 組 ) 具藝術家參與展出，在策展概念下分別從現代技術中的失落空間 「畸零地」、當代的原民現身、表演轉向中的身體與歷史記憶，以及泛靈論與多重宇宙等四個面 向開啟討論，並以視覺藝術、聲音藝術、舞蹈、現場表演、行為、講演、論壇等多樣化的展演形 式，引領觀眾重新理解臺台灣的複數歷史與主體論述。其中，更有於花蓮舉辦的走行活動「森織 工作坊」，帶領參與民眾親入山林以理解原民的祖靈文化與泛靈信仰。展覽期間所籌劃的多場館 內演出，包括未曾在美術館發生的「跑酷」，也擾動了靜態的美術館空間，一轉現代主義中的美 術館定義。歡迎諸位有情者於美術館中不期而遇。

國立臺灣美術館 館長

Since its inception in 2008, the Taiwan Art Biennial has continually broken down pre-existing barriers, and the exhibition parameters have gone through various experiments and innovations. Whether in the makeup of the curatorial team, or the diversity of the artistic formats, to the experimental self-exploration of the institution, the execution of various curatorial teams has gradually developed into a biennial of unique character. Curators Manray HSU and I-Wen CHANG are experts respectively in the visual and performing arts fields, mutually sparking novel perspectives and inquiries. Through diverse and rich exhibition formats, the current state of Taiwanese contemporary art is presented. The 2022 Taiwan Art Biennial takes to account the ‘sentience’ of the digital age: technical questions of what is ‘sentience’? For what? And how ‘sentience’, on one hand dialogue with the avant-garde thought of the contemporary, and on the other, further reevaluates various questions around Taiwanese history and subjectivity formation through the worldviews and chrono-concepts expanded upon by artists, weaving an artistic universe of overlapping democracies but rich in local character.

The negative interrogative in the Chinese exhibition title, the English of which is Love and Death of Sentient Beings, extends from the poem " 雁丘詞 " (Song of the Wild Geese Mound) well-known lines, “ask of the world, what is love that makes one devote to each other in life and death”.. These lines interrogate contemporary society, filled to the brim with digital information flows: when relations are replaced by information under the domination of technology, how do we look at the relationships between humans, humans and things, and between things? Standing apart from a globally trending “Object-oriented philosophy,” this stratum of relation presents a more animate, metaphysical ‘sentience,’ hinting at the innate nature of vitality and the foundational state of existence. The curators take one step further toward Mahayana Buddhism’s proposition that “all beings have the potential to become Buddhas”, to uderstand the relation between ‘sentience’ and the existence of life. Not limiting sentience to a product of consciousness, but extending to those beings without consciousness, includes technical or digital objects into the fold. The wavering, birth and death from sentience to insentience, perhaps is the original state of the current age.

This edition of the Biennial invites 32 (groups of) artists to participate in the exhibition, initiating discussion from the four curatorial aspects of the Lost Spaces in modern technology, the presence of contemporary Indigeneity, bodily and historical memory in the performative turn, and multiversal animism. Through such diverse exhibition modes as visual art, sound art, dance, live performance, performance art, lectures, and discussions, the audience will be led to understand anew Taiwan’s overlapping histories and discourses of subjectivity. Among these, there is also the walking activity organized by Hualien, HAGAY Dreaming Research Project - Forest Weaving Workshop, which leads the participating public to enter the mountain forests themselves to understand the ancestral culture and animism of Indigenous peoples. The multiple performances taking place in-museum during the exhibition period, includes “Parkour” which has never occurrred in the museum before, disturbing the static museum space, turning the modernist definition of the museum on its head. We invite all sentient beings to come meet one another in the museum.

Director, National Taiwan Museum of Fine Arts

問世間，情不為何物

文／徐文瑞、張懿文

展覽標題「問世間，情不為何物」，典故出自西元 十二世紀詩人元好問的「雁丘詞」，其膾炙人口的 「問世間，情為何物，直教生死相許」詩句，在此轉 變為否定問句，把兒女私情的一般意涵，打開為數 位技術時代裡對「有情眾生」本性的追問。

「情」字，在中文語境中具有多重的意涵：從「心」

字根，指涉心的動力，由此衍生出 「情動」、「情 慾」、「情緒」、「情懷」等，但是，相對於愛慾 之情，在古代形而上學的討論中，「情」還有更深 遠的意涵，禮記禮運篇有云：「何謂人情？喜、怒、 哀、懼、愛、惡、欲，七者弗學而能」，一方面把

情視為本性，本然之情；另一方面也顧及性情的動 態面向 情之動，而且是不經學習而本來就具有 的生命動能。更以此引伸出宇宙中生生不息的動態

情勢、情況、實情，所以，作為存在的基本樣態， 情境、事情、情狀或情態 (state of affairs) 等字眼， 因此，「情」不是一個可以單位化的存有物，而是 在宇宙間森然萬象之中的動態關係，透過展現樣態 之差異、強弱虛實之不同，而顯現之為「有情」。

「情」的形而上學歷史，也反映在佛教中「有情 眾生」概念的演變中，在原始佛教裡，有情眾生

（sentient beings, 或梵文的 sattva「薩埵」）係指

墮入六道輪迴的一切有意識的生命，而佛教的宗旨 就在於如何使一切有情眾生從輪迴之中得到解說。

到了大乘佛教，這個重責大任便落在菩薩身上，菩 薩（Bodhi-sattva）亦即「覺醒 - 有情」，既指發 心求入佛道的有情眾生；也可指上求菩提下化眾生

者；或指具足智慧、自在生死輪迴而擁有度化眾生 能力之大菩薩。大乘佛教提出「眾生皆有佛性」， 皆能覺醒證悟佛道空理。甚至更進一步延伸，在東 亞佛教中，非意識的眾生（insentient beings）也 有佛性（Getz 2004），因此，情與意識的脫鉤，讓 情變成宇宙浩然流行的動力，這正好呼應「情」字 在中文語境中的形上學意涵：情不為何物？何物不 為情？從「有情眾生」或「薩埵」的歷史發展來看， 如果眾生皆有佛性，那麼，今天的我們要問技術物 或數位物是否皆有佛性、皆「有情」？

每兩年發生一次的「台灣美術雙年展」，其任務不 僅在於檢視現今藝術的主要趨勢或創作方向，同 時也要透過藝術創作，反映出屬於這個時代的重大 議題，提供與大眾對話和反思的介面。「台灣美 術雙年展」也是目前少數以臺灣藝術家為重心的雙 年展，作品由本地藝術家出發，反芻臺灣的在地 脈絡，為地方的多元性發聲，根據藝術家自身的人 生經歷，讓歷史呈現不同的樣貌。而每一屆的「台 灣美術雙年展」透過藝術家的眼睛，重新思考臺灣 歷史的多樣性，因此，我們也可以說，在過去十六 年、八屆雙年展的累積之中，「台灣美術雙年展」

也形塑了臺灣藝術的多元觀點，成為臺灣當代藝術 史的重要參考。

本次「問世間，情不為何物」展覽，將從對「情」 的探問出發，討論技術與有情眾生之間共同演化的 關係，以此回應當代原民現身和身體表演相關的生 命政治，讓當代藝術與技術哲學、跨物種倫理、新 泛靈論、原民性、地方性之間形成有意義的、有啟

發作用的對話空間，而參展作品則運用異質的媒 材和創作方法，針對本次展覽的四個子題，或隱 或現、或強或弱呼應著一個或數個子題所勾勒的 思維，而非一一對應到單一子題，如此，作品的 觀念交織穿插互文回應，一同描繪出當代技術有 靈、萬物有情的綿密纏繞。

一、現代技術的生態：畸零地作為隱喻

臺灣從 1874 年牡丹社事件之後，清朝政府啟動 開山撫番的政策，將殖民統治從西部平原擴張至 內山和後山，與長久棲居的原住民族發生一波接

著一波的武力衝突，強佔其土地，瓦解其社群組

織，並且開始把工業革命之後的基礎設施帶入臺 灣，例如電線、鐵路、公路、水利工程等，延續

至日治時期，進一步將臺灣帶入現代化的技術統 治。自二次大戰結束後，科技現代性的劇烈加速 度，藉由網際網路、飛行器、人造衛星、海底電

纜、金融、人工智慧、生化工程、永續農業的發 展，建立起整個地球的都市化系統，而臺灣的現 代化，即是將自身整合至星球都市網路的過程。

哲學家費利克斯．瓜塔里（Félix Guattari）借用 路易斯．孟福（Lewis Mumford）「巨型機器」

（megamachines）的概念來描繪現代城市，而所 有的現代人都活在這個巨型機器的生態之中，「通 過集體機器（教育、健康、社會控制、文化……）

和大眾媒體」（Guattari 2015, 105)，城市的巨 型機器乃是個人與集體主體性的生產者，徹底改 變了人與地球、其他物種，以及舊有文化的共生 關係，因為城市的物質基礎設施、通訊、服務， 樣樣都具有存在意義的界定功能，「巨型機器模 擬感性、智慧、相互關係的風格，甚至是無意識 的幻想」（ibid.)。因此，瓜塔里提醒，活在交纏 著各種生態的生活情境裡，人們不僅需要關注環

Curatorial Essays

策展專文

境污染與氣候變遷的自然生態浩劫，也需要意識 到社會和心靈的生態浩劫（Guattari 2015)。在這 個新的巨型生態組合中，從山林到田野海濱，從 部落、村莊到都會區，面對生態，沒有人是局外 人。

由技術演化與資本流動所造成的劇烈加速度，也 造就了日常生活空間中的許多畸零地，在建築法 規上，畸零地是指基地面積狹小或地界曲折，未 符合法定之最小面積，或基地線與建築線之斜交 角度，而致不能興建的土地。廣義上，畸零地是 指城市發展所遺留下來難以使用的「失落空間」

(Roger Trancik)，它們或造成使用者行進動線的 阻隔、迷失方向、或視覺干擾等不舒適感，成為 閒置無用的地方，例如廢墟公園、軍事基地、工 廠，但也可能存在於室內空間，例如美術館內 部。事實上，生活在加速度的城市中，我們的自 然、社會、心靈環境，處處皆有劇烈動盪所遺留 下的畸零地：今天處於巨變中的臺灣，在戰爭與 威權統治所遺留下來的失落記憶、個人或家族的 創傷、族群遷徙互動所埋藏於聚落和土地上的陰 魂，媒體化城市空間的記憶重疊，人與其他物種 之破碎關係，都是個人或集體所深刻感受的畸零 方寸。如何尋找隱形的「失落空間」、如何重新 面對畸零地，也就變成了當代藝術的重要課題。

二、宇宙的再編織：當代原民現身

臺灣的殖民歷史，從技術與現代性的角度切入， 可以更清楚的看見身份認同與歷史傷痕的糾葛： 原居於臺灣的原住民族，早在十六、十七世紀近 代航海者入侵之前，即已定居在此數百年、甚至 數千年之久，目前已知這些民族屬於南島語系， 分佈領域遼闊，在南北半球分界上的廣大海洋地 表。隨著大航海時期的來臨，臺灣原住民族開始

先後遭遇大型殖民政權與陸續來此的定居墾殖者， 先是西部平原與淺山地區的民族，三、四百年來 被殖民政府征服歸類為「熟番」的平埔族群，後有

十九世紀中後期，在帝國主義擴張衝擊之下，清朝 政府實施開山撫番，利用工業革命的新技術，開始 將居住於內山和後山的原住民族納入新一波的殖民 統治，之後更延伸至日治時代與二次大戰後的國民 政府時代，這些先後被殖民的臺灣原住民族，也進 入了現代性。

在過去四十多年來臺灣的民主化運動，同時也是原 住民族復振運動的過程，早在鄉土運動時期，原住 民當代藝術的發展作為族群復振的一環，便不斷進 行「復返」的工作，如同人類學家詹姆斯．克里夫 （James Clifford）認為「原民現身」（Présence indigène），即是全球原住民族在全球化和後殖民

的語境中，把遭受破壞的生活方式，從殘存的文化

與傳統中重新編織（Clifford 2017）；用南島語族

東加人類學家郝歐法（Epeli Hau’ofa）的話來說，

在「原民現身」中的人被迫周旋於循環時間的傳統 和直線型的現代之間，因為他們本來就生活在一種 螺旋的時間觀裡，以「原民現身」來表達他們對多

重宇宙的編織（Hau’ofa 2008），因此，原民藝術

家的新作品，既揉合當下生活狀況的反思，同時又 擷取傳統神話和生態智慧作為概念的泉源。而到了 九零年代原住民正名運動、還我土地、與相關法 律制度的界定，臺灣的原住民族一直處在解殖與復 振的進程中，在這樣的語境裡，經歷都市化洗禮的 原住民面對著刻板印象，發展出自我解嘲的方式來 面對微歧視的狀態，而當代原民現身正是在這樣協 商過程，融合出一個現代原住民，成為「變成原住 民」（becoming Indigenous） 的自我認同。

界的行列。對大部分原民藝術家而言，這是一個令 人期盼卻又害怕受傷的過程，主流藝術圈習慣利用 傳統、現代、當代的區分對作品進行分類與評判， 把表演藝術和視覺藝術強行分隔，無視於復振的原 民部落並未劃分這些領域，因為這一切就是生活整 體的一部分。另一方面，主流藝術圈也強調藝術家 的個體性，一種來自歐洲文藝復興所標榜的個人 主義思想，而無視於許多原民藝術家的創作依然與 他們的原生部落生活密切聯繫，作品不只是關於 自己，也關於部落，不只是為了部落而作，也和部 落族人一起合作。這種社區參與的藝術不適合稱為 「新類型公共藝術」（New-genre Public Art），因 為它很舊、很傳統，更重要的，也因為，有別於一

般公共參與的藝術家大多來自城市，並且以外來者 的身份參與別人的聚落而進行創作，而原民藝術家 則往往在自己所屬的部落中工作，少有進入別人部 落進行創作的狀況，他們利用自己的藝術專長，與 部落族人共同建構部落的大大小小美的綻放。

但是，作為身處這個協商過程的當代創作者，卻在 原民藝術機構的長期缺席下，必須倚賴美術館和現 代藝術體制的「發掘」與「邀請」才能擠身於藝術

在遭受更長期的殖民與同化過程之後，平埔族群的 復振運動也和民主化運動同時起步，但卻面臨了更 加嚴厲的考驗，語言和文化傳統的消失，加上政府 政策的偏頗，造成平埔族群劇烈加速度的覆滅狀 態，其所遭受的刻板印象、歧視，不遜於已經正名 的原住民族。他們被質疑：這些已經變成漢人的熟 番，生活樣態幾乎與主流文化無異，為什麼他們要 正名變成「番」？而今日越來越多的藝術創作者， 意識到自身的平埔血脈，或認同於原民現身的歷史 命運，開始以原民相關議題進行創作，這些作品不 一定以身份認同作為出發點，而是透過田野踏查、 歷史追索、耆老口訪等手法發展作品，他們的視野 更多強調傳統界線的模糊複雜，打破一般所用的族 群範疇、地理劃界、歷史分期、語言類別，這些作 品凸顯了「跨越土牛溝界」的歷史事實，也招喚著 當代人面對持續存在的社會與家族歷史、個人心中 的畸零地。

三、身體作為戰場：歷史的規訓

當代藝術一直是藝術跨領域創作的前鋒，超越學

科知識的界線，不再以單一藝術媒材作為創作實 踐的基礎，然而過去現代藝術強調「為藝術而藝 術」，注重藝術家的個人性和藝術的獨立地位，

因此使得許多文化傳統中的元素無法被重新銜接 到當代創作裡。而近幾年來，反而是在表演藝術 中，我們發現大量吸收（原住民、漢民族）傳統 文化的作品，重新轉化為新的藝術形式。這些使 用身體的表演，如口語、吟唱、祭儀等，超越文 字語言的邏輯宰制，身體因此成為保存文化記憶 的載體，讓在殖民語言中被迫消失的螺旋時間觀

和宇宙觀（Hau’ofa 2008），被保存在表演中， 成為無形文化資產。

在這些作品中，表演者的身體成為一個「活的文 件檔案」，如表演藝術學者黛安娜．泰勒（ Diana Taylor）所提示的：每個表演都是傳遞和保留知

識的方法，在手勢、動作、吟唱、舞蹈和音樂等 不同的表演形式中，「體現的記憶」（embodied memory）提供了一個與文獻檔案不同的紀錄觀

點，將歷史進程中那些被文字紀錄所遺忘的無形 文化資產，保存在身體的經驗傳承之中（Taylor 2003）。另一方面，強調口語和行為所產生的 展演性（performativity ）有一種「類劇場」

（theatre-like）效果，可以將視覺藝術從關注空間 的物質／物理特性，轉化到關懷時間的向度，而 時間也牽涉到社會的複雜情境，特別是後殖民時 期的歷史記憶，也因此，表演串連了個人時間私 密性、與美術館空間公共性的交互指涉。

而身體作為戰場，從人類學家馬塞爾．莫斯

（Marcel Mauss）的「身體技術」、到社會學家米

歇爾．傅柯（Michel Foucault）的「規訓」，現

代的規訓技術透過空間而對身體進行監控，讓身

Curatorial Essays

體則成為政治意義製造的場所，而當代數位監控 技術的使用，更再次將身體放置在生命政治的核 心。臺灣殖民歷史的多重軌跡，也反應在舞蹈身 體的技術訓練中：從日治時期德國表現主義風格 的現代舞開始，到國民政府來臺，經歷了復興中 華民族舞蹈復興運動、美國現代主義在冷戰的國 際形勢，帶來現代舞的影響，而在退出聯合國之 後的鄉土運動、從八零年代解嚴之後開展今日臺 灣當代的多元脈絡，從後解嚴、後冷戰時期進入 積極全球化的時代，逐漸形塑出臺灣人獨特的身 體性，從國民健康健康操到軍訓踏步、不同身體 技術的發展，背後都有一套相對應的意識形態， 而這些不同的身體訓練與社會情境，也暗示了臺 灣殖民歷史的多重軌跡，暗示了國家「主體性」 的文化政治實踐，往往與身體技術有著千絲萬縷 的糾纏，讓身體成為當代編舞家探討銘刻記憶的 參考。

表演學者茱蒂絲．巴特勒（Judith Butler）的 「表演性」和舞蹈學者蘇珊．佛斯特（ Susan L. Foster）的「編舞」（choreography）理論，提 供了我們思考表演的切入點：前者認為「表演 性」是透過不停重複的操演來建構意義系統之過 程（Butler 1990），而後者則提出「編舞」是 透過姿勢和動作形成文化符碼，以此重新配置個 人認同與在社會間的關係（Foster 1998）。對 佛斯特而言，舞蹈傳遞了一種類似「無器官的身 體」之可能（Deleuze 1995），這個概念在表演

藝術學者安德烈．勒沛奇（André Lepecki）比 較「警政編排」（choreopolice）和「編舞政治」

（choreopolitics）的論述中得到更深入的闡述： 假若「警政編排」代表的是由上而下對身體掌控 的監視系統，那麼「編舞政治」則說明了，透過 編舞，舞者有能力將原本的既定空間轉化為具有 政治批判意識的場所（Lepecki 2013）。也因此，

身體具有被制約的客體性、又同時有著能夠創造

Love and Death of Sentient Beings

Text by Manray HSU, I-Wen CHANG

The exhibition title “Love and Death of Sentient Beings” comes from the poem " 雁丘詞 " (Song of the Wild Geese Mound) by twelfth-century poet Yuan Haowen. The oft-quoted lines “ask of the world, what is love that makes one devote to each other in life and death.", here becomes a negative interrogative, transforming its popular meaning of romantic love into an investigation of the nature of “sentient existence” in the age of digital technology.

The character “ 情 ” (translated as ‘sentient’ in the title) in Chinese has multiple meanings: its “heart” radical hints at the movement of the heart, leading to words such as “affect” ( 情動 ), “desire” ( 情 慾 ), “mood” ( 情緒 ), “feeling” 情懷 ), etc. However, relative to desires of the flesh, in the context of ancient metaphysics, “ 情 ” holds even deeper meanings. “The Operation of Etiquette” chapter in the Book of Rites states, “What is human emotion ( 人情 )? Joy, anger, grief, fear, love, disgust, desire, these seven are innate.” On one hand, “ 情 ” is seen as intrinsic to human nature, an instinctive sentiment; on the other hand, the dynamic facet of human nature — the motions of the heart — are also addressed, and viewed as inherent faculties of life that require no additional learning. From this, we can extrapolate the dynamic "emotions" [ 情 緒 ], "situations" [ 情況 ], and "affairs" [ 事情 ] it can mean any great Bodhi-sattva of life throughout the universe; so, as the fundamental mode, situation, happening, affection, or state of affairs of existence, ‘ 情 ’ is not an object that can be unitized, but is a dynamic relation between the various elements of the universe. Through exhibiting different forms and discrepancies in strength and reality, they appear as ‘sentience’.

The metaphysical history of ‘ 情 ’ is also reflected in the evolution of the concept of ‘sattva’ in Buddhism. In orthodox Buddhism, sentient beings (‘sattva’ in Sanskrit) refers to all conscious life that falls into the six realms of reincarnation. The main tenet of Buddhism is freeing all sentient beings from the cycle of reincarnation. In Mahayana Buddhism, this Atlas-like burden falls upon the Bodhi-sattva, meaning ‘awakening-sentient’, can mean any sentient being that embarks on the path of the Buddha from the heart; it can mean any who seek wisdom as a willing sentient being; it can mean any great Bodhi-sattva who after having achieved wisdom chooses to remain in the cycle of life, death, and reincarnation and has the ability to bring other sentient beings into transcendence. Mahayana Buddhism proposes that “all sentient beings have the potential to become Buddhas”, and are all able to awaken and attest to the philosophies of the Buddha. We can further extend this to insentient beings having the potential to become Buddhas, as in East Asian Buddhism (Getz 2004). As such, the decoupling of ‘ 情 ’ and consciousness allows ‘ 情 ’ to become the force that runs throughout the universe. This aptly corresponds to the metaphysical meaning of the term ‘ 情 ’ in Chinese: what exists that is not sentient? What is not sentient that exists? Judging by the historical development of ‘sentient beings’ or ‘sattva’, if all sentient beings have the potential to become Buddhas, then we must ask, do all technological or digital objects also have the potential to become Buddhas — sentience?

The task of the Taiwan Art Biennial, which runs once every two years, is not only to examine the main

trends or creative directions of art nowadays, but also to reflect the important issues of this age through art creation, becoming an interface for the public to dialogue and reflect. The Taiwan Art Biennial is also one of the few biennials with Taiwanese artists at its center. The works embark from local artists, ruminating upon Taiwan’s local contexts, speaking out for local diversity and allowing history to present its different faces. Every iteration of the “Taiwan Art Biennial” revisits the variousness of Taiwanese history; as such, we can say that in the past sixteen years, over the accumulation of eight biennials, that the Taiwan Art Biennial has shaped the diverse viewpoints of Taiwanese art, becoming an important reference for Taiwanese contemporary art history.

As such, the exhibition Love and Death of Sentient Beings embarks from the exploration of ‘sentience’ to discuss the mutually evolving relationship between technology and sentient beings, responding thereby to biopolitics in relation to contemporary Indigenous representation and bodily performance, and allowing meaningful and edifying space for discussion to form between contemporary art and techno-philosophy, trans-species ethics, new animism, Indigeneity, and locality. The participating works thus intersect and weave between the four subtopics of the exhibition through different methods of dialogue.

land, dismantled their social structures, and began to bring post-industrial basic infrastructure to Taiwan, such as electrical wires, railways, highways, and irrigation projects, continuing into the Japanese colonial era, which brought Taiwan one step further into the technical rule of modernization. Since the end of the Second World War, the Great Acceleration of technological modernity has built up the urbanizing system of the globe through the internet, aviation vehicles, satellites, undersea cables, finance, artificial intelligence, bio-engineering, and the development of sustainable agriculture. Taiwan’s modernization, then, is a process of assimilating itself into the planetary urban network.

Topic 1 ︱ The Ecology of Modern Technology –The Lost Space as Metaphor

After the 1874 Mudan incident, the Qing Government began its policy of “opening up the mountains, pacifying the savages” in Taiwan, expanding colonial rule from the western plains to the depths and backs of the mountains. Wave after wave of military conflict rose between them and the Indigenous peoples who had lived there since time immemorial, as they took over their

Philosopher Félix Guattari borrowed Lewis Mumford’s description of the concept of the ‘megamachine’ to describe the modern city. All modern humans live in the ecology of this giant machine, “through collective machinery (education, health, social control, culture…) and the media” (Guattari 2015, 105), the megamachine of the city is the production of individual and collective subjectivity, fundamentally altering the symbiotic relationship between humanity and the planet, other species, and olden cultures, as the material basic infrastructure, communications, and services of the city all have the function of existential definition: “the megamachine imitates sensibility, wisdom, the style of mutual relationship, even unconscious fantasies” (ibid.). Because of this, Guattari reminds us, living in an environment where various ecologies intertwine, modern people not only need to pay attention to the natural ecological disasters of environmental pollution and climate change, but also to social and spiritual ecological disasters (Guattari 2015). In this new mega-ecological combination, from the mountains to the fields and beaches, from the rural communities to urban centers, no one is an outsider when it comes to facing ecology.

The Great Acceleration produced by technological

Animism and ecology: Participating in the World Community

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This article has been published online in The Ecological Citizen Vol.3 No.1 (2019): 79–84. 21 Nov. 2022. < https://www. ecologicalcitizen.net/pdfs/v03n1-13.pdf > Reprinted with the author's permission.

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1

The term ‘Indigenous’ refers here to nations, peoples and communities elsewhere labelled ‘native’ or ‘aboriginal’ in contrast with ‘colonial’ or ‘settler’ communities. It is capitalized partly because it is used strategically by many such communities as a self-description, but also to distinguish it from a more adjectival sense (in which, e.g., Londoners might be indigenous to Britain).

2 It is vital to note that ‘new’ here refers to a theoretical approach that is contrasted with Tylor’s ‘old’ approach, rather than to the age of the diverse lifeways or practices themselves.

The term ‘Pagan’ is another self-description used by contemporary groups and individuals. It claims certain affiliations and commitments, in much the same way as terms such as ‘Christian’ or ‘Humanist’.

泛靈論與生態：參與世界社群

Artists' Statements and Plates

藝術家作品圖版

Artists' Statements and Plates

ARTISTS' STATEMENTS AND PLATES

瓦歷斯．拉拜(吳鼎武)

Walis Labai (WU Diing-Wuu)

創作自述 Artist Statement

《我的外公外婆是樹生的》

《我的外公外婆是樹生的》將外公外婆的圖片與樹木 的影像結合，製作出各種視覺合成效果，呈現一幅 幅電影特效般的平面作品。這系列作品轉喻自臺灣 原住民賽德克族的神話故事「樹生說」 相傳賽 德克族是自樹根誕生的民族 展現賽德克母體文 化最獨特的「樹生」生命經驗，由此反思現代社會 重返純樸的可能。

My Grandfather and Grandmother are Tree-Born People

In the series, My Grand Father and Grand Mother are Tree-Born People, photographs of grandparents and images of trees are combined to produce graphic works with movie-like image synthesis effects. The metonymy of these works is based on a legend of Taiwan’s indigenous Sediq people in which it is said that they were born from the roots of a tree, manifesting the most unique “tree-born” life experience of the Sediq cultural matrix and inspiring reflection on the possibilities for modern society to return to simplicity.

一件傳統賽德克族族服靜靜佇立著，它投射在瀑布 的騰騰水氣之中，或是狼煙的裊裊燃煙之上，它 從遠方走來，經過此刻，緩慢而沉穩得繼續走向前 方。〈行進中的隱形榮耀〉告知世人，原住民族人 將勇於走出屬於原住民族人的未來願景。

A Walking Spirit of Glory

An article of traditional Sediq clothing hangs quietly, as it is projected onto the mist of a waterfall or the curls of smoke from a fire. It has come from somewhere distant and after passing this moment continues forward. A Walking Spirit of Glory tells the world that indigenous peoples are bravely walking in their vision of the future.

瓦歷斯．拉拜（吳鼎武），賽德克族道澤群 （Sideq Doda），出生於臺灣南投。現任中原大學設計學院 商業設計系所專任副教授。過去在學習科技時逐漸 對藝術產生興趣，物理系畢業後前往美國紐約州羅 徹斯特工藝學院研修應用藝術碩士學位。他擅長使 用新媒體影像裝置（ new media video installation ） 做為創作媒材，特別是利用科技物來詮釋消失中的 原住民傳統文化，其影像創作專注於「消除」、「隱 形」等概念，隨著觀者視線的移轉，作品中的人像 也幻化為不同的形體，近期持續關注的創作議題為 全球原住民傳統知識系統的交流與復振。

Wallis Labai (Wu Diing-Wuu) of Sideq Doda was born in Nantou, Taiwan. He is currently an Associate Professor in the Department of Commercial Design at the College of Design at Chung Yuan Christian University. An interest in art grew while studying technology; he went on to study for a Master of Fine & Applied Arts at the College of Fine & Applied Arts at Rochester Institute of Technology in New York after graduating with a degree in physics. He specializes in the use of new media video installation as a creative medium, and in how he employs technological objects to interpret disappearing indigenous traditional cultures. Wallis Labai’s video works revolves around the concepts of “erasure” and “invisibility”, and as the audiences’ focuses shift, the human figures in his works transform into different forms. His recent work endeavors to the exchange and revitalization of indigenous traditional knowledge systems around the world.

藝術家簡介 Biography

1, 2, 3

《隱形計畫》，〈我的外公外婆是樹生的I‒VI〉（局部）， 2015，光柵片數位媒體輸出，150 × 100 公分。藝術家 提供。

Invisible Project, My Grand Father and Grand Mother are TreeBorn People I-V (details), 2015, grating plate with digital media print, 150 × 100 cm. Courtesy of the artist.

5, 6

《隱形計畫》，〈行進中的隱形榮耀〉，2022，單頻道錄像， 1分50秒。藝術家提供。

Invisible Project, A Walking Spirit of Glory, 2022, single-channel video, 1 min 50 sec. Courtesy of the artist.

4

《隱形計畫》，〈我的外公外婆是樹生的I‒VI〉，2015， 光柵片數位媒體輸出，150 × 100 公分。藝術家提供。

Invisible Project, My Grand Father and Grand Mother are TreeBorn People I-V, 2015, grating plate with digital media print, 150 × 100 cm. Courtesy of the artist.

1~4, 6 Installation view. ©National Taiwan Museum of Fine Arts, Photo by TshioTio, Leo.

展覽現場。©國立臺灣美術館，攝影：邱 条 影室 李雨軒。

葉名樺

YEH Ming-Hwa

創作自述 Artist Statement

2020 年，葉名樺開始《SHE》的計畫，回顧了二十 世紀橫跨歐亞的舞伶，以肉身走進教科書上的傳 奇，一路追溯到個人生命的際遇。這個計畫以舞蹈 史上的重要女性當座標，輻射標記出種種與你我的 關聯。葉名樺從個人角度出發重新詮釋經典人物， 演繹跳舞的女人。〈SHE_O.S.〉中的角色有大英 帝國芭蕾伶娜 瑪歌．芳婷（1919-1991）、中 國第一位向西方學習的舞蹈家 裕容齡（18891973），以及臺灣頂尖舞蹈家 羅曼菲（19552006）。葉名樺回顧自身在臺灣一路被孕育成一

位舞者的成長過程，如何被世界的舞蹈歷史上主 動、被動、直接或間接影響而長成。舞蹈影像中大 量加入「語言」 無論是用來敘述，或者作為聲 響 以「旁白」（V.O.，voice-over）及「畫外音」（

O.S.，off-screen sound），以個人主觀再詮釋經典 人物，用「音畫分離」的概念，對跳舞的女人演繹 對白及提出辯證。舞蹈的歷史要怎麼說？口傳身授 傳承的是技巧、身分、抵抗，也許還有沒有說破的 身不由己。

SHE is an ongoing project by solo artist Yeh MingHwa in which she revisits some of the female icons in world dance history, in parallel with her own reflections as a dancer and choreographer growing up in Taiwan. In SHE_O.S. intersects with women whose dance careers span different epochs, including prima ballerina assoluta Margot Fonteyn (1919-1991) and the first Chinese dancer to receive a dance education in Europe Yu Rong-Ling (1889-1973). A glamorous Taiwanese dancer and choreographer Lo Man-Fei (1955-2006). The title of this work refers to non-sync sound formats in film, which informs the exploration of the discrepancies between image and sound, action and commentary. How much can dance be described, interpreted, and passed on through language? How much is left “off-screen?”

葉名樺，臺灣獨立編舞家及舞者， 1983 年出生於高 雄，2006 年畢業於國立臺北藝術大學舞蹈學院七年 一貫制。近年的創作以身體、感官詮釋來思考時間 與空間，並以多媒材、跨領域的演出實踐回應敘事 與事件。重要的創作及演出計畫包括：2022 臺北 藝術節與挪威卑爾根劇院共製發表〈波光閃閃的房 間〉；2020-2022 年臺北藝術節《SHE》系列作品；

2020 年受臺北市立美術館委託製作於王大閎建築 劇場發表《牆後的院宅》演出計畫，隔年獲第十九 屆「台新藝術獎」年度大獎；2019-2020 年受邀參

與衛武營國家藝術文化中心共製合作的《四國駐地 交流計畫》，於臺灣、義大利、法國、日本發表實 驗型公共場域創作；2019 年臺北藝術節傑宏・貝爾

〈非跳不可〉作品擔任導演執行；2018 年毓繡美術

館〈編舞者葉名樺以 真實人體回應山姆．詹克 斯〉；橫濱市民美術館為日本數位藝術家渡邊豪新

作〈dislocation〉中限地編創演出；2017 年北師美 術館作夢計畫《一個人的美術館

Born in 1983 in Kaohsiung, Taiwan, Yeh Ming-Hwa received her BFA in Dance from the Taipei National University of Arts in 2006. A choreographer and dancer, her creative practice revolves around employing body and sensory interpretation to explore time and space while combining different mediums with interdisciplinary performances to respond to narratives and events. Some of her recent works include A Room by the Sea (coproduced by BIT Teatergarasjen (Bergen) and 2022 Taipei Arts Festival, 2022); SHE & SHE_O.S. (Taipei Arts Festival, 2020-2021); The House Behind the Wall commissioned by Taipei Fine Arts Museum, Taiwan at Wang Da Hong House Theatre in 2020 and won the Grand Prize of 19th“Taishin Arts Award” in 2021. In 2019-2020 she was invited by the National Kaohsiung Center for the Arts (Weiwuying) to participate in the Museum of Human Emotions Project, an experimental creative development of public space project presented by Centro per la Scena Contemporanea, Bassano del Grappa (IT), La Briqueterie CDCN, Val-de Marne (FR), Saison Foundation (JP), and National Kaohsiung Center for the Arts (Weiwuying) (TW). She took up the role of stage director in Jérôme Bel's The show must go on at Taipei Arts Festival in 2019. Her works also include Choreographer Yeh MingHwa—Physical Echoes to Works’ by Sam Jinks commission by YU-SIU Museum of Art, Taiwan in 2018, a live performance for Japanese digital artist Go Watanabe's new work dislocation at the Yokohama Civic Art Gallery and “The Serene Gallery Performance X Exhibition” in MoNTUE Museum in 2017.

寂靜敲門》。

藝術家簡介 Biography

〈SHE_O.S.〉，2022，雙頻道錄像裝置，20分。藝術家 提供。攝影：陳宥中。

1~3, 5

SHE_O.S., 2022, two-channel video installation, 20 min. Courtesy of the artist. Photo credit: Chen Yu-Chung.

展覽現場。©國立臺灣美術館，攝影：邱 条 影室 邱垂仁。 4 Installation view. ©National Taiwan Museum of Fine Arts, Photo by TshioTio, Trey.

製作團隊

創作暨演出：葉名樺 戲劇構作：陳佾均

影像導演：楊凱婷

剪接：呂旻諭

燈光設計暨技術顧問：沈柏宏 音樂設計暨混音：蔣韜

鋼琴演奏：李世揚

造型顧問：鄧宇芳

妝髮造型：比琺時尚藝術_莊宇翔、黃琦涵 平面攝影：陳宥中

影片拍攝及後製：凹焦影像工作室 攝影：凌瑋隆、潘彥安

攝影燈光技術：洪政猷 調光：潘彥安

收音：吳峟賢

後期製作助理：鄭茲尹

燈光技術指導：應可亭

技術人員：陳坤國、葉威廷 硬體提供：威震燈光音響有限公司

製作人：夏曼青

排練助理暨執行製作：莊漢琳 美術指導：趙卓琳

本節目為臺北表演藝術中心委託創作作品 共製單位：BIT-Teatergarasjen (Bergen) 場地協力及特別感謝：驫舞劇場 場地協辦：台北市中山堂管理所

Production Team

Creation and Performance: Yeh Ming-Hwa

Dramaturgy: Betty Yi-Chun Chen

Film Director: Yang Kai-Ting

Editor: Lu Min-Yu

Lighting Designer and Technical Director: Shen Po-Hung

Music Designer and Mixer: Chiang Tao

Pianist: Lee Shih-Yang

Costume Advisor: Teng Yu-Fang

Makeup and Hair Stylist: Befar_Max Chuang, Huang Chi-Han, Photography: Chen Yu-Chung

Film and Post Production: Lane 216, East Production

Cinematographer: Lin Wei-Lung, Pan Yen-An

Lighting Technician: Hung Jheng-Yo

Color Grading: Pan Yen-An

Sound Recordist: Wu Yu-Hsien

Post Production Assistant: Cheng Tzu-Yin

Master Electrician: Ying Ke-Ting

Technical Crew: Chen Kun-Guo, Yeh Wei-Ting

Equipment Supplier: Powerful Audio Lighting Co., Ltd.

Producer: Hsia Man-Ching

Rehearsal Assistant and Executive Producer: Chuang Han-Ling

Props Advisor: Chiu Cheuk-Lam

Commissioned by Taipei Performing Arts Center

Co-production: BIT-Teatergarasjen (Bergen)

Venue Assistance and Special Thanks: HORSE

Venue Sponsor: Taipei Zhongshan Hall

周代焌

CHOU Tai-Chun

創作自述 Artist Statement

周代焌的創作以臺灣歷史和環境議題為研究軸線， 透過拼貼不同時空的圖像，堆疊出存在／不存在的 風景，比擬現代數位圖層式的觀看路徑，呈現當今 在處理繪畫裝置的方法學。此組作品敘述周代焌如 何去回看過往的島嶼歷史與其連結，這條路徑靠著

不斷的拼湊與想像而被建立，不僅是對於過往輿 圖、產業及地貌的回溯，更是一種構築於藝術家心 中的精神地誌學。此次《島嶼路徑 穿梭在時空 軸度中》分別處理了幾個議題：關於這座島嶼過往 歷史的視野、過去 30 年花蓮港口部落如何拿回失去

的土地，以及現代工程在治理邊坡防治上的訊息轉 化。不論我們位在哪裡、面向哪裡，島嶼城市的建 構都是錯綜複雜的政治，各時期統治者對於土地的 劃界均有其目的與手段，從看似不同領域發生的事 件中理出一條路徑，企圖穿梭在不同的時間軸度， 比對過往與當今在土地上的問題意識。

The research axes of Chou Tai-Chun’s works are Taiwan’s history and environmental issues. Through collages that include images from different time periods and places, he superimposes existing/nonexisting landscapes, comparing the viewing paths of quasi-modern digital layers and presenting the methodology used for exhibiting paintings today. This group of works is used to describe how Chou looks at this island’s history and its connections, by continuously piecing together and imagining. They are not only retrospectives on maps, industries, and landforms, but also constructions of the artist’s spirit. He deals with several topics in Island Path – Shuttling Along the Space-Time Axis: perspectives on the history of this island, how the indigenous Gangkou Community in Hualien County has regained its lost land over the past 30 years, and the transformation of messaging regarding the application of modern engineering methods to slope management. No matter where we are or where we are facing, the construction of island cities is a complex and intricate political process. Rulers in different periods have had motives and means for demarcating boundaries. It seems that a path emerges from events in different domains, in an attempt to shuttle along different time axes and compare the awareness of land-related problems in the past and present.

周代焌，1986 年生於臺灣新竹，2012 年畢業於國 立臺北藝術大學美術創作碩士班，2016 年於臺北市 立美術館舉辦「崩解劇場」個展。從 2011 年《全球 寂靜》、《寂靜之外》、《前山》系列到 2022 年發 展迄今的創作，周代焌逐漸建構出屬於他這個世代 特有的視覺經驗與想像，從平面繪畫轉化發展為繪 畫裝置，延續過去創作中自然與人為介入之間的衝

突，並透過探討臺灣過往的產業史及地貌變遷，發 展出穿越劇式的時間軸度。曾在 2017 年駐村韓國

首爾 OCI Museum、日本橫濱 BankART Studio NYK 等，作品也曾獲得國立臺灣美術館、臺北市立美術 館及澳洲白兔美術館典藏。現居住、創作於臺灣。

Born in 1986 in Hsinchu, Taiwan, Chou Tai-Chun graduated with an MFA degree at the Taipei National University of the Arts in 2012 and held a solo exhibition ‘State of Flux’ at the Taipei Fine Arts Museum in 2016. Since his earlier series of works Globe Silent, Beyond the Silence, and Beyond the Mountains created in the 2011, Chou has been creating a visual experience and imagination unique to his generation. From creating paintings to painting installations, his focus continues to be exploring the conflict caused by the human intervention in nature. While touching upon the industrial history and terrain changes Taiwan has been through, he develops a dimension of time similar to that in time-traveling TV drama. He was the artist-in-residence at OCI Museum in Seoul, Korea and BankART Studio NYK in Yokohama, Japan in 2017. His works have also been collected by the National Taiwan Museum of Fine Arts, Taipei Fine Arts Museum and White Rabbit Gallery in Sydney. He currently lives and works in Taiwan.

藝術家簡介 Biography

3

1 The Reality Is so Faraway Yet True, 2021, acrylic on canvas, 116 × 91 cm. Courtesy of the artist.

〈現實離我們如此遙遠卻又真實〉，2021，壓克力彩、畫布， 116 × 91 公分。藝術家提供。

2

〈事件後方〉，2021，壓克力彩、畫布，116 × 91 公分。 私人收藏。

Behind the Incident, 2021, acrylic on canvas, 116 × 91 cm. Private collection.

〈畫外之境〉，2020，壓克力彩、畫布，116 × 91 公分 × 2件。藝術家提供。

Beyond the Picture, 2020, acrylic on canvas, 116 × 91 cm × 2pics. Courtesy of the artist.

4

〈逆長成．再見．漫遊者〉，2020，木板、檜木、玻璃膜、 鋼化玻璃、壓克力彩、畫布，116 × 150 × 7.5 公分。藝

術家提供。

Reverse Growth Farewell Voyagers, 2020, wood panel, cypress, glass films, tempered glass, acrylic on canvas, 116 × 150 × 7.5 cm. Courtesy of the artist.

5, 6

《島嶼路徑—穿梭在時空軸度中》展覽現場。©國立臺灣 美術館，攝影：邱 条 影室 李雨軒。

Island Path—Shuttling Along the Space-Time Axis Installation view. ©National Taiwan Museum of Fine Arts, Photo by TshioTio,

Leo.

壞鞋子舞蹈劇場

Bare Feet Dance Theatre

《吃土》一作結合當代舞、傳統北管樂、當代打擊 樂與電子樂，編舞家林宜瑾自小於雲林縣西螺鎮長 大，日常生活緊密貼合的各式祭儀，與儀式中出現 的各式身體姿態和聲音，是她成長的記憶，同時也 是美感的養分。《吃土》以結合臺灣傳統北管樂和 西方電音的強烈音樂性，與更貼近土地的低重心 身體感，回應、對抗時下高度開發的社會與自然環 境，提問未來的身體將以什麼樣態存在？未來生存 環境的樣貌如何？《吃土》在身體的處理上，著重 在腳步的處理，比如說踩踏、拖移、輾壓，直接與 地面進行連結跟對話；而在音樂部分，則是以土地 的視角為思考，關於天地的躁動、引動、移動，試 圖召喚人原本能夠與自然相連結的能力，重新感受 這片土地的泛靈能量。此作品由國家兩廳院委託創 作，並在 2020 年於兩廳院實驗劇場進行首演。

本次參展之錄像內容，由導演陳黎恆青（港口一號 有限公司）剪輯完成，原版舞蹈劇場的影像由「海 海影像工作室」剪輯完成，自然地景之畫面由導演 陳黎恆青（港口一號有限公司）所紀錄。

Tsiàh Thóo is a dance piece comprised of traditional Pak-kuán, contemporary percussion, and electronic music. Choreographer Lin I-Chin grew up surrounded by tradition. Her childhood memories include the physical movements and sounds of temple ceremonies, which have nurtured her sense of aesthetics. Tsiàh Thóo not only includes traditional elements, but also Western electronic music to connect to the current era. Strong beats, powerful music, and low center of gravity form critical questions about highly developed environments: What will our future surroundings be like? What will our future bodies look like? In terms of physicality, Tsiàh Thóo emphasizes stomping, dragging, and squishing, in an attempt to connect to and communicate with the land. In terms of music, the inspiration is the vibe and events of the earth and the sky, calling on the energy of connection between people and nature. Tsiàh Thóo was commissioned by the National Theater and Concert Hall in Taiwan and premiered at its Experimental Theater in 2020.

The video content for this exhibition was edited by director Chen Li Herng-Ching (Blue One Co., Ltd.), with editing of the original dance theater images by High High Studio. The images of natural landscapes were obtained by Chen Li Herng-Ching (Blue One Co., Ltd.)

創作自述 Artist Statement

藝術家簡介

首演於 2014 年，壞鞋子舞蹈劇場以「田野採集」作 為主要的探索方式，長期走訪民間祭典、軒社、儀 式場域，並且深入自然物種之境，感知與思辨「泛 靈」所處的時空之間。藉由投身田野的身體實驗， 壞鞋子持續實踐、擴張多樣性的美學身體觀點。

Biography

Inaugurated in 2014, Bare Feet Dance Theatre explores, perceives and contemplates the space and time that accommodate the ‘spiritual essence in all objects, places and creatures. The company employs field practices as its main approach which includes visiting and examining folk religion ceremonies, the associations of rituals and ceremonial sites and delving into nature. By engaging in bodily experimentation in the field, Bare Feet Dance Theatre continues to explore diverse perspectives of body aesthetics.

1, 2

〈吃土〉舞蹈製作計畫，2022，雙頻道錄像、檔案，25分5 秒。藝術家提供。攝影：陳宥中。

“Tsiàh Thóo” Project, 2022, two-channel video and archives, 25 min 5 sec. Courtesy of the artist. Photo credit: Chen Yu-Chung.

展覽現場。藝術家提供。 3

Installation view. Courtesy of the artist.

The Lost Space Project

文／徐文瑞、張懿文

在建築法規上，畸零地是指基地面積狹小或地界曲折，未符合法定之最小面積，或基地 線與建築線之斜交角度，而致不能興建的土地。廣義上，畸零地是指設計過程中所遺留下 來無法或不易使用的空間，或造成使用者行進動線的阻隔，迷失方向，或視覺干擾等不 舒適感，或閒置無用的地方。廣義畸零地的基地面積可能很大，例如哈佛大學教授羅傑． 特蘭西克（Roger Trancik）在城市設計經典《尋找失落空間：城市設計的理論》一書所 舉出的廢棄公園、閒置軍事基地、高速公路公路旁無人維護使用的土地。但也可能存在於 室內空間，例如美術館內部。

策展人邀請六位聲音藝術家，實地探索國美館內部空間所可能存在的畸零空間，並提出 他們的現地聲音裝置。最後他們分別選擇在樓梯底下的曖昧空間、被阻斷的過道、造型奇 特的狹長空橋、位置獨特的低矮迴廊、非展場使用的閒置空間、負空間，以彼此不同的 創作媒材和手法，各自完成一件聲音裝置作品。

這些藝術家並不是一個藝術團體，雖然偶爾合作或聯展，但地不分東西南北，他們活躍 於臺灣快速發展時期出現的城市地下行人通道，但現已閒置廢棄，或城市邊區的高架橋 下，或巷弄中的另類藝術空間，也就是「異托邦」（ heterotopia），在主流的、建制的 展演場域之外的地方。聲音的技術所具備的物質性、現場性、生態性，甚至聲音與神經系 統的連結性，都是他們關注的議題。他們在國美館的「畸零地」空間所做的裝置介入，可 以視為一種對失落空間的「藝術針灸」，在現代技術與體制所構成的美術館身體上，進行 「打通經脈」的嘗試。

Text by Manray HSU, I-Wen CHANG

According to the Building Act, a “lost space” (fragmental land) refers to a narrow lot or one with a crooked shape, which does not legally conform to the minimum square footage, or the minimum skew angle formed by lot lines and building lines, rendering the lot unbuildable. In a broader sense, a lost space is a leftover space or unusable space emerged in the design process; a space that blocks users’ traffic flow, causes disorientation, visual interference or other discomforts to users; or a vacant, useless space. A lost space in the broad sense therefore can also be a large space. For instance, in the urban design classic, Finding lost space--theories of urban design, by Harvard professor Roger Trancik, it includes disused parks, vacant military bases, unused and unmaintained lots by highways, and can also be indoors, such as spaces within art museums.

To explore potential lost spaces within the National Taiwan Museum of Fine Arts (NTMoFA), the curator invites six sound artists to create site-specific sound installations. Eventually, the artists have respectively chosen six different locations, namely, an ambiguous space under a staircase, a blocked passageway, an oddly shaped and narrow overpass, a lowceiling corridor at a unique location, a vacant space that is not used as an exhibition space, and a negative space. Utilizing different creative media and approaches, the artists have each completed a sound installation.

These artists are not of an artist collective, even though they have sometimes collaborated or have been featured in group exhibitions. They have been active in urban spaces in various parts of Taiwan, such as underpasses, disused or abandoned spaces under road bridges in urban peripheries, or alternative art spaces in alleys—in short, the “heterotopia,” which denotes places that are not mainstream, institutionalized exhibition and performance venues. The materiality, liveness, ecology, and even the connection between sound and the nerve system, which are embodied by sound technologies, are issues that these artists are concerned with. The interventions they have carried out with their installations in “lost spaces” at the NTMoFA, can consequently be viewed as a practice of “artistic acupuncture” on lost spaces, an attempt to “open the meridians” of the museum body constructed by modern technology and institution.

劉芳一

LIU Fang-Yi

創作自述 Artist Statement

初次見到手扶梯下的這塊畸零空間時，或許是眼 前幾根等距的鋼樑及整個壓迫空間所帶來的神祕 感受，劉芳一腦中浮現了漫畫家三浦建太郎的傑 作《烙印勇士》的決鬥場景－－有著無數柱子等 距排列的大廳。那一幕場景是否會有現實世界的 參照？懷著疑問，他最終透過網路探尋到位於土 耳其伊斯坦堡的地下水宮殿，一個由查士丁尼大 帝下令建造的巨大地下蓄水池。古代蓄水池作為 公眾供水系統的一環，積蓄聚集同時輸送流動著 水流，而如何將這一小塊畸零空間與宏偉的地下 水宮殿類比，劉芳一試著將此地轉化為「聲音的 蓄水池」，當聲音如水流般由外在環境流向人耳 的聽覺感知時，這片「蓄水池」與人體也就都成 為了「時間機器」……。

The first time he saw the deformed land under the escalator, Liu Fang-Yi may have felt a sense of mystery due to its equidistant steel girders and oppressiveness. What came to mind was a great hall with equally spaced columns like that in a fight scene from the Japanese manga series Berserk by Kentaro Miura. Could there be a realworld reference for such a setting? Doubtful at first, he finally found the Basilica Cistern in Istanbul, Turkey through an online search. This large underground cistern was built on the orders of Justinian the Great. As part of the public water supply system, ancient cisterns were used to collect, store, and transport water. He then thought about how to create a comparison between this small plot of deformed land and a magnificent underground cistern, transforming this space into a “sound cistern.” When sound, like water, flows from the external environment and is perceived by the human ear, the “cistern” and the human body become a “time machine.”

藝術家簡介 Biography

劉芳一現居住及創作於高雄，特別著迷於各式 物件具有的聲學細節，也慣於日常搜集聲音， 以此進行即興演奏或聲音拼貼，構成意義含糊

的敘事。作品呈現形式包括作曲、裝置與演出。

關注人自身以及外在的種種聲音、如何感知並

予以回應，或不回應。聯展創作經歷包含《The

Window of Kamishibai 》（ 2020 ， AMPLIFY

2020: quarantine festival）、〈路徑〉（2019， 麻豆糖業大地藝術季）；配樂及聲音設計包含 吳梓安的實驗電影《此岸：一個家族故事》，

（2020）、蘇育賢作品《宿舍》（2021）等經歷。

Currently living and based in Kaohsiung, Taiwan, Liu Fang-Yi is particularly fascinated by the acoustic details of various objects and is used to collecting sounds in everyday life for improvisation or sound collages that form ambivalent narratives. His works span the form of music compositions, installations and performances and center on how people perceive and respond, or not, to sounds in themselves and on the outside. Recent group exhibitions include The Window of Kamishibai (2020, AMPLIFY 2020: quarantine festival) and The Path (2019, Madou Sugar Industry Art Triennial). He also participated in the soundtrack composition and sound design work for Wu Tzu-An’s experimental film This Shore: A Family Story (2020) and Su Yu-Hsien’s work Ký Túc Xá or (Dorm) (2021).

1~3

〈地下宮殿、時間機器〉，2022，多聲道聲音裝置、複合媒材， 30分30秒、尺寸依場地而定。藝術家提供。

Underground

展覽現場 ©國立臺灣美術館，攝影：邱 条 影室 邱垂仁。 2

Installation view. ©National Taiwan Museum of Fine Arts, Photo by TshioTio, Trey.

Cistern, Time Machine, 2022, multiple-channel sound installation, mix media, 30 min 30 sec, dimensions variable. Courtesy of the artist.

鄭琬蒨

CHENG Wan-Chien

左右耳不定時出現四千至八千赫茲（Hz）的高 頻，有時持續五至十秒、有時只出現三秒就停 止－－這是耳鳴愈漸頻繁的狀態。隨機出現的耳 鳴聲和身體來到不同空間，產生有趣的連結。

有時是漸強又漸弱的高頻、有時像進入隧道裡 會出現的堵塞風聲，彷彿有樂手在耳裡即興。

來到人群吵雜的空間裡，耳鳴又出現了，這個巨

大的高頻聲消弭外在聲響，在短暫的十秒內，得 到前所未有的寧靜。本作品從樓梯與畸零地之間 的過道，以多聲道聲音裝置模擬耳道內的狀態。

牆上的鋁管傳出不同型態的高頻聲，隨著身體的 移動，不同赫茲的高頻聲因為時間差，出現又消 失。來到天井之下，四聲道喇叭所傳出的鼓膜震 動與低頻聲，將成為耳道內的即興音景。

From time to time, high-pitched sounds (4,0008,000 hertz (Hz)) are heard in both the left and right ears, for about 3 seconds or sometimes 5-10 seconds. This is a symptom of tinnitus. In different spaces, random ringing in the ears and the body create interesting connections. There can be a high-frequency crescendo that fades or sounds that mimic partially blocked air flow in a tunnel, as if a musician is improvising a performance in the ears. In crowded noisy spaces, the ringing starts up again. Loud highfrequency sounds cover up external sounds and, for less than 10 seconds, there is unprecedented tranquility. In this work, a multi-channel device, used to simulate the ear canal, is situated between a stairway and an irregularly shaped space. From aluminum pipes on the wall come high-frequency sounds. As the body moves, high-frequency sounds of different Hz are heard and disappear because of time differences. In the courtyard, low-frequency sounds from fourchannel speakers cause the eardrum to vibrate, creating an impromptu soundscape in the ear canal.

創作自述 Artist Statement

鄭琬蒨，在臺北生活的屏東人，倫敦藝術大學 聲音藝術碩士。從小學習古典音樂，因著迷於 聲音的稍縱即逝特性而開始研究「聆聽」的各

種現象。擅於透過野地錄音素材、物件聲響裝

置與電子合成音的組合，改變聽者對於聲音的 想像。近幾年的創作主題圍繞在長者族群、社 會事件、文化觀察、記憶和聲音的感知性。創

作類型包含聲音裝置、錄像、現場即興、實驗

音樂演出、素人共創等。

Born in Pingtung, Taiwan, Cheng Wan-Chien graduated with an MA in Sound Arts at the University of the Arts London and is currently living in Taipei. Having studied classical music since childhood, she became fascinated by the fleeting nature of sound and began to study the various facets of 'hearing'. Cheng specializes in inspiring and altering the listener's imagination of sound through the combination of field recordings, object sound installations and sound generated by synthesizers. Her artistic practice encompasses the elderly communities, social events, cultural observation, memory and the perceptibility of sound with a dynamic body of work that spans sound installation, video, live improvisation, experimental music performance, and co-creation with amateurs.

1, 2

〈耳邊的鼓聲〉，2022，聲音裝置，40分。藝術家提供。

展覽現場 ©國立臺灣美術館，攝影：邱 条 影室 邱垂仁。

藝術家簡介 Biography

Drumming in the Ears, 2022, sound installation, 40 min. Courtesy of the artist. Installation view. ©National Taiwan Museum of Fine Arts, Photo by TshioTio, Trey.