GREAT CRESCENT: ART AND AGITATION IN THE 1960s—JAPAN, SOUTH KOREA, AND TAIWAN

Great Crescent: Art and Agitation in the 1960s— Japan, South Korea, and Taiwan

大新月:六十年代的藝術與激盪 — 日本、南韓、台灣

22 November 2013 – 9 February 2014 展期：2013年11月22日至2014年2月9日

1960 The Security Treaty between the United States and Japan (widely known as “ANPO” in Japanese abbreviation) is signed, officially ratifying the alliance between the two countries and setting off large-scale protests in Japan.

US President Eisenhower’s Asia trip includes stops in Taiwan and South Korea. His original stop in Japan is cancelled due to the protests.

1960年 美國與日本簽定美日 「安保條約」，正式確立 兩國之間的盟約。在日本 引發大規模示威活動。 美國艾森豪總統亞洲之行 包括到訪台灣及南韓。 他原定到訪日本，但因 當地示威活動而取消。 南韓一場學生示威運動引 發四月革命，推翻了獨裁

In South Korea, a student uprising begins the April 19 Revolution, which overthrows the autocratic First Republic. The May 16 military coup, led by General Park ChungHee subsequently topples the Second Republic.

In Taiwan, Chiang Kaishek begins his third term as President of the Republic of China.

The nation has been under Martial Law since 1949.

1961 North Korea signs

的第一共和國。緊接著 5月16日， 朴正熙將軍發 動軍事政變，推翻第二共 和國 。 在台灣，蔣介石當選中華 民國第三任總統。台灣自 1949年開始戒嚴時期。

1961年 北韓分別與中國及蘇聯簽 訂友好條約。

friendship treaties with the PRC and the USSR respectively.

1962 Start of the first Five-Year Plans, a wholesale, government-led economic and industrial development policy, which transforms South Korea from a poverty-stricken nation to an industrialized one.

Three additional plans are instituted through the 1960s and 1970s until the assassination of Park in 1979.

1962年 南韓開展首項五年計劃， 是一個由政府主導的大規 模經濟及工業發展政策， 讓南韓由貧窮之地轉型 為工業化開發中國家。 在1960至1970年代之 間，另有三項計劃相繼展 開，至1979年朴將軍被 刺殺而止。 1963年 朴正熙自1961年一直以

1963 After ruling South Korea as an unelected military strongman since 1961, Park Chung-Hee is elected president as the candidate of a newly created party, inaugurating the Third Republic.

the Republic o (South Korea) on October 12

1964 Tokyo hosts the Summer Olympic Games, seen as Japan’s decisive reemergence in the international arena.

1965 Treaty on Bas Relations betw Japan and the of Korea (Sou is signed, beg the normaliza the relations b two countries controversy a tests due to th Korean procu budgets from economic dev

Treaty of Amity between the Republic of China (Taiwan) and

Taiwan signs agreement wi to receive fun

非民選的軍事強人姿態統 治南韓，其後成為新政黨 的候選人，當選總統，正 式成立第三共和國。

1965年 日本與大韓民國 簽訂日韓基本關 兩國之間的關係 化。因韓國接受 支援其經濟發展 起爭議，並引發

1964年 東京主辦夏季奧運會，被 視為日本重返國際舞台的 重要一步。 中華民國（台灣）與大韓 民國（南韓）於10月12日 簽訂友好條約。

台灣與日本簽訂 協議，以發展往 12個主要工業經 劃。

of Korea ) is signed 2.

sic ween e Republic uth Korea) ginning ation of between s. It causes and prohe agreed urement of m Japan for velopment.

loan ith Japan nding in

國（南韓） 關係條約， 係開始正常 受日本撥款 展，因而引 發群眾示威。

訂日圓貸款 往後五年的 經濟建設計

the following five years to cover twelve major industrial and economic development projects.

1966 South Korean president Park Chung-Hee visits Taiwan and meets Chiang Kai-shek.

They issue a joint communiqué pledging cooperation and solidarity.

The National Palace Museum opens in Waishuangxi, Taipei with a selection of the imperial collection shipped to Taiwan from the mainland in 1948.

1966年 南韓總統朴正熙到訪台 灣，與蔣介石會面。他們 發表聯合公報聲名雙方團 結合作關係。 國立故宮博物館於台北外 雙溪開幕，展出1948年從 中國大陸運至台灣的精選 故宮文物。

1967年 南韓開展第二項五年計

1967 The Second Five-Year Plan is launched in South Korea, continuing President Park’s ambitious economic development plan and consolidating his hold on power.

1968 North Korean commandos infiltrate the Blue House, the South Korean presidential residence, in an unsuccessful attempt to assassinate President Park.

In July, the government of Taiwan arrests and

劃，延續朴正熙總統急進 的經濟發展計劃，並用以 鞏固其勢力。

1968年 北韓突擊隊闖入南韓總統 府靑青瓦台，企圖刺殺朴正 熙總統失敗。 7月，中華民國（台灣）政 府以組織聚讀馬列主義及 魯迅等左翼書籍和宣揚共 產主義等罪名，拘捕及監

jails members of the Taiwan Democracy Alliance, including the writer and a departed editor of Theatre, Chen Yingzhen, under the crime of reading Marxist, Leninist, and Lu Xun’s literature and propagating communist ideology. Chen is released from jail in 1975.

1969 Japan and the US enter talks to return Okinawa from US occupation to Japanese sovereignty, which eventually takes place in 1972. While regaining administrative rights over the islands,

禁民主台灣聯盟之成員， 其中包括作家及前 《劇場》編輯陳映真 。 陳氏於 1975年獲釋 。

1969年 日本及美國就美國歸還沖 繩主權予日本進入談判， 於1972年生效。日本成功 取回其行政主權，並同意 讓美國無限制使用其軍事 基地。

Japan agrees to the US’s unrestricted use of its bases.

1970 Expo ’70 is held in Osaka, Japan.

Mishima Yukio, arguably the most celebrated author in postwar Japan who has grown increasingly ultranationalist, infiltrates the headquarters of Japan Self-Defense Forces with members of his own paramilitary troops. Failing to incite the troops to rise up, he commits suicide by self-disembowelment.

1970年 萬國博覽會於日本大阪 舉行。 日本戰後著名極端民族主 義作家三島由紀夫與其民 間軍隊闖入自衛隊總部， 鼓動兵變失敗後， 切腹 自殺。

Great Crescent : Art and Agitation in the 1960s – Japan, South Korea, and Taiwan November 22, 2013— February 9, 2014

A small essay in comparative art history, this exhibition highlights “anti-art” performative tendencies in Japan, South Korea, and Taiwan in the 1960s— a decade of turbulence and transformation worldwide, which was also a critical period in the social and political, as well as cultural and artistic histories of

大新月：六十年代的藝術與激盪 — 日本、南韓、台灣 展期：2013年11月22日至2014年2月9日 作為一個比較藝術史的小規模嘗試，本展旨在突顯六十 年代日本、南韓、台灣 「反藝術」行為性的傾向。 六十年代在全球動蕩與變革下，此三鄰國的社會和政治 環境、文化和藝術史，都處關鍵時期。藝術家興起以身 體和稍縱即逝之行動，與當時主流的現代主義抽象藝術

the three neighboring countries. Against the mainstream dominated by modernist abstraction in each country, orientations toward the use of the artist’s body and ephemeral action emerged, not only as local manifestations of a broader movement in international postwar art but also as indigenous responses to

their respective national contexts. Given their ephemeral nature, there are few material remnants of most of these historically critical performances and events. Included in this exhibition are, thus, mostly photographic reproductions accompanied by textual descriptions, along with video recordings and printed

唱反調，此藝術走向不僅是戰後國際藝術潮流的在地展 現，也是各語境下所產生的在地反應。這些歴史上重要的 展演及活動，大多數只遺留少量文獻記載。故本展收錄 多為重印之紀錄照片，佐以文字敘述，及錄像及文獻。 本展並非企圖下全面性定論，而是透過展品為東亞前衛 行為藝術史的初始研究出一分力。雖然三地在戰後因殖 民遺留的影響和意識形態的分歧而欠缺實質交流，本展 期望展現三地藝壇在互相平行的狀態下，不顯著的關係 和驚人的共鳴。《大新月》借重一小批先鋒藝術史家和

matters. Rather than presenting a comprehensive statement on the topic, this selection of works aims to make a small contribution to the budding research and study on the history of avant-garde performance in East Asia. It also intends to show parallels without apparent connections as well as startling resonances

between the three artistic scenes, despite a lack of communication and exchange between the countries at the time due to colonial legacy and ideological divides. A small group of pioneering art historians and curators has begun to tell the histories of performance and experimental art in Japan, South Korea, and

策展人為日本、南韓、台灣的行為和實驗藝術史貢獻的 重要研究，就此長期被忽略的複雜議題，提出跨國界、 跨地域的審視方法。 本展由Para Site藝術空間、A Future Museum for China 與 馬唯中聯合籌辦。展覽之規劃設計與香港藝術家梁志和 共同構思

Taiwan. Relying on their important work, the exhibition Great Crescent proposes a transnational and interregional look at this complicated and long-overlooked topic.

This exhibition is co-organized by Para Site and the curatorial initiative A Future Museum for China, with Lesley Ma. The

exhibition’s staging has been developed together with Hong Kong-based artist Leung Chi Wo.

Taiwan and Korea, annexed by Japan in 1895 and in 1910 respectively, gained independence in 1945 at the conclusion of World War II but soon found themselves in a stand-off with the Communist strongholds of North Korea and the People’s Republic of China. It was during the colonial period that both Taiwan and

Korea underwent the first stage of modernization under Japanese directives, and the birth of modern art in each location, in large part, also took place under Japanese tutelage. After the war, the reconstructions of the three nations were intricately linked to the American presence and interest in the region;

台灣與韓國分別於1895及1910年被日本吞併，於1945年 第二次世界大戰結束後獲得自主，但旋即各自陷入與北 韓及中國的對峙局面。回溯歷史，日據時代為台灣和南 韓進入現代化的第一階段；大體來說，這三地的現代藝 術都是在日式教育下奠基的。再者，三地的戰後重建都 與美國在該地區的存在和利益有著錯綜複雜的關係。 日本戰敗後，美軍進駐，導致日本轉型為非軍事化、 憲法規定的和平主義國家，同時亦成為美國遏抑東北亞 共產主義滲透的主要戰略點。冷戰時期，韓戰（1950至

after the occupation

by American-led allied forces following the defeat in the war, Japan was transformed into a demilitarized, constitutionally pacifist nation, and at the same time the main anchor in the American plan for the containment of communism in Northeast Asia.

A critical impetus for economic recovery and

growth for Japan was created by the Korean War (1950 – 53), a regional “hot war” in the Cold War. Despite the largely uncomfortable relationship between the two nations due to past colonialism, they were connected by that very legacy as well as by the American Cold War policy in East Asia. The Nationalist government’s

1953年），可說是此地區的「熱戰」，進一步刺激日本 的經濟復甦及增長。儘管日韓關係在後殖民時代處於緊 張，他們卻因戰後遺留的影響及美國的東亞冷戰政策而 連結。國民政府於1949年敗給中國共產黨後撤到台灣， 加上美國投身韓戰及越戰，鞏固台灣作為美國於南海戰 略性據點的地位。同於韓、日，台灣作為自由世界的一 員，積極著手戰後復甦及自強計劃。即使與日本有著複 雜的歷歴史關係，台灣仍加強與北面鄰國的國際聯盟及維 持本土穩定，以決定其外交及經濟政策。此外，台灣及

retreat to Taiwan after the defeat by the Chinese Communists in 1949 and the American involvement in the Korean War and the Vietnam War solidified Taiwan’s position as a United States’ strategic base in the South China Sea. Like Korea and Japan, Taiwan embarked on its postwar recovery and self-strengthening

plans as a member of the Free World. Securing international alliance with their northern neighbors despite a complex history with Japan and ensuring domestic stability shaped the island’s diplomatic and economic policies. Additionally, Taiwan and Korea shared the trauma of violence, separation, and

南韓均承受戰後之暴力、離散及高壓統治的慘痛經歴驗， 因而在集體回憶及社會環境方面產生共鳴。這三個國家 連結起來，構成一個地緣政治性質上、軍事上的堡壘， 對抗共產主義在此地區的擴張，即所謂的「大新月」 地帶。 此三國受迫美國而與之建立的關係，造成美歐藝術資訊 大量湧入，即使是偶然或粗略性的，但對其藝壇有一定 程度的影響 。因此，1960年代日、韓、台三地初露頭角

authoritarian rule in their postwar experience, which suggests resonating similarities in their collective memories and social environments. Linked together, the three nations formed a geopolitical and military bulwark against the Communist expansion in the region – the so-called Great Crescent.

Each country’s forced relationship with the United States also meant that its art scene was affected, if rather haphazardly and incompletely, by the influx of information on American art as well as European art. Inspired by new experiments in art in the West and critical of the American interference in their countries,

的年輕藝術家，受西方的新實驗藝術和對美國左右其政 的批判所啟發，開始探索藝術創作直接回應日趨官僚、 制度化的藝術界，和政治紛擾、言論自由受限的現實所 提供的可能性。

younger artists emerging in Japan, South Korea, and Taiwan in the 1960s began exploring the possibilities of using their art to respond directly to the increasingly bureaucratic and conventionalized art scene as well as their realities marked by political instability and restrictions on freedom of expression.

Yoko Ono, Cut Piece First performed in 1964 Filmed by Albert and David Maysles in New York at Carnegie Recital Hall in 1965 Courtesy YOKO ONO EXHIBITIONS

Yoko Ono performed Cut Piece for the first time on July 20, 1964 at the Yamaichi Concert Hall in Kyoto, followed by another iteration on August 11, 1964 in Tokyo at the Sogetsu Art Center, an important hub for experimental arts throughout the 1960s.

Moving to the United States after World War II, Ono attended Sarah Lawrence College and lived in New York, where she emerged as an important participant in the city’s burgeoning downtown

avant-garde scene. The community included seminal figures such as the artist-composer John Cage and the founder of Fluxus, George Maciunas. Returning to Japan in 1962 and staying for the next two years, Ono energetically presented her growing conceptual body of work through various outlets, including formal concerts.

In Cut Piece, widely considered a milestone in the history of performance art, Ono entered a bare stage, dressed in a nice suit and holding a pair of scissors.

She quietly knelt in the center of the stage and invited audience members to come up one by one to snip off a piece of her clothes

小野洋子《切片》

1964年於京都首演 小野洋子於1964年7月20日在京都卡耐基誦廳（Yamaichi Concert Hall）首度演 出《切片》，之後於8月11日在六十年代以實驗藝術為主的東京草月藝術中心重 演。在第二次世界大戰後，她遠赴美國就讀莎拉勞倫斯學院，並定居紐約，其 後逐漸成為當地前衛藝術的重要一員。當時的藝術界臥虎藏龍，包括作曲家約 翰．凱吉及Fluxus創辦人喬治．馬西納斯。小野洋子於1962回流日本兩年，積 極地在不同類型的展演場域，包括正統的音樂會，演出她日趨概念性的作品。 《切片》一直被視為表演藝術歷史上的重要里程碑，在這個演出中，小野洋子 於空蕩的舞台上身穿優雅套裝，手中拿著一把剪刀。她在舞台中央安靜地跪 著，繼而邀請台下觀眾逐一上台把她的衣服剪碎，讓他們拿回去作紀念。 在日本兩次演出後，她接著在紐約及倫敦重演，而不同地方的觀眾都有不同的 迴響。外界對《切片》的反應也有不同意見，有些人覺得這是宣揚女性主義，

and take it away as souvenir.

After two initial presentations in Japan, Ono subsequently reperformed the work in New York and London. Audience reactions varied wildly from venue to venue.

Interpretations of Cut Piece have been also various; it has been seen as a feminist statement about violence against women, a protest against the Vietnam War, and a memorialization of the atomic bombing of Hiroshima and Nagasaki.

Hi Red Center, Ochanomizu Drop October 10, 1964 Tokyo Hi Red Center, Let’s Participate in the HRC Campaign to Promote the Cleanup and Orderliness of Metropolitan Area!

October 16, 1964 Tokyo Hi Red Center was an artist collective formed by three main members: Takamatsu Jiro, Akasegawa Genpei, and Nakanishi Natsuyuki.

The group’s name came from the English translation of the first kanji characters of their surnames: taka (“high”), aka (“red”), and naka (“center”). With a loose network

表達對女性受暴力對待的訴求，也有人覺得這是對越戰的示威，或是紀念原子 彈轟炸廣島及長崎。

Hi Red Center《御茶水墜落》 1964年10月10日，東京 Hi Red Center《一同參與Hi Red Center首都區域清掃整理促進運動》 1964年10月16日，東京 Hi Red Center是由高松次郎、赤瀨川原平和中西夏之三位主要成員組成的藝術 團體，其名字取自三人姓氏首個漢字的英文翻譯：高（High）、赤（Red）、 中（Center）。他們廣結不同的藝術家及夥伴，在1962至1964年間，曾在街頭 上演富有超現實及荒繆主義的行為藝術，他們亦曾製作印刷品，並在東京舉辦 聯合展覽。

of other artists and collaborators, the group staged a series of often public, surreal and absurdist actions and also produced printed matters and group exhibitions in Tokyo over roughly two years from 1962 to 1964.

Also known as Dropping event, Ochanomizu Drop was performed in the eponymous neighborhood of Tokyo. The members of Hi Red Center and their collaborators threw sundry items—old clothes, shoes, books, sheets, and even a full trunk—from the rooftop of the Ikenobo Kaikan hall and watched them fall and land on the street below. Afterward, they packed up the items in a suitcase,

placed it in a public locker, and sent the locker key to a name randomly chosen from the phone book. Describing this action some time later, Akasegawa suggested that the act of dropping could be seen as a commentary on the work of “action painters” such as American Jackson Pollock, who famously created his “drip” paintings by laying down the canvas flat on the floor and flinging paint on the surface using brushes and wood sticks. Japanese art scene had its own precedents of action painters—especially those who were members of the Gutai group (1954-1972) based in the OsakaKobe area. An equally possible reading can be made in relation to

《 御茶水墜落 》亦稱「墜落事件」，在東京小區御茶水舉行。Hi Red Center的 成員及夥伴走到池坊會館的屋頂上，將日常雜物例如舊衣服、鞋襪、書本、床 單，甚至一大箱物件從高處掉下，並看著這些東西散落在地上。之後，他們將物 件收於行李箱內，放置於公共儲物櫃裡，並將儲物櫃鑰匙交給從電話簿中隨意選 中的人。赤瀨川原平其後形容這次行為是類似「行動畫家」的一種表達形式，正 如美國畫家傑克遜 · 波洛克著名的滴彩畫一樣，他將畫布平放於地上，然後用 畫筆及木條將顏料灑於其上。日本藝壇也有開創先河的行動畫家，尤其是集中 於大阪與神戶區域的具體組織（1954至1972年）。此作品亦曾被詮釋為與「機 會」有關（以任意的結果代替藝術的表現手法）。 在《 御茶水墜落》舉行之後數天，Hi Red Center在奧運會舉行期間，於東京繁 華的商業及購物區進行了《一同參與Hi Red Center首都區域清掃整理促進運 動》，簡稱「清潔運動」。Hi Red Center與其合作夥伴穿上白色的實驗室制服， 戴上口罩及飾以團隊驚歎號標記的紅色臂帶，以家居工具例如掃帚、塵拂、 擦掃、舊抹布、牙刷、肥皂及酒精，仔細地清潔街上每個角落。在這個完全沒有

the notion of “chance” (substituting artistic intention with arbitrary outcomes).

Just a few days after Ochanomizu Drop, Hi Red Center staged Let’s Participate in the HRC Campaign to Promote the Cleanup and Orderliness of Metropolitan Area!

– known as the Cleaning event in shorthand—which took place in Ginza, a busy commercial and shopping area in Tokyo, during the run of the Summer Olympics.

Hi Red Center and their collaborators, dressed in white lab coats and wearing masks and red armbands emblazoned with the group’s exclamation-mark logo, meticulously cleaned a

small cordoned-off area using household tools such as brooms, dusters, scrubbing brushes, old rags, and toothbrushes, as well as soap and alcohol. After their completely inefficient cleaning was completed, they put up a poster announcing, “This place already cleaned.” In the lead-up to the Olympics, Tokyo had undergone a radical transformation, the process comparable to what occurred in Seoul before the 1988 Olympics and Beijing before the 2008 Olympics. Hi Red Center’s action can be seen as a trenchant, if humorous, critique of the violent upheaval, disruption, and displacement experienced by the citizenry.

效率的清潔運動結束後，他們便張貼起寫著「此地已清潔完畢」的海報。為了 迎接奧運，東京進行了大規模的轉變，情況就如1988年首爾奧運及2008年北京 奧運。Hi Red Center 的舉動，可說是對社會上的暴力動亂、騷擾及被迫遷徙， 作出尖銳而帶點幽默的批判。

Hi Red Center Ochanomizu Drop《御茶水墜落》 October 10, 1964 1964年10月10日 Tokyo 東京

Copyright Minoru Hirata Courtesy Taka Ishii Gallery 圖片 Minoru Hirata 版權所有 Taka Ishii 畫廊提供

Hi Red Center Let’s Participate in the HRC Campaign to Promote the Cleanup and Orderliness of Metropolitan Area! 《一同參與Hi Red Center 首都區域清掃整理促進運動》 October 16, 1964 1964年10月16日 Tokyo 東京

Copyright Minoru Hirata Courtesy Taka Ishii Gallery 圖片 Minoru Hirata 版權所有 Taka Ishii 畫廊提供

Theatre January 1, 1965 to January 1, 1968 Founded by Chiu Kang-Chien, Chuang Ling, Li Chi-Shan Designed by Huang Huacheng Theatre First Performance September 3 and 4 (7:30 pm), 1965 The Education Center, Taipei Unsatisfied by the mainstream “healthy realism” films, Huangmei Opera, and abstract paintings, a group of burgeoning young writers, photographers, and filmmakers co-edited and published Theatre. The magazine title refers to the space of theater, rather than the form, which underscores the publication’s emphasis on site,

spatial relations, and the space within the pages. The quarterly magazine relied on the editors’ own translation of foreign materials, heavily featuring Western and Japanese postwar films (e.g., Hiroshima Mon Amour, Last Year in Marienbad, Rashomon), classical and absurdist theater (e.g., Oedipus Rex, Henry IV, Waiting for Godot), and other forms of performance (e.g., Happenings).

Along with its idiosyncratic design and the inclusion of original scripts and critique, the magazine was a playground for textual and conceptual experiments at a time when censorship controlled the cultural atmophere. Theatre terminated after the ninth issue in

《劇場》雜誌

1965年1月1日–1968年1月1日 發起：邱剛健、莊靈、李至善 美術：黃華成 《劇場》第一次演出 1965年9月3日、4日(下午7 時半)，台北耕莘文教院 因不滿主流的健康寫實電影、黃梅調及抽象畫，一群新晉的年輕作家、攝影師 及電影導演，創辦了《劇場》雜誌 。「劇場」二字意指空間而非藝術形式， 從而突顯其對場地、空間關係、及紙上空間的關注。這本季刊仰賴編輯們自行 翻譯的外國資訊，大量介紹西方及日本戰後電影（例如《廣島之戀》、《去年 在馬侖巴》及《羅生門》）、經典及荒謬主義的舞台劇（如《伊底帕斯王》、 《亨利四世》、《等待果陀》）及其他形式的行為演出（如偶發藝術）。別具 個性的排版和收納的創作劇本及評論，在當時審查嚴格的文化氣氛下，使雜誌

January 1968 due to several core editors’ relocation to Hong Kong to work for the Shaw Brothers film studio as graphic designers and screenwriters. (Hong Kong’s Law Kar, Kam Ping Hing, and Xi Xi joined the editorial board after 1966.)

In 1965, Theatre staged its only live performance at The Education Center, a Catholic institution. Two plays were performed: Huang Huacheng’s Prophet was the first absurdist “anti-theater” experiment in Taiwan, featuring a conversation between a hopeless, middle-aged, self-proclaimed “prophet” and his wife; Samuel Beckett’s Waiting for Godot was presented for the first time in Chinese.

Theatre First Film Screening February 18, 1966 The Education Center, Taipei Theatre Second Film Screening July 29, 1967 Armed Forces Cultural Center, Taipei Theatre organized two screenings of experimental films by young, mostly amateur artists. Several of the filmmakers, also editors of the magazine, held day jobs at the newly established television companies and thus had access to equipment with which they were eager to experiment. Many of the films produced for these occasions exhibited traces of surrealist

成為文字上及概念上的實驗樂園。《劇場》在1968年1月1日第九期之後停刊， 因多位核心編輯移居香港，赴邵氏電影擔任平面設計及編劇工作。（香港的羅 卡、金炳興及西西在1966年以後加入編輯群。）

1965年，《劇場》 在天主教耶穌會的耕莘文教院舉辦唯一的現場演出，兩齣劇 目包括黃華成的荒謬主義「反劇場」作品《先知》，全劇為自稱為先知的無望 中年人與其妻子的對話。貝克特的《等待果陀》則是第一次以中文演出。

and existentialist influences.

Some focused on ordinary characters as vehicles to express certain attitudes toward life; others played with form and technique.

For instance, Chuang Ling’s Life Continued (1966) chronicled a day in the life of Chen Hsia-Sheng, his wife; Chang Chao-Tang’s Diary (1967) portrayed an anxious man, including a scene of a hammer shattering the glass on a James Dean image from Life Magazine; Huang Huacheng’s unscripted Experiment 002 (1967) used a masked lens to capture Hong Kong critic Kam Ping Hing in only a thong, running on the outskirts of Taipei.

Music was also an important component in their filmmaking.

Life Continued used an original score by filmmaker Chen Yao-chi; Diary included Bob Dylan’s “Like a Rolling Stone” on the soundtrack.

The screenings helped launch a new wave of independent filmmaking against the backdrop of studio films from Hollywood and government propaganda.

Theatre and its public events extended the scope of local debates on modernism beyond painting and literature. Its content demonstrated a close relationship between text and performance in Taiwan, and stimulated the intellectual gentry’s thinking on aesthetics, design, performative actions, and cross-disciplinary collaborations.

《劇場》第一次電影放映會 1966年2月18日，台北耕莘文教院 《劇場》第二次電影放映會 1967年7月9日，台北國軍文藝活動中心 《劇場》雜誌曾舉辦兩場電影放映會，播放由年輕業餘藝術家製作的實驗電 影。由於幾位兼任該雜誌編輯的導演，日間在新成立的電視台工作，所以有機 會使用較先進的設備，從而更特別渴望嘗試實驗。為放映會製作的電影大多展 現了超現實、存在主義的影響，當中不少作品藉普通的人物角色表達對生活的 態度；而另外一些作品則玩弄形式和技巧。例如莊靈的《延》記錄了他的妻子 陳夏生的一天，張照堂的《日記》描寫一位焦慮男子，包括一幕以榔頭敲碎 《生活雜誌》中一張詹姆士．迪恩頭像的影像，黃華成無劇本的《實驗002》 用半遮的鏡頭跟拍香港評論家金炳興穿著丁字褲在台北郊區奔跑之景。音樂在

Chang Chao-Tang Modern Photography Exhibition, 1965 Mei’erlian Gallery, Taipei Between 1962 and 1965, Chang photographed performative portraits of his friends in nature and in abandoned sites on the outskirts of the fast-industrializing Taipei and other cities. At the time, photography in Taiwan primarily consisted of landscape, propagandist or journalistic images.

Strongly influenced by Western literature, film, and music from the early 20th century onward and by modernist writers and artist peers in Taiwan, Chang used photography to capture the sense

of adrift, loss, and brokenness that he felt in a developing society under the repressed political climate. His subjects, under his direction, often obscured their faces or appeared headless, or were portrayed out of focus. In 1965, Chang’s photographs were presented in a two-man exhibition with works by his mentor, Cheng Sanghsi, at the Mei’erlian Gallery, a favorite coffee shop and exhibition space for local photographers. Chang continued to explore angst in his 1967 film, Diary.

他們的電影製作中，也相當重要。《延》採用了電影導演陳耀圻的原著音樂， 而《日記》採用了鮑布．迪倫的《像一塊滾石》一曲。 《劇場》雜誌及其公開活動將當地對現代主義的討論拓寬到繪畫及文學領域之 外。它的內容展現了在台灣文字及表演之間的密切關係，並推動知識階層對美 學、設計、行為藝術及跨界合作的見解。

Prophet《先知》 1965

Directed by Chen Yao-chi 導演：陳耀圻 Screenplay by Huang Huacheng 編劇：黃華成 Photographer unknown, Courtesy Chuang Ling 攝影不詳，莊靈提供

Waiting for Godot 《等待果陀》 1966

Chang Chao-Tang 張照堂 Banchiao《板橋》 1962 Courtesy the artist 藝術家提供

Directed by Chiu Kang-Chien 導演：邱剛健 Screenplay by Samuel Beckett 編劇：薩繆爾．貝克特 (1953) Courtesy Chuang Ling 莊靈攝影及提供

Huang Huacheng Ecole de Great Taipei Autumn Exhibition August 25 – September 3, 1966 Hai Tian Gallery, Taipei Dadaist irreverence and readymade objects set the tone of Huang Huacheng’s solo exhibition, beginning with a misleading title that suggests a group show.

At the entrance, visitors had to step on a “doormat” made by a collage of reproductions of Western paintings. A beverage station with stacks of paper cups served water with floating particles. A laundry line with dirty clothes challenged people to pass underneath despite the

superstition of bad luck. Close by, a wooden bench with a hard pillow and a pair of Japanese slippers invited nap takers. A ladder led to nowhere stood by a pile of torn paintings by Huang. A previously exhibited work, Washing Hands, consisted of a washbasin on the seat of a chair and a poem by Chiu Kang-Chien of the same title, showed Huang’s belief in connecting poetry with mundane activities. To add “low” culture to the mix, Huang included a record player to spin the popular songs.

The room of seemingly disparate yet common household items and sounds is considered one work, and it de-emphasized the role of the wall in art presentations and

張照堂，現代攝影展

1965年，台北美而廉畫廊 張照堂於1962至1965年間，在急速工業化的台北和其他城市郊區的自然和廢墟 中，拍攝了一系列，以他的朋友作模特兒，具表演性的肖像攝影。當時的攝影 以風景、政治宣傳及新聞照片居多。張照堂受20世紀初以降西方現代文學、音 樂、劇場及視覺文化影響，以及台灣作家及藝術家同伴的薰陶，透過攝影去捕 捉在壓迫政治環境下，開發中社會那種虛無、失落及破碎的感覺。他刻意指導 他的照片的主角模糊面目或以無頭出現，或失焦。1965年，張照堂與另一位攝 影家亦即他的老師鄭桑溪，在攝影同好聚集的咖啡廳兼展覽空間美而廉畫廊舉辧 聯合攝影展，展出此系列作品。後來，張照堂繼續在他1967年的電影《日記》 中探討焦慮感。

shifted the focus to the floor and human elements.

The manifesto of the Ecole de Great Taipei, written on January 1, 1966, was published in the fifth issue of Theatre on April 30 and on the exhibition invitation.

Accompanying the exhibition but can stand alone, the provocative text urged for a break from traditional modes of art making and viewing and revealed Huang’s thinking on art in life and the society.

Zero Dimension (Zero Jigen) / Kato Yoshihiro White Rabbit of Inaba 16mm film transferred to DVD, 1970 (68 : 50 minutes) Tokyo and other locations An avant-garde performance art group active in the 1960s and the early 1970s, Zero Dimension (Zero Jigen) presented a series of radical, oft-naked performances in public spaces with the stated aim of “guiding human behavior toward ‘zero’.” The group, originally formed by Kato Yoshihiro and Iwata Nobuichi, gained initial notoriety in Nagoya, and then soon moved the center of its activities to Tokyo and beyond. The group members

黃華成《大台北畫派秋展》 1966年8月25日至9月3日，台北海天畫廊 達達式的不敬及現成物為黃華成個展的基調，從展覽的標題誤導觀者為集體創 作展開始。在畫廊的入口，觀者要踩過一個以西方大師級畫作複製品拼貼而成 的「腳踏墊」。飲料桌上為觀者提供成疊的紙杯和懸浮著顆粒的水。晾衫繩上 掛滿髒衣服，挑戰觀者能否不畏迷信從下面走過。鄰近的長木凳一端放著一個 硬枕頭，而凳下擺著一雙日式拖鞋，似乎邀請人來睡午覺。不知通往何處的梯 子，附近堆滿了撕破的黃華成畫作。曾參展過的《洗手》作品中，椅子上放了 一個洗臉盆和貼了邱剛健的詩，表達了黃華成欲將現代詩與日常生活中乏味的 活動連結的信念。為了加入「低」文化，他放置了一部留聲機，播放著當時的 流行曲。整間看似雜亂但平凡的物品和音樂算是一件作品，削減牆壁在藝術展 覽中的角色，將重點移至地板和人上。

Huang Huacheng 黃華成 Ecole de Great Taipei Autumn Exhibition《大台北畫派秋展》 1966 Courtesy Chuang Ling 莊靈攝影及提供

maintained their day jobs while gathering occasionally in evenings to stage their guerrilla-style “rituals.”

In one action, the group members, completely naked except gas masks, marched in single file in front of the Kinokuniya bookstore in Shinjuku, a well-known meeting spot in Tokyo. Their asocial actions were broadly covered by print media, which called them “art terrorists.” Expanding the sphere of their actions, the group participated in violent protests and campus shut-downs that rocked Japan in the late 1960s and also in the mass protest movement against the 1970 Osaka World Expo, which was seen by the Left as the state and capital’s cooptation of arts

and culture. In 1970, the group was arrested and charged with “public display of obscene materials” and began curtailing their naked actions.

White Rabbit of Inaba is the leader Kato Yoshihiro’s documentary film made from various footage of the group’s activities as well as recordings of performances specifically made for the camera—some in public spaces, others in nature or remote places.

大台北畫派宣言於1966年1月1日撰寫，並於該年4月30日出版的第五期《劇 場》雜誌及展覽邀請卡中刊登。除了配合展覽，此宣言也可獨立存在。它煽動 的文字慫恿打破傳統藝術創作及觀賞模式，同時也顯示黃華成對藝術在生活及 社會中的思考。

零次元 / 加藤善博《因幡之白兔》（16毫米電影錄製成DVD） 1970製作，影片約長60分鐘，東京及其他地方 零次元是活躍於1960至1970年代初期前衛行為藝術團體，曾在公共空間上演一 系列大膽激進的裸體演出，標榜「帶領人類行為邁向『零』」的目標。這個藝 團由加藤善博及岩田信市創立，最初於名古屋成名，之後很快便轉移到東京及 其他地方。藝團成員日間都有正職，晚上進行游擊隊式的「儀式」。他們曾於 一次行動中全體裸身，只戴防毒面罩，在東京鬧區新宿的紀伊國屋書店門前單

Choi Boong-hyun et al.

Happening with a Plastic Umbrella and Candles December 14 (4 pm), 1967 Seoul Acknowledged as the first Happening in South Korea, the work took place in a joint exhibition of several young artist collectives formed by recent graduates of the art school of Hong-ik University. The Happening was staged in and around Choi Boonghyun’s installation Colored Exhaust Pipes, which consisted of large tin pipes wrapped in paper of various colors such as red, blue, yellow, and silver. The work would have immediately reminded viewers

of the exhaust pipes of coal or wood-burning stoves, which were ubiquitous in most houses and public buildings in South Korea.

Red and blue were also familiar colors to South Koreans, as traditional thatch roofs of houses in the countryside were being replaced with brightly painted tin roofs as part of a countrywide campaign of modernization instituted by General Park Chung-Hee’s regime.

In the Happening, first a female member of the group took a seat on the chair placed in the middle of Choi’s installation. When she opened a plastic umbrella, other members of the group standing around her in a circle began

行列陣步操。他們的反社會行為獲平面媒體廣泛報導，並稱他們為「藝術恐佈 份子」。除了藝術行為，他們更於1960年代末參與震撼日本的暴力示威遊行及 罷學運動，並於1970年被左翼視為政府及資本合汙吸納藝術文化界的大阪世界 博覽會期間，參與大型的示威運動。 藝團於1970年被控以「在公眾場合展示淫 褻物品」罪名而遭拘捕，從而禁制他們的裸體表演行為。 《因幡之白兔》是主帥加藤善博創作的紀錄片，由藝團不同的活動片段及以相 機攝錄的短片剪輯而成。有些片段在公眾場合拍攝，而有些則在戶外大自然或 遠離市區的地方拍攝。

Choi Boong-hyun et al.

Choi Boong-hyun 及其他參與者 Happening with a Plastic Umbrella and Candles 《用傘和蠟燭的偶發作品》 December 14 (4 pm), 1967 1967年12月14日（下午4時﹚ Seoul 首爾

Copyright and courtesy Korean Art Research Institute 圖片 Korean Art Research Institute 版權所有與提供

walking around her, while singing a well-known Korean folk song, “Birdie, Birdie, Blue Birdie,” which is associated with the late 19th-century Donghak Peasant Revolution. After some time, they all approached the woman in the center and stuck candles on the umbrella. The woman put down the umbrella and walked around it, and other members joined her in a circle, in a kind of musical circle. When the woman sat down again on the chair holding up the umbrella, others rushed in to blow out the candles and tore up the umbrella. They then wrapped the destroyed umbrella with paper tissues andtwines, started singing again and

trampled on the now transformed umbrella.

The action can be seen as a commentary on the “nuclear umbrella” established in the Northeast Asian region through the US-Japan Security Treaty, with the candles symbolizing “pure spirituality.”

At the same time, the work was a kind of Dadaistic gesture that eschewed any specific social or political meaning. Some artists who participated in the action later recalled it as a commentary specifically on the state of the art world in South Korea at the time – the umbrella symbolizing the art establishment, and the candles, a new artistic possibility.

Choi Boong-hyun及其他參與者 《用傘和蠟燭的偶發作品》 1967年12月14日（下午4時﹚，首爾 這件公認為韓國首件偶發藝術作品，由剛畢業於弘益大學藝術學院的幾位藝 術家組成的團體在聯展中發生。此偶發藝術在Choi Boong-hyun以包裹著紅、 藍、黃及銀色紙張的大型錫製排氣管創作的《彩色排氣管》裝置藝術旁邊進 行，而這個裝置藝術當時應令人不禁想起南韓一般住家及公共建築隨處可見的 煤炭爐或柴火爐排氣管。紅和藍是南韓人象徵的顏色，而當時郊外的茅屋均換 上漆亮的錫板屋頂，象徵著朴正熙將軍統治時期的全國現代化運動。 在此偶發藝術中，首先，一名女團員在裝置中央擺設的椅子上坐下。她張開塑 膠傘的同時，其他團員在她身旁圍成圓圈並開始步行，同時唱頌19世紀末東學 農民革命時期家傳戶曉的韓國民族歌曲《Birdie, Birdie, Blue Birdie》。過了一 會，他們走向中央的女子，把蠟燭放在傘上。女子放下傘，繞著它走，而其他

The description and interpretation of this Happening was drawn from Mikyung Kim, Experimental Art in Korea [Seoul: Sigongart, 2003].

Jeong Gang-ja et al.

Transparent Balloons and Nude May 30 (6 – 10 pm), 1968 C’est Si Bon Café Seoul Staged at the Fourth Contemporary Art Seminar, which was organized by Korean Young Artists Association and addressed the topic of “Shared Reality of Environmental Art”, the Happening was performed by Jeong Gangja, along with fellow artists (Kang Guk-jin, Jeong Chan-seung, Shim Seon-hee, and Kim Mun-ja) and the audience in attendance. The idea of the Happening is said to have been first proposed by Jeong Chan-seung, who suggested,

人亦加入她，圍成圓圈，像在玩某種音樂圈一樣。當女子再次坐在椅子上舉起 傘，其他人衝上前把蠟蠋吹熄，並把傘撕爛。他們把爛傘的碎片用面紙及麻繩 包好，然後一邊再次唱起歌來，一邊踐踏這個變了形態的雨傘。 此行動可視為批評美日安保條約時期在東北亞地區成立的「核保護傘」，並以 蠟蠋象徵「純潔的精神性」。同時，作品亦帶有達達主義類型的姿態，迴避特 定的社會及政治詮釋。有些參與此演出的藝術家其後稱此作品為對當時南韓藝 壇的評論── 傘代表當權的藝術環境，蠟蠋則象徵嶄新的藝術機遇。 作品描述及詮釋摘自金美京著作《韓國實驗藝術》[首爾：2003年Sigongart出版]。

“We should try a nude Happening, though it has already been done

by Yves Klein.” Incorporating music, action, an artist’s body, and light, the artists thought of the Happening as environmental art.

The whole event lasted an hour and half and caused a sensation and was widely covered by the commercial media.

In the darkened interior, music

by John Cage and Harry Partch played. About 200 tubes of glue and 300 straws were distributed among the artist-participants and the audience, who applied the glue from the tubes to the ends of the straws and blew to make balloons.

(Later known to be a health risk,

this was a popular playtime activity among children at the time.)

On the stage were already about fifteen balloons, which were illuminated by light changing color from blue to red to yellow. Jeong Gangja walked only in her underwear, with her face obscured by a white scarf; she sat down on a chair, and the participants and audience members walked up to attach the balloons on her body. In the meantime, her bra was cut away with a knife, revealing her torso. The performer stood up and others ran up to her to explode the balloons.

Finally she exited.

The description and interpretation of this Happening was drawn from Mikyung Kim, Experimental Art in Korea [Seoul: Sigongart, 2003].

Jeong Gang-ja及其他參與者 《透明的氣球和裸體》 1968年5月30日（下午6至10時﹚，C’est Si Bon Café，首爾 此作品由韓國年輕藝術家協會舉辦、以「環境藝術的共享現實」為主題的第四 屆當代藝術講座中上演，並由Jeong Gang-ja與眾藝術家（Kang Guk-jin、Jeong Chan-seung、Shim Seon-hee及Kim Mun-ja）及在場觀眾擔綱演出。作品首先由 Jeong Chan-seung構思，她提出：「我們應嘗試一下裸體偶發藝術，即使伊夫． 克萊因已曾經做過」。這個環境藝術演出的元素包括音樂、動作、藝術家的身軀 及燈光， 整個演出歷時一個半小時，引起軒然大波，並獲商業媒體廣泛報導。 在昏暗的室內，播放著約翰．凱吉及哈里．帕奇的音樂，並在場分派約200支 黏膠及300根吸管給參與演出的演員及觀眾。他們把黏膠擠到吸管一端，吹出氣 球。（這是當時流行的小孩玩具，但其後發現有害健康。）在舞台上已有約15個 氣球，以藍、紅、黃的變幻燈光照著。面朦白布，只穿內褲的Jeong Gang-ja步上

Kang Guk-jin, Jeong Gang-ja, Jeong Chan-seung Murders on the Han Riverside October 17 (4 pm) 1968, Seoul Under the Second Han River Bridge, a symbol of an industrializing South Korea, the three artists dug deep holes, wrapped themselves in colored plastic sheets, and were buried except their heads. Viewers and reporters were asked to pour water on their heads. Once they emerged from the ground, they wrote on the plastic sheets covering one another, with words such as: Cultural Con Man (referring to a ‘fake artist’); Cultural Blind Man (culture-phobe); Cultural Evader

(conceptualist); Cultural Corrupt Fortune-seeker (fake master); Cultural Hawker (political artist); Cultural Acrobat (opportunist).

They then read out loud what they had written, collected the sheets, and burned them in a bonfire, burying the burned ashes in the ground. The action was intended to be a strong indictment chastising the artists of the establishment, who work with little historical and cultural consciousness, as sham.

The description and interpretation of this Happening was drawn from Mikyung Kim, Experimental Art in Korea [Seoul: Sigongart, 2003].

舞台，坐在椅子上，其他參與者及觀眾走到台上把氣球附著在她身上。同時， 她的胸罩被刀割開，露出上半身。她起身時，其他人跑向她把氣球弄破，最後 她離開舞台。 作品描述及詮釋摘自金美京著作《韓國實驗藝術》[首爾：2003年Sigongart出版]。

Kang Guk-jin、Jeong Gang-ja及Jeong Chan-seung 《漢江岸的謀殺案》 1968年10月17日﹙下午4時﹚，首爾 在象徵南韓工業化的漢江二橋下，這三位藝術家掘出深坑，用塑料顏色塑膠布 包裹身體，然後把自己埋在深坑中，只露出頭部。他們邀請觀眾及記者向他們 的頭潑水。當他們從地下出來，之後互相在對方的塑膠布上寫上「 文化騙子 」 （假藝術家 ）、「文化瞎子」（仇視藝術的人）、「文化逃避者」（概念主義 者）、「求文化貪污資產者」（虛偽大師）及「文化販 」（政治藝術家）、

Kang Guk-jin, Jeong Gang-ja, Jeong Chan-seung Murders on the Han Riverside《漢江岸的謀殺案》 October 17 (4 pm), 1968 1968年10月17日（下午4時） Seoul 首爾

Copyright and courtesy Korean Art Research Institute 圖片 Korean Art Research Institute 版權所有與提供

Kang Guk-jin, Jeong Gang-ja, Jeong Chan-seung Murders on the Han Riverside《漢江岸的謀殺案》 October 17 (4 pm), 1968 1968年10月17日（下午4時） Seoul 首爾

Copyright and courtesy Korean Art Research Institute 圖片 Korean Art Research Institute 版權所有與提供

Jeong Gang-ja et al.

Jeong Gang-ja 及其他參與者 Transparent Balloons and Nude 《透明的氣球和裸體》 May 30 (6–10 pm), 1968, C’est Si Bon Café 1968年5月30日（下午6至10時），C’est Si Bon Café Seoul 首爾

Copyright and courtesy Korean Art Research Institute 圖片 Korean Art Research Institute 版權所有與提供

Still from documentation of Release《放》紀錄影像定格 Modern Music Dance Art Festival 現代音樂舞蹈藝展 May 6 (7:45 pm), 1971 1971年5月6日（下午7時45分） Zhongshan Hall, Taipei 台北中山堂

Release Modern Music Dance Art Festival May 6 (7:45 pm), 1971 Zhongshan Hall, Taipei Music by Hsu Boyun, Li Taixiang Poetry by Wai-lim Yip Choreography by Chen Hsueh-Tung Set Design by Ku Chong-guang, Ling Ming-sheng Video by Huang Mei-hsu Video and Music Reconstruction

by Jonas Yip, 2008 Six young talents in the fields of music, poetry, dance, and visual art developed what could be called a “total performance,” the first truely

multi-disciplinary collaboration in Taiwan. Academically trained but adventurous with modernist ideas, they wanted to expand the expressive potential of each art form and to give equal weight to each component in the production, different from the hierarchy in traditional performances. Produced and musically performed by the two-year-old Taipei Symphony Orchestra at a venue usually reserved for governmental events, Release pushed the limits of each discipline on the proscenium stage through an integrated and rigidly structured methodology.

First, the group developed a set that employed panels of flowing

「文化特技師」（投機者）等字句。他們大聲朗讀這些字句，然後把身上的塑 膠布拿掉，丟進火堆裡，再把灰燼埋入地下。這個行動表達了他們強烈的訴 求，去指責對歷歴史及文化意識薄弱的當權派藝術家虛假的一面。

《放》 現代音樂舞蹈藝展

1971年5月6日﹙下午7時45分﹚，台北中山堂 作曲：許博允、李泰祥 詩詞創作：葉維廉 編舞：陳學同 佈景設計：顧重光、凌明聲 錄像：黃美序 錄像及音樂重組：葉灼（2008年）

white fabric suspended from the ceiling as a moving installation, with which the dancers interacted.

The visual artists then determined the spatial arrangement on stage, providing only enough clues for the composers to propose a rough rhythm and tempo. With those in mind, the poet wrote the four “voices” (“Companions of Solo Dancer, Dancer with mind of no central hold, the Blind, and Audience”), whose words “in the form of single words, phrases, sentences, were read, chanted, repeated, exaggerated, elongated, and superimposed,” woven into the musical texture of the entire piece. The composers and choreographer were given the freedom

to determine the length, interval, and overlapping method of each “voice.” Every component was repeatedly revised, which made evident the artists’ shared concerned with aesthetics, form, and a multi-sensory experience.

《放》是由六位音樂、詩、舞蹈及視覺藝術領域的年輕才俊集體創作的「整體 表演」，為台灣首次真正的多領域合作。他們都曾受正統學院訓練，但崇尚現 代主義的概念。有別於傳統表演中各領域有主有副的結構，他們期望開拓各領 域本身的表現度，並在整體製作中等量發揮。《放》由成立兩年的台北市立交 響樂團主辦及演出，在一官方活動場地上演。此藝展透過融合和結構嚴格的方 法，拓寬了各領域在傳統舞台上的分界。 首先，整個團隊先構思舞台，從天花板吊下飄逸的白布作為流動的裝置，讓舞 者與之互動。之後視覺藝術家決定舞台的空間安排，讓音樂家能夠粗略預計節 奏及拍子。有了這些概念，詩人便開始寫詩中四個「聲音」 （舞者的同伴、舞 者──幻失的人、盲者和聽眾）。 詩裡的「單字、片語和句子以平讀、唱讀、 重覆、誇張、拉長或疊音」，讓其成為整體音樂肌理的一部分。作曲家與編舞 家具取決各「聲音」的長短、間隔及重疊方法的自由。每一元素都經過不斷的 修改，因此看得出藝術家們共同對美學、形式、和多感官經驗的著重。

Manifesto of the Ecole de Great Taipei January 1, 1966 1. Do not be tragic, or, pretend to be tragic.

2. Oppose the abstract-figurative dichotomy. Discard it.

3. Intervene in all fields, make reform plans for them.

4. Do not engage in affairs that would behead you.

5. Do not over-promote certain revelations like how Existentialism makes mountains out of molehills.

6. Neither borrow money from others nor lend a single dollar to others.

7. Maintain a relaxed and cheerful mood.

8. Pay bills on time.

9. Do not become over-excited when conducting serious business. Even being slightly excited is considered unscientific. Violators will prematurely ejaculate.

10. Remember: 20th Century is not a century for artists.

11. Oppose metaphysics.

12. Indulge in all kinds of decay in everyday life. Study it.

13. In the past, art history being the history of art criticism is a “fact.” Let me tell you: criticism itself is neither robust nor complete.

14. Do not engage in frivolous studies. If you can’t stand idleness, even practice arithmetic is better.

大台北畫派 Ecole de Great Taipei 宣言

1966.1.1. 訂 1. 不可悲壯，或，裝作悲壯。 2. 反對抽象具象二分法，拋棄之。 3. 介入每一行業，替他們作改革計劃。 4. 不可作殺頭之事。 5. 不可過分標榜某一心得，像「存在主義」那樣小題大作。 6. 不要問別人借錢，也不借一塊錢給別人。 7. 保持輕鬆愉快。 8. 按時交費。 9. 不可以辦正事的時候興奮過度。既便一點點興奮,也不科學。違者早洩。 10. 記著，20世紀不是藝術家的世紀。 11. 反對玄學。 12. 享受生活中各種腐朽，研究它。

15. Do not engage in pointless rebuttal. One should open their eyes to see whether they are being attacked with a left hook or a right swing.

16. Modern ➔ Rational.

Modernize ➔ Rationalize.

17. Do not act as a comprador for Westerners.

18. Discard cultural baggage.

19. Do not treat art (novel, theater, film, painting, etc.) as a livelihood or as an income supplement.

20. Consider art as a whole.

Find the connections between them. Demonstrate your talent and knowledge through each aspect of them.

21. Be amiable and fair to others.

Whosoever shall smite thee on thy

right cheek, thou shall smite him on his left cheek.

22. When nature calls, one may urinate against a wall.

23. Do not incite riots or cause ruckus. No posturing, generalizing, or swindling.

24. Reject protection, reject magical jelly. Do it with real abilities.

25. Don’t be street.

26. No “Departing from Chang’an, (fake a move)(really want to pluck a strand of white hair from Frost), return to Chang’an again.”1 27. “Establish nationwide peace, struggle to get rid of foreign powers, Save China.”2 28. Study art like a science. If we have been wrong for six hundred thousand years, we shall start over.

13. 過去，一部藝術史即一部藝術批評史這一「事實」， 告訴你：批評本身不健全。 14. 不作假學問。實在閑著，作四則題也好。 15. 不作無謂的反駁。要睜開眼睛看，來的是左鈎拳，還是右拳橫掃。 16. 現代 ➔ 合理，現代化 ➔ 合理化。 17. 不作洋買辦。 18. 丟掉文化包袱。 19. 不許把藝術（小說、戲劇、電影、繪畫、etc.）當作飯碗，或津貼家用。 20. 把藝術當作一整體看待，找出它們的相互關係， 在它們各方面展露你的才識。 21. 與人和平相處。如果別人打你右耳光，你就打他左耳光。 22. 尿急時，可面牆行之。 23. 不起鬨，不擠， 不作權威狀，不一竹桿打倒一船人，不騙鬼吃豆腐。 24. 不用沙骨 Sack。也不用奇妙外用膏。靠本事吃飯。 25. 不江湖。

29. Art decays, and it decays instantly. The new is always better than the old.

30. Treating art as a skill is where mistakes begin.

31. Motherfucker.

32. Do not criticize others and hide in the shadows. Don’t be petty.

33. Reject the Mind-Body dichotomy.

34. One shall be vigilant against others.

35. Don’t be an ingénu/ pander.3 36. Do not be selfishly concerned with making gains.

37. Never compromise under the circumstances of “old taxes are good taxes” and “inferior currencies supersede good currencies.”

38. Do not write epic novels, because they are not stringent.

39. If art is reverted into its raw original, then you can be free from prejudice (i.e. aesthetic education) and see it anew.

40. Study the attitude of science.

Let it become your entire humanity.

41. One should not write in the form of a love letter except when writing a love letter. Pick sentimentality out of your teeth so the enamel would not rot. That is what the Chinese mean when they say “sever the strands of sentimentality with the sword of wisdom.”

42. Oppose the Communist Party. Oppose the “Fake Communist Party”.

26. 不「從長安出發，（虛幌一招）（很想拔FROST白頭毛一根）回到長安」。 27. 「和平奮鬪救中國」。 28. 把藝術當一門科學研究。如果60萬年都錯了。從頭來過。 29. 藝術是會腐朽的，而且立即腐朽。新的總比舊的好。 30. 把藝術當技術看待，錯誤從此開始。 31. 媽了個B。 32. 不躲躲閃閃批評別人。不小家子氣。 33. 反對精神與肉體二分法。 34. 防人之心不可無。 35. 不做相公。 36. 不勢利。 37. 「舊稅即好稅」「劣幣逐良幣」的情況下，永不妥協。 38. 不寫長篇小說。因為不嚴謹。 39. 把藝術還原到它的原始狀況，你才擺脫成見（美感教育），從新看到它。 40. 學習科學的態度，讓它變成你的人性的全部。

43. Calmly assess changes with readiness.

44. Do not write poems because poetry is not stringent (in terms of attitude).

45. Do not put on your grandfather’s outerwear.

46. Do not wait for Liu Bei to “thrice visit your thatch abode.”

There is no human species with hands hanging lower than their knees in modern times.4 47. Freeload if the opportunity presents itself; unload if the opportunity presents itself.

48. Treat child prostitutes kindly.

49. Fundamentally oppose painting and sculpture. The reasons will be omitted.

50. Do not intimidate people with

“justice is tucked inside my vest.

I may draw it out anytime.”

51. Finely distinguish the similarities and differences between democracy and science then secretly tell me the answer.

52. We surgically remove cancer.

We do not replace it with something else. You were born without cancer anyway.

53. Do not expose your wealth.

54. Do not compete with neighbors on wealth. Do not compete with friends on talent. Do not compete on such a small scale.

55. Change when poor.

56. Do not receive welfare.

Do not wear shabby clothes.

Do not eat leftovers.

Do not leech off others.

41. 除了寫情書，不該用情書體寫文章。把感情從牙縫裡剔掉，牙磁才不變壞。 中國人說的「舉慧劍斬情絲」，就是這個意思。 42. 反對共產黨，反對「假共產黨」。 43. 沉著應變。 44. 不寫詩。因為詩不嚴謹（態度上）。 45. 不穿祖父外衣。 46. 不等劉備三顧茅廬。現代沒有兩手過膝的人種。 47. 不吃白不吃，不拉白不拉。 48. 善待雛妓。 49. 根本反對繪畫與雕塑，理由從略。 50. 不「把正義放在背心裡，隨時拿出來」吓人。 51. 仔細區別「民主」與「科學」的同與不同，然後偷偷告訴我。 52. 我們割除癌，我們不用別的東西替代它。你生下來本來沒有癌。 53. 財不露白。 54. 不跟鄰居比濶，不跟朋友比才氣。不在小場面比。

57. One adjective is better than two. It is best not to use adjectives at all. Try to do away with metaphors and express the reality of the matter.

58. Sift art out of antiques, crafts, dialects (national and foreign), folk songs, decorative arts, and metaphysics. Artistic regionalism is a dead end.

59. Tear away the up, down, left, right, front, and back layers of the metaphysical world. We need to see the real form.

60. If art interferes with our daily life, discard it.

61. The Queen of England shits, actually. She does everyday.

62. Currently, the public is actually the obstacle for art. The main

reason: we cannot make the elite intellectuals see the truth in art nor can we produce an art educator.

63. Work and talk at the same time is better than all talk but no work and all work but no talk. We often rely on conversations to sharpen our thinking.

64. If your reputation is inflated, the Huangpu River has no lid.

65. Our Father in Heaven.

66. The yardstick of a nation’s culture should not be determined by the short hands of the “cultural reporters.”

67. The hero-idolizing mentality obstructs creative endeavors.

68. Find the “national characteristic” of the Chinese that enabled them to invent seals, seal paste,

55. 窮則變。 56. 不領救濟金，不穿寒衣，不吃剩飯，不寄生。 57. 一個形容詞比兩個形容詞好。最好不用形容詞。試試擺脫比喻， 把實體顯現。 58. 把藝術從古董、手工藝品、方言（國語外國語）、民歌、裝飾、 玄學裡頭篩出來。藝術上的地域性，永遠是死路。 59. 把形上，形下，形左，形右，形前，形後的包裝紙撕掉，我們要看看形。 60. 如果藝術妨害我們的生活，放棄它。 61. 英國女王是會大便的，天天都會。 62. 在目前，大眾反而是藝術的障礙。主要原因──我們無法讓高級知識分子認 清藝術，也訓練不出一個美術教員。 63. 邊說邊做比只說不做好，比只做不說好。有時候，我們依靠交談銳化思想。 64. 如果你暴得虛名，黃浦江沒有蓋。 65. 我們在天上的父。 66. 一國的文化準繩不應決定在「文化記者」的短手上。

paper, but not typography?

69. Wash your hands before a meal and after using the bathroom.

Please urinate inside the toilet.

70. Don’t be lost, don’t be beatnik, don’t be angry, don’t be.

71. Do not turn the “already known” into “unknown.”

Do not apply personal philosophies to life.

72. Do not escape until you reached the 36th strategy.5 73. If beauty does not exist, you cannot fabricate it. Truth, kindness, and beauty ➔ reasonable.

74. If God does not exist, Jesus died in vain. Good thing that Christianity has turned hypocritical nowadays.

75. Do not take two steps forward and three steps back. Do not bind the left foot and release the right.

76. Fuck your mother.

77. Marry a woman by her virtues.

Take a concubine by her beauty.

78. Knowledge is accumulated over thousands of years. Only I know the gains and losses along the way.

79. Taipei is located on the surface of the Earth at the coordinates of 25º02' longitude and 121º31' latitude. It is meaningless by itself.

80. Manifesto of the Ecole de Great Taipei is written in the quotation form for easy misquoting out of context.

81. Manifesto of the Ecole de Great Taipei can be amended at any time.

67. 英雄崇拜的心理妨害創作。 68. 找出中國人發明了印章印泥發明了紙，何以不會發明活字印刷的「民族性」。 69. 飯前便後要洗手，小便請入池。 70. 不迷失，不比尼克，不憤怒，不存在。 71. 不把「已知」，變為「未知」。不替人生下獨門精義。 72. 不到36著，不走。 73. 如果美不存在，你不能捏造美。真善美 ➔ 合理。 74. 如果上帝不存在。耶穌白死。好在基督教現在已變為偽善。 75. 不走兩步退三步，不左腳纏足右腳放足。 76. 幹你老姆。 77. 娶妻娶德，納妾則看貌。 78. 學問千古事，得失我心知。 79. 台北，位於球面體的兩個坐標的交點上─北緯25°02'東經121°31'。本身無意義。 80. 大台北畫派宣言，採語錄體，便於「斷章取義」之。 81. 大台北畫派宣言，得隨時增減之。

1 The references to hair plucking and the journey from Chang’an (today’s Xi’an), the capital of Tang Dynasty, came from the epic novel Journey to the West. In the story, Tang Sanzang was a monk on a pilgrimage to the Western Regions—today’s India—to obtain sutras. Monkey, a disciple, would pluck hairs from his own body, and blow on them to convert them into his clones to gain advantage in battle along the way. Upon Tang Sanzang’s return he translated all the sutras into Chinese.

Huang implies that one should not merely obtain and translate texts from the West. Frost refers to the poet Robert Frost.

2 Dr. Sun Yat-sen’s last words on his deathbed.

3 Xianggong in Chinese could mean a young, unsophisticated man or a slang for male prostitute.

4 Liu Bei (161-223) was a warlord in the late Eastern Han Dynasty who founded Shu in the Three Kingdoms. He was known in the epic novel Romance of the Three Kingdoms for his extraordinary height and arm length. He allegedly called on the recluse Zhuge Liang in his thatch house three times before persuading Zhuge to help him govern.

5 In ancient Chinese military strategies, the thirty-sixth and last is to escape.

Translated by Lesley Ma

Project Team 項目團隊 Ethan Cheng 鄭懿行 Doryun Chong Cosmin Costinas Leung Chi Wo 梁志和 Lesley Ma 馬唯中 Para Site Cosmin Costinas (Executive Director and Curator 執行總監 / 策展人) Qinyi Lim 林沁怡 (Curator 策展人) Frances Wu Giarratano 吳天如 (Senior Head of Development / Communications 拓展策劃總監 / 傳訊策劃總監) Lesley Ma 馬唯中 (Managing Editor 總編輯) Jims Lam 林志恒 (Project Manager / Assistant Curator 項目經理 / 副策展人) Ethan Cheng 鄭懿行 (Project Manager / Assistant Curator 項目經理 / 副策展人) Priscilla Jiang 蔣瑩 (Gallery Manager / Curatorial Assistant 畫廊經理 / 策展助理)

Para Site would like to extend our deep gratitude to the artists of the exhibition as well as to the following individuals who provided crucial support to the project:

Para Site 想向展覽中的藝術家及以下提供了重要支持 的人士致以深深的謝意： Art Critique of Taiwan (藝術觀點 ACT) Rachel Catanach Chang Chao-Tang 張照堂 Chen Hsia-Sheng 陳夏生 Chuang Ling 莊靈 Minoru Hirata Jon Hendricks Yoshihiro Kato 加藤好弘 Jo Hsiao and the Taipei Fine Arts Museum 蕭淑文與台北市立美術館 Mikyung Kim 金美卿 Yutaka Kikutake 菊竹豊 and Elisa Uematsu 植松 エリサエリサエリ, Taka Ishii Gallery, Tokyo Lai Ying-Ying 賴瑛瑛 Jonas Yip 葉灼 Wai-lim Yip 葉維廉

Graphic Design 圖形設計: Studio Manuel Raeder, Berlin

Para Site is financially supported by the Springboard Grant under the Arts Capacity Development Funding Scheme of the Government of the Hong Kong Special Administrative Region.

Para Site 藝術空間獲香港特別行政區政府「藝能發展資助計劃」的躍進資助。 The content of this programme does not reflect the views of the Government of the Hong Kong Special Administrative Region.

活動內容並不反映香港特別行政區政府的意見。

エリサ

Para Site G / F, 4 Po Yan Street Sheung Wan Hong Kong

t +852 2517 4620 f +852 2517 6850 info@para-site.org.hk www.para-site.org.hk

Para Site 藝術空間 香港上環普仁街4號地下

t +852 2517 4620 f +852 2517 6850 info@para-site.org.hk www.para-site.org.hk