凌駕於生命的愛情 by ++/艸見

凌駕於

生命

的 your love is above all

愛情

作品分佈圖

‘若僅觀看內心，人類對於愛的理想是什麼？’ ‘年少時的激情和浪漫，到老年時的深沉和平靜？’

‘愛情的多樣性，持久性和變化性？’

策展人

文筱菁

吳亭寬

李郁汝

魏柏均

我們想符合愛情的消縱即逝，便選擇將展覽以一個晚上12小時為期限進行本次展覽，且把場地移駕戶外目的是希望觀者可以在觀賞作品和舞蹈之美時感受戶外空氣和環境帶來的舒適

感，也突破美術館的白盒子，換一個地方體會藝術，觀看我們想傳達的訊息並把握時光和我們一起共襄盛舉。

每件作品由我們因藝術家作品背後意涵感染而做出選擇，希望可以達到觀者的共鳴，亦或是引發觀者之間的討論和思考。目標受眾群為10歲以上的觀眾，因為大概從青春期開始，多數青少年在這方面擁有許多好奇心，透過這個展覽他們可以慢慢開始感受『愛』的好與壞。

我們透過投影的方式呈現所有作品，目的是期許大家在走動時可以走入畫面，感受藝術家作品裡的情緒與氛圍，加上築建高台，觀者可以站上至高點鳥瞰作品過驗『愛』的碩大。

展覽

論述

CURATORIAL STATEMENT

Curtator

WEN,XIAO-JING WU,TING-KUAN LI,YU-RU WEI,BO-JUN

‘If we look only at the heart, what is the ideal of human beings for love? ’ 'The passion and romance of youth, the depth and calm of old age? ’ 'The diversity, persistence, and variability of love? ’

We wanted to meet the ﬂeeting nature of love, so we chose to hold the exhibition for 12 hours in one evening, and moved the venue to the outdoors in the hope that the audience could feel the comfort of the outdoor air and environment while viewing the beauty of the works and dances, and also break through the white box of the art museum, experience art in a different place, watch the message we want to convey, and seize the time to join us in the grand event. Each work is chosen by us based on the meaning behind the artist's work, hoping to resonate with the viewer or provoke discussion and reﬂection among the viewers. The target audience is 10 years old and above, because most teenagers have a lot of curiosity in this area from about adolescence, and through this exhibition, they can slowly start to feel the good and bad of 'love'. We present all the works through projections, hoping that everyone can walk into the picture and feel the mood and atmosphere of the artist's works when they walk around, and build a high platform so that the audience can stand on the highest point and have a bird's-eye view of the works to experience the vastness of "love".

主題 amo 『凌駕於生命的愛情』子題

靈與慾

弗洛伊德就曾經把柏拉圖的「愛情」概念和他自己的「原慾」相提並論，如此一來，愛情顯

然也包括性欲。只是如果突顯性欲而成為決定性的動機，那麼我們就有足夠理由用「鄙俗」和「邪惡」等字眼來稱呼那種情人，因為「他想要的是肉體而不是靈魂，他的愛是善變而短暫的，一如他所愛的對象是善變而短暫的。他所愛慕對象的肉體一旦凋零了，他就遠走高飛，背棄以前的信誓，所有的甜言蜜語都成了謊言。而那些喜歡善良的心靈者，則會永誓不忘，因為他心繫的是恆存的東西。」那不代表我們不能愛肉體，而是說我們不該愛肉體甚於靈魂。肉體會凋零衰敗，只是執著於這個物質外在性的愛情是無法持久的。愛對方的靈魂甚

於愛對方的肉體，則比較容易穩定持久，因為不同於會凋零的肉體，靈魂可能會隨著時間而變得更加美麗和完美。除此之外，柏拉圖也認為，靈魂是人性中永恆的部分，也因此更深刻而更具價值。

肉體和情感不可分離，我們總是在性欲的當下感受到某些情感上的親密。每個人都在追求情感上的自欲，渴望和諧，希望擁有真正的交流與互相理解。心靈依託肉體而存在，我們不應該抗拒性慾，但不該將它與愛情互相混淆。真正的愛並不一定要有性，我們可已擁有完美的無性之愛，也可以保持無愛的性關係。人類的肉體是美好的，樹木，花朵，雪花與河流也是美好的，我們被美包圍，包括生活在這地球上的人類與動物，然而我們必須學習如何善待每，從而不去破壞他們。

"Amo" 是西班牙語中表示 "我愛" 的動詞形式，來自動詞 "amar"（愛）。

西班牙語是世界上最廣泛使用的語言之一，尤其在西班牙、美洲的大部分國家（如墨西哥、

阿根廷、哥倫比亞等）以及美國有大量的西班牙語人口。因此，很多人即使不是母語者，也能識別這個詞的意思。加上很多國家也有類似的字母，因此選擇“amo”

在這紛繁複雜的世界，我們都渴望找到那個攜手共渡一生的人，無論幸福與否，守護彼此，而這種浪漫，並不僅停留在此生，它超越輪迴，超越生命，希望來世再相遇。

這樣的承諾和情感是無私而深沈的，它不計較得失，不畏懼時間的衝刷，願意不斷尋找彼此，直到相遇的那一刻。這種浪漫超越了物質和肉體，是靈魂間的相認和相知。每個人都渴望找到自己的另一半，而這段話提醒了我們，真正的浪漫並不僅僅是一時的激情和甜蜜，而是一份長久的情感和陪伴。它不求華麗的誓言，卻有著讓人心動的深情。讓我們學會在現實中去尋找和珍惜這份浪漫，相信有一天，我們會找到那個牽手領我們走向輪回出口的人，共同走完這一生，直到來世再續前緣。無論是此生還是來世，這份真摯的愛情將永遠是我們心中最浪漫的事。

策展主題與

理念

CURATING THEMES AND CONCEPTS

theme

amo "Love greater than life" subtopic

Spirit and Desire

Freud once compared Plato's concept of "love" with his own "libido". In this way, love obviously also includes sexual desire. But if sexual desire becomes the decisive motive, then we have enough reason to use words such as "vulgar" and "evil" to call that kind of lover, because "he wants the body rather than the soul, and his love is fickle." And short-lived, just like the object of his love is fickle and short-lived. Once the body of the object of his affection withers, he will fly away and break his previous vows, and all the sweet words will become lies for those who like kindness. He will never forget it, because his heart is about eternal things. "That does not mean that we cannot love the body, but it means that we should not love the body more than the soul. The body will wither and decay, but love that is obsessed with this material externality cannot last. Loving each other's soul more than loving each other's body is more likely to be stable and lasting, because unlike the body that will wither, the soul may become more beautiful and perfect over time. In addition, Plato also believed that the soul is an eternal part of human nature and is therefore deeper and more valuable. "Amo" is the Spanish form of the verb meaning "I love", derived from the verb "amar" (to love).

Spanish is one of the most widely spoken languages in the world, with a large Spanish-speaking population especially in Spain, most countries in the Americas (such as Mexico, Argentina, Colombia, etc.) and the United States. Therefore, many people can recognize the meaning of this word even if they are not native speakers. In addition, many countries have similar letters, so I chose "amo"

參展

藝術家與

展出

作品 participating artists

瑪莉娜

·

阿布拉莫維奇

Marina Abramović

行為藝術家。自1970年代開始活躍至今，從事行為藝術40年，被人稱為「行為藝術之祖母」。瑪莉娜的表演探討著表演者與觀眾間的微妙關係、身體的極限與想像的各種可能性。她在早期的藝術生涯中，完成了甚多令人不忍直視的作品，屢屢把觀眾和自己逼進恐懼的深淵。那些場面似乎是失控的，但這一切又是她真正想取得的。她曾說「人類害怕許多事。我展示這些害怕，並與觀眾一起創作。我使用觀眾的恐懼作為能量，盡可能把自己推到極限。」

Performance artist. She has been active since the 1970s and has been engaged in performance art for 40 years. She is known as the "grandmother of performance art". Marina's performances explore the delicate relationship between performer and audience, the limits of the body and the possibilities of imagination. In her early artistic career, she completed many unbearable works that repeatedly pushed the audience and herself into the abyss of fear. Those scenes seemed out of control, but this was all she really wanted to achieve. She once said, "Humans are afraid of many things. I display these fears and create with the audience. I use the audience's fear as energy to push myself to the limit as much as possible."

『呼吸』

1978的作品《呼吸》，兩人將嘴巴對在一起，互相吸入對方呼出的氣體。17分鐘後他們的肺里充滿了二氧化碳，都倒在地板上昏迷不醒。這一表演所要表達的，正是親密關係中一個人「吸取」另一個人生命的毀滅性能力。

瑪莉娜與烏雷堵住鼻子，在親吻兼用對方口中的空氣呼吸，直到惡氧化碳過量昏迷。有時候一不小心，愛也會變得窒息，肆意壓榨，剝削，掠奪彼此，直到再沒有什麼剩下。

In 1978's work "Breathe", two people put their mouths together and inhale each other's exhaled breath. After 17 minutes, their lungs were ﬁlled with carbon dioxide and they all collapsed on the ﬂoor unconscious. What this performance is about is the destructive ability of one person to "suck" the life of another person in an intimate relationship. Marina and Ouray gagged their noses and breathed through the air in each other's mouths while kissing until they fell unconscious from an overdose of carbon oxide. Sometimes if you are not careful, love can become suffocating, wantonly oppressing, exploiting, and plundering each other until there is nothing left.

『藝術家在現場』

"The Artist on the Spot" reunites with an old lover

與舊情人的重逢

一個精彩的故事總是少不了戲劇性的轉折。2010年瑪莉娜受邀為MOMA紐約現代藝術館進行《藝術家在現場》（The Artist is present）回顧展的時候，當時瑪莉娜每天會坐在博物館裡長達八個小時，邀請觀眾前來與她進行長達一分鐘的凝視，不需要言語，安靜地感受人與人之間的情感能量流動。而就在展覽的最後一天，跟著觀眾一起排隊的烏雷，無預警突然現身坐在瑪莉娜面前。剎那間，昔日情人再度相見，淚眼婆娑雙手緊

握的和解場景，不僅感動現場所有的人，更轟動全世界。

她一身紅裙，靜坐在那，與每一個坐在面前的人對視，始終平靜、漠然。直到，烏雷突然出現，如一個遠行回家的旅人，自然地在她面前坐下。瑪莉娜的表情逐步瓦解，熱淚盈眶。這是時隔22年的重逢，往昔種種浮上心頭，瑪莉娜從欣喜逐漸到淚流滿面，鳥雷始終溫柔、安靜地注視著她。或許愛是和解。

A great story always has a dramatic twist. When Marina was invited to perform a retrospective of The Artist is present at MOMA in New York in 2010, Marina would sit in the museum for eight hours a day, inviting the viewer to gaze at her for a minute, without words, and quietly feel the ﬂow of emotional energy between people. And on the last day of the exhibition, Uray, who was queuing up with the audience, suddenly appeared and sat in front of Marina without warning. At that moment, the former lovers met again, and the reconciliation scene with tears in their eyes and clasped hands not only touched everyone at the scene, but also caused a sensation all over the world. She was dressed in a red dress, sitting there quietly, looking at everyone sitting in front of her, always calm and indifferent. Until, out of nowhere, Ouray suddenly appeared, like a traveler returning home from a long journey, and naturally sat down in front of her. Marina's expression gradually disintegrated, and tears welled up in her eyes. This is the reunion after 22 years, and all the past comes to mind, Marina gradually goes from joy to tears, and Bird Thunder always looks at her gently and quietly. Perhaps love is reconciliation.

The announcement and end of the romantic love affair of "Lover - Great Wall Tour". Marina's breakup with Ouray. The two set off from both ends of the Great Wall, and after three months, they met at the finish line, hugged and said goodbye. "We used to be intimate and acquainted, but we are on the road to separation" On the same birthday, "ex-lover" Urey and Marina have the same idea of art, once regarded each other as soul mates, and created many action art works together, which was when their relationship was at its strongest, and they had an extremely romantic idea. They were expected to set out from opposite ends of the Wall, camp on the Wall every night, and then wait until they met in the middle to promise each other for life. However, due to Ouray's continuous cheating and derailment, when the Great Wall plan was finally realized, the two officially announced their breakup on the day they completed this epic immortal work. "The story of a couple of lovers coming together after a crucifixion, almost epic. But that fact is gone. All I'm facing now is the Great Wall and myself." For Marina, the painful failure of her love affair did not kill her, but rather made her one of her greatest works of art.

『愛人—長城行』

浪漫戀情的宣示與結束瑪莉娜與烏雷的分手之作。兩人從長城的兩頭出發，歷經三個月，在終點相聚，擁抱，告別。

『我們曾經親密熟悉，卻走向分離道路』

同一天生日，「前任情人」烏雷與瑪莉娜對藝術抱有相同理念，曾經將對方視為靈魂伴侶，共同創作出許多行動藝術作品，是他們在感情最濃烈的時候，產生一個無比浪漫的想法。他們預計各自從長城的兩端出發，每個晚上在長城上紮營，然後等到在中間碰面的時候，就互許終身。但由於烏雷的不斷劈腿出軌，當長城計畫終於實現，在完成這個史詩般不朽作品的那一天，兩個人也正式宣告分手。

「一對戀人在受難之後相聚在一起，近乎史詩般的故事。但那個事實已經消逝了。我現在面對的就只是長城和我自己。」對瑪莉娜而言，失敗的戀情雖然痛苦但並沒有將她置於死地，反而成就了她最偉大的藝術作品。

『淺能』

是阿布拉莫維奇和烏雷在1980年橫貫歐洲的作品。兩個人面對面站立著並專心地注視著對方，手裡還同時拉著一個緊繃的弓，在烏雷的手裡緊拉著一支帶毒的箭，正對著阿布拉莫維奇的心臟。由於弓箭的張力使他們的身體略向後傾斜，他們稍不留神，那支毒箭就會離弦射出，同時，通過擴音器聽到的是他們心臟急劇加速的跳動聲。整個作品持續四分十秒。《潛能》以拉弓箭的方式表達情人間的信任。烏雷手中的箭確確實實的瞄準了瑪莉娜的心臟，強調對於愛人的信任感。瑪莉娜手持大弓，烏雷搭箭將弓拉滿，箭頭直指阿布心臟。

"Shallow energy" It is the work of Abramovich and Ouray in 1980 across Europe. The two men stood facing each other and staring intently at each other, holding a taut bow in their hands at the same time, and in Ouray's hand a poisoned arrow aimed at Abramovich's heart. The tension of the bow and arrow caused their bodies to tilt back slightly, and if they were not careful, the poisoned arrow would shoot off the string, and at the same time, the sound of their hearts beating rapidly through the loudspeaker could be heard. The entire work lasts for four minutes and ten seconds. "Potential" expresses the trust between lovers by drawing a bow and arrow. The arrow in Urray's hand was indeed aimed at Marina's heart, emphasizing the trust in her lover. Marina held her bow, and Uray drew the bow with an arrow, which was pointed straight at Abu's heart. Have you ever loved someone more than your own life? Trust him more than yourself? Probably love is to put the softest part of yourself into the hands of your lover, look at him with anticipation and trust, no questions about the future, and no regrets in this life.

你是否也曾經愛一個人勝於自己的生命？信任他勝於信任自己？大概愛情就是，將自己最柔軟的部分，交到愛人手中，滿懷期待，滿眼信任的看著他，不問前程，今生無悔。

"Relationships in Space"

『空間中的關係』

1976年，阿布拉莫維奇和烏雷行為作品《空間中的關係》更是使他們名聲大噪。阿布拉莫維奇和烏雷裸體，為了碰撞時產生更好的效果，肉體相撞時的聲音通過揚聲器放送。

烏雷和阿布拉莫維奇從相距20米的地方起步，朝對方小跑，簡單擦過，重新回到原地，一次次更加激烈地衝擊碰撞，半小時後，阿布拉莫維奇被撞倒在地。他們不想這部作品成為力量和決心的較量，而是在一個相對溫和的暴力中維持一種平衡。

兩個人赤裸著，一次次向對方碰撞，對著愛人便沒了盔甲。彼此試探，爭吵，以情緒價值為籌碼，語言，甚至行為暴力為武器，互相攻擊，對抗。不冷靜的大腦，人性的弱點，往往讓你們再有一方倒下後才肯罷修。

In 1976, Abramovich and Ouray made them even more famous with their performance work Relationships in Space. Abramovich and Uray are naked, and in order to produce a better effect when they collide, the sound of the physical collision is broadcast through the speakers. Uray and Abramovich started from 20 meters apart, trotted towards each other, simply brushed past, and returned to the same place, hitting and colliding more violently again and again, and half an hour later, Abramovich was knocked to the ground. They didn't want the work to be a contest of strength and determination, but rather to maintain a balance in a relatively mild form of violence. The two men were naked, colliding with each other again and again, and there was no armor in front of their lover. Tempting each other, arguing, using emotional values as bargaining chips, verbal and even behavioral violence as weapons, attacking and confronting each other. An uncalm brain and the weakness of human nature often make you willing to stop after one of you has fallen.

晴彥 Kawakuchi Haruhiko

白天是廣告導演，晚上則是獨立攝影師。從30歲開始，他的業餘時間全部用來

拍情侶，拍攝過情侶的川口，開始想透過攝影，展現不同形式的愛，因此決定拍攝家庭，把他們居住的家，從整個大屋子到地面，全部都用真空袋包起來，

將房子和周圍的家都包好後，最後才把家人都裝進去抽真空。而川口則表示，「我一直在追求極致的愛，但至今都沒有找到，所以我會繼續拍下去」。

An advertising director by day and an independent photographer by night. Since the age of 30, he has spent all his spare time photographing couples. Kawaguchi, who had photographed couples before, began to want to show different forms of love through photography, so he decided to photograph families and cover the entire home they live in, from the entire big house to the ground. , everything is wrapped in vacuum bags, and after wrapping the house and surrounding homes, the family members are ﬁnally put in and vacuumed. Kawaguchi said, "I have been pursuing the ultimate love, but I have not found it so far, so I will continue to shoot."

川口 ·

這系列深入探討了情侶間「愛」

《Flesh Love》

的主題。他不僅僅在物理上通過真空密封的方式將情侶包裹在塑料內，更在精神層面上封存了這些瞬間和情感的純粹性。通過極端的形式捕捉和展現情感的深度和複雜性。通過真空包裹技術，使得人物形態發生變化，創造出一種幾乎超現實的視覺效果。這種方法不僅僅是對形態的變化的記錄，也是對親密關係的一種深度審視，展現了人與人之間純粹而複雜的聯繫。

一開始的時候，Hal將自己的廚房確定為拍攝地點。他使用不同顏色的紙張作為背景，情侶進入真空密封袋後，他用吸塵器抽走空氣，只留下十秒鐘的時間來拍攝，

最多只能按兩次快門。他承認，

自己也體驗過這種恐懼感：「隨著拍攝的進行，真空密封的壓力變得越來越強，最終形成一個單一的存在。」

通過其《Flesh

Love》系列，不僅挑戰了傳統的攝影技術和表現形式，也使我們重新思考了情感的本質和親密關係的意義。

《Flesh Love》

This series delves into the theme of "love" between couples. Not only does he physically encapsulate the couple in plastic, but he also seals the purity of these moments and emotions on a spiritual level. Capture and show the depth and complexity of emotions through extreme forms. Through the vacuum wrapping technology, the shape of the characters is changed, creating an almost surreal visual effect. This approach is not only a record of morphological changes, but also an in-depth examination of intimacy, showing the pure and complex connections between

people. In the beginning, Hal identiﬁed his kitchen as the ﬁlming location. He uses different colors of paper as a background, and after the couple enters the vacuum-sealed bag, he vacuums out the air, leaving only ten seconds to shoot, and can only press the shutter twice at most. He admits that he has experienced this fear himself: "As the shoot progressed, the pressure of the vacuum seal became stronger and stronger, eventually forming a single being." Through its Flesh Love series, it not only challenges traditional photographic techniques and forms of expression,

but also makes us rethink the nature of emotions and the meaning of intimacy.

伊萬

· 波基季雪夫

Ivan Pokidyshev

伊萬·波基季雪夫 1993年生於俄羅斯聖彼得堡。畫家、雕塑家。任教於列賓美術學院。伊萬·波基季雪夫的作品不僅在視覺上給人以震撼，同時也引發觀眾對現實與幻想、人類與自然之間關係的思考，充滿了想象力和神秘感。

Ivan Pokdyshev was born in St. Petersburg, Russia, in 1993. Painter, sculptor. Taught at Repin Academy of Fine Arts. Ivan Boktyshev's works are not only visually shocking, but also trigger the audience to think about the relationship between reality and fantasy, human beings and nature, full of imagination and mystery.

"The Glowing Man"

「發光的人」

"Two people shine brighter than the stars of the night" Love makes each other a community, embracing each other

Love makes each other a community, embracing each other before it shines, and then it shines together other before it shines, and then it shines together

「兩個人互相輝映，光芒勝過夜晚繁星」

愛讓彼此成為共同體，在發光之前便緊緊相擁，然後一起發光

‘微不足道的美麗小事件’

"Small insigniﬁcant beautiful event"

‘光的面孔’ “Face of light”

林文中舞團除建立作品獨特風格和特色外，也致力於傳統創新與文化藝術的推廣，冀望能將表演藝術落實於生活當中。舞團未來將有計畫性地邀請跨領域藝

術家共同參與創作，激發藝術新意，並提供國內優秀舞者參與國際演出、交流

的機會。期待在將來每個新的創作中，能與觀眾分享創造性肢體的幽默感、生活中的感動，以及對生命的感觸。

In addition to establishing the unique style and characteristics of its works, Lin Wenzhong Dance Company is also committed to traditional innovation and the promotion of culture and art, hoping to implement performing arts in life.

In the future, the company will invite interdisciplinary artists to participate in the creation of new ideas, and provide opportunities for outstanding domestic dancers to participate in international performances and exchanges. I look forward to sharing the sense of humor of creative bodies, the emotion of life, and the feeling of life with the audience in each new creation in the future.

林文中

舞團 WC dance

《情歌》表達出現代人對愛情的渴望、無奈與掙扎，是一齣抒情

舞作。由十三首古今中外、不同風格的情歌交織出一場細膩清雅的現代舞蹈演出。曲目選擇配合不同質地的舞蹈及身體表達方式，帶給觀眾對情歌的豐富聯想與不同解讀。

《情歌》仍保持空間的小而親密，舞者外在肢體與內心的憧憬，不斷從核心迸爆、逼破邊緣，又無情推回，失魂遊走，表現出種種愛情的樣貌與關係。

"Love Song" expresses the longing, helplessness and struggle of modern people for love, and is a lyrical dance work. Thirteen love songs of different styles are interwoven to create a delicate and elegant modern dance performance. The repertoire chooses to match different textures of dance and body expression, bringing the audience rich associations and different interpretations of love songs. "Love Song" still maintains a small and intimate space, and the dancers' external body and inner longing constantly burst from the core, forcing through the edge, and then ruthlessly pushing back, losing their souls and wandering, showing all kinds of love and relationships.