健忘症與馬勒維奇的藥房  策展論述

美術館所進行的作品收集具有公共性上的意義,但它同時也是特定政治經濟條件下美學物件文化建構的一部分。美術館被設想為保存美學物件的寶庫,其中物件編排的方式模擬著個人或族群在地理學上的關係、編年史中的情境,或藝術實踐相關論述的演化與發展。在例行性的典藏展覽中,典藏物件成了連結個人經驗與歷史時刻的關鍵證物; 我們還會用藝術家的日記、報導等其他文獻,來為此連結作輔助。通常,藝術品在美術館典藏系統中所勾連的連結,並不適用於所有的個人,當然也會有藝術家或個人發展自己的收藏、尋求自己的歷史敘述,甚至編造新的或形塑特殊的認同。

「健忘症與馬勒維奇的藥房」在北美館典藏實驗展的脈絡下,選擇轉身將聚光燈投射在典藏作為系統的自身,嘗試從其中結構性的概念著手,諸如收集、物的階級、年代學、在場與缺席、公眾與個人、敘述與虛構、檔案次序與生命狀態、世俗不朽與永恆存在,給這部介於想像與現實的機器,一個返照的回眸與提問:如果,有關典藏物件及其延伸的敘述是一部電影、一本小說、一個劇碼,那麼誰會是這個舞台上的下一個導演與演員?

西元1919年,馬勒維奇曾經呼籲國家不要站在藝術收藏品的角度介入,他認為藝術收藏品的破壞可以打開一條通往真實、充滿鮮活想像的藝術之路。他寫道:「燒掉一具屍體,我們可以得到一克的粉末: 因此成千的墳墓可以放入一個化學家的架上。我們可以對保守派做的讓步就是建立一間藥房:將所有死去的過去時代燒掉的灰燼放在架上。...〔這間藥房的〕目的是,如果人們想要檢視魯本斯(Rubens)及其所有藝術的粉末— 大量的想法將自人們身上出現,魯本斯將會比實際的展覽,更加生氣蓬勃 (也更不佔空間)。」出於對圖像、對藝術與歷史終結零度的看法,馬勒維奇反對對過往圖像抱持感傷與懷舊的心態; 然而,後觀念的時代中,從個別作品圖像到符碼化的粉末藥房,現實與典藏寶庫的辯證關係,反而提供了健忘者思想的工地與鮮活想像的舞台。

「任何博物館(美術館)收藏的改變,都帶來了我們對於現實本身感知的改變 -- 畢竟,現實可以被定義在所有尚未被收藏的事物所屬脈絡中。」(引自Boris Groys)這個研究展覽企盼對那些尚未被收藏的事物,提出試探性的備忘錄。
Amnesia and Malevich’s Pharmacy
Jau-Lan Guo



The art museum’s endeavor of collecting art has significance of a public nature, yet it is also part of a cultural construct of aesthetic objects under specific political and economic conditions. The art museum has been conceived as a storehouse for the preservation of aesthetic objects, and the way in which the objects within it are arranged imitates individual or collective geographical relationships or chronological situation, or the evolution of discourse related to artistic practice. In ordinary exhibitions of a museum’s collection, the objects from the collection serve as key evidence linking personal experiences and historical moments. These connections are also supplemented with artists’ journals, reports and other documents. Frequently, the links formed by artworks in the museum’s collection system are not applicable to all individuals. And of course, artists and other individuals develop their own collections, seek out their own historical narratives, or even fabricate new or special forms of identification.

Within the context of this experimental exhibition from the TFAM collection, “Amnesia and Malevich’s Pharmacy” chooses to shift positions and focus the spotlight on the collection itself as a system, attempting to begin from the structural concepts present within it – the process of collecting, the gradation of objects, chronology, presence and absence, the public and the individual, narrative and fiction, archive sequence and life states, immortality and eternity – to look back and reconsider this machine suspended between imagination and reality, and to ask: if the narrative about the objects in the collection and extending from them were a movie, a novel, or a play, who would be the next director and cast on this stage?

In 1919 the Russian artist Kazimir Malevich called on the state to refrain from intervening on behalf of art collections. He believed the destruction of art collections could open the path to true art that was full of life. He wrote:

Thousands of graveyards could be accommodated on a single chemist's shelf. We can make a concession to conservatives by offering that they burn all past epochs, since they are dead, and set up one pharmacy. ... The aim (of this pharmacy) will be the same, even if people will examine the powder from Rubens and all his art - a mass of ideas will arise in people, and will be often more alive than actual representation (and take up less room).

Starting from a belief in the end of images, art and history, Malevich opposed a sentimental, nostalgic mentality toward images of the past. Nevertheless, in the post-conceptual era, moving from distinct individual artwork images to a codified pharmacy of powders, the dialectical relationship between reality and the collection storehouse provides a work site for constructive amnesia and a stage for fresh imagination.

Boris Groys wrote, “[A]ny change in the museum collection brings about a change in our perception of reality itself – after all, reality can be defined in this context as the sum of all things not yet being collected.”

This experimental exhibition aims to provide an exploratory memorandum for those things that have not been collected yet.



作品說明
黃大旺與HUB A計畫團隊
危險平衡的構造:囤物者的斷捨離Construction of Dangerous Balance:A Guide to Refusal, Disposal and Separation -for a Hoarder
裝置與計畫
空間依場地而定
2016
此計畫嘗試將有囤積癖的表演者黃大旺4坪大房間內的物件搬離,並以不夠標準的博物館學檔案登錄方式,挪移至美術館均質的幾何格子中。展場中的格子是等待按續編排(seriation)的架構,與龐雜有機的囤積物件形成曖昧又對立的關係。「危險平衡的構造:囤物者的斷捨離」是為這次「健忘症與馬勒維奇的藥房」而發起的行動計畫,此計畫藉著改變黃大旺與其囤積物件間的危險平衡,試探物件、個體、收集、過程性與展示之間不對稱的關係,並進而提問:在典藏作為系統的主題框架下,尚未編輯的物件、生命的過程性與生活的紀念性如何重新闡釋人與物的關係?


張紋瑄Wen Hsuan Chang
の日記 'S Diary
複合媒材
空間依場地而定
2016
張紋瑄近期關注台灣左翼運動的系譜,作品擅長以文學後設的手法,處理鑲坎在台灣主體性與地方屬地敘述間纏繞而矛盾的關係。這次為「健忘症與馬勒維奇的藥房」展覽所製作的新作,把北美館典藏物與其廣為人知的藝術史敘述,視為文化符碼重新調度,作品包含文字書寫、觀念與裝置。藝術家虛構兩個人物,一位出生1920年代,活躍於泛左政治團體的女性文盲,以及她的孫子,一位出生於1950年代,抑鬱不得志的知識份子。孫子因為意外發現祖母的手工日記,出於一種「基於人性,所有史都可以是左翼史」的信念,著手評註祖母的手工書日記。


孫懿柔Yi Jou Sun
美術館是平的 TFAM:Taipei Flat Arts Museum
行為計劃
2011
Performance project
2011
2011年間,藝術家在台北市立美術館的內外進行了總計五場的行為藝術計畫「美術館是平的」。這些行動激發了後續對於美術館體制與其文化治理的討論,也指出美術館的公共性與藝術家行為創作之間可能展開的動態對話。這些推進的痕跡如今成了美術館自身身世的一部分。

孫懿柔Yi Jou Sun
正治TFAM:Truly False Arts Museum
行為作品
2012
Performance
2012年間,「正治」行為作品,發生在台北市立美術館大廳。藝術家事先冰封三頁文件(此文件為屬名北美館全體員工寫給台北市市長郝龍斌的一封信)在冰塊內。將近四小時的行為過程中不發一語,僅以身體溫度溶解冰塊,最後將三張濕透脆弱的紙平放於北美館大廳地板上後離去,完成對當時美術館現狀與公共領域資本化問題的表達。

葉偉立Wei Li Yeh
古董級垃圾研發公司 鞋子系列 Antiquity-Like Rubbish Research & Development Syndicate_Wooden Box Shoe Collection
木箱、各式雜物、鞋子
空間依場地而定
2010-2012

葉偉立Wei Li Yeh
古董級垃圾研發公司 海邊拾獲物 Antiquity-Like Rubbish Research & Development Syndicate Miscellaneous Objects
塑料、木、鐵、玻璃
120x40x137公分,120x40x122公分
2010-2011

「鞋子系列」與「海邊拾獲物」皆來自葉偉立從2010年開始的「古董級垃圾研發公司」。該計畫曾經以「古董級垃圾研發公司 在二零六」之名在2012年的北美館雙年展中展出,名稱中的「二零六」即北美館長期用來展示典藏品的展覽室。「古董級垃圾研發公司」處理了垃圾、藝術、物的階級、藝術家的勞動、過程性、藝術體制與美術館在此轉變系統中物件越界的問題。「古董級垃圾研發公司」是一個持續進行中的計畫。

余政達Cheng Ta Yu
「我不想Hold住全場,但這是工作」 —— 改編自與林育淳的訪談
“It’s no big deal, it’s my job” —Adapted from an interview with Yu Chun Lin
行為表演、裝置
2016
計畫透過改編藝術史學者與資深典藏組員林育淳的工作故事,將美術館典藏機制中隱藏的勞動,轉化成生命的狀態。有別於藝術史同儕專注於中國美術史,林育淳早年研究台灣留法與留日第一代西畫家。近入台北市立美術館後,她籌劃過許多第一代畫家紀念展,職掌藏品購置、歷史敘述、展覽陳列,是近期「台灣製造 製造台灣」的策展人。此計畫改編自與林育淳的訪談,現場的播音室,聲音表演者每日進行一次表演性演說,朗誦並轉譯典藏組員的角色。


袁廣鳴Goang Ming Yuan
沈睡中的典藏風景 Storage of Tranquility
錄像
空間依場地而定
2016
典藏庫房之於美術館的觀眾,如同一個「禁區」;在這禁區中,作品轉換成另外一種面貌,安靜沉睡在美術館所給予的保護與許諾。「沈睡中的典藏風景」是這次為「健忘症與馬勒維奇的藥房」展覽所製作的新作。擅長影像狡獪操作的藝術家,將庫房中檔案化的藝術與物件之生滅,變成影像思辨的對象。作品中對於藏品的佈置,讓藝術家彷彿也扮演了策展人的角色。


周育正Yu Cheng Chou
APWindow1989Liao
手繪壁畫
空間依場地而定
2016
APWindow1989Liao以美術館典藏物件,廖修平於1989年創作的系列作品「窗」為基礎,推衍出六幅圖像,藉此回應原作版畫的系列性與複數性。廖修平的「窗」系列之「窗(ㄧ)」、「窗(二)」、「窗(四)」於1989年收入台北市立美術館典藏。藝術家根據三件作品的系列性,揣摩推衍其主題與變奏、試探圖像在色彩、尺寸、空間結構之於主題的開放性程度與轉譯的可行性,並以如實施繪於美術館展示牆面的方式,探索既有藏品再展演的形式命題。





Dawang Yingfan Huang and HUB A
Construction of Dangerous Balance: A Guide to Refusal, Disposal and Separation – for a Hoarder
Installation and project
Site-specific dimensions
2016
This project attempts to remove the objects in the 140-square-foot room of Huang Dawang, a performer with a hoarding habit, and to relocate them to uniform geometrical squares in the art museum, using a registration method beneath the standards of museology. The squares in the exhibition space are a framework preparatory to seriation, forming an ambiguous and antithetical relationship with the disorderly, organic objects. Construction of Dangerous Balance: A Guide to Refusal, Disposal and Separation – for a Hoarder is an art action carried out as part of Amnesia and Malevich’s Pharmacy. By altering the dangerous balance between Dawang and his accumulated objects, this project explores the unstable relations among object, individual, collection, process and exhibition. It furthermore raises a question: how can unedited objects, the processive nature of life and the commemorative nature of living serve to reinterpret the relationship between people and objects within the institutional framework of the museum?



Wen Hsuan Chang
'S Diary
Mixed media
Site-specific dimensions
2016
Wen Hsuan Chang recently focused on the genealogy of Taiwan’s left-wing movements. Her works handle the interweaved and contradictory relationships embedded in the narrative of Taiwanese subjectivity and local sovereignty using the meta methods of literature. Her new work, produced for Amnesia and Malevich’s Pharmacy, encompasses written text, concept and installation. She viewed the regularly understood art history narrative embedded in TFAM collection as cultural codes, and repositioned them. The artist fabricates two characters – an illiterate woman born in the 1920s active in left-wing political groups, and her grandson, a disheartened intellectual born in the 1950s. The grandson accidentally discovers his grandmother’s handmade diary and begins to write commentary about it, through a belief that “based on human nature, all history is leftist history.”


Yi Jou Sun
TFAM: Taipei Flat Arts Museum
Performance project
2011
In 2011 the artist Yi Jou Sun undertook the performance project TFAM: Taipei Flat Arts Museum inside and outside Taipei Fine Arts Museum. Protesting against the scandal on special exhibitions in TFAM, her action/works finally led to the resignation of previous director of Taipei Cultural Affairs Bureau. And her continuing protest also generated a conference among directors of Taiwan main art museums and government officials in autumn, 2011. The conference aimed to formulate new examination regulation of special exhibitions in TFAM. This new regulation was executed on January 2012. However, because of the performance piece, she and her partner Wu, were being sued by the previous director of Taipei Cultural Affairs Bureau. From January 2012 until now, Sun and Wu still have to appear in court. The traces of these actions have now become part of the museum’s own ongoing experience.


Yi Jou Sun
TFAM: Truly False Arts Museum
Performance
2012
In 2012 the performance work TFAM: Truly False Arts Museum took place in the main lobby of TFAM. Beforehand, the artist froze a three-page document (a letter from the whole TFAM staff to then-mayor of Taipei City, Hau Lung-pin) inside a block of ice. Throughout the nearly four hour performance, she said nothing, but only used her own body heat to melt the ice, finally placing the three flimsy, waterlogged sheets of paper on the floor of the lobby and leaving. Thus, the artist completed a statement about the current state of the art museum and the issue of the commodification of the public realm. In December 2012, her performance finally favored the formulation of new laws on special exhibition in Taipei Fine Arts Museum.


Wei Li Yeh
Antiquity-Like Rubbish Research & Development Syndicate – Wooden Box Shoe Collection
Wood boxes, miscellaneous objects, shoes
Site-specific dimensions
2010-2012

Wei Li Yeh
Antiquity-Like Rubbish Research & Development Syndicate – Miscellaneous Objects
Plastic, wood, steel, glass
120 x 40 x 137cm; 120 x 40 x 122cm
2010-2011
Both Wooden Box Shoe Collection and Miscellaneous Objects are from the project Antiquity-Like Rubbish Research & Development Syndicate, begun by Wei Li Yeh in 2010 and exhibited as part of the Taipei Biennial under the name Antiquity-Like Rubbish Research & Development Syndicate in 206 (“206” refer to the room where permanent collection of Taipei Fine Arts Museum was regularly exhibited). The ongoing project addresses the issues of garbage, art, the gradation of objects, the labor of artists, process, the art museum as institution, and the transcendence of the definition of objects amidst the evolution of the art museum system.


Cheng Ta Yu
“It’s No Big Deal, It’s My Job” —Adapted from an Interview with Yu Chun Lin
Performance, installation
2016
This project is an adaptation from the work history of art historian and senior collection archivist Yu Chun Lin, enabling the labor hidden within the collection system to attain a living state. Unlike many of her peers who have specialized in Chinese art history, Lin devoted her early career to researching four first-generation Taiwanese painters who lived abroad in either France or Japan. Since joining Taipei Fine Arts Museum, she has prepared the commemorative exhibitions of several first-generation artists, handled collection acquisitions, composed histories, and arranged exhibition displays. She was the curator of the recent exhibition “Formosa in Formation.” This project is adapted from an interview with Yu Chun Lin. In an on-site broadcasting studio, a voice talent interprets the role of the archivist in a spoken word performance once a day.

Goang Ming Yuan
Storage of Tranquility
Video
Site-specific dimensions
2016
For members of the public, the storage facilities of an art museum are like a “forbidden zone.” Within this restricted area artworks take on a different likeness, slumbering quietly under the faithful protection of the art museum. Storage of Tranquility is a new work produced for Amnesia and Malevich’s Pharmacy. The artist, adept at the crafty manipulation of images, focuses his consideration on the life and death of the storage area’s archived art and objects. By arranging works from the collection within his own work, the artist takes on a role similar to that of a curator.


Yu Cheng Chou
APWindow1989Liao
Hand-painted mural
Site-specific dimensions
2016
APWindow1989Liao introduces six murals based on the 1989 Window series by Liao Shiou-ping from the museum collection. TFAM acquired Window I, Window II and Window IV in 1989. Informed by the serial nature of the three works, the artist deduced its theme and variations, attempting to explore the images’ level of thematic openness and their feasibility of translation in terms of color, dimensions, and spatial structure. Through hand-painted mural in museum gallery, he investigates the question of how collected works could be re-exhibited.

創作者介紹

易術碎碎唸,郭昭蘭Jau-lan Guo

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