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
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.
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
張紋瑄Wen Hsuan Chang
の日記 'S Diary
孫懿柔Yi Jou Sun
美術館是平的 TFAM：Taipei Flat Arts Museum
孫懿柔Yi Jou Sun
正治TFAM：Truly False Arts Museum
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
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
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
袁廣鳴Goang Ming Yuan
沈睡中的典藏風景 Storage of Tranquility
周育正Yu Cheng Chou
Dawang Yingfan Huang and HUB A
Construction of Dangerous Balance: A Guide to Refusal, Disposal and Separation – for a Hoarder
Installation and project
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
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
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
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
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
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
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
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 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.