健忘症與馬勒維奇的藥房  策展論述

 

博物館一旦被發明、被指定任務,人們就很難以想像世界上 還會有什麼別的事物,它不屬於某種佔優勢的地位或資格、某 」, 另外一種書寫神學的方法。2

——(布雷奇歐)Donald Preziosi

 

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。但是,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,甚至捏造新 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?

 

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 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 (R u b e n s) —— 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)。」3 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。」4 這個研究展覽企盼對那些尚未被收藏的事物, 提出試探性的方法學備忘錄。

 

誰在典藏?

 

前亞洲協會(Asia Society)總裁戴莎(Vishakha N. Desai)在一篇討論美國博物館 21 世紀亞洲藝術典藏的文章〈超越「原真 - 國情調」:21 世紀典藏當代亞洲藝術〉中,一開頭就指出:儘管美 國博物館界普遍意識到不應該像過去一樣,對於非西方世界的 創造性表現採取選擇性的健忘,但是,對於下一步究竟該怎麼做 可以說幾乎毫無共識。5 有關亞洲藝術在西方的典藏,部分肇因 20 世紀初期浪漫主義式對原真-異國情調(authentic-exotic) 的追求 6,即使到了1996 年,《紐約時報》評論都還會有「是否存 在嚴肅的亞洲當代藝術」的懷疑聲音。7 隨著當代藝術全球化現 象,主流美術館對於非西方藝術家的展示大增,但是在典藏方面 則依舊保守。首先,主流美術館缺乏對誕生自特定文化環境下的 亞洲現代藝術脈絡的理解,即使相對容易的當代藝術,也仍舊存 ( c a t e g o r y ) 窘迫。8 收藏亞洲當代藝術的問題正在驅使典型百科全書式的博 物館典藏系統調整出一種新的、非正統的、混種的典藏方法。然而,像這樣對歐美主流美術館漠視亞洲當代藝術的呼聲,自然會 導致一種結論,認為「自己的」美術館應該要趕在他人之前致力典自己的藝術只是這種力量伴隨視美術館為現代化國家 的文化建設基礎工程的想法則同時透過典藏 - 展示機制限縮著 何謂自己的想法。 9

 

所謂亞洲美術的現代論述,尤其是 20 世紀前半,更正確地 說乃是座落在廣泛的文化史與國族主義的發展之上,而不是那種 獨尊以個人創造精神鬥爭對峙於社會的典型現代主義敘述。10 可以說明兩個現代性在亞洲的「效果」:其一是亞洲現代美術本 身與國族主義之間的關係,另一方面則是現代性讓藝術的無所作 為在這裏出現了論述上的大空隙,這個空隙讓藝術市場或國家行 銷更容易地加以佔據。

 

收藏,可說是將物件的功能剝除後,經由「佔有」這種抽象過程 才真的為收藏者所擁有。11 收藏發生的同時,物件從其脈絡脫鉤, 同時又進入了另外一種脈絡。佛洛伊德自己就是一個古物收藏家, 他把收集、編排順序與收集的偏執連結到人的潛意識,並將這些行 為對應於身體、社會或性無能的性慾反應。從這個角度說,收藏與「缺席」並存,有多少收藏,就同時意味相對等的「缺席」。

 

博物館在 18 世紀歐洲,是跟民族國家的概念一起建立的。 對於第三世界國家的現代美術館來說,建立一個與國家形象相關 的博物館幾乎就是一個必要建設。而當藝術作品成為公共藝術 收藏的時候,它也就成為一個更大的歷史敘述的插曲。「它被組 織和呈現為特定的順序,有著具體的人物和行動。這種敘述最終 展現了一部歷史。在現代美術館中,例如紐約的 MOMA、龐畢度 藝術中心、或泰德美術館,歷史開始變成一種當代藝術的故事, 而且正如 Daniel Buren 所說的『通過制度,歷史會變成自然的一 個部分。』」12

 

針對這個自然化的過程,批判藝術史學者布雷奇歐(Donald Preziosi)以下面的圖示摘要藝術典藏機制與博物館如何左右我們 理解世界的方式。博物館建制性與現代性的基礎結構又如何成 為一部自「編導/技藝」出發的主體藝術歷史的建構機器。

歷史 [ 藝術 { 主體 ( 編導/技藝 ) 主體 } 藝術 ] 歷史 13 的「自 正」潮 大美術館陸續登場。荷蘭恩荷芬現代博物館(Van Abbemuseum) 的「Play Van Abbemuseum」、西 (Museo Nacional de Reina Sofia)、甚至紐約現代美術館、布魯克林美術 館、惠特尼美術館。14 這種轉變強調另類的歷史軌跡,或者對藝 術傑作的新發現,意味的是對傳統藝術史敘述的展示詩學與展 示政治的修正路線。

 

「健忘症與馬勒維奇的藥房」在北美館典藏實驗展的架構下, 則選擇面對典藏建制及其現代性課題,提問究竟歷史與個人的 巨大斷裂如何得以縫合。黃大旺與 HUB A 的〈危險的平衡: 物者的斷捨離〉中個人囤物者的行為,與它對美術館的挑戰,就 是朝向同一個目標的兩個方案。這一句話的潛在邏輯即是,美術 館透過藝術收藏所完成的敘述,必須屬於每一個人,但是如果美 術館透過藝術收藏的歷史敘述無法屬於每一個人,那麼每一個 人就應該擁有自己的美術館。

 

終究,如何擁有一個「屬於每一個人」的公共美術館呢? 此之前,我們可能想像一個沒有國家的美術館嗎?15 面對當前 的處境,或許可以開始思考的是,究竟美術館需要收集的是怎 樣的物證?

 

1. 這篇論述完成於展覽結束後,為保留原刊登於展場之策展論述,文章由兩部分組成:「策展 論述」與「誰在典藏?」。

2. Donald Preziosi: Collecting/Museum, in Robert S. Nelson and Richard Shiff ed.: Critical Terms for Art History, rst edition, Chicago, University of Chicago Press, 1996, p.290

3. Kazimir Malevich: On Museum, from Kazimir Malevich: Essays on Art, vol.1,
4. 波里斯.葛羅伊斯(Boris Groys)著,郭昭蘭與劉文坤譯,《藝術力》(Art Power),台北:

藝術家出版社,2015,頁 41-665. Vishakha N. Desai: “Beyond the ‘Authentic-Exotic’: Collecting Contemporary Asian Art in

the Twenty- rst Century” in Bruce Altshuler ed.,: Collecting the New, Princeton and Oxford,

Princeton University Press, 2005, p.103.
6. 科恩(WarrenI.Cohen)著,段勇譯,《東亞藝術與美國文化 : 從國際關係視角研究》(East

Asian Art and American Culture),北京:科學出版社,2007,頁 18-20。亞洲美術典藏在 20 世紀初期進入重要博物館的時候,以波士頓美術館主要藏品貢獻者 William S. Bigelow Ernesrt Fenellosa 為例,多是抱持著追尋日本藝術中的日本「精神」(essence)。這些追 尋「不變的精神價值」的亞洲藝術恰恰是 20 世紀初期現代藝術強調個人創造實驗美學修辭 的一部分。這種觀點的效果當然有助於合理化進步的以及優越的西方在亞洲國家的殖民。

7. 引自 Holland Cotter: “The Brave New Face of Art from the East”, New York Times, 29 Sep- tember 1996, Arts and Literature, Vishakha N. Desai: “Beyond the ‘Authentic-Exotic’: Collecting Contemporary Asian Art in the Twenty- rst Century” in Bruce Altshuler ed.,: Collecting the New, Princeton and Oxford, Princeton University Press, 2005, p.103.

8. 同註 49. 澳洲昆士蘭美術館。10. John Clark: Modern Asian Art, Fine Art Publishing, pp.220-226.
11. Jean Baudrillard: ‘The System of Collecting”, in John Elsner and Roger Cardinal ed., : The

Cultures of Collecting, London, Reaktion, pp.7-24.
12. 伊沃娜.布拉斯維克語,見皮力〈策劃人時代〉,南京:江蘇美術,2004,頁 13513. 同註1,p.281
14. Rachel Wetzler: Autocorrect: The Politics of Museum Collection Re-Hangs, Vol115, n.3, Art

News, p.38.
15. 徐文瑞:「所以關於美術史的杜撰,綜合剛剛各位所談的,我看到的不只是健忘症,事實上

它還是嚴重的精神分裂症與失語症。作為台灣藝術史中的精神分裂症,等於是台灣作為一個 國家內部嚴重的問題,不只是藝術本身的問題,而是國家的問題。那麼各位可以想像一個藝 術史是沒有國家的,我們也可以這樣想對不對?一個沒有國家的藝術史,那也很有趣的。但 我們能夠那樣想嗎?如果能夠那樣想的話,那我們就真的找到了精神分裂症一個很好的解 藥。」見〈『健忘症與馬勒維奇的藥房』展覽論壇:4897,主體性的幻象,公共收集,典 藏歷史與歷史典藏〉,《現代美術》,183 期,2016 12 月,頁 87

 

Who Is Collecting?1

Jau Lan Guo

So also does the museum, once having been invented and deployed, make it di cult to imagine a world in which a made thing could be anything but the reflection, effect, product, sign, or “representation” of some prior state or capacity, some intention or purpose. Which ... is of course another way of scripting theology.2

—Donald Preziosi

Curatorial Statement

e art museum’s endeavor of collecting art has signi cance of a public nature, yet it is also part of a cultural construct of aesthetic objects under speci c political and economic conditions. e 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 situations, 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. Yet 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 identi cation.

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 ction, 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 o ering that they burn all past epochs, since they are dead, and set 

up one pharmacy. ... e aim (of this pharmacy) will be the same, even if people will examine the powder om Rubens and all his art - a mass of ideas will arise in people, and will be o en more alive than actual representation (and take up less room).3

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 codi ed 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 – a er all, reality can be de ned in this context as the sum of all things not yet being collected.” 4

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

Who Is Collecting?

In the opening passage of her essay “Beyond the ‘Authentic-Exotic’: Collecting Contemporary Asian Art in the Twenty- rst Century,” president emeritus of the Asia Society Vishakha N. Desai considered the general mindset of acquisition policy in the United States:

ere was an intellectual awareness that they could no longer a ord to have selective amnesia about the creative expressions in the non-Western world in the twentieth and twenty- rst centuries, as had been the case for most of the last century. Beyond that awareness, however, there was no agreement about what the next steps should be.5

The acquisition of Asian art in the West partly arose from a romantic pursuit of the “authentic-exotic” in the early 20th century.6 Even in 1996, commentators in the New York Times questioned whether serious Asian contemporary art even existed.7 With the globalization of contemporary art, mainstream art museums have greatly increased their exhibition of non- Western artists, but they remain conservative when it comes to acquisition.

First, mainstream Western art museums lack understanding of Asian modern art contexts arising from specific cultural environments. Even with contemporary art, which is relatively accessible, they are still hesitant and perplexed as to which category within the collection system it should ultimately be placed.8 The issue of acquiring Asian contemporary art is currently driving classic encyclopedic-style museum collection systems to adopt new, unorthodox, mixed collection methods. Yet voices calling for mainstream European and American art museums to disregard Asian contemporary art naturally lead to the conclusion that “our” art museums should prioritize acquiring “our” art over the art of others.9 The only thing is, the power that accompanies the view of art museums as fundamental facilities of a modern nation’s cultural infrastructure also leverages the acquisition-exhibition mechanism to limit thinking about what can be de ned as “our art.”

Stated more correctly, the modern exposition of so-called Asian art, especially in the first half of the 20th century, has been anchored within the broad development of cultural history and nationalism, not the typical modernist narrative of a spiritual struggle of individual creativity against society.10 This can explain two “effects” of modernity in Asia: One is the relationship between Asian modern art itself and nationalism. e other is that modernity makes art ine cacious, causing a big gap in discourse, and this gap makes the art market or national marketing easier to occupy.

Collection may be described as the process whereby objects are divested of their function and come to stand for the collector through the abstract process of possession.11 When collection takes place, objects are decoupled from their original context and placed within another context. Sigmund Freud, who was himself a collector of antiquities, argued that collecting, and the ordering and obsession that accompany it, reveal much about the unconscious mind, and that such behavior is a response to actual physical, social or sexual impotence. From this perspective, collection coexists alongside “absence,” and to the extent that there is collection, it suggests a corresponding degree of “absence.”

The European museums of the 18th century were built in tandem with the concept of the nation-state. In the Third World, establishing a modern art museum reflecting the national image was almost an indispensable undertaking. Thus, when an artwork is added to a public art collection, it becomes an episode within a larger historical narrative. Such a narrative is ordered and presented in a specific sequence, and has concrete characters and events. It ultimately displays a history. In modern art museums, such as MoMA, the Centre Pompidou, or the Tate, history starts to become a story of contemporary art. And in the words of Daniel Buren, through the system, history becomes a part of nature.12 

Regarding this process of naturalization, critical art historian Donald Preziosi used the visual formula below to summarize how art collection mechanisms and museums create boundaries to our understanding of the world, and how museums’ fundamental structure of institutionalism and modernity become a fabricating machine, starting o from “stage/cra ” and manufacturing subject – art – history:

History (Art (Subject (Stage/Cra ) Subject) Art) History13

In recent years, it has become a trend among many major art museums – Van Abbemuseum in the Netherlands, with its “Play Van Abbemuseum,” the Museo Nacional de Reina So a in Spain, even MoMa, the Brooklyn Museum

and the Whitney Museum in New York – to “autocorrect” their collections 14
and exhibitions. These pivots in outlook emphasize alternative historical trajectories or new discoveries about masterpieces, suggesting corrections of the direction of the poetics and politics of exhibition within traditional art history narratives.

Within the framework of Taipei Fine Art’s Museum’s experimental exhibition, Amnesia and Malevich’s Pharmacy chose to address the issue of the collection institution and its modernity, and to ask how the chasm between the history and the individual can ultimately be bridged. In Construction of Dangerous Balance: A Guide to Refusal, Disposal and Separation – for a Hoarder by Dawang Yingfan Huang and Hub A, one person’s hoarding behavior and its challenge to the museum were two projects aiming toward the same goal. e implication of this sentence is that the narrative which an art museum shapes through its art collection must belong to each individual, but if the historical narrative of a museum’s art collection cannot belong to each individual, then every individual should have their own art museum.

Ultimately, how can we have a public art museum that “belongs to every individual”? As a prelude to this, can we imagine an art museum without a nation?15 Faced with the present situation, perhaps what we can begin to ponder is, what kind of material evidence must an art museum ultimately collect?

1. This essay was completed after the exhibition had ended. To preserve the original curatorial statement as it was released at the exhibition site, This essay is divided into two parts: “Curatorial Statement” and “Who Is Collect- ing?”.

2. Donald Preziosi, “Collecting/Museum,” Robert S. Nelson and Richard Shiff, ed., Critical Terms for Art History, rst edition, Chicago, University of Chicago Press, 1996, p. 290

3. Kazimir Malevich, “On Museums,” from Kazimir Malevich: Essays on Art, vol.1, New York, George Wittenborn, 1971, pp. 68-72

4. Boris Groys, Art Power, Cambridge, Mass., MIT Press, 2008, p. 21
5. Vishakha N. Desai: “Beyond the ‘Authentic-Exotic’: Collecting Contempo- rary Asian Art in the Twenty- rst Century” in Bruce Altshuler ed., Collecting

the New, Princeton and Oxford, Princeton University Press, 2005, p.103
6. Warren I. Cohen, East Asian Art and American Culture, Columbia University Press, 1992. At the beginning of the 20th century, when America’s major institutions were building their Asian art collections, influential institu- tional collectors such as William Bigelow and Ernest Fenellosa, both major contributors to the Boston Fine Arts Museum collection, sought to find the “essence” of Japanese art in its earlier periods. This quest for “time- less spiritual values” in Asian art are precisely part of the rhetoric of early 20th-century modern art, with its emphasis on an experimental aesthetic of individual creation. The effect of such viewpoints is of course to help ra- tionalize the colonization of Asian nations by the progressive and superior

West.
7. Holland Cotter: “The Brave New Face of Art from the East,” New York Times,

29 September 1996, Arts and Literature. See: Vishakha N. Desai, op. cit. 8. Op. cit., Boris Groys

9. Queensland Art Gallery, in Brisbane, Australia
10. John Clark, Modern Asian Art, Fine Art Publishing, pp. 220-226
11. Jean Baudrillard, “The System of Collecting,” in John Elsner and Roger Car-

dinal ed., The Cultures of Collecting, London, Reaktion, pp. 7-24
12. Pi Li, Cehua Ren Shidai (“The Age of Curators”), Nanjing: Jiangsu Art Press,

2004, p. 135. The passage cites the words of Iwona Blazwick.
13. Op. cit., Donald Preziosi, p. 281
14. Rachel Wetzler, “Autocorrect: The Politics of Museum Collection Re-Hangs,”

Art News, not just amnesia, but severe schizophrenia and aphasia. This severe schizophrenia in Taiwanese art history is equivalent to the serious internal problem of Taiwan as a nation-state. It is not just an issue of art itself, but the issue of nationhood. We can all imagine an art history without a country. It’s possible to imagine that, right? A stateless art history – that’s very interesting. But are we capable of thinking that way? If we can think that way, then we will really have found a good antidote for our schizo- phrenia.” See: Journal of Taipei Fine Arts Museum, no. 183, Dec. 2016, p. 87 (Chinese-language).

 


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.

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