游擊隊 

 

藝術家：

新台五線-林冠名、鄭乃方、劉躍、謝牧岐、羅志宇

復興漢工作室-石政哲、朱倩儀、吳其育、李承亮、陳亮璇、陳敬元、致穎、張曉書、黃湧恩、王世邦

讓豬仔飛-王煜松、林裕軒、林盈潔、何彥諺、許庭甄、楊懿軒、湯雅雯、蔡宗勳、羅婉云、魏柏任

 

策展人：林裕軒

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此展聚焦的三大核心:藝術生產、藝術團體、新生代藝術家，與對現在展覽的觀察—展覽消費速度高、作品重複率高，展覽似乎成為一種生產模式。節選自2006-2018這十年各時期的三組年輕藝術團體新台五線、復興漢工作室、When pigs fly團隊，透過青澀的創作計劃進而在作品裡帶著一點義氣和不顧一切，用藝術群體的創作計畫來對應我們面對的社會，我們該如何透過這些作品去重新建構這個生產鏈的未來想像。

 

『游擊隊』這個概念指的是非正規的組織，在自己所熟悉的地形和環境裡四處出擊，透過能動、靈活、分散的遊走模式以及各種專長互補的打擊進而去贏得一場戰爭。從這十年的群體創作計畫來對應我們各自面對的生態、社會結構是如何長成的？為什麼而做？如何展開戰鬥的？團體組成的目的在強大彼此的能量，除了現實嚴峻所集結而成而展開的游擊模式 ; 個體所展現的能力在群體中該如何伸展。這種殺你個出其不意能否給如一灘死水的環境一拳痛擊，透過展覽組成的臨時性生產基地，進行群體的串連、合作、共享，進行發聲。

 

誰還需要新的東西

現今資訊爆炸、展覽消費速度過高的失衡狀態，藝術家生產的速度趕不上展覽發生的頻率，25-40歲的藝術工作者如果作為個人生涯發展的重要關鍵：多棲的工作狀態、反覆的勞動生產模式，是否成為試圖突破框架但是又進入迴圈與保守思想的生產者？誰還需要新的東西？而這種模式不斷的重複，隨著時間的推延 ，我們最終都會進入這種迴圈裡頭。這些舊作，是否可收舊瓶新酒之效。

 

喃喃自語接手起飛

When pigs fly計劃經由展覽的發生，進行一個要讓策展人飛行的計劃，也許想要讓一個人飛起來的狀態是那麼的白日之夢，卻可在作品裡帶著一點義氣且近乎直覺地放下所謂世故的選項。

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從藝術團體創作的歷史意識試圖上升成為一個策展意識，如何在展覽裡面進行接棒使展覽成為歷史的問題意識，這樣團體式的計劃該如何擴大成團塊式的創作企圖？以及該如何在這當中拋下學院政治中的錯亂來找尋新的替代路徑。

 

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Guerrilla

 

Artist:

N.T FIVE

Guan-Ming LIN / Nai-Fang CHENG / Mu-Chi HSIEH / Chih-Yu Luo / Liu yaoFUXINDHEN

 

STUDIOSHIH

Cheng-che / CHU Chien-Yi / WU Chi-Yu / LI Cheng-liang / CHEN Liang-hsuan / CHEN Ching-yuan / CHANG Hsiao-shu / HUANG Yung-en / Chih-ying / Anpis WANG

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WHEN PIGS FLYWANG

YU-SONG / LIN,YU HSUAN  /  LIN,YING-CHIEH / HO, YEN-YEN / HSU,TING-CHEN / YANG,I HSUAN / TANG,YA-WEN / TSAI TSUNGHSUN / LO,WAN YUN / WEI,PO-JEN

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Curator: LIN YU HSUAN

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This exhibition focuses on three core values: arts making, artist’s groups, blooming young artists, and the observation of exhibitions now, which the exhibitions being overly consumed and the repetition of similar art works. All of those above turn exhibitions making into a production mode. New Taiwan Five, Fuxinghen Studio, and When Pigs Fly are selected to represent the young artist’s groups from 2006 to 2018. Through their slightly inexperience art projects, combining the risk-taking and self-sacrifice quality in their works, they had these project as a correspondence of our society, and further reconstructed the future imagination of the production chain.

 

The concept of “Guerrilla” indicates that as an informal organization, it enables group members to go out and attack within the environment and terrain that they are familiar with. Through the initiative, flexible and spread quality of guerrilla, combined with the complementary expertise from each of the members in the group, it forms a way to win a war. To relate the field that each of us is facing and the growth of society back to the group projects executed within the ten years, we can see the reasons that formed the group projects and the way to fight within a guerrilla. The purpose of forming a group is to strengthen the power of each members, and to figure out the way to expand one’s ability within a group, regardless the severe reality once faces. The group would like to discuss whether this guerrilla can take people by surprise with its own unique way of attacking, and give the deadly environment a punch in the face. Further, to voice for the young artists trough the temporary formed production base by the connections, collaborations and sharing within the group. 

 

Who Needs New Things

The explosion of information and the unbalanced state of overly consumed exhibitions cause the inability of artists to follow up the happening of exhibitions. As for most artists at their 25 to 40 years old being in the crucial time to develop their career, the need of regarding the working state of double-dwelling, the repetition of labored producing mode, might lead them to break through the stereotype and enter the loop of conservative idea as a producer in the same time. Who needs new things? This mode repeats over and over again. With the postpone of time, all of us will inevitably enter this loop, which leads the discussion of whether these dated art pieces can be seen as new works by presented within different forms.      

 

Mumble, Take Place and Fly

<When Pigs Fly> project started the exhibitions in order to achieve the goal of making the curator to fly as a metaphor. Enabling a person to fly might seem like a daydream, but did bring in a bit of risk-taking and self-sacrifice quality into their works, excluding the options of being sophisticated. 

 

The discussion is surrounded by the ways of making exhibitions into an awareness in history and to enhance the intention of group works from team projects, in order to evolute the historical intention of artists’ group work into a curatorial purpose. Further, to confer about the methods of dropping the academic politics and to look for a substitution in the chaos.