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繞道而行 Detour

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展期/1.15(五)-2.28(日) (週一休館)
開放時間/11:00-18:00
導覽/1.15(五)19:00
地點/台北國際藝術村,百里廳
策展人/林裕軒
藝術家/何彥諺、楊季涓、蔡宗勳

Exhibition Period/1.15(Fri.) – 2.28(Sun.) (Closed on Monday)

Open Time/11:00-18:00 Opening

Guided Tour/1.15(Fri.)19:00

Venue/Taipei Artist Village, Barry Room

Curator/LIN, Yu-Hsuan

Artist/HO, Yen-Yen, YANG, Chi-Chuan, TSAI, Tsung-Hsun

高中生發聲計畫youtube

​繞道而行展覽手冊

視覺設計:izhii
插畫家:Wu Shih Yong (neil mc)
技術協力:劉昱廷、黃敬涵
翻譯:黃郁捷
廣播配樂:姚子皓
特別感謝:
財團法人拉縴人文化藝術基金會、台北市立和平高中和樂合唱團、翰廷法律事務所、立方計劃空間、福利社

不久前和朋友聊起當年318運動,我好奇問身為高中生的他在那段期間的生活。他說著當時的煩惱是穿越抗爭人群去南陽街補習班的困難;也有朋友提到他必須穿過拒馬才能踏入校園,更有些人在立法院前打卡被嘲笑湊熱鬧。經驗上的時差與階段性專注事物的不盡相同,我們沒有繼續探究這場運動在過去的感受和對自己現在的影響,相似的是至今走在這些柏油路的時間像是一致的。因現實的膨脹或地表擠壓發生的災難與異議現場,在線性時間裡截出了時間點,也散出了對同一個事件不同的感受。這些感受上的落差不單單顯現在家中牆上因地震產生的裂痕、褪色於電線桿上的抗議訴求貼紙,抑或是隨手從口袋翻出口罩般的奇異日常。當新型冠狀病毒(COVID-19)疫情在世界上擴散後,時間也即將區分了疫情發生前與後,甚至是疫情結束的未來,事件就這樣顫動地潛行於街道、電影院、校園、車廂與情感空間中,一路從我們的公共空間直達我獨處的時刻,這裡的我們不再是強化集體意識的口號,而是在劇烈的變化裡確認自身定位的標點,在社會反覆的意識框架中,個人情感上的反應怎麼成為一種社會願景。

「繞道而行」一展以青少年的年齡階段當作某種感性無法定義的線索,將位於北平東路的展場作為一條已知未來盡頭的路面。在這已發生、正在發生但終將成為過去的事,如何辨認那刻的感受;過去的未參與,至今仍框於生活的經歷感受,如何影響自己的觀看角度。展覽將時間與感受的變化狀態聚集於此,進而以個人的獨白重新觀看社會意識,「我」如何在個人妄想裡釐清真實。

以這樣的關注角度,何彥諺在作品〈席地而坐〉中,藝術家以2014年3月19日的報紙,頭版底下一則「台灣科學家找到宇宙膨脹證據」的報導作為材料,她把觀看臨時社群的角度進行翻轉,將街上道路、操場與室內運動場的地面質感,放置成一個個可以挪動的牆面,移動作為集結功能的表面,在摩擦的腳步聲中讀取在地面外的平行時空;另一方面,楊季涓的作品〈每個人的身體裡都有一段旋律〉,以高中時期曾參加合唱團的經歷作為故事原型。她與臺北市立和平高中合唱團共同重新錄音製作合唱歌曲-「褒忠讚歌」,以寓言的方式在這社會框架中,留出每一個聲音在群體中始終存在的(或許不易見的)特殊性;蔡宗勳用傳遞給未來自己的訊息-「時光膠囊」作為主軸,以輕鋼架與矽酸鈣板將空間的天花板填補成一個傾斜且肅靜的平面,其天花板背面的光線,讓延長的影子映在這些社會碎片中。在作品〈背面〉裡,他將客觀時間切除、黏合與榫接在個人時間的剖面上,與已知和未知的時間交匯後,再展開與自己的溝通。

換句話說,這個特定的年齡階段展示了一種「被描述」的未完成狀態:自我與他人意識的初建、進行中的自我認同,我認為其應當被視為一個帶狀且必定持續進行的感性狀態,一個從個人時間延伸至集體時間的高速公路,一路也途經我們的島嶼。從再現已經成為過去歷史的場景,到追問其中角色的內心獨白,一個相同事件是否可以透過客觀描述與符號化成就相異的塑造?看似在宣示某種感性至上,無理性下而產生的原地折返,但在這個展覽中待呈現的是:有沒有一種透過個人自傳式的途徑,來勾勒出當代曾有過且正在發生的社會景象?當事件已經在歷史中沈澱後,我們又該如何在時間中繞道回視,在此刻解讀彼刻所創造的生命經驗?

 

It was not long ago that my friends and I talked about the Sunflower Movement and out of curiosity, I asked them about their daily life during that period of time. As a senior high student at that time, one of them said what worried him most was the difficulties to fight his way through the crowd to the cram school on Nanyang Street. Another mentioned that he had to bypass the barricades to get into the school. The others were even teased about going along for the ride as checking in at the Legislative Yuan. This shows the fact that the differentiated experiences and concerns vary greatly across individuals and periods. On the contrary, what’s coherent is the sense of time of walking on a tarred road. However, in the end, we did not discuss further about how we felt about the movement and how it has influenced us till now. Either a catastrophic scene caused by a compression on the ground surface or a battlefield for protesting marks notes in linear time and expresses different emotions toward the same thing. The gap of sensibilities is documented not only in earthquake cracks on walls and faded protest stickers on utility poles but also when wearing facial masks becomes the new normal nowadays. While the COVID-19 pandemic has spread around the world with alarming speed, the time is divided into before and after the pandemic and even the future without it. Things move latently across actual spaces, like streets, movie theatres, campus, carriages and embody within emotions as well.

From a public sphere to a moment of solitude, the “us” here is no longer a call to strengthen a collective awareness but to anchor a self-presence in dramatic changes and turbulence. In the frame of social identity, how can emotional responses of individuals reflect or foresee a social vision?

The question is addressed in this exhibition: it views adolescence as an indication which is hardly defined with sensibilities and takes the exhibition space on Beiping East Road as the road extending into a predictable future. What’s happened and happening will eventually become parts of the past. Therefore, how can we identify the feeling at that particular moment? Those we missed, on the one hand, settle in our shared experiences. On the other hand, they reframe our perspectives toward certain things. This exhibition collects changes of time and feelings; moreover, reviews a social awareness via a personal monologue:how can “I” distinguish reality from my personal illusion?

This exhibition invites three artists to outline the scenario. In her work On the Ground, Yen-Yen Ho takes a newspaper clipping as materials. This overlooked information about a Taiwanese cosmologist found the evidence of the earth’s inflation was placed at the bottom of the front page on March 19th 2014. She provides another way of viewing and engaging a temporary community. Ground textures of road, playground and indoor stadium are placed as movable vertical panels. These ground panels escape from their purpose of gathering and the friction of dragging panels resonates the parallel universe outside. On the other hand, Chi-Chuan Yang’s work The Rhythm Inside is based on her experience of singing in a choir in senior high school. She invites the choir of Taipei Municipal Heping Senior High School to co-record the song, Ode to Bozung, interpreting each distinctive voice existing in a society. Tsung-Hsun Tsai, in his work, Far Side, delivers a message—a time capsule to his future self. Covered with light steel frames and calcium silicate panels, the ceiling turns into a gentle incline. The light streaming behind the ceiling casts a long shadow of calcium silicate panel on other objects intentionally arranged in the space. The artist cuts, sticks and joints a slice of objective time onto an intimate and personalized one. The known time intersects with the unknown one, and meanwhile the intersection leads to an internal dialogue of the artist’s himself.

In other words, this specific age manifests an unfinished condition: the awareness of distinguishing “I” from “the other” and an ongoing identity construction. Thus, this condition should be seen as a linear and proceeding one with sensibilities, like a highway runs from an individual toward a collective. Taiwan, likewise, has featured this kind of ambiguous and unsettled situation in every aspect. From unfolding a historical situation to tracing self-monologue, whether an event is objectively described or symbolized into a simple and flat one? Through an unreasoning back-and-forth which seemingly underlines and values sensibilities, this exhibition tends to address whether there is an autobiography-like approach to depict social scenes in our time. When an event gets into history, how can we take a detour in time to retrospect and interpret those happened life experiences once again?

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圖為日間展覽現場 The picture is of the daytime exhibition scene.

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圖為夜間展覽現場 The picture is of the nighttime exhibition scene.

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上方為藝術家蔡宗勳作品〈背面〉,右側與前方之三個牆面為藝術家何彥諺作品〈席地而坐〉。

Above is the artwork "Far Side" by artist Tsai Tsung-Hsun, and the three walls to the right and front are the artwork "On the Ground" by artist Ho Yen-Yen

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上方系列圖為藝術家蔡宗勳作品〈背面〉

The series of images above are artworks by artist Tsai Tsung-Hsun titled "Far Side".

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上方系列圖為藝術家何彥諺作品〈席地而坐〉細部照

The series of images above are detailed shots of the artwork “On the Ground” by artist Ho Yen-Yen.

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何彥諺,席地而坐,2021

Ho Yen-Yen, On the Ground, 2021

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圖為藝術家楊季涓作品〈每個人的身體裡都有一段旋律〉,作品為圖中的繪畫作品與聲音裝置。

The picture shows the artwork " The Rhythm Inside" by artist Yang Chi-Chuan, which consists of the painting in the image and a sound installation.

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