無地之愛─黃孫權個展

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无地之爱海报.jpg
无地之爱 ─ 黄孙权个展
u-topophilia : Huang Sunquan's Solo Exhibition
 2014年10月26日 至 2015年03月20日
 艺术家	黄孙权
 展馆	红砖美术馆1号、2号、4号展厅
 开幕	2014年10月26日 星期日 18:30
 论坛 艺术家报告:在田野与社会性空间的艺术
 2014年10月28日 星期二 14:00-17:00
 对话者	陈界仁、李巨川、王家浩
 创作论述 无地之爱 - 在田野与社会性空间的艺术
 相關資訊 紅磚美術館展覽資訊 展覽手冊 展覽出版:建築與烏托邦
 相關評介
 ArtRview Aisa,by Xu YaZhu 
 藝術論壇 ArtForum  黄孙权谈“无地之爱”
 雅昌藝術網開幕視屏 “无地之爱”黄孙权个展在京开幕 


烏托邦是人類不滿現實而頑強希望的歷史。Utopia的“u”希臘字源來自“ou-topos”,即無地方,接近英文的”a-topia”。“u”也可解釋成eu-topos,意味著快樂美好。topohpilia則是地方之愛,場所之愛,著名的人文地理學者段義孚的一本書便以此命名,展現了人們對地方之認同與情感生成。u-topophilia,同時包含了愛無地以及地之愛的衝突意涵。這衝突之意涵卻指出實踐新意:從屬地主義式的認同與美好幸福的地方感,藉由認識諸眾與地方之差異,轉而無地之愛的社會性藝術實踐,這也許是面對當今新自由主義造成的社會生活分裂下藝術生產最有意義的面向之一,也可代表藝術行動者黃孫權教授從至今的學術、策展與創作的核心思想。本展的四件作品展示了藝術行動者如何從創作者的主體觀,轉變成與田野成為共同生產者的團體協作過程,從地方之愛到無地之愛的實踐轉變。

The concept Utopia reflects the “unsatisfied yet desired history” of human beings. “U” in “Utopia” comes from the Greek word “ou-topos” which means “no place”, similar to the English word “a-topia”. “U” here can also be interpreted as “eu-topos”, meaning joy and happiness. The word “Topophilia”, on the other hand, means love of place. The Chinese-U.S. Geographer Yi - Fu TUAN once wrote a book on “Topophilia”, examining the affective bond between people and place, and how it contributes to the formulation of identity. Here the new word “u-topophilia” refers to the conflicts between love of no place and love of place. Such conflicts may lead to new possibilities: by recognizing and acknowledging differences among people and places, we may shift from Jus soli, identity associated with place to socially engaged art practices that do not bond love with a particular place, which may be one way of mediating the social contradictions caused by new liberalism.

我們家在康樂里

《我們家在康樂里》(Our New Homeland)

影像 betacam 轉數位dv,86分钟 1998,彩色單頻。

1998香港Video power影片展; 2004台北雙年展、台北鐵馬影展; 2007深港城市/建築雙城雙年展; 2014 北京紅磚美術館「無地之愛─黃孫權個展」; 2015 北京民生現代美術館開幕展。 台灣眾多大學建築與社會學專業的指定參考資料。

It was exhibited at Bi-City Biennale of Urbanism\Architecture 2007, the Video Power in Hong Kong in 1998, Taipei Biennial 2004 and Taipei Iron Horse Film Festival 2004, 2015 Beijing Red Block Museum; 2015 Beijing Minseng Art Museum and it is the prescribed reference data of many architectural and sociological disciplines at National Taiwan University.

以90 年代台北都市公園生產過程為藍本,指出城市如何從非正式地景邁向成為現代國家制度化地景,「綠化」 成為一種隱藏性與修辭性的都市政策工具,以視覺美景驅離城市違建群落,抹平了貧困社區與異質文化。此舉更激起台灣首次的反都市更新運動,成就了台灣城市規劃史上,進步建築師、規劃師與激進學院的師生在90 年代後,參與一連串有關違建、都市更新、閒置空間再利用等辯論與社會實踐鬥爭。本片記錄了1997 年台灣第一場都市社會運動「反市府推土機」,台北市長在1997 年短短三個月中拆遷了一個六十多年的違建社區,導致了台北都市統治的政治危機與一連串有關空間議題的行動。導演既是運動組織領導者,也是記錄者。是華人地區第一部有關都市更新與社會運動的紀錄片。

With the producing process of Taipei City Park in 1990s, how did the city turned from an unofficial landscape into institutionalized landscape of modern country is pointed out; “greening” became a kind of hidden and rhetoric urban policy tool, which concealed poverty-stricken communities and heterogeneous cultures through driving out city illegal buildings with beautiful scenery. This action provoked the first Anti-urban-regeneration Movement in Taiwan and led to a series of discussion and social practice struggle about illegal building, urban renewal, reuse of unused space and others on the urban planning history of Taiwan, in which radical teachers and students participated after 1990s. The film documents “Protest against the Bulldozers of the Municipal Government” in 1997, the first urban social movement in Taiwan. That year, the mayor of Taipei had an unauthorised community that had existed for over six decades demolished, which resulted in a political crisis of the municipal governing of Taipei as well as a string of actions regarding the discourses on space. The film director is not only an organizer and leader of the movement but also the recorder of it. The film documents “Protest against the Bulldozers of the Municipal Government” in 1997, the first urban social movement in Taiwan. That year, the mayor of Taipei had an unauthorised community that had existed for over six decades demolished, which resulted in a political crisis of the municipal governing of Taipei as well as a string of actions regarding the discourses on space. The film director is not only an organizer and leader of the movement but also the recorder of it. The film is the first documentary of all Chinese communities that focuses on urban renewal and social movement.


複島 系列 Islands Series

多媒體裝置 複島 其他 30×84.5×8cm 錄地景Memo-scape 尺寸不定 高雄點唱機 160*110*75cm
Multi-media installation Map of the islands, 30×84.5cm×8 Memo-scape, Dimensions variable Kaohsiung Jukebox, 160×110×75cm 2012 - 2014
2014 台北立方空间 2014 年高雄美术馆;2013 高雄捣蛋艺术基地、旗津贝壳馆、旗津战争与和平纪念馆。
The series was exhibited at Taipei Cube space in 2014, the Kaohsiung Museum of Fine Arts in 2014, andat the Daodan Art Base, the Cijin Shell Museum and the Cijin War and PeaceMemorial Museum in Kaohsiung, 2013.


複島

複島團隊為高師大黃孫權教授於2011年底組成,關注田野、空間與藝術生產,因應基地條件組織不同的底藝術家參與。擅以科技技術聆聽/記錄底層生活,改造現存社會條件或干擾主流意見,並陳藝術家與民眾的張力辯證關係,讓政治正確在對抗的作品中出現而非藝術家單方面的正當性宣稱。其作品2012-13〈複島〉,創造了自動敘事機器(auto-narration machine)與利用開源碼製作的AR軟件進行旗津的空間歷史探究,曾獲台灣國藝會、文化部、高雄市文化局補助,於高雄多處進行展出。參觀者可透過網路下載的免費app,掃描圖面共72處秘密地點,可顯示當地歷史照片與說明。

The team “Islands”, which centres on field, space and art production, was organised by Prof. HUANG Sunquan of the National Kaohsiung Normal University in the end of 2011. Depending on the condition of the base, the team invites different artists to participate. It is adept at hearing and recording the voice of the underprivileged with the aid of technology as well as improving the existent social conditions or interfering the mainstream viewpoints; it juxtaposes the dialectical relation between the artists and the public and demonstrates the political correctness, instead of the artists’ ex parte declaration of righteousness, in oppositional works. The work Islands 2012-14 has created an auto-narration machine and an open-source-based AR software to probe into the spatial history of Cijin.


錄地景Memo-scape

2014年團隊則進行高雄的旗津的研究。旗津居民原為清朝時為捕烏魚而來建臨時寮屋的移民,歷經了不同文化政體的現代化,是南台灣第一個西化開港的島嶼,有著南台灣第一所公校、第一支打敗日本少棒的本土少棒隊,第一個興建西方教堂與西醫醫院,以及戰後興盛的拆船業與兩千年後興起的遊艇設計製造工業。之後,高雄的市中心從旗津移往鹽埕,構成了戰後高雄最繁榮的洋貨零售與美式酒吧中心。然而,歷史的厚度在急速的經濟發展過程中溶解,旗津在人們心中僅為海鮮夜市的觀光沙灘,例如甫獲國際宜居城市獎的高雄市多項成就之一的「旗津海岸線保護工程」,實則是生態災難的後續,八〇年代政府花錢「買」了大量的工業遺留的電石渣作為墊高逐漸流失的海灘基底,在上頭建立起可供旅遊的海灘與現在獲獎的保護工程。而鹽埕,則如風華已過的婦人,在駁二文創帶來的青年觀光人潮景象後一棟棟繁華歷史建物被陸續拆除。地景變遷既是社會也是生態的。Memo是備忘錄,也是記憶;而scape則是形貌之意。一般的田野計畫,乃為生命史與地方史之記錄,單以社會學或人類學的觀點切入常陷入「凝固的歷史」的再現工作,使得藝術品最終只是泛黃歷史的整理;而與地方或社區的藝術工作又常常限於「社區型」的表達,將藝術能動性限於社區內參與。〈錄地景Memo-scape〉從工作坊與田野訪談開始,找出能代表社區歷史的老照片,繼之重演凝固的歷史,團隊開始尋找人與景相遇之初,以及現在的人與景的變化,透過尋人尋景,尋人,即以重新聯繫歷史中震盪分離的人情聚合,尋景,即橋接(bridge)歷史與當下之景,透過雙重故事的「復刻」,創造連結(articulate)人群情感與空間記憶的機制。人群與歷史的田野就是創作過程,作品則是眾人的歷史與當代記憶。〈錄地景Memo-scape〉乃是重繪諸眾公共歷史(public histories)的實驗行動。

In the year of 2014, the team carried out a research on Cijin, Kaohsiung. The ancestors of Cijin residents migrated to the island in the Qing Dynasty; they came for fishing and set up their huts. Witnessing the modernisation of various systems of culture and politics, Cijin is the first island in South Taiwan that got westernised and opened its ports. It also has the first public school in South Taiwan, the first local teenage baseball team that ever defeated Japanese teenage baseball teams, the first Western church and the first Western hospital; in addition, it is known for the ship-recycling industry that prospered after WWII and the yacht designing and manufacturing industry that burgeoned in the new millennium. The downtown of Kaohsiung later moved from Cijin to Yancheng, which formed the busiest area of imported goods retailing and American bars in post-war Kaohsiung. Nevertheless, the rich history was diluted in the rapid economic development, and Cijin became a touristy beach occupied by night bazaars of seafood. The Coastline Protection Project of Cijin District that won Kaohsiung a LivCom Award, for instance, is known as one of the city’s major achievements, but in fact it was the subsequence of ecocatastrophe. In the 1980s, the government “purchased” a great deal of industrial carbide slag to block up the disappearing foundation of foreshore so as to build up the tourism-oriented beach and to implement award-winning project. Yancheng, however, has gone out of favour; behind the scene of increasing popularity caused by the Pier-2 Art Centre, the once-flourishing buildings are demolished one after another. Landscape changes are both sociological and ecological. “Memo” herein stands for memorandum as well as memories while “scape” represents landscape. Field projects in a general sense record the life history and local history; if a field project is based sheer on sociology or anthropology, it tends to get stuck in the representation of “unchangeable history”, which renders art a way of gathering up the faded history. The practice of art in a certain locality or community always sticks to the “regional” expression, which limits the motility of art within the scope of the locality or community. Memo-scape began with workshops and field interviews. The team found old photos representative of the community and reproduced the unforgettable history; after that, the team tried to trace the scene of the people first encountered the landscape and their respective changes up to now. Via the search for people and landscape—the search for people is to integrate the parted people and their emotions and the search for landscape is to bridge history and the present—and the “replication” of the dual storyline, the team has created a mechanism that articulates human emotions and spatial memories. The field of people and history is the process of creation, while the work the collective memories of history as well as the contemporary. Memo-scape is an experimental act of reconstructing the public histories.

高雄點唱機

2014年於高雄美術館展出的作品〈高雄點唱機〉,則以聲音化地方歷史為嘗試。坐著北上的最後一班車,七賢路的美軍酒吧的外語變成印尼雜貨店的外語,輝煌的大酒家的歌聲落幕成為保齡球撞擊聲,台灣民主政治史最重要的美麗島事件的衝突吶喊被高捷提示聲淹沒,後勁五輕的抗議與世運館裡的歡呼共響,大林埔遷村的焦噪對抗著南星遊艇美夢囈語,中油中鋼中船的高噪機械音與煙囪排氣,六和夜市的傳統叫賣逐漸滲入中國北京話腔調。藝術家與團隊以具象音樂的操作方式,混合了當代高雄日常生活聲音與歷史事件的聲音記錄,在往赴聲音來回間,讓觀者以點唱的方式,展開自己的聆聽高雄方式。

Kaohsiung Jukebox, a work exhibited at the Kaohsiung Museum of Fine Arts in 2014, transforms local history into a trial by means of sound. Taking the last train going northward, the foreign language at the bars of American army on the Cisian Rd. turns into the foreign language at the Indonesian groceries, the singing in the grandiose restaurants end up with the clashes of bowling, the battle cries of the Kaohsiung Incident - the most significant event in Taiwan’s history of democracy - is drowned by a warning tone, the protest in Anti-Wuqing resonates with the cheers in the National Stadium, the fuss of Dalinpu to be displaced confronts the sleep-talking on the Nanxing yachts, and the mechanical noise of the petroleum, steel and shipbuilding industries, together with the chimney exhausting and the night bazaar hawking, gradually seeps into the Beijing dialect. With the method of concrete music, the artist and his team mix the sound of contemporary life in Kaohsiung with audio recordings of historicalevents, thus inviting the audience to shuttle through the sounds like using a jukebox and have their own way to hear Kaohsiung.

日常生活的一天 A Day

21屏幕影像 6分钟 2012。2013 深圳,深港城市\ 建筑双城双年展 2012 高雄劳工博物馆 It was exhibited at Shenzhen & Hong Kong Bi-City Biennale of Urbanism\Architecture 2013 and the Kaohsiung Museum of Labour in 2012.

尼采说:“(城市)文字的历史会杀死石头的历史”,他没说的是:石头的历史会杀死劳动力的历史。当吾人要光耀城市时总是高举石头,让阴影覆盖劳动力。社会学家指出,全球化流动的社会地位取决于人们一日交遇的人 事物的多寡,一人所见所遇决定了他们阶级流动的可能,由之,人为目光所监禁。在城市的舞台上,交遇就是竞逐文化意义与阶级流动的资本,而重复的生活使人梦 想枯竭,少数人则享用梦想枯竭的献祭。艺术总只能再现他者或向其致意,除非我们使用他们自己的眼睛,否则都只是表演性的技术。如果可以复刻其所见,就能见到既个人也社会的集体形构,见到他们的寻常眼光 正是支撑市民现代生活的基石。台湾的国际移工共有四十二万多人,在家务劳动与营建工厂的工作支撑了台湾经济,而深圳都是“外劳”,在三十年间将小渔村转变 成全球城市。藝術家透过田野调查与访谈重建城市的劳动者面貌,在台湾台北与高雄两个城市邀请菲律宾、印度尼西亚、泰国、印度等国外劳,以及深圳不同岗位的工人, 以自己的手机拍摄一日所见,透过计算机程序处理以單一時鐘」同步」他们在光辉城市下日常生活的一天。

Nietzsche remarks that, “the history of texts (cities) will kill the history of stones”; however, he failed to remark that the history of stones would kill the history of labour force. When we bring glory to the cities, we tend to hold stones aloft to shadow the labour force. Sociological studies indicate that one’s social status of a global mobility rests with how many people and things the person encounters in a day. What people encounter ordains the mobility of their status, and hence people are imprisoned in others’ eyes. On the stage of cities, encounters are the connotation of competition culture and the capital of status mobility; repetitive life drains the dreams of the majority while the minority regale on the sacrifice of dried up dreams. Art merely represents or pays tribute to the others, and it is nothing but performing technique unless we were using their eyes. If what is seen could be reproduced, we would witness a personal yet collective structure and see that their ordinary eyes make the footstone that supports the civil modern life. Taiwan accommodates over four hundred and twenty thousand international migrant workers, and their labour of housework and factory construction sustains the economy of Taiwan. Shenzhen, by contrast, employs migrant workers who have turned the little fishing village into a cosmopolitan city over the last thirty years. The artist conducted field trips and investigated the labourers who contributed to urban renewal. He invited migrant workers from the Philippines, Indonesia, Thailand, India, etc. in Taipei and Kaohsiung, as well as migrant workers from a variety of posts in Shenzhen, to his camera. He videoed what he saw by his mobile phone and processed the film by computer programming, thereby displaying one day of their daily life in the magnificent cities.

A day2.jpg


烏托邦出櫃 Come Out! Utopia

10 屏幕影像装置 450×250×250cm,约5 分钟 2013 (10 screen video installation 450×250×250cm, about 5 minutes each) 2014 中央美术学院美术馆第二届CAFAM 双年展 (The work is exhibited at the 2nd CAFAM Biennale at the CAFA Art Museum in 2014.)

建筑与乌托邦是历史双生儿。乌托邦者的建筑是幼稚的,构想完美政治和社会结构后,造型是或圆或方的集中营;建筑师的乌托邦则是天真的,只寻找快乐、平等和妄想以形式消除社会罪恶,沦为形式主义。然而,乌托邦确是人类“不满而顽强希望的历史”,催生了社会主义,迪斯奈以及明日科技的诞生或人性毁灭,是人类生存斗争的潘朵拉,打开它,革命乐观者可见今日乌托邦即明日的现实,批评悲观者则为了避免极权平等而走向阶级深化社会的歹托邦。《乌托邦出柜》精炼了乌托邦主义者的城市理想与形式悲剧的灰烬,巨型镜塔的立面切割设计撷取自历史上著名的乌托邦建筑师方案,且将他们未曾在现实中实践的蓝图,转为真实比例的3D 模型放入塔中,向他们致敬且使后人得以观看思考,透过镜面的凹凸反射他们的智慧与现实之差距。巨大的镜塔之外,以建筑师最擅长的类型学建档方式照见历史长河中革命火种,整理出建筑与乌托邦的历史批判图文。镜塔不但从展场周遭吸收历史中乌托邦的实践与当下的残响,同时也将“世人”的身影收入,形成思想与人间的对照。照见历史为的不是重新点燃它,而是让人类学会历史,避免沾沾自喜的闹剧与形式主义者不断尝试之鲁钝。

Architecture and utopia are twins of history. A utopian’s architecture is naïve; it conceives a perfect structure of politics and society modeled as a circular or rectangular concentration camp. An architect’s utopia is innocent; it seeks for euphoria and equality, attempts to eliminate social evilness by means of forms, and therefore descends to formalism. However, utopia is indeed the “unsatisfied yet desired history” of human beings, which catalyses socialism, the Disney, the naissance of future technologies or the extermination of humanity. It is the Pandora’s box of human struggle for existence; once uncovering it, optimistic revolutionists see today’s utopia i.e. tomorrow’s reality while pessimistic critics move towards the dystopia that has a deepened class-consciousness to avoid the totalitarianism of equality. Come out! Utopia extracts the utopian ideality of cities and the embers of formalist tragedy. The vertical cutting design of the colossal mirror tower is inspired by the famous utopian architectural plans in history, and those unimplemented blueprints are realised into a life-size 3D model built in the tower. It pays a tribute to the previous masters and sparks contemplation, and the concave-convex mirrors reflect the gap between their wisdom and the reality. Outside the colossal mirror tower, the artist employs the typological archiving method that architects are skillful at to display the revolutions in history and files the historical criticism on architecture and utopia. On one hand, the mirror tower absorbs the utopian practice in history and the reverberations at present on the site; on the other hand, it collects the figures of the “common people” and thus strikes a contrast between ideologies and the world. The purpose of mirroring history is not to resurrect it but to let people learn history lest there should be complacent farces or formalist ignorance.