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疫年紀事 --- 疫後時代備忘錄

當期展覽疫年紀事 --- 疫後時代備忘錄

展覽總論述|策展顧問  吳達坤

 

自古以來,疫病即是人心中最深沉的恐懼,揮之不去。

 

難以想像微小未知的細菌、病毒居然能成為文明進步的巨大威脅,疫病帶來無以數計的死傷超越饑荒、戰爭跟天災。伴隨文明的演進,人類對資源的肆意消耗引發了大自然的反撲,各種原先存在自然界的病毒、細菌也不停演化變種增生,對所有生物的生存和未來發展構成嚴重的威脅。在步入「人類世」的時代,我們真正的學習到在發展文明的同時,也必須理解地球正是警示人類活動帶來的後果。似曾相似的歷史不斷在世界各地上演,我們熟知的中古世紀的黑死病、上世紀終結一次世界大戰的西班牙大流感、2003年的 SARS冠狀病毒皆是人類面臨疫情的新衝擊和挑戰。面對全球近代史上最嚴重的疫情, COVID-19病毒由初期的Alpha變異到 Delta再到目前肆虐的 Omicron 變異株,全球數十億人被迫經歷隔離,許多醫護人員仍在抗擊傳染病的前線奮戰。時至今日,迫使全球政經體制與人類生態系巨變驟生。全球超過5.4億人受到感染,630萬人病歿,更照成難以估計的世界經濟災難。台灣的防疫政策也從初期「清零政策」走向與全球接軌的「病毒共存」,這段漫長旅程得之不易。一場疫情,牽引著世界的未來。

 

《疫年紀事》引用史上第一部瘟疫文學《大疫年紀事》,歐洲小說之父丹尼爾‧狄福(Daniel Defoe)融合紀實與想像的小說,場景設定於1665年倫敦的一場瘟疫。書中描述的疫情與耳語、恐慌不可收拾的蔓延。正如傅柯(Michel Foucault)對瘟疫時期個人自由與社會權利交互過程的論述,社會對病患的監控、隔離及通行控制形成了一系列精細化措施,用以區分個體差別。同時,社會權力在這個特殊時期分化,並為個人主體性的發展提供了條件。當現實與小說文本不再遙遠成為趨同交會的直線,反覆發生的歷史,牽涉著我們看待疫下生活與共處模式。為何每個大疫之年發展皆如此似曾相似?回到2022年,隨著疫情演變,文化藝術機構的運作和藝術生態發展陷入不確定的深淵,各藝文領域的從業者在藝術創作活動及日常生活也受了巨大影響。如果說「回不去了」將是持續滾動的疫常狀態,日常將以何種型態重新被運作,而什麼樣的藝術又是必要、無可取代且刻不容緩的?藝術機構藉由疫情本身來討論生活,邀請藝術家現身說法,並研究疫後時代的應對之道,藉由這檔展覽激發的想像,藝術家與機構又將如何更積極地與藝術家、公眾與社會對話與連結? 隨著疫情演變,世界亦脫離我們熟知的經驗法則,從現行制度到社會結構的精神總體也隨著滾動修正。後疫情時代打破讓虛擬、遠距的比重界線,人類在虛擬線上的生命經驗佔比大幅增加,這種被迫隔離的科技樣貌,見證文明社會與自然之間的滑移。

 

《疫年紀事》展覽邀請了15組共16位藝術家們參展,跨越新竹美術館、241藝術空間雙館同步展出。藝術家們思索疫情期間遭遇的各項議題,除了對當下數位時代大數據生活的改變進行紀事,以自身的創作與藝術行為對話。藉由外在觀察、內心沈澱與疫後共生三階段呈現。藉由藝術家展現創作過程中帶來平靜人心的堅韌意志,堅毅面對困頓的共存之道,並探討疫情下的積極應對策略,推測後疫情時代的未來的人類世。本展探討以下子題,將作品分佈羅列雙展館呈現:

 

一、疫生 :外在考現


路瓦·里維拉( Lua Rivera )位於新竹美術館外的作品《金色螺旋 》為本展提出宏觀且精準的定位,金色染色體的螺旋外型寓意著⼈類世與病毒演化議題的多重指涉,在疫情時代下「藝術」是否具備其他思想與跨學科貢獻的可能︖ 這展覽的每一位參展藝術家皆以實際行動證明著藝術的存在力量。謝鴻均的作品《記憶的皺褶》、《陰性空間-未能終結篇》闡釋創作者面對疫情時代的個人陰性書寫,以女性多重身份的創作勞動展開心靈對話。延續謝鴻均的女性身份,張恩慈的作品則以布料針線縫製出裝置作品《碎片與希望》,以軟雕塑跟平面繪繡,蔓延增生在美術館一、二樓空間之中,一針一線柔軟的纖細包覆疫情下的人心。

 

作為本展唯一跨越美術館與241空間兩場地的創作者,黃琬玲的作品成為不可或缺的存在。疫情期間多次造訪新竹這座古今交會之城,她應用擅長的水墨設色與具備科技感的VR頭顯,恰如其分呈現出疫情中閩、客族群與外籍移工在新竹這座古今之城難得察覺的安適與清明。石孟鑫的《轉轉》將台灣建築常見的外牆空調主機、髮廊旋轉招牌、廠房風管作為元素串接安置於241展場,似乎暗喻疫情隔離期從窗外望出的單一城市景像。許惠晴的《邊境漫遊》錄像源自擔任空姐的工作經驗,由左右兩側對應錄像構成,一位是穿著航空制服的端莊空姐毫無抵抗能力的接受任何旁人要求她穿上的衣物,一位口腔反覆咀嚼食物並噴射出去的失控樣貌,隱喻疫情下生活的強烈對比與抗衡。

 

二、內觀:心象探尋

 

美術館二樓展區,莊培鑫展出裝置的製作以數位技術將生物轉化成編碼的型態上傳雲端,生命與意識被轉譯成大數據,意識上載達成永恆不朽。謝牧岐繪畫中的寫生對象是台灣歷史中的各個場景敘事,它是個能讓藝術家不斷推翻又重新建構的對象,如同人類面對疫情,充滿艱困挑戰與自我否定再修正的追尋。

回到241展區,周代焌在疫情間有更多時間思考自身文化與歷史的課題,便開啟關於島嶼碎片化歷史的研究,他用創作提出關於直線時間軸的歷史提問,堆疊出自身的可變時空;黨若洪的繪畫則以自我對話與他者的內觀歷程作為投射,當顏料與畫筆被操控、塗抹、拖曳、疊加、迴旋的過程中,一個個場景、描繪對象歷歷顯現,霎那間被銘刻紀事。在黯黑空間中,一個微小光點緩緩位移,精確對位的機械運行,光點由流動的未明狀態到時間堆疊的定格顯像,這是邱昭財帶來的作品《光.景》。巧妙的牽引觀者去經驗身體感知、心念識想的變化,成就一片彼岸。《情事絕品》是許家禎是打開家族相簿與父親的秘密對話,藉著家庭相簿作為靈感,展開一段剖析成長經驗,面對個人情感與家庭的旅程。父親交給弟弟繼承的眼鏡行,或許將伴隨著疫情衝擊不復存在。

 

三、共生:共存

 

匈牙利籍的藝術家湯明煦(Tamas Szvet)為本展帶來互動性極高的《藝術健身房》,因疫情下許多健身房被迫關閉。藝術家製作了多件特殊造型的鍛鍊器材,同時刺激參觀者的生理和心理。使用文字與背後的意涵,觀者可以同時在文化與運動中找到靈感和活力。擅長展演行為創作的陳孝齊,製作了全身肖像在新竹旅行錄像。運用影像記錄人形立牌跟新竹場域的藝術行動,藝術家擬像的身影為城市帶來人為造景介入節點。黃彥超+蔡夢琦兩位合作的《東門是場夢,台北沒有愛》,重新連結通往並召喚意識深處的夢境,創造出非常華麗異己的東門市場風華,成為疫情下兩位作者對他處投射的浪漫青春再現,藝術家們宣稱這是對地方上色的計劃。同時,本展在教育活動上並邀請身兼平面設計師與瑜伽老師的石岱芸,為本展規劃一套沉浸式瑜珈體驗《 Dream Yoga 》,與湯明煦(Tamas Szvet)的《藝術健身房》一靜一動,呼應身體與心靈空間的共存狀態。

 

藝術家們以創作帶領我們跨越疫情,尋覓心境上一方清明靜謐,與之共處。在越是艱困的時光裡,思索著藝術如何自癒癒人,在疫情的不同發展情況之下,做出生活調適減少虛耗與空轉,讓我們在藝術的包容撫慰之下重新認知。在不斷變動、流變的世界中,以堅韌自信的態度來從容應對、共同學習與病毒共存,藉由藝術的力量帶給我們堅韌強大的心靈,一齊走向共存共生的疫後進行式。

 

《疫年紀事 --- 疫後時代備忘錄》

展期|2022/7/22 () – 9/18 ()

地點|新竹市美術館 ( 新竹市中央路116 )

            新竹241藝術空間 ( 新竹市中央路2416 )

策展顧問|吳達坤

美術館展區|莊培鑫、張恩慈、黃琬玲、謝牧岐、謝鴻均、路瓦 里維拉Lua Rivera Figueroa

241展區|石孟鑫、周代焌、許家禎、許惠晴、邱昭財、陳孝齊、黃彥超、蔡夢琦、黃琬玲、黨若洪、湯明煦 Tamas Szvet

主辦單位|新竹市政府

承辦單位|新竹市文化局

 

 

A Journal of the Plague Year --- Memorandum of Post-pandemic Era

 

Text / Wu Dar-Kuen

 

Since ancient times, the disease has been the deepest fear in people's hearts, which lingers on.

 

It is hard to imagine that tiny unknown bacteria and viruses can become a huge threat to the progress of civilization. The countless casualties caused by epidemics surpass famine, war and natural disasters. With the evolution of civilization, the wanton consumption of resources by human beings has triggered a counterattack from nature. Various viruses and bacteria that originally existed in nature are constantly evolving and multiplying, posing a serious threat to the survival and future development of all living things. In the era of the "Anthropocene", we have truly learned that while developing civilization, we must also understand that the earth is a warning of the consequences of human activities. Similar histories continue to be staged all over the world. The Black Death in the Middle Ages, the Spanish flu that ended World War I in the last century, and the SARS coronavirus in 2003 are all new shocks and challenges facing human beings. In the face of the most serious epidemic in the modern history of the world, the COVID-19 virus has changed from the initial Alpha mutation to Delta to the currently raging Omicron mutation. Billions of people around the world have been forced to undergo isolation, and many medical staff are still on the front line of fighting the infectious disease. fight. Today, the global political and economic system and the human ecosystem have undergone tremendous changes. More than 540 million people around the world have been infected and 6.3 million people have died, making it an unpredictable global economic disaster. Taiwan's epidemic prevention policy has also shifted from the initial "zero policy" to the "virus coexistence" that is in line with the world. This long journey has not been easy. An epidemic is driving the future of the world.

 

 

"A Journal of the Plague Year" refers to the first plague literature in history, "A Journal of the Plague Year", a novel by Daniel Defoe, the father of European novels, which combines documentary and imagination. The scene is set in a plague in London in 1665. The epidemic described in the book spreads uncontrollably with whispers and panic. Just as Michel Foucault's discussion of the interaction process of individual freedom and social rights during the plague period, the society's monitoring, isolation, and passage control of patients formed a series of refined measures to distinguish individual differences. At the same time, social power was differentiated in this special period and provided conditions for the development of individual subjectivity. When reality and fictional texts are no longer distant and become a straight line of convergence, the recurring history involves how we view life and coexistence under the epidemic. Why is the development of each pandemic year so similar?

 

Back in 2022, with the evolution of the epidemic, the operation of cultural and art institutions and the development of art ecology have fallen into an abyss of uncertainty, and practitioners in various art and literature fields have also been greatly affected in their artistic creation activities and daily life. If it is said that there is no going back, it will be a constant rolling epidemic. In what form will daily life be re-operated, and what kind of art is necessary, irreplaceable, and urgent? Art institutions use the epidemic itself to discuss life, invite artists to speak out, and study how to deal with the post-epidemic era. With the imagination inspired by this exhibition, how can artists and institutions more actively communicate with artists, the public and society? As the epidemic evolves, and the world deviates from the rules of thumb we are familiar with, the spiritual generality from the current system to the social structure is also revised rolling. The post-epidemic era has broken the boundary of the proportion of virtual and remote, and the proportion of human life experience on the virtual line has increased significantly. This technological appearance of forced isolation witnesses the slippage between civilized society and nature.

 

The "A Journal of the Plague Year" exhibition invited 15 groups of 16 artists to participate in the exhibition, which spanned the Hsinchu Art Museum and the 241 Art Space. Artists pondered various issues encountered during the epidemic. In addition to chronicling the changes in the life of big data in the current digital era, they also used their own creations and artistic behaviors to dialogue. It is presented through three stages of external observation, inner precipitation, and post-epidemic symbiosis. Through the artist's demonstration of the perseverance that brings calmness to people's hearts in the process of creation, the way to coexist in the face of hardships with determination, and discuss the active coping strategies under the epidemic, and speculate on the future Anthropocene in the post-epidemic era. This exhibition explores the following sub-themes, and presents the distribution of works in the dual galleries:

 

 

1. Life under the epidemic: external examination

 

Lua Rivera's work "Golden Spiral" installed outside the Hsinchu Art Museum proposes a macro and precise positioning for the exhibition. The spiral shape of golden chromosomes implies multiple references to the issue of the Anthropocene and virus evolution, in the era of epidemic, does "art" have the possibility of other ideas and interdisciplinary contributions? Every participating artist in this exhibition proves the existence and power of art with practical actions. “Crumpled Memory V” and” Chora-Endless Interpretation"  by Juin SHIEH explains the creator's personal feminine writing in the era of the epidemic, starts a spiritual dialogue with the creative labor of women's multiple identities. Continuing Juin SHIEH's female identity, CHANG En-Tzu's work uses fabric needlework to sew the installation " Ruins and Prospects”, with soft sculpture and embroidery, it spreads and proliferates in the space on the first and second floors of the art museum, covering with soft-slender stitches hearts of people under the epidemic.

 

As the only creator of this exhibition that spans the two venues of the Art Museum and 421 Space, Huang Wanling's works have become an indispensable presence. During the epidemic, she visited Hsinchu, a city where ancient and modern meet for many times. She used the ink painting and coloring she is good at and the VR headset with a sense of technology to appropriately present the relationship between Fujian, Hakka and foreign migrant workers in this ancient and modern city of Hsinchu during the epidemic. Presenting a difficult of peace and clarity. SHIH Meng Hsin's "turn turn" uses the external wall air conditioners, hair salon rotating signboards, and factory air ducts that are common in Taiwanese buildings to be placed in the 241 galleries in series, which seems to imply a single city scene seen from the window during the quarantal period. HSU Hui-Ching's "Border Roaming" video is derived from her work experience as a flight attendant. It consists of left and right dual- videos. One is a dignified flight attendant in aviation uniform who has no resistance to accept any clothes that others ask her to wear, and the other is oral. The out-of-control appearance of chewing food repeatedly and spraying it out is a metaphor for the strong contrast and confrontation of life under the epidemic.

 

 

2. Vipassana: Exploring mental images

 

In the exhibition area on the second floor of the art museum, the production of CHUANG Pei-Xin’s installations uses digital technology to transform living things into encoded forms and upload them to the cloud. Life and consciousness are translated into big data, and the uploading of consciousness achieves immortality. The objects of HSIEH Mu-Chi's paintings are the narratives of various scenes in Taiwan's history. It is an object that allows the artist to constantly overthrow and rebuild. Just like the human beings facing the epidemic, they are full of difficult challenges, self-denial and re-correction.

 

Back in the 241 Gallery, CHOU Tai-Chun had more time to think about his own culture and Taiwanese history during the epidemic, so he started the research on the fragmented history of the island. He used his creation to ask historical questions about the linear timeline, stacking his own variable time and space. TANG Jo-Hung's paintings are based on self-talk and the inner process of others as projections. When the paints and brushes are manipulated, smeared, dragged, superimposed, and swirled, scenes and objects of description appear continuously, and in an instant, become an inscribed chronicle.

In the dark space, a tiny light spot is slowly displaced, the mechanical movement of precise alignment, the light spot changes from a flowing, unknown state to a time-stacked freeze-frame visualization. This is the work "Light. Scenery" brought by CHIU Chao-Tsai. Cleverly leads the viewer to experience the changes in body perception, mind, consciousness, and thoughts, and achieve the other side. "Best Love" is ​SYU, Jia-Jhen's secret dialogue with his father when he opened the family album. Using the family album as inspiration, she started a journey of analyzing her growth experience and facing her personal emotions and family. The glasses shop that my father handed over to her younger brother may no longer exist due to the impact of the epidemic.

 

 

3. Symbiosis: Coexistence

 

Hungarian artist Tamas Szvet brings the highly interactive "Art Gym" to the exhibition. Many gyms were forced to close due to the epidemic. The artist made a number of specially-shaped exercise equipment, which stimulated the visitors' physical and psychological at the same time. Using the words and the meaning behind them, viewers can find inspiration and energy in both culture and movement. CHEN Siao-Chi, who is good at performing performance creation, made a full-body portrait travel video in Hsinchu. Using images to record human-shaped standing signs and artistic actions in the Hsinchu field, the simulacrum of the artist brings artificial landscaping to the city. HUANG Yen-Chao+ TSAI Meng-Chi, collaborated on "Dongmen is a dream, Taipei has no love", reconnecting to and summoning the dream in the depths of consciousness, creating a very gorgeous and dissimilar Dongmen market elegance, and becoming the projection of the two authors to others under the epidemic The romantic youth reappearance, the artists proclaimed as a plan to colour the place.

 

At the same time, the exhibition invited stella SHIH, who is also a graphic designer and yoga teacher, to plan an immersive yoga experience "Dream Yoga" for the exhibition in educational activities. echoing the coexistence of body and mind space.

 

 

Artists lead us through the epidemic with their creations, looking for a clear and peaceful place in the state of mind, and coexisting with them. In the more difficult times, we need think about how art can heal people by itself. Under the different development conditions of the epidemic, we make life adjustments to reduce wastage and idling, so that we can re-understand under the tolerance and comfort of art. In the ever-changing and changing world, with a tenacious and confident attitude, we should calmly deal with the virus, learn together and coexist with the virus, and use the power of art to bring us a tough and strong mind, and move towards the post-epidemic progression of coexistence and symbiosis together.

 

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