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यह सामग्री अभी आपकी भाषा में उपलब्ध नहीं है (हिन्दी )

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नाम

民主藝術：文化造型運動n.0在當代 - Demo-Art : Culture Plasticizing Movement n.0 Now

अवधि

2021-11-05 ~ 2022-02-06

कार्यक्रम का स्थान

關渡美術館 Kuandu Museum of Fine Arts

पता

台北市北投區學園路1號

展覽子計畫「神秘的自制島上辯士作聲」(2F展區) 計畫名稱出自1923年署名無知的作者，於《臺灣》發表的小說〈神秘的自制島〉，小說為一喝醉的人在恍惚之間，到訪東海上「自制島」的隨筆，島上無論是婦孺或是紳士，每個人都戴著刻有「自制」兩字的枷，旅人請教了島上一名紳士，如果解放了那個奇怪的裝飾品不是很好嗎？紳士勃然變色，告訴旅人，這個東西大家求之不得，怎麼會想要解放，有了這種項具，人們就能「第一呢，是使人飢了不想食飯，寒了不想穿衣。第二呢，是使人勞不知疲，辱不知恥。第三呢，是使人不必需要甚麼新學問，不得感受新思潮」。小說發表的1923年，正是治警事件發生的那一年，在日本採取內地延長主義的統治政策之後，也標誌了台灣人的主要反抗方式轉向非武裝的路線調整。面對著舉起「日台融合」、「一視同仁」大纛的殖民母國，1920年代開始，許多行動及結社在檯面上，不再以政治作為訴求，而是以文化團體的形式出現，例如各種學術研究會、藝術研究會、體育會、讀書會等，但正如《臺灣總督府警察沿革誌》記載的，這些以啟蒙運動為主要內容的團體，儘管帶有濃厚的文化活動性質，卻也經常基於戰術需要，出現型態與實質的不一致。在所有「不是政治結社的政治結社」中，台灣文化協會的種種文化實踐，是最精彩的案例。在知識份子眼見武裝反抗不可行，並感受到同化政策帶來的危機感，面對著就學率不到百分之30的台灣人，文協的目標除了對抗殖民統治之外，也包含了以近代知識及思想啟蒙對抗「封建舊文化」，為了達成這兩種有時相互矛盾的標的，文協同時使用了複數的思想傳播工具，以跨媒介的組織行動，開闢出台灣史上特殊的言說空間。文協因應著由都市到鄉村不同溝通對象的組成，在嚴密的殖民治理中，透過辦報、讀報社、文化講演會、通俗講習會、電影放映、文化劇團等實踐，鑿出了無數孔徑。「神秘的自制島上辯士作聲」將著眼於文協以「辯士」為核心的多重文化實踐，進入展場，首先會看到劇場演員扮演的辯士，透過話語將1923年的〈神秘的自制島〉「臨場式本土化」。接續則以〈神秘的自制島〉的續寫，開啟「影像的說」、「戲劇的說」、「印物的說」與「事件的說」四個環環相扣的次展區，探討「辯士」——或是「說話者」 ——的變形。在〈神秘的自制島〉的續寫中，無知再次造訪了自制島，觀察到島上的政治動盪，並訪問了島上的島民、紳士、黃巾力士及祖師，四篇以第一人稱書寫的短篇，分別回應四個次展區開啟的言說課題，期待透過寓言的加入，補足上述實踐背後的政治脈絡，提供另一種閱讀檔案的管道，並在文協成立滿百的今年，呈現出文協如何透過不同言說技藝的操作，在獨立思考日漸不可能的「自制島」上，以言說打造一具內建反饋機制的啟蒙機器。策劃｜書寫公廠研究顧問｜三澤真美惠、石婉舜文本共作｜施昀佑、曾伯豪辯士出演｜魏雋展影片拍攝｜李益丞、林詠翌影片後製｜萬事屋影像制作特別感謝｜林章峰、莊明正、財團法人蔣渭水文化基金會 Project : On the Mysterious Self-Shackled Island the Benshi Makes Noises The project title was inspired by the author named Ignorance in “A Mysterious Self-Shackled Island,” a novel published in Taiwan in 1923. The novel was essay about an individual visiting to “Self-shackled Island” on the Eastern Sea in a trance. On the island, be that a woman or a gentleman, each of them wears a shackle bearing the word of “self-shackled.” The traveler inquired a gentleman on the island isn’t it nice if he is liberated from that strange ornament. The gentleman raged and told the traveler that this is something everyone longs for, so how would one want liberation from it? With that neck accessory, “To begin with, it makes people eat no food despite hunger and wear no clothes despite coldness. Secondly, it allows one to labor without exhaustion and be insulted without shame. Thirdly, it allows us to acquire no new knowledge and learn no new trends of thoughts.” The year 1923, when the novel was published, was also the year the Peace Act Incident took place. After Japan adopted “the Extension of the Mainland Law Policy,” it marked the shift of the major mean of resistance by the Taiwanese to a non-violent approach. Facing the colonial home country that upheld the big banners of “fusion of Japanese and Taiwanese” and “equal treatment,” many movements and associations on the table no longer appealed to politics since the 1920s. Instead, they emerged as cultural groups, such as the numerous academic societies, art societies, sports societies, study groups, among other groups. Just as the Record of Police Reform in the Office of the Taiwan Governor-General, these groups with enlightenment as the main contents, despite their rich characteristics of cultural activities, their appearances and contents were varied out of the tactical needs. Among all the “political associations that are not political associations,” the cultural practices carried out by the Taiwan Culture Association (TCA) emerged as the most brilliant case. The literati learned that armed resistance was no longer viable and felt the crisis brought by the assimilation policy. In light of the Taiwanese with a school attendance rate less than 30 percent then, the goals of the TCA included not just the resistance against the colonial reign but also the resistance against the “old culture of feudalism” with modern knowledge and enlightenment. To achieve these two goals contradictory to each other at times, the TCA utilized multiple idea communication tools. Through the cross-media organizational actions, it created a unique space for speech in the history of Taiwan. Facing different targeted audience from cities to villages, the TCA chiseled out countless pores in the strict colonial reign via practices of newspaper publication, news reading clubs, cultural lecture event, general lecture event, film screening, cultural theatre, and so on. “On the Mysterious Self-Shackled Island the Benshi Makes Noises” shall center around the multiple cultural practices of the TCA with “Benshi”(弁士, orators or narrators) at the core. As visitors enter the exhibition, they will see “Benshi” played by theater actors, conducting the “impromptu localization” of A Mysterious Self-Shackled Island (1923). Next, with the sequel of A Mysterious Self-Shackled Island, four interlocking sub-topical exhibition sections, “Speak within Image,” “Speak within Theatre,” “Speak within Publishing,” and “Speak within Event,” are unveiled to delve into the transformation of “Benshi” – or “speakers.” In the sequel of A Mysterious Self-Shackled Island, Ignorance visited Self-Shackled Island again, observed the political turmoil, and interviewed the islanders, the gentleman, the Might Guards with Yellow Scarf, and the Patriarch on the island. The four short stories written in the first-person point of view correspond to the speech topics introduced respectively by the four sub-topical exhibition sections. The addition of the fables is expected to supplement the political context behind the abovementioned practices, offering an alternative mean to dossier reading. Meanwhile, in this year that marks the one hundredth anniversary of the TCA establishment, it sheds light on how the TCA, through its operation with various speech techniques, built a machine of enlightenment embedded with a feedback mechanism on the “Self-Shackled Island” where independent thinking is increasingly impossible. Project Initiator｜Writing FACTory Research Consultants｜Mamie Misawa,Shih Wan-Shun Writing Partners｜Yunyu “Ayo” Shih,Tseng Po-Hao Actor｜Wei Chun-Chan Cinematography｜Lee Yi-Cheng,Lin Yong-Yi Post-Production｜Onez Production Special Thanks｜Lin Chang-Feng,Chuang Ming-Cheng,Chiang Wei-shui's Cultural Foundation 展覽子計畫「亞洲線條技術」(1F展區) 德勒茲在《差異與重複》中問到「何謂開端？」，開端不是起點或源頭，而是時間的裂縫，而時間裂縫所牽動的正是思考的發生：即改變。「時間裂縫」落實到現實首先就是政治時刻，從現代之後就是「民主化」與「自由化」的時刻，再則是文化積澱面對到外在條件改變時出現的擠壓，藝術皆通過形式轉化致力於社會溝通與連結，就是將民間催化為可塑的民主場域的「民–藝」：民主藝術。七十年代末，無論是溯回俞大綱，或是奚淞與蔣勳先後挹注的藝文方向，主要還是王淳義先生在1976年投稿《雄獅美術》所寫下「文化造型工作」的提擘綱要，及隨後蔣勳將文化造型工作提振為「文化造型運動」。這裡的「文化」正如王淳義所企圖創造的發聲場域，是一種關乎脫離多重殖民（潛殖）、創造在地經驗機制的生態學概念。如是，「文化造型運動」是一次次企圖跨越這些張力脈衝的投入與嘗試：化解支配暴力強度的「化殖」。策劃｜季風造型工作團隊影片拍攝及後製｜Randy Yang 特別感謝｜陳明章、王沛瀅、聶永真、鄭宗龍、王淳義、黃珮珊、黃瓊瑩、吳瑪悧、許哲嘉、展品原出版團隊 Project : Monsoon Plasticizing Culture Work Team Gilles DELEUZE inquired: what is beginning? The beginning is not a starting point nor a source, but a crack in time. What a crack in time brings forth is the occurrence of thinking : change. A “crack in time” in reality starts from any political moment. In modern times, it is the moment of “democratization” and “liberation.” Then, it is the extrusion emerges as cultural accumulation encounters change of external condition. Through formal conversion, art has been committed to social communication and connection. It is “demo–art” that catalyzes local communities into malleable democratic venues: democratic art. At the end of the 1970s, either the retracing of YU Dagang or the direction of art and culture SHI Sung and CHIANG Hsun, it was Mr. WANG Chun-Yi that proposed the outlines of “cultural plasticizing works” in Lionart Magazine and Chiang that elevated the cultural plasticizing works into “cultural plasticizing movement”. The “culture” was the venue for voices Wang sought to create. It was an idea of ecology concerning the departure from multi-colonization (para-colonization) and the creation of local experience mechanism. The works of cultural plasticizing thus became the practice of the political economy of culture. Thus, “cultural plasticizing movement” is the commitment and endeavor to transcend beyond the intensive impulsions now and again, the “dis-colonization” that dissolves the power of dominating violence.

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《泥土》、《霧海》、《盤》、《季風紙本印件》

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策展團隊

關渡美術館

策展人黃建宏（現任國立臺北藝術大學關渡美術館館長、國立臺北藝術大學藝術跨域研究所所長）助理策展人張瑋倫、孫睦怡

展覽策劃

書寫公廠

書寫公廠Writing FACTory是一個長期計畫、一片無地之處及一間虛擬工廠，生產與書寫／出版作為藝術及政治實踐的論述、研究及印物。由藝術家張紋瑄於2018年開啟的這個計畫，以「公廠」作為經驗及論述的集散地，書寫在此間並不只是特定領域中操作文字的技術，而是在政治、美學等不同面向的實踐中最經濟的手段。目前實踐內容包含書寫的訪調與相應的年會、工作坊及檔案轉譯。策展及創作實踐 2021，「神秘的自制島上辯士作聲」，展於「民主藝術：文化造型運動n.0在當代」，關渡美術館，台北，台灣 2021，「3069號新地球」，展於「未竟之役：太空．家屋．現代主義」，台北市立美術館，台北，台灣 2021，史明文物館常設展示，史明文物館，新北，台灣 2021，「太平洋海盜#2：臨時自治區」，線上研究型駐地計畫，台灣、墨西哥。獲臺灣與拉丁美洲文化交流合作補助，文化部 2020，「革命一舉與103歲的筆」，展於「合力組裝米克斯」，台北當代藝術館，台北，台灣 2019，「太平洋海盜」，關渡美術館，台北，台灣 2018，「南榕的二三事」，展於「自由之路藝術節」，鄭南榕基金會，台北，台灣 2018，「南榕的二三事」，展於「穿越─正義：科技＠潛殖」，台北當代藝術館，台北，台灣 2018，「Pages of Here and There」，Alumnos47，墨西哥城，墨西哥 2018，「2 Weeks #2 書寫公廠：三流論述、二流製本、一流謠言」，台北當代藝術中心，台北，台灣研究計畫 2019-2020，「紙上極限運動」，獲國藝會現象書寫計畫補助 2018，「幾頁拉美：拉丁美洲的出版作為（藝術）實踐初探」，獲國藝會藝遊計劃補助工作坊 2020.02.28，「再製獨立宣言工作坊」，台北當代藝術館，台北，台灣 2018.09.19-09.21，「書寫ｘ出版≒知識生產」，國立臺北藝術大學美術學院，台北，台灣座談 2021.4.17，「文心之所藝—從國藝會現象書寫視覺藝評專案談起」，文心藝所，台北，台灣 2019.06.02，「幾頁拉美：出版作為藝術／政治實踐初探」，絕對空間，台南，台灣 2018.10.20，「幾頁拉美：出版作為藝術／政治實踐初探」，海馬迴光畫館，台南，台灣 2018.08.19，「幾頁拉美：出版作為藝術／政治實踐初探」，朋丁，台北，台灣 Writing FACTory is a long-term project, a non-site space and a virtual factory producing discourse, research and printed matter concerning writing/publishing as artistic and political practice. Initiated by Taiwanese artist Chang Wen-Hsuan in 2018, this ‘FACTory’ serves as an entrepot of experiences and discourses. Writing in this sense is not only a technique of operating words in specific field but the most efficient way to accomplish political, aesthetical and other practices. Its practices include field survey, annual meeting on writing, workshop and archive interpretation. Curatorial Practice 2021, “New Earth No.3069” on the occasion of “Art Histories of a Forever War: Modernism between Space and Home”, Taipei Fine Arts Museum, Taipei, Taiwan 2021, “On the Mysterious Self-Shackled Island the Benshi Makes Noises” on the occasion of “Demo-Art : Culture Plasticizing Movement n.0 Now”, Kuandu Museum of Fine Arts, Taiwan 2021, Su Beng Memorial, New Taipei City, Taiwan 2020-2021, “Pacific Pirate#2: Temporary Autonomous Zone”, online research-based residency program, Taiwan and mexico. Supported by Grants for Cultural Exchanges and Collaborative Projects between Taiwan and Latin America, Ministry of Culture 2020, “The Act of Revolt And A Pen 103 Years Old” on the occasion of “Assembly of Communities: MIX”, MOCA Taipei, Taipei, Taiwan 2019, “Pacific Pirate”, Kuandu Museum of Fine Arts, Taipei, Taiwan. 2018, “Histories of Nylon” on the occasion of the art festival “Art Freedom Era”, Nylon Cheng Liberty Foundation, Taipei, Taiwan 2018, “Histories of Nylon” on the occasion of the exhibition “Trans-Justice: Para-Colonial@Technology”, MOCA Taipei, Taipei, Taiwan 2018, “Pages of Here and There”, Alumnos47, Mexico City, Mexico 2018, “2 Weeks #2 Writing FACTory: Third-rate Statement, Second-rate Text and First-rate Rumor”, Taipei Contemporary Art Center (TCAC), Taipei, Taiwan Research Project 2019-2020, “Xsport On Paper” supported by the Visual Art Critic Project, National Culture and Arts Foundation 2018, “Pages of Latin America: Publishing as Artistic and Political Practice in Brazil, Peru and Mexico” supported by the Overseas Arts Travel Project, National Culture and Arts Foundation Workshop 2020.02.28, “Reproduce Independence Manifestoes” workshop, MOCA Taipei, Taipei, Taiwan 2018.09.19-09.21, “Writing x publishing ≒ Knowledge” workshop, Taipei National University of the Arts, Taipei, Taiwan Lecture 2021.04.17, “OnNational Culture and Arts Foundation’s “Visual Arts Criticism Project””, Winsing Art Place, Taipei, Taiwan 2019.06.02, “Pages of Latin America: Publishing as Artistic and Political Practice in Brazil, Peru and Mexico”, Absolute Space for the Arts, Tainan, Taiwan 2018.10.20, “Pages of Latin America: Publishing as Artistic and Political Practice in Brazil, Peru and Mexico”, Fotoaura Institute of Photography, Tainan, Taiwan 2018.08.19, “Pages of Latin America: Publishing as Artistic and Political Practice in Brazil, Peru and Mexico”, pon ding, Taipei, Taiwan

策劃

書寫公廠

研究顧問

三澤真美惠

三澤真美惠 Mamie Misawa 1964年出生日本大阪府。1987年慶應義塾大學文學部畢業後曾任職於出版界，後留學台灣。1999年臺灣大學歷史學研究所碩士班畢業。2004年東京大學大學院總合文化研究科地域文化研究專攻博士後期課程學分修畢。曾任早稻田大學演劇博物館21世紀COE事業客座研究助理，現為日本大學文理學部中國語中國文化學科教授。2006年以〈植民地期台湾人による映画活動の軌跡──交渉と越境のポリティクス〉取得東京大學博士（學術）學位。著作包括《殖民地下的「銀幕」──台灣總督府電影政策之研究（1895-1942年）》（2002）、《在「帝國」與「祖國」的夾縫間──日治時期臺灣電影人的交涉和跨境》（李文卿・許時嘉譯、2012）以及單篇論文多篇。 Mamie MISAWA Born in the Osaka Prefecture, Japan, in 1964, after graduating from the Faculty of Letters, Keio University, Mamie Misawa worked in the publishing industry before she went to Taiwan for further studies. She graduated from the M.A. Program at the Department of History, National Taiwan University in 1999 and earned the credits in the Post-doctorate Program at the Department of Area Studies, Graduate School of Arts and Sciences, College of Arts and Sciences, University of Tokyo in 2004. Formerly a visiting research assistant to 21st-Century COE Programme, Theatre Museum, Waseda University, Misawa serves as a professor at the Department of Chinese Language and Culture, College of Humanities and Sciences, Nihon University. In 2006, she obtained her PhD from the University of Tokyo with The Loci of Colonial Taiwanese Film Activities: Negotiations and Cross-Border Politics. Misawa’s publications include: The Screen in Colony: Study of the Cinema Policy of the Taiwanese Governor’s Office (1895-1942) (2002), Betwixt the “Imperial State” and the “Mother State”: Negotiations and Trans-border of Taiwanese Film Workers during the Japanese Colonial Period (Lee, Wen-Ching & Hsu, Shih-Chia, Trans. 2012), and multiple theses.

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