序曲：「修補一份無濟於事」｜Online Exhibition

Introduction

Exhibition

序曲：「修補一份無濟於事」 - Intro: Mending the Irreversible

Curator

以島為家—失敗藝術家回顧巡展

「以島為家—失敗藝術家回顧巡展」(Home Land Is Land - Retrospective Tour of the Failure Artist) 將會是一個物理上橫跨台灣島嶼北、中、南三個展區的巡展，觀眾將隨著展期的時序回溯藝術家的創作歷程：在台灣藝術學院的創作初期（2022年2月，高雄）；英國留學期間的創作語言轉換（2021年11月，台中）；返台後對故鄉作為島嶼的創作回應（2021年7月，台北）。本次展覽「修補一份無濟於事」(Mending the Irreversible)將作為巡展的「序曲」，它是存在於雲端的線上展覽，跨越了三個實體展覽在時空上的有限，邀請所有觀眾一同進入故事的源頭，一切構成我們是誰、將成為誰的源頭—家。也為了紀念我們在這個島嶼一同經歷的疫情時代，期待未來有幸與各位於實體展相見。長椅與耕舞「我想辦個展，紀念我沒有成為藝術家，你要幫我當策展人嗎？」這是我跟林耕舞合作的開始，帶著浪漫而血淋淋的真誠，讓我無法迴避。我與耕舞是英國留學時期的同學，在我的印象裡他總以玩笑與輕蔑的口吻輕描淡寫自己的作品，像是想告白卻怕被拒絕的戀人，只能用玩笑包裝自己的愛意。記得某一次用餐席間，我不經意的問他：「耕舞，你有考慮過轉行嗎？感覺你不一定要走藝術。」他愣了一下，用我沒看過的認真神情以沈穩的語氣說：「我知道我常常看起來把自己的作品當玩笑，但是我是認真的對待我每一件作品的，我沒有辦法停止創作，我也努力了十幾年了。」於是在兩年後聽到回台灣的耕舞說要放棄成為藝術家，則讓我驚訝與好奇不已。我深知像耕舞這類人是不可能停止成為藝術家的，他這輩子恐怕是逃不掉了；但更讓我好奇的是在他身上的那種挫敗感，那種返鄉的挫敗感，那種幾乎確信台灣/家無法讓他大展身手的挫敗感，像是一座島嶼容納不下異質個體與狂妄的夢，在我身上也有過。這一次有幸能與藝術家一同嘗試以「展覽」面對/拆解/實驗這個帶著我們各自人生重量的課題，送給依然在藝術創作中掙扎的你。長椅小姐寫於台中房間 2021年6月13日 "Home Land Is Land - Retrospective Tour of the Failure Artist", will be a touring exhibition that physically spans the north, middle, and south of the island of Taiwan. Together, the audience will be tracing the artist’s artistic development along with the timing of the exhibition: In the early stage of creation at Taiwan’s Arts education (February 2022, Kaohsiung); Artistic language shift during the study in the UK (November 2021, Taichung); Reflecting on hometown as an island, after returning to Taiwan (July 2021, Taipei). This online exhibition "Mending the Irreversible" will serve as the "introduction" of the tour. It is an exhibition that only exists in the cloud. It exceeds the limited time and space of three physical exhibitions. All the audiences are invited to enter the source of the story, and everything constitutes the source of who we are and whom we will become - “home”. At the same time, to commemorate the era of pandemics we experienced together in the world. We look forward to seeing each other in physical exhibitions in the foreseeable future. Miss Bench & Kengwu Yerkikaya “I want to put on a solo exhibition to commemorate that I didn't become an artist. Do you want to be my curator?" This was the beginning of my collaboration with Kengwu Yerkikaya, with that romantic and bloody sincerity, I cannot rebuff it. Keng and I were schoolmates while studying in the UK. In my impression, he always undertook his work with jokes and contempt, as if a lover who craves to express affection but is too afraid of rejection, can only cover it all up by jokes. I remember one time during the dinner, I asked him inadvertently: "Keng, have you considered changing careers? I don't think going down to art is your only option." He froze for a moment and said in a calm tone with a serious expression that I hadn't seen before. "I know that I often seem to take my art work as a laugh, but I actually take every single piece of them seriously. I can't just suddenly stop. I have been doing it for more than ten years now." So two years later, when I heard Keng who returned to Taiwan said that he would give up becoming an artist, which made me surprised and curious. I know that it is impossible for people like him to stop being an artist, escape isn’t on the table; but what makes me more curious is the frustration in him, the frustration of returning home. The frustration that he is almost convinced that Taiwan/Family cannot let him show his talents, like an island that cannot accommodate heterogeneous individuals and arrogant dreams, which has also happened to me. As a curator, I am fortunate to be able to work with the artist to try to face/dismantle/experiment with the subject which carries the weight of both our lives via exhibition, dedicated to you who are still struggling in your artistic practice journey. Miss Bench Written in room, Taichung June 13, 2021 __________________________________ 關於序曲， Intro, 「修補一份無濟於事」 “Mending the Irreversible” 年幼一點的時候，急著逃離家。長了一點才明白，家是你找到與和解自己的唯一線索。父母同意的生活方式未必選到我們，但人生的貪嗔癡怨或疾苦還得我們自己擔起。家裡最近在賣房子，這個位在臺北市內湖區的家，是我從小長大的地方。父親其實非常的掙扎，他對這裡感情格外深，且稱這個房子為「起家厝」（台語），我的父母都不是原生臺北人，僅僅是兩個鄉下小孩，四十年前都來到了臺北，求學、打拼與圓夢，而後遇見了彼此並一起留了下來。這個家，是他們在台北的第一個置產，還是預售屋時他們就下手了。也順利在這裡扶養了三位子女，長大成人。然而，礙於事業經營的不順心，父親真的很想提早退休，把房子賣了房貸繳清了，他也可以放下一份重擔。這裡現在基本上只有我在住，家人們好幾年前搬去郊外了。所以這段時間中，由我負責打理家裡，維護環境，也接洽房仲，好讓它們帶潛在的買主來看房。 We were eager to run away from home when we were younger. Only after we somehow aged a little bit did we realize that home is the only clue for us to find and reconcile ourselves. The life that our parents agree with, may not be the one we choose , but we are the ones that have to bear with the greed, anger, grievance, or suffering of life, all on our own. Lately, my family’s house has been put on sale. This house is in the Neihu District of Taipei City, where I grew up. Father is in two minds. He has a deep attachment to this place, in which he calls this house "Starting Home". Neither of my parents are native to the city of Taipei. They are just two countryside children who came here to the capital city 40 years ago. In Taipei, they studied, worked hard, and fulfilled their dreams, met each other, then “stayed” together. This house was their first property purchase in Taipei; they made the initial move when the building was pre-sold. Afterwards, successfully raised three children here and who grew up in this house. However, due to the struggle in holding his business, father wanted to retire earlier. If he could sell the house and paid off the mortgage, then he could also lay down his burden. I’m the only one who lives here now, other family members moved to the suburbs several years ago. Therefore, during this period, I took on the job of taking care of the house, maintaining the environment, and contacting the real estate agent so that they can bring potential buyers to view the house.

Explore Works

more works

天花板會有坍塌的一天, 2021 On the Day When the Ceiling Collapses, 2021

林耕舞 Kengwu Yerlikaya

所有的門和門框都是不同顏色跟材質, 2021 All Doors and Frames Are of Different Colors and Materials, 2021

林耕舞 Kengwu Yerlikaya

坐在漆黑的廁所, 2021 Curling Up in the Dark Toilet, 2021

林耕舞 Kengwu Yerlikaya

明顯的油漆色差, 2021 The Obvious Color Difference, 2021

林耕舞 Kengwu Yerlikaya

裝上了鐵籠, 2021 Install the Iron Cage, 2021

林耕舞 Kengwu Yerlikaya

天花板會有坍塌的一天, 2021 On the Day When the Ceiling Collapses, 2021

林耕舞 Kengwu Yerlikaya

所有的門和門框都是不同顏色跟材質, 2021 All Doors and Frames Are of Different Colors and Materials, 2021

林耕舞 Kengwu Yerlikaya

坐在漆黑的廁所, 2021 Curling Up in the Dark Toilet, 2021

林耕舞 Kengwu Yerlikaya

明顯的油漆色差, 2021 The Obvious Color Difference, 2021

林耕舞 Kengwu Yerlikaya

裝上了鐵籠, 2021 Install the Iron Cage, 2021

林耕舞 Kengwu Yerlikaya

天花板會有坍塌的一天, 2021 On the Day When the Ceiling Collapses, 2021

林耕舞 Kengwu Yerlikaya

所有的門和門框都是不同顏色跟材質, 2021 All Doors and Frames Are of Different Colors and Materials, 2021

林耕舞 Kengwu Yerlikaya

坐在漆黑的廁所, 2021 Curling Up in the Dark Toilet, 2021

林耕舞 Kengwu Yerlikaya

明顯的油漆色差, 2021 The Obvious Color Difference, 2021

林耕舞 Kengwu Yerlikaya

裝上了鐵籠, 2021 Install the Iron Cage, 2021

林耕舞 Kengwu Yerlikaya

About Curation

more description

Curator

「以島為家—失敗藝術家回顧巡展」

「以島為家—失敗藝術家回顧巡展」 Home Land Is Land - Retrospective Tour of the Failure Artist 「我想辦個展，紀念我沒有成為藝術家，你要幫我當策展人嗎？」這是我跟林耕舞合作的開始，帶著浪漫而血淋淋的真誠，讓我無法迴避。我與耕舞是英國留學時期的同學，在我的印象裡他總以玩笑與輕蔑的口吻輕描淡寫自己的作品，像是想告白卻怕被拒絕的戀人，只能用玩笑包裝自己的愛意。記得某一次用餐席間，我不經意的問他：「耕舞，你有考慮過轉行嗎？感覺你不一定要走藝術。」他愣了一下，用我沒看過的認真神情以沈穩的語氣說：「我知道我常常看起來把自己的作品當玩笑，但是我是認真的對待我每一件作品的，我沒有辦法停止創作，我也努力了十幾年了。」於是在兩年後聽到回台灣的耕舞說要放棄成為藝術家，則讓我驚訝與好奇不已。我深知像耕舞這類人是不可能停止成為藝術家的，他這輩子恐怕是逃不掉了；但更讓我好奇的是在他身上的那種挫敗感，那種返鄉的挫敗感，那種幾乎確信台灣/家無法讓他大展身手的挫敗感，像是一座島嶼容納不下異質個體與狂妄的夢，在我身上也有過。這一次有幸能與藝術家一同嘗試以「展覽」面對/拆解/實驗這個帶著我們各自人生重量的課題，送給依然在藝術創作中掙扎的你。長椅小姐寫於台中房間 2021年6月13日 “I want to put on a solo exhibition to commemorate that I didn't become an artist. Do you want to be my curator?" This was the beginning of my collaboration with Kengwu Yerkikaya, with that romantic and bloody sincerity, I cannot rebuff it. Keng and I were schoolmates while studying in the UK. In my impression, he always undertook his work with jokes and contempt, as if a lover who craves to express affection but is too afraid of rejection, can only cover it all up by jokes. I remember one time during the dinner, I asked him inadvertently: "Keng, have you considered changing careers? I don't think going down to art is your only option." He froze for a moment and said in a calm tone with a serious expression that I hadn't seen before. "I know that I often seem to take my art work as a laugh, but I actually take every single piece of them seriously. I can't just suddenly stop. I have been doing it for more than ten years now." So two years later, when I heard Keng who returned to Taiwan said that he would give up becoming an artist, which made me surprised and curious. I know that it is impossible for people like him to stop being an artist, escape isn’t on the table; but what makes me more curious is the frustration in him, the frustration of returning home. The frustration that he is almost convinced that Taiwan/Family cannot let him show his talents, like an island that cannot accommodate heterogeneous individuals and arrogant dreams, which has also happened to me. As a curator, I am fortunate to be able to work with the artist to try to face/dismantle/experiment with the subject which carries the weight of both our lives via exhibition, dedicated to you who are still struggling in your artistic practice journey. Miss Bench Written in room, Taichung June 13, 2021 __________________________________________________________________________________________________ Spacial thanks to: Technical Support: Foggy Incense (O-wave, Psychobaby Gill Lin) English Proofreader: Elliot Gibbons Graphic Gesign: Crystal YP Lin Sponsor: Gulkan Yerlikaya Reciter: Stanley Lin Yao Space: Andy Hsieh & Wei Hsuan Chen Artogo: Howard Yang, Frank Ho

Curator

長椅小姐 Miss Bench

長椅小姐 Miss Bench 長椅的一端坐著女公爵，另一端坐著無家可歸的流浪漢，一段談話正要開啟。這就是展覽的存在，向上面對購買藝術品的百萬富翁，向下面對對藝術感興趣的普羅大眾。這一刻，它將一個線性的二維關係轉化成了一個存在在三維空間的平台，無論你是誰，歡迎進入這場談話，這有可能是現存改變世界最平和的的方式了。長椅小姐是一名對旅行上癮的策展人、平民藝評人、日常中的奇觀鑒察者，以下內容為她的見聞分享，僅供擁有獨立思想的個體閱讀，尋找正確答案者勿入。 2018年，「異常狀態」，切爾西藝術學院，倫敦 2018年，「//」，切爾西藝術空間，倫敦 2019年，「儀式性動物」，柳美術館，台中 2019年，「O//O」，柳美術館/窯座，台中 On the end of the bench sits the Duchess, with the homeless tramp at the other end, thereby a conversation is about to begin. This is the existence of the “Art Exhibition”, facing upwards to the millionaires who purchase art, and downwards to the general public who are interested in it. At this very moment, it transforms a linear two-dimensional relationship into a platform that exists in three-dimensional space. No matter who you are, welcome to the conversation. This may be the most peaceful way to shift the world. “Miss Bench” is an curator addicted to travel, a civilian art critic, and an observer of daily spectacles. The following content is her experience and thought sharing, which is only for individuals with independent thinking to read. Those who are seeking the correct fixed answers should not enter. 2018, Abnomal, Chelsea College of Arts, UAL, London 2018, //, Chelsea Space, London 2019, A Ceremonial Animal, Liu Museum, Taichung 2019, O//O, Liu Museum / YAO Space, Taichung

Artist

林耕舞 Kengwu Yerlikaya

林耕舞， 1993年生於台北。曾就讀於國立臺北藝術大學電影創作學系，而後於倫敦藝術大學的雀兒喜學院，取得藝術學士。同時是一名演員、作家、視覺藝術家。他將自身的肉體、時間、經歷作為創作媒材，沈浸/扮演著社會所給予他的不同身份，透過探尋自身矛盾的身份認同，質問著制式社會框架下所形成角色分工、角色形象及角色期待。在靜態的展示語言中擅長使用錄像、現成物及文字，仍在不斷的嘗試與擴張中。近期，他將個人關注轉向更為宏觀的社會議題，諸如少數群體人權、性別政策和全球運動，在其近作《這是我們所承諾的未來嗎？》中更層層揭開近年諸多大國為經濟利益而選擇背棄社會正義的真相。 Born and raised in Taipei City, Kengwu Yerlikaya (b. 1993) studied at the Department of Filmmaking, National Taipei University of the Arts, going on to earn his Bachelor of Fine Arts from Chelsea College at University of the Arts London. Kengwu begins with his body as media itself, exploring societal expectation and the contradictory image it creates. Identity and labour division are central themes. Using video, ready-made objects, and text – his work operates as both experimental and expansive. Recently, he has shifted his personal attention to macro social issues, such as minority human rights, gender policies, and global movements. In his recent work “Is This The Future We Promise For?”, countries that abandon social justice for economic gain are primary concerns. "Selected exhibitions, Screenings, Conference, Art fair:" Other ways of watching together (film screening), 2020 Rotterdam, Netherlands (https://thisismama.nl/events/home/other-ways-of-watching-together) QUEER ARTist NOW (exhibit artist), 2020 London, U.K (http://queerartistsnow.com) A World Without End (exhibit artist), 2020 Online, U.K (https://www.nobarkingartgallery.com/#/) So Close (exhibit artist), 2020 Online, U.S (https://sidexsidecontemporary.com/So-Close-International-Online-Juried-Group-Exhibitio) Out The Window (film screening), 2020 Bristol, U.K https://www.instagram.com/weareoutthewindow/ Chelsea college of arts (degree show), 2019 London, U.K (https://chelseadegreeshow.com/archive/) Widening the Gaze (presenter as artist), 2018 London, U.K A conference exploring the role of Race in Creative Practice today (https://www.ucl.ac.uk/slade/events/widening-the-gaze) LOA-upload gallery (exhibit artist), 2018 London, U.K (https://www.leaveofabsence.london) Jouska (exhibit artist), 2017 London, U.K (https://www.artrabbit.com/events/jouska) Taipei Free Art Fair (exhibit artist), 2014 Taipei, Taiwan (http://www.freeartfair.tw/) 2014 Super-Novart (exhibit artist), 2014 Taichung, Taiwan (https://www.facebook.com/events/872150919484597/)