《回製》

(原2001年「山喬菌宏如何重複我的藝術」

Re-visit/make (“How Shan-Qiao-Jun-Honn Repeated My Art” Project), 2020

【Re-play】

空總文化實驗場 ​Taiwan Contemporary Culture Lab (C-LAB)

錄影、複合媒材裝置、紀錄文件  Video, Mixed media installation, documentation, workshop

尺寸因空間而異 Dimensions Variable

高俊宏九〇年代末到兩千年初期的行為藝術作品是臺灣行為藝術史上值得重視的一個系列,這個系列不同於前此的行為藝術作品,多以身體來對抗國家體制,從「息壤」、李銘盛到姚瑞中多是如此。此時的高俊宏將問題意識轉向自身的存在狀態與外在環境之間的關聯,將自身的存在狀態問題化,此時的行為藝術系列可被視為對於九〇年代個體存在狀態的提問,這樣的提問從個體層面上提出了「時代」(也就是九〇年代)生存情境的問題。透過重返這個系列,我們希望開啟2020年當下與1990年代兩個時代間的生存狀態的對話,並思考這個時代的live art與個體存在狀態之間的關係。

藝術家透過2002年的重製計畫,再訪自己過往《無名氏書寫:廢墟》(1997)、《跳》(1998)、《再會,從此離去》(或《前進地心》計畫,1998)與《泡沫的消失》(1999-2000)這幾件行為藝術作品,藉此探問重複之於行為藝術的意義。


 

The series of performances KAO did during the late 1990s to early 2000s is seen as one of the most important works in Taiwanese performance art history. Unlike previous performances addressing the fight against the state institutions with the use of the artists' own body, such as the works in the exhibition Living Clay, and LEE Ming-Sheng’s and YAO Jui-Chung’s art pieces, KAO turns his inquiries towards the relations between his very own existence and the external environment, rendering the state of his own existence a question to be investigated. The performance series can thus be seen as an attempt to ask how an individual existed in the 1990s, taking the viewpoint at the micro level of an individual to address a bigger question of living situations in an “era” (that is, the 1990s). By revisiting and remaking the series, we hope to initiate dialogues between two different times—the present 2020 and the 1990s, and urge the audience to contemplate the dynamics between live art of our time and the state of existence of an individual.

Through the remake project in 2002, KAO revisits his previous performances, including “Anonymous Writing” (1997), “Jump” (1998), “Farewell! Departing by Now” (1998), and “Bubble” (1999–2000) and examines what repetition could imply in performance art.

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(原2001年「山喬菌宏如何重複我的藝術」)

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