《麥巔》Mai Dian, 2016

 

【梅爾汀計畫－一年對話實踐：縫線、鬼故事、逃離】
M.E.L.T.Ing Project – One Year Conversation: Thread, Ghost Story, Escape

台北當代藝術館 MoCA Taipei

單頻彩色有聲影像 Single channel video, color, sound 10’00’’

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麥巔成長於野性、中國朋克音樂搖籃的武漢，他以及「我們家青年自治實驗室」是一個以橫向、無領導的方式組織的無政府主義空間，一個公共廢墟。我則成長於台北，這個整個藝術體制已斟完備，甚且不斷用許多空洞計畫包裝的城市，從都會到鄉野橫亙著無端的膽妄（delirium），被資本主義美學將此一膽妄指稱為：「這是一個概念」的城市。麥巔與我的對話實際上是沉默。在2012年深秋武漢凜冽的空氣裡，在他的文章及我的文章，在一位共同的友人對生命以及生活實驗的終結裡，在solidarity的裂隙，以及在不可能逆轉的中國、台灣生命、美學技術的畜牧業思想裡。這個沉默對話唯一的共同點，其實是從我們逃離，亦從逃離後的exodus開始的。

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Dian Mai grew up in Wuhan; a wild, violent city that is deemed the cradle of Chinese punk music. He started Womenjia Youth Autonomy Lab; a space operated in horizontal management without a leader, bordering on anarchistic; an equivalent of public ruins. I, on the other hand, grew up in Taipei, where there is an established system of art, and innumerable useless projects have been designed to gift-wrap the city. Delirium could be observed from the urban area to the suburbs; and it is unscrupulously called “a city of concept” according to the aesthetics of capitalism. 

Therefore, the dialogues between Mai and I were actually embodiment of silent wildness. They were in the chilly autumn air of Wuhan in 2012, in his and my articles, in the suicide of Chin in Dechang neighborhood in Hong Kong, in the cracks of solidarity, in the understanding of an Italian autonomy movement, in the irreversible lives in China and Taiwan as well as the thinking of cultivating aesthetic techniques as if it is an animal farming industry. The thing all these silent dialogues had in common was to escape from us, and it started after Exodus. 
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