2015.10.16 Talk: Trans-Fiction in Conversations 穿越劇 展前對談


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時間:2015. 10. 16, 7pm






歷史書寫法是這次研究工作中的重點之一,也是最直接與台灣長期狀況有關的面相, 我們特別關注到的是小型與網絡性強的「檔案」行動,這些檔案行動並非直接地指向制式的「建檔」,相對地,在檔案匱乏的狀態下生成對於制式建檔的不同批判性態度。這個部分主要選擇三種類型來展示這種批判性的歷史書寫:一個是關於空間(伊通)、另外一個關於出版(ACT)、以及個人(姚瑞中)的私藏。



Time: 2015. 10. 16, 7pm

Venue: Taipei Contemporary Art Center, No. 11, Lane 49, Baoan Street, Taipei (MRT Daqiaotou Station)

Speakers: Chien-Hung Huang, Jui-Chung Yao


Curated by Chieh-Hung Huang, the archive exhibition Trans-Fiction is going to be presented in the Asia Culture Complex, Guangju in 25 November. This talk attempts to illustrate the problematic of the local art archive in conversation with one of the participating artists Jui-Chung Yao as an introduction to the exhibition concept, and extend more possibilities to reflect on the Taiwanese art archive in relation to the imagination and practice in Asia as well as the importance of archive per se.

Trans-fiction: Archival History of Bio-politics and Social Movements from Taiwan investigates the question of “micro-archiving.” Archive is the conceptual framing of historicity. Therefore, the lack of archive, or the inability to archive could be translated into the missing or rupture of history. The latter actually describes the current status in East Asia. “How to archive” is therefore an enormous task as we confront with nuanced materials of various contexts that have never been classified and filed. Apart from it, it is inadequate to follow the Western archive system that has been criticized since the 60s in the last century. There is a need to generate criticality for collecting historical materials. Based on these parameters, the project is titled as Trans-Fiction to collect materials through their production meanings. This project is composed of three sections: Bio-politics, Historiography and POST-movement.

Deeply tied to the long-term situation in Taiwan, historiography is one of the focuses in this research. This project takes a specific interest in the small-scale and network-based archiving actions. Instead of being the traditional archive, they embody a different criticism to the lack of archive. Three selected cases will present such critical historiography: one is about space (IT Park), one concerns publication (ACT), and the last one takes a personal stance (Jui-Chung Yao).

Yao’s archive collection is based on the artist’s personal interest, and could be understood as generated from his personal art network. It is different from IT Park’s focus on exhibitions and artists, or ACT’s editorial features. However, his archive conveys many complex clues in chaos that include a few kinds of clusters: 1) his personal references for art practice, 2) the changes and transformations of individual artists in the past 20 years, 3) the trajectory of subjects and forms of exhibition/performance, 4) data about art movements, 5) clues leading to relevant experimental publications. The exhibition presents documents related to experimental art movements about underground movement, alternative space, exhibition themes, art events, art projects, etc. Lots of research will need to be conducted to identify and complete the archive. Undoubtedly, the openness and specificity of this artist collection sustains a potential treasure of documents and materials.