2017.02.17 Salon Spice – Season 1 Episode 3: Su Hui-Yu’s Midnight Reading 辛沙龍 第一季第三集:蘇匯宇的午夜閱讀場

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時間:2017.02.17(五),9pm

地點:台北當代藝術中心,台北市保安街49巷11號(捷運大橋頭站)

 

蘇匯宇的午夜閱讀場,將在其《人生・享受・閱覽室》的收藏展示中選取幾本個人珍藏,與觀眾分享他的個人發現。這些發現,通常聚焦在「時空差異」的因素下原始文本的失效或失常,又或者,聚焦在此時此刻閱讀行為的「變向」上。以通俗一點的話來說,就是「以前看來好性感,現在看來好好笑的原因究竟會是什麼?」

午夜閱讀場將介紹的,包括古籍言情小說中一些幾乎失傳的名詞與術語;替想像中「新中國女性」所打造的《現代女性百科》與《婦女手冊》;專為台灣單身男子打造的《泡妞的技巧》;為高中生打造的《中學生101花招》;以及日本產地直送的《愛的醫學》。此外,分享會亦將展示一本(疑為)1920年代的古籍,人稱中國性學第一人張競生先生的性學首部曲——《性史》。這本當年在中國暢銷了數十萬冊並屢遭盜印的奇書,引起社會譁然,亦導致了張君失去北大教職。這本林語堂都親筆為其撰序的《性史》,是華文出版史上一個奇異篇章,更見證了華人/儒家文化圈的道德系統的某種演變,亦或是沒有演變。同時,蘇匯宇也將談及個人創作與這個特殊主題的研究關係。

本午夜閱讀場活動將同時伴隨一夜的A片情境音樂選集。

 

參與對象:生理心理男女不拘
著裝限定:硬蕊風
備註:活動後,歡迎一同轉戰Korner續攤!

 

關於藝術家

影像、媒體、史料與日常生活交織後的複雜現象吸引著蘇匯宇,過去他以錄像探討大眾影視媒體對人們觀看的影響,以及人們對媒體的思想與慾望的投射。電視與電影的暴力美學、失眠夜的恍惚情境、虛實交錯的幻境景象、電影文化對於女性身體影射或明示的情色與性暗示等,其各式創作主題皆取材於自身被媒體環繞的相關經驗,從電影、電視文化、廣告、國家機器、恐怖主義、自我與他者、身體、慾望投射乃至幻覺與真實等議題都是他的關注項目。近期蘇匯宇開始著迷於古籍的閱讀經驗,透過重讀、重敘與重新組裝過往時代的書籍,獲取對於身體、存在與歷史等課題的重新認識。作品曾展出於台北市立美術館、國立台灣美術館、台北當代藝術館、關渡美術館、高雄市立美術館、加州聖荷西美術館、康乃爾大學的強森美術館以及上海當代藝術博物館等重要機構,2013年錄像作品《稍待片刻》獲邀參加「盧森堡電影節」,於 Casino Luxemburg當代藝術中心播映。曾獲ACC「國巨科技藝術獎」獎助,於2009年前往紐約駐村。

 

關於辛沙龍

TCAC在2017年所全新推出的《辛沙龍》系列將首度嘗試透過展演情境創造和焦點議題的發展來輪廓未來政治的形貌。全年度的活動節目將從「身體政治」的再出發來思考各種切身於社會關係組織、政治權力的議題,從性和死亡等兩大軸線來探索不同文化如何理解身體作為當代社會中作為何種政治媒介、意識形態、文化符碼和結構規訓的載體。從而觀看身體在文化歷史上、在藝術文本中如何展現、交織、再現個體和集體的慾望和運作;在政治經濟上,又如何可能被歸納到各種被英雄化、神聖化、殘疾化、工具化、機械化、畸形化、妖魔化等狀態。這些身體政治的問題意識將引導我們重新關注並辨識自身現代化的真正起始點,並思索所處當代社會身體的病徵。相關的子題或將擴延至情慾、性別、身份政治、酷兒研究、女性主義、暴力、痛苦、死亡、後網路、賽伯客等,以長達兩年的時間來梳理關於身體實踐之徑。

 

Time: 2017.02.17 (Fri), 9pm

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

Su Hui-Yu’s Midnight Reading will explore Su’s pornography book collection in the Life, Pleasure and the Reading Room project and reveal his personal findings that focus on the invalidity or derailed meanings of the historical materials in the contemporary context. Historical contexts or the turn of reading behaviors are to be investigated in this reading event. To put it in a simple term, why do all these hot sexy materials look almost hideous today?

In this reading event, we will together discuss some disappearing terms, from books such as Modern Woman Encyclopedia and Woman’s Handbook for new modern Chinese women, Dating Skills for Taiwanese single males, or 101 Tricks for high school teens, and Medical Studies of Love from Japan. We will also take a close look at Sex History by Zhang Jingsheng. This astonishing publication was sold for more than hundred thousand copies and cost Zhang his teaching position in Peking University in the 1920s. Sex History published with a foreword written by the famous scholar Lin Yutang is a legendary literature work in Chinese publication history, witnessing the changing or unchanging of Chinese/Confucius ethics. Su will also talk about his artistic practice in relation to this particular research.

This event will be accompanied by a night of porn music collection.

 

About the Artist

Su Hui-yu is fascinated by connections among images, media, history, and daily life. In his videos, he explores both mass media’s impact on viewers, and the projection of viewers’ thoughts and desires onto media. Themes in his work include the aestheticization of violence, trance-like sleepless states, the interplay between reality and fantasy, and eroticization of the female body in films. He draws from his experiences with various media, cultures, and the body, as well as national mechanisms, terrorism, and even the self versus the other. Recently, Su’s interest in old books, from which he appropriated and revised text for his work, has led him to a new understanding of physicality, existence and history. His work has been exhibited at the Taipei Fine Arts Museum, Kuandu Museum of Fine Arts, Hung-Gah Museum, National Taiwan Museum of Fine Arts, MOCA Taipei, Kaohsiung Museum of Fine Arts, San Jose Museum of Art, Herbert F. Johnson Museum of Art at Cornell University, and Shanghai’s Power Station of Art. In 2013, Su’s The Upcoming Show was screened at the Luxembourg City Film Festival. His solo exhibitions, The Fabled Shoots in 2007 and Stilnox Home Video in 2010, were nominated for the Taishin Arts Award. In addition, Su was awarded the Asian Cultural Council Fellowship Award and participated in a residency program in New York City in 2009.

 

About the Salon Spice

In 2017 TCAC is launching a new program series as an attempt to contour future politics by creating a tangible open space for connecting experimental displays and thematic discussions: the Salon Spice. Taking a departure from “body politics”, the Salon Spice will contemplate issues related to social organization and the distribution of political power from two main subjects “sex” and “death.” We will explore how bodies are at the center of this topic, subject to political agency, ideology, cultural symbol, structure and discipline across different cultures. Through a cultural and historical lens, we shall examine how bodies are presented and connected by their representation among individual and collective desires and manipulations in art. Politically and economically speaking, we will investigate how bodies are constantly labeled and classified as heroes, holy figures, witches, or the disfigured. The abnormal, alienated, instrumentalized or body-as-machine figures shall also be examined. These problematic topics will lead us to rethink and identify the real starting point for our very own modernization progress, and link with the symptoms of the contemporary social bodies. Related topics may also extend to eros, gender, identity politics, queer studies, feminism, violence, pain, death, post-internet, cyborg, etc.

The Salon Spice series suggests how to create a 21st century art salon that meets diverse variations of contemporary knowledge production, artistic practice and development of public sphere. It aims to create a co-learning collaborative environment and process for artists and other professionals by building conversations and navigating through research, display experiments, brainstorming, and other artistic communication beyond the form of exhibition-making, and together, exercising the space with fantasy and intervention. This could be considered as one of the strategies for TCAC to expand the public realm and art experimentation, providing a progressive platform for the local art community to explore ideas and intercultural exchanges that can be a part of the public imagination for the art center’s space narration, institutional identity, function and community.