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區秀詒的離體美學涉及著從一段漫長共同體建立歷史的解離過程。《克里斯計劃II：If the Party Goes On》與其說是對台灣電影史改寫可能的假設，不如說是將神岡空難設想為陸運濤（同時也是藝術家區秀詒自身）藉此「離體」的契機，化身成為了攝影師陸，進入那疊存與共在的時空。陸現身於當初馬來亞共產黨躲藏的雨林、那些從殖民時代即開始榨取資源的礦湖，寄魂在國泰克里斯電影中的人物裡，在《空中小姐》、《曼波女郎》那些去背、抽離原來時空的電影片段背後，如同最常以《羅摩衍那》（Ramayana）為劇碼的馬來皮影戲（這裡當然也暗指著被禁演的吉蘭丹皮影）操偶著，穿梭在各種不同變體的“party”、多種文化的神祇之間。如同「棉佳蘭」這不存在之邦國，陸的party代表的那種飄忽、移動、跨越性主體的想像是否有可能，還是它僅只是一種全球年代的鬼魅？
(1) 〈超渡共同體的音媒者 關於林其蔚個展「磁帶音樂 2004-2013」〉，陳泰松，2015。http://talks.taishinart.org.tw/juries/cts/2015021602
Psychedelic experiences, breaking the boundary of control between body and spirit, exude the energy of the unconscious through the power of drugs. This is the great escape from the power of discipline and governance, resisting the bio-politics of health and labor force imposed by ideological state apparatuses. Despite the close relationship between the state apparatus of war and production that facilitate the discovery of medicine and drug, both physical and metaphysical, the resistance is always a fight between control and avoiding control. The experience of space-out is also the line of flight of identity, an out-of-box of community.
In his Tape Music series, Lin Chi-Wei’s creates a ritualistic circumstance of collectivity through the figure of Dharmacakra, but also questions the concept of “community.” As art critic Taisung Chen notes “There’s a paradox in this community indicated through sounds. It’s a machine, the self-interpretation of muzzle and autonomy” (1). Lin’s Polygraph project also sits on the boundary of this paradox. It is a self-reflective view of a return to physicality as a measurement of its borders or self-regulation, but also a kind of disciplinary self-censorship. And during this movement of out-of-and-in-to-body, there comes out a new circulation, and a new technology of self-formation.
Dawang’s pop-up local “trance” mania spreads out over a year with lento tempo. But trace rarely has an aesthetic which is popular with elder people. It takes a quasi-religious ceremony to counterattack mainstream culture which is “positive thinking” and “enjoy the little things in life”. The sticky music combines with commoditization of Taiwan’s media culture to recover self-absorption. It resists the world, only passively. It attempts to represent the struggles of life and exorcise the Recession Generation. Feigning his name as Uncle Moralizator, Dawang Huang acts as an uneducated and unsanitary pervert. He is extremely “elderize”, sings with a local accent and combines a Taiwanese rap with cheap trance backing music. The attitude of Uncle Moralizator reflects to the absence of “formal” history, anti-propaganda, anti-hygiene education and anti- New Life Movement, as he teases late president Chiang Kai-shek in Sleepwalking in Xian Gong Temple.
Dawang’s Following the Footsteps of Singing – A Tour Guide to Walk Local is a psyche-trip for elders. Old musical scores reveal the love and hate under Japanese occupation during the golden age of Dadaocheng, and, simultaneously, stories from the underclass covered by cultural creative industry and so-called Renaissance of Dadaocheng. Sexual service workers that contain various regions live in the streets. The Collective of Sex Workers and Supporters (COSWAS) being forced to close down and evicted, the culture of Ningxia night market is no longer local from price-increases, and old houses sit in wait for for the urban redevelopment and rise its value. “Gan-ning-liang” [a phononym for the Chinese equivalent to ‘fuck your mother’], the abbreviations of three local streets, shouts out the anger voice of the bottom of society.
The “out-of-body aesthetics” developed in Au Sow-Yee’s works relate to a process of dissolution from a long history of community construction. In Kris Project II: If the Party Goes On, she assumes the CT106 plane crash to envisage an out-of body moment for Loke Wan Tho – and also artist Au Sow-Yee herself. More than assimilating the incident as a possibility to rewrite Taiwanese movie history, Loke Wan Tho gets into a overlapping, simultaneous time-space by the name photographer Loke. He is embodied in the rainforests where the Communist Party of Malaya hid, by a mine lake which has been squeezed of all natural resources from colonial times. He possesses the characters in the Cathay-Keris’s movies from behind the Chroma-key effect. Manipulating movie sequences from Air Hostess and Mambo Girl as Wayang Kulit (Malaysian shadow puppet play), frequently drawing from Ramayana which was banned in Malaysia, Loke shuttles between different transfigured party and the gods of different cultures. As in the fictional utopia “Mengkerang”, does the indefinite, ambiguous trans-subjectivity presented in Loke’s “party” really exist? Or it is only the ghost of globalization era?
1. The Sound Psychic of Soul-releasing of Community, About Lin Chi-Wei’s Solo Exhibition Tape Music 2004- 2013, Taisung Chen, 2015. http://talks.taishinart.org.tw/juries/cts/2015021602
Half-crashed post-media bard, improviser, living sound Wikipedia – Dawang Huang enacts an epic debate among the speedy data flow with his idiosyncratic noise-language and profoundly unbalanced bodily expression. Best known for his Blackwolf Nagashi performances, he has created a genre unto himself in fanzine and cultural studies. His wild ‘scum’ world and obscure, yet warm attitude he approaches the ethics of modern society via a crooked path. Huang lives and works in Taipei.
Au Sow-Yee’s work takes two approaches rooted in moving images. One is her continuing interest in image-making mechanism and its ghost, creating live cinema performances using mechanical film projectors. Second is to question, explore as well as expand the relation between images, image-making, politics and power, through video installations and other mediums. Through her artistic language and dialectical approach to audio-visual “mapping”, she depicts the accumulation of a ‘bio-archive’ from her investigation into historical contexts. Au lives and works in Taipei.
Lin’s early noise and performance series concern the confrontation and violence among institutional power, people and society. Human body as medium, subjectivity, site of order and embodiment of modern symptoms are the subject of his liberation of movement in his peculiar gothic garbage aesthetic. His recent interests explore the mysterious realm amongst sound structure, ritual, symbol and energy, transforming them into alternative allegories to criticize the contemporary social and political conditions.