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張紋瑄的創作關切個體如何將自身置入各種敘事結構中，同時，各種敘事結構如何掩蓋個體說故事的聲音 — 或說以各種歷史書寫決定個體的生命。藝術家企圖以其敘事創作凸顯出虛構如何在綁架真實的歷史框架中，成為個體必要的解放手段。因此，在其創作中一直維持著個體日常生活與系統性結構之間張力，而她自身的「說故事」成為在其中進行編織的逃逸（解放）路線。More
彭若瑩為獨立策展人，現居墨西哥主持《Vernacular Institute》計畫空間以及《Black Language Bookshop》藝術書店。關注表演性語彙的開放敘事，策展取徑於後設思敘與觀念性論述的實踐向度，亦致力於推廣藝術印物、獨立出版與觀念書寫。More
I provide a frame, you bring a verb. Then let’s dance in Mexico.
What is a verb? Can it be your body, my language, her statement or his smoking cigarette? Even this cat’s gaze or that stranger’ smile? Perhaps it can be poetic but political, or political poetry. But how to move a verb? To perform.
Attempting to trace a theoretical transformation – or, at least, to start out that way – the core concept of There after Here: Performing a Verb is to employ the discourse of performativity in its varying contexts, among them linguistic theses, deconstruction, queer theory and performance studies. By moving beyond the purely discursive form, the profound account of bringing theory into being the project intends to exercise its implications of performativity beyond performative acts. This raises the question: To perform or to provoke? There after Here: Performing a Verb departs at the threshold of a breakthrough in the uses and abuses of theory to discuss how the notion of body politics can be (re)defined by alternative interpretations. As an open structure for the participant artists it focuses on their performative approach. By mapping a nonlinear narrative of long-standing theory-generating ideas, it asks if our gender is not our sexuality, then does our body not have agency but is instead a style of the flesh? Or is our bodily materiality not our being? If so, how does politics re-conceive the body nowadays and reflect on the conceptual genesis of “performativity” to open up its contemporary rhetoric – to find a hidden verb?
There after Here: Performing a Verb, is a curatorial project to develop bilateral cultural exchange with the aim of building a long-term dialogue between artists and curators in the Latin America and Asia. Curated by Jo Ying Peng, the visiting artists include Su Hui-Yu, Cheng Yi-Ping, Chang Wen-Hsuan, River Lin and Yu Cheng-Ta who will conduct artistic field research towards a series events presented by Vernacular Institute and hosted by Perros Negros, Mexico and TCAC (Taipei Contemporary Art Center),Taiwan. The project is supported by Taiwan Ministry of Culture.
Su Hui-Yu (b.1976, based in Taipei) is especially fascinated by the intricate tapestry interwoven by images, media, history, and daily life. In his videos, Su explores both mass media’s impact on viewers, and the projection of viewers’ thoughts and desires onto the media. Su draws from his experiences of being surrounded by cinema, TV culture, advertisement, state apparatuses and terrorism that affect relations between self and other, the body, projection of desires, and illusion and reality. More
Cheng Yi-Ping aka Betty Apple (b.1986, based in Taipei) is a sound artist, electronic composer and DJ, and her practice is mainly in live art, sound art and video. Using sound and body as her artistic approach, the concept of her works is rooted from the postcolonial surrounding she originally comes from. By desecrating the imaginary historical burden and false symbols of race and history with the fictional intercontextuality, Cheng intends to break the control of industrial civilisation and to deconstruct the order of new world. More
Chang Wen-Hsuan (b.1991, based in Kassel and Taipei) is focused on performance through narrative and puppetry (animation) to explore the relationship between individual and historical narratives. She is concerned with how the individual inserts the self into various narrative structures; or conversely, the ways in which various narrative structures conceal personal voices, and how various historical writings determine individual lives. Her personal “storytelling” becomes an internally woven escape (liberation) route; fiction, because it s political. More
River Lin (b.1984, based in Paris) practice includes site-specific performance, live art, theatre, dance, and installation. Lin takes cultural studies as a point of departure. The everyday and ritualistic of specific cultural contexts, the relationship between the body and spatial-temporal movements, and the bodily form between dance and performance art are the central concerns in Lin’s live art and curatorial practice. More
Yu Cheng-Ta (b.1983, based in Taipei) works mainly in video and moving image that usually adapting a playful approach to language in his works. His practice deals with the interstitial gaps and humorous misunderstandings that arise when different languages and cultures collide. By focusing on the verbal and body language of the performers and interviewees, Yu investigates differences between culture, language and identity. More
Jo Ying PENG (b.1982, Taiwan) is currently based in Mexico City and runs Vernacular Institute and Black Language Bookshop. As former curator in TCAC (Taipei Contemporary Art Center) Peng has led projects that discuss post art history and institutional critique. Working across curatorial and artistic boundaries, her practice addresses the agency of art by initiating alternative forms of production within performative settings and through experimental approaches on curating and publication. More