2017.08 – 10 There after Here: Performing a Verb
座標之外 · 演繹動詞

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何謂動詞?它可以是你的身體、我的語言、她的論述以及他的煙裊。可以是這隻貓的凝視抑或是那個陌生人的微笑。也許帶有詩意一般的政治或者泛政治的詩意。但,動詞如何運動?表演吧! 

以上作為題目的短述書寫,其中略帶即興、挪用、借喻之寓,拉出《座標之外·演繹動詞》在這個基礎點上所發展幾個層次的思考。其一,對於表演之外的表演性, 如書寫、敘事、影像、律動等展演了何種可能的身體感表述以及如何進行介入?表演性的語彙又如何越界其之於語言學、解構主義、酷兒理論與表演研究等意義上的框架?何以藉由指涉的不確定性標的出一個未知之境、意象之外的擬像,並於超演繹概念中進行一種反制。其二,當表演作為一種政治,則當中主/客體、物質性和符號性之間流動的光譜,展開身體政治範疇上的再書寫。是否通過表演的方式生產身體的物質性,取締了性別與性向間的異質?抑或如巴特勒言下所指的肉體之風格才是正確的存在?綜上,在攤開表演性於不同理論語境中的流變與消長,《座標之外·演繹動詞》以一種後設觀看的焦距,給予此番爬梳之中一個投石問路:身體政治作為一個具有行動能力的動詞,又該如何挑釁(逗)表演性的開放論述?

我在這打造一個母題,你帶著一個動詞前來,我們一起在墨西哥跳舞!

以此作為出發點,《座標之外·演繹動詞》希冀啟動「藝術家駐地創作計劃」,從進駐出發,以推進藝術生產的前沿研究與概念論述為旨,展開系列的田野調查、現地創作以及階段性發表如表演、展覽與工作坊等,藉由台灣的參訪藝術家本著自身的表演性實踐與探掘,以詮釋流動、即興未知的動態辯證過程,與墨西哥在地藝術網絡共同打開當代語境的對話與知識交換,藉此交流拋出一個關注於歐亞之外的拉丁美洲美學流變。

藝術家

蘇匯宇的創作向來予以影像、媒體、史料與日常生活交織後的複雜現象所吸引,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,如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,其涉獵的主題泛及電影、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。More

鄭宜蘋(又名Betty Apple以現場藝術,聲⾳藝術為創作主軸,跨界於錄像⾏為,電⼦樂製作⼈、DJ。創作觀念從⾃⾝⽣⻑的「後殖⺠」世界挖取題材,擅⻑以聲⾳與⾝體為書寫⼯具,透過寓⾔式的互⽂本褻瀆虛幻歷史包袱,虛假的種族與歷史,嘗試脫離⼯業機械⽂明的控制,解構新世界秩序。More

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

林人中的創作包含現場藝術、行為藝術、編舞、策展等,遊走在視覺藝術與表演藝術場域之間。他的表演作品主要圍繞著在特定文化與社會脈絡中,對身體、儀式、參與及關係藝術的討論。More

余政達的作品主要處理的是人的身體的變形及活動,以及在這個充斥著各種影像及媒體的世界中,關於身份的問題。他以自己的身體作為中介來創造作品、探索在媒體架構中發展出的權力關係。其創作常以帶著遊戲性質的方式介入與拍攝對象及觀眾間的語言溝通,並藉由刻意架設的現實情景為拍攝背景,創造出所謂「生活劇場」的概念。More

策展人

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

主辦單位:台北當代藝術中心
合辦單位:Perros Negros
協辦單位:Vernacular Institute
贊助單位:文化部

*此計畫的系列活動將陸續發佈。

 

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.

Artist

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

Curator

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

* The following series events will be announced soon.