Daily+ — International Biennial of NTUA Our Museum

Daily+ — International Biennial of NTUA Our Museum

Daily+ Curatorial Team

Date：2018.11.21- 2019.01.20
Venue：Our Museum, Nine Single Rooms Art Space, Northern Campus

Comments on the Finalist

Institutional curator Chang Chun-Yi led novelist Luo Yi-Jun and gave him a minute tour through the uninhabited daily living community permeated with different entangled memories, and created the first artwork as an attempt to introduce into the vacant sites forgotten memories of life in various military dependents’ villages. Another purpose of this attempt is to employ a complex, open and inspirational structure to assist invited artists from Taiwan and abroad to comprehend the collective memories hidden in these spaces. This approach allows the undetected parts of the contemporary life – all the subtle fragments of artificial intelligence, virtual image, internet technology and other surfacing power relations – to intervene and merge with each other, forming mutual interpretations and conversions that create in their cross-referencing network a remarkable, semi-ruinous daily living community that has never been envisioned and is more thought-provoking than each individual artwork—a thinking, dreaming collective outer brain informed with corporeality.

(Commentator: HUANG Hai-Ming)

Artwork Introduction

This exhibition features artists from France, the US, Austria, Luxemburg, Japan and Taiwan. The curator Chang Chun-Yi first invited novelist Luo Yi-Jun to visit Northern Campus and Nine Single Rooms Art Space and write the novel,Wall Climber, by drawing inspiration from the daily living scenes of old household dormitories and the contemporary artworks once exhibited in these spaces. The invited artists then took the novel and exhibition spaces as reference and proposed their projects in the manner of a solitaire card game. The approach allowed the artists to develop their works while being aware of the development of other works, rendering these projects mutually referential and gradually unfolding a multilayered site-text-artwork dialogue, a network of significance and invisible linkage that lay co-constructively the triple-toned foundation of the biennial. Moreover, the exhibition connected arts and cultural organizations in the Greater Taipei Area, and employed means like seminars, workshops and a writer’s residency to continuously introduce changes inDaily+and sustain the energies of artistic creation.

About the Artist

The Daily+ Curation Team includes the team of Yo-Chang Art Museum at National Taiwan University of Arts (NTUA) and professional teams from outside the university. Established in 1955, the NTUA is the oldest arts university in Taiwan. In 2004, the university’s old administration building was renovated and turned into Yo-Chang Art Museum, which is dedicated to art collection, research and education while focusing on curating special exhibitions and facilitating inter-museum exchanges. Since 2016, Principal Dr. Chen Chih-Cheng proposed the international, large-scale exhibition, the Greater Taipei Arts Festival, which connects arts and cultural organizations in the Greater Taipei Area and renovates vacant, old household dormitories into exhibition spaces that include both typical art museum space as well as alternative, experimental space.Daily+is the second edition of the Greater Taipei Arts Festival.

Production Team

President /Chief Organizer | Dr. Chih-Cheng CHEN

Curator | Chun-Yi CHANG, Charles CARCOPINO, Yi-Chun LO, Architectural group

Artists
Pierre-Laurent CASSIÈRE （France）, Charles CARCOPINO（France）
Man-Nung CHOU （Taiwan）, Claude CLOSKY （France）
Jeff DESOM （Luxembourg）, Félicie d’ESTIENNE d’ORVES （France）
Dorian GAUDIN （USA）, Youki HIRAKAWA （Japan）
Chih-Sheng LAI （Taiwan）
Emmanuelle LAINÉ & Benjamin VALENZA （France）
Ho-Jang LIU （Taiwan）, Yi-Chin LO（Taiwan）, Bernd OPPL （Austria）
Olivier PASQUET（France）, Julien PRÉVIEUX （France）
Stéphane THIDET （France）, Nicolas TOURTE （France）
Wan-Shuen TSAI （Taiwan）, Island’s time group（Taiwan）

Work Team
Exhibition Coordinator | Jing-Zhong LOU
Art Director | Chunyi-Yi CHANG
Organiser of Forums/Social Media Manager | Yun-Ting CHANG
Marketing and Planning/ Public Relations | Chia-Ru LEE
Interpretive Planner and Editor | Chiamin LIU
Communication/ Translation | Chih-Chung LIN
Graphic Designer | Boyea LAI
Consultant on Internet Technical Resource | Sense Info
Exhibition Staff | Sz-Yu LU
Photographer | Wei-Tsan LIU
Audio Guide Narrator | Martida YEH
Exhibition Executive | Ya-Ting PO
Exhibition Guided Tour Arrangement | Yi-Chen YANG

策展人張君懿

臺藝大校園北側，座落著60年代建造的平房式建築，交錯的低矮灰色屋舍，挨生磚牆的榕樹，與周邊校區及街道的車水馬龍形成對比。這裡有舊時僑中眷舍改建的「北區藝術聚落」與大學教職宿舍整理成的「九單藝術實踐空間」，與接鄰的臺藝大有章藝術博物館緊密相連，空間質地又各異。

從2016年第一屆大臺北當代藝術雙年展「去相合——藝術與暢活從何而來？」開始，臺藝大著手將校區周邊的老舊眷舍改建為展場，也讓參展作品進入這些空間；至隔年底的展覽「空氣草——當代藝術中的展演力」，已有近五十件當代藝術作品在這些屋舍發生。策展人張君懿加入臺藝大三年，隨上述藝術計畫推展，亦發現區域的空間紋理不斷改變，隨時面臨改建或拆遷。人與藝術作品來去，曾經的紅色木門和羊蹄甲樹林也不復見，構思著第二屆大臺北當代藝術雙年展的她想著，當代藝術還能如何創造何種介面，在既有的居民訪談與影像紀錄外，將此地意象、歷史，與居民曾經在此居住的事實加以保留？

由小說啟動的分線接力創作

策展人腦中首先浮現虛實構築的文學世界。她找來小說家駱以軍，帶他穿梭展場，介紹空間歷史，也描述曾於此發生的各種藝術樣貌。駱以軍很快地發展出第一個介入展場的作品——小說《翻牆者》，將城市邊緣櫛次鱗比的廢墟迷宮，曾在此生活又在時光中消逝的邊緣者，地權移轉與居民抗爭的複雜土地關係，及曾經介入的當代藝術作品等空間的諸多歧異與層層意象套疊巧妙揉合。《翻牆者》完成第一時間，策展團隊將之英譯，將小說連同展場平面圖與空間照片，寄送給國內外參展藝術家，成為空間意象的想像參照，藝術家創作發展過程中，張君懿再依照展場各自屬性，分區分批，邀請他們接龍提呈作品計畫。「我盡可能讓藝術家提出作品計畫的過程透明化，形式有點像是牌局，參與者同時知道其他人在做什麼、介入方式是什麼；換句話說，我希望藝術家在構想作品同時，可以或多或少瞥見展覽日後成形的大致樣貌，而有意識地介入這個展覽。」

「超日常」的展題在此後浮現。張君懿思考藝術與生活的關係，腦中浮現一張「被畫出一道褶痕的白紙」——「當這個褶痕出現，就是維度轉換、從一個向度轉換到另一個向度，同時也是可能性湧現的時刻。所以超日常不是透過與日常發生斷裂而產生，也不僅是超越日常，而較是一種探問：我們能否透過藝術折返日常，而在折返過程當中，察覺從來不曾注意或如此思考的事物，或發現日常的原始獨特？」

由藝術折返日常

這樣的維度轉換、折疊重返，在參展作品與展場布署反覆出現。部分作品出現在空間轉折之處，或是在作品與作品的轉渡間，轉換身體感知與空間維度：Charles Carcopino的《個人音樂電腦》將樂音波形化爲空間沈浸體驗；Jeff Desom的《後窗》將希區考克經典電影畫面剪貼重構，呼應空間和聚落間的關係；平川祐樹《消失的樹林》則以上下兩端的影像裝置創造無形雕塑。一些作品以語氣上的轉換，開展自身敘述向度：劉和讓《大觀別墅―極短篇》以曾居於展場小房間的自身歷史出發，以裝置及投遞給現場鄰居的文字信件創造時空移轉；賴志盛《浮洲》則將舊房舍樓板深藏的管線延伸，構築為懸浮平台。部分作品則跟小說文本及展場空間緊密關聯：Dorian Gaudin的《露西之夢》借移動的床隱喻人物的流離遷移與身份認同；Pierre-Laurent Cassière的《片刻》以動力聲音裝置創造感官誤會，呈現時間凝滯感受；Stéphane Thidet的《無暗之界》，則用半泡在浮萍水池中旋轉的燈泡喻指時間迴圈。另外，張君懿將駱以軍《翻牆者》以三種閱讀和展呈形式呈現，在美術館內打造「閱讀膠囊」，將小說描述空間意象句子轉化、以文字碑形式分佈在展區巷弄，也打造含電子書及有聲書的微型展台「超日常衛星展站」，展期間在大台北地區藝文據點巡迴，讓小說文本延展又折返展覽場所。小說、作品、場所在互為文本的過程中交織，鋪展出相互指涉的意義網絡，「一如層層疊疊的複寫跡痕，積澱成如羊皮紙般的隱跡文本。」

「當作品想法開始醞釀時，展覽就開始了，所以相對於作品有機的生成過程，也許開幕只是標示時間的一個註記」藝術家佈展期間仍有提議新作的可能，而52天展期內以「藝術超日常」為題舉辦的20場論壇跟著展覽共生；開幕後則有詩人黃同弘以駐展作家的身分進駐展場，在展期間進行書寫。「論壇或工作坊都不是外在於展覽的周邊活動，而是與作品一起交織出展覽的全貌。」

水彩畫般的策展歷程

層層緊密串連的策展機制、不斷反覆沙盤推演的展場空間與作品布署，多位外國藝術家的參展陣容與七成的新作，都讓展覽籌備充滿挑戰。張君懿形容這段過程像是「畫水彩畫」，「創作想法的醞釀、能量的流轉以及作品之間的對話都需要時間，有時需等待水份和顏料沈澱、浸透到紙上而緩慢疊加，有時則必須做出明快的判斷，就像在水份半濕半乾的關鍵時刻，要把握時間做出準確的操作，例如添加、去除或微調」。作品、空間甚至策展歷程，都像是在時空皺摺中的來回穿梭，既捕捉也補綴，在藝術與生活的折疊往返間，將一些片段重新拾獲，讓眾人看見日常裡的獨有。