TKG+:【历史变体 Metahistory】

2020-05-24 浏览量:711
TKG+【历史变体 Metahistory】

历史变体 Metahistory。图/取自TKG+官网

TKG+:【历史变体 Metahistory】
    展期

    日期:2018-07-21 ~ 2018-09-23

    地点

    114 台北市 内湖区瑞光路548巷15号B1

      如果说对于父执辈影响最剧烈的社会状态是戒严,那对于解严后出生的我们这一代,是什幺?

      展览挪用社会语言学中的「语音变体」,通常指称单一语言在不同区域中衍生发展的地域方言,「历史变体」透过由语言文字构成的历史叙事为思考基点,以此状态比拟解严之后,教科书版本开放,历史论述不再是单一的官方论调,历史的起点开始出现分歧,课本编撰产生之历史书写差异性所造成动荡与不断变化的状态。在这样的状态下,我们如何形塑对于自体的文化认同?而经历过戒严时期的一代在解严后,面对过往诸多认知的翻转,如何在落差中重建认知?在此我们必须先釐清历史的生成必然是伴随着书写者的主观与其背后的意识形态,执笔者如何筛选、呈现史料,在这段选择的过程便是意识的运作,掌握历史论述话语权的人,也同时掌握了权力意识的形式、传播。

      当历史生成与书写的权力开放,历史将不再依附国家认同;而国家认同的崩解过程,则使得我们面对历史需重新检视过往累积的史料档案,并开始能阅读到背后的意识形态,将其成为个人可以再重新认知、编织的历史观点。那幺这样的编织过程,不论是藉由史实对过往论述翻案,又或是将这样的叙述拆解后再述,我们将发现其不脱离一个核心:我们如何想像自身。本展邀请三位台湾艺术家饶加恩、邓兆旻、刘致宏,以及两位长驻台湾的马来西亚艺术家区秀诒与法国艺术家澎叶生,以历史架构的生成出发,试着将历史生成的过程与结构拆解,并以这些作品试图彼此应对、交织对话。

      历史的书写,在用字上往往可以反映主笔着的意识,面对历史的阅读,我们能否能时时保持自觉去挖掘主笔者书写背后的意识形态?展览中透过邓兆旻作品《一个纪念碑,纪念釐清的(不)可能性》(2012),讨论叙事如何拆解,以及重新梳理进行拆解的脉络与自我对话的过程,并抛掷出关于纪念碑未来走向的提问。而在「大叙事」崩解的状态下,澎叶生与刘致宏则是分别透过作品《台北2030》与《声音地誌─高雄、恆春、台南临海、北投》,逐步开创与挖掘在地「小叙事」的存在,试图创造理解的不同视角,包含了不同感官阅读的可能性,这些採集/编集的纪录既反映的每一个在地的当下,也同时扩张我们对于每一个地区的想像。饶加恩的作品近期深入探讨殖民历史及亚太平洋地区的跨文化议题,饶加恩的新作延续2017年作品《逆时针》所讨论的高士部落,以对于发展在地观光的经贸文化研究分析,透过今昔交织的历史事件与当地建物,探问背后脉络的意识形态与认同想像。长居于台北的马来西亚艺术家区秀诒的作品《棉佳兰一日无光(第一章)》则是创造了一个虚构的理想地─「棉佳兰」(Mengkerang),由故事接龙的参与者共同建构了一个想像中的乌托邦。展览期间特邀艺术家陈飞豪举办一场座谈兼作品特映,以神社为连结日本时期与现今场域的台北城想像,透过陈飞豪的四个创作计划所对应到的四处台北城内具体的地点,呈现日本时期台湾与今日台湾从地景到社会变迁上的演变。

      如果能意识到历史结构性的问题,挖掘与翻转过去仍待解的档案,或许便能夺回书写。在来回组织、阅读与自审的过程,也反映我们是如何思考自身,以重新书写将我们的认同形塑为文化,回应当下的现实,并将现实导向未来。面对历史不单是一个当下的问题,就如同英国作家欧威尔于《一九八四》中提道「谁控制过去就控制未来,谁控制现在就控制过去」。

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      If the greatest impact to the social state is considered to be martial law, then what is it for our generation, born after martial law was lifted?

      The exhibition applies the concept of "language variant" as defined in linguistics usually to refer to regional dialects of a single language that derive and develop in different localities to "historical variant” of historical narratives composed of words and phrases as a contemplative basis, and using this as an analogy for the unrestricted publication of textbooks post-martial law, where historical narrative was no longer a single official version. Points of genesis begin to diverge, and a continually state of change and turbulence results from the variations in written history produced by the editorialization of textbooks. In these conditions, how do we shape our subjective cultural identities? How does the generation who lived through martial law reconstruct as they confront the numerous cognitive upheavals of the past after the lifting of martial law? Here, we must first clarify that the production of history necessarily accompanies the writer's subjectivity and underlying ideologies. The process of selection as a writer culls and presents historical materials is precisely consciousness at work. Those who hold the right to historical discourse simultaneously have a grasp on the format and dissemination of power-consciousness.

      As the right to generate and write history is opened up, history is no longer dependent on national identity; the process of the collapse of national identity compels us to confront history and necessitates an inspection of the accumulated historical materials and archives of the past, and to begin to read the underlying ideologies so it becomes a historical perspective that individuals can weave and learn anew. We have found that this process of weaving, whether in overturning past narratives through historical realities, or dismantling then re-telling these narratives, does not stray from the central core of "How we imagine the self." For this exhibition, three Taiwanese artists JAO Chia-En, LIU Chihhung, TENG Chao-Ming; and two Malaysian artists residing in Taiwan, AU Sow-Yee, Yannick DAUBY; have been invited to begin with the production of a historical framework in an endeavor to deconstruct and dismantle the process of historical production, and attempt a mutual response and cross-dialog through these works.

      In the writing of history, the writer's consciousness is often reflected in the word choices. In confronting a reading of history, are we able to consistently maintain a self-awareness to excavate the underlying ideology in writings of the master writer? Through TENG Chao-Ming's work, A Monument for the (Im)possibility of Figuring it Out, the exhibition discusses how narratives may be deconstructed; and combs through the contexts of dismantling and the process of self-dialogue, while putting forward questions regarding the future direction of monuments. With the "Grand Narrative" on the brink of collapse Yannick DAUBY and LIU Chihhung gradually initiate and excavate the existence of indigenous "small narratives" through the works Taipei 2030 and Sound Geography Kaohsiung, Hengchun, Coastal Area of Tainan¸ Beitou. The attempt to create various viewpoints of understanding and to encompass various sensory potentials, these collected/edited records both reflect a localized present moment as well as extend our imagination of each region. In recent years, JAO Chia-En's work has explored in depth colonial culture and cross-cultural issues in the Asian Pacific region. His new work continues the discussions on the Kus Kus Tribe from his 2017 work Counterclockwise, and analyzes the economic and cultural research on developing local tourism. The imagined consciousness and identity of the background context is interrogated. The work A Day without Sun in Mengkerang (Chapter 1), by Malaysian artist AU Sow-Yee, who has been residing in Taipei, constructs a imaginary utopia in Mengkerang. Participants in the narrative relay construct an imagined Eutopia of the imagination. During the exhibition period, artist CHEN Fei-Hao will held a seminar and special screening. The Shinto shrine acts as a connective arena of Taipei City between the Japanese colonial era and the arena of today. Four places in Taipei that correspond with CHEN Fei-Hao's four creative project showcases the evolution of landscape and social changes from Taiwan of Japanese colonial era to present-day Taiwan.

      历史变体 Metahistory
      展期 Dates|2018.07.21 - 2018.09.23
      开幕 Reception|2018.07.21 (Sat.) 4:30 p.m.
      主办单位 Organizer|TKG+ Projects
      赞助单位 Sponsors|财团法人国家文化艺术基金会 National Culture and Arts Foundation / 台北市文化局 Department of Cultural Affairs Taipei City Government / GD Audio

      策展人 Curator|
      冯 馨 FENG Hsin

      参展艺术家 Participating Artists|
      区秀诒 AU Sow-Yee
      澎叶生 Yannick DAUBY
      饶加恩 JAO Chia-En
      刘致宏 LIU Chihhung
      邓兆旻 TENG Chao-Ming

      作品特映与座谈 Screening and Talk|陈飞豪 CHEN Fei-Hao
      从Taihoku到Taipei─以神社为连结场域的台北城想像
      From Taihoku to Taipei—Reimagine Taipei through the City's Shrines

      日期&地点 Date&Venue|
      2018.09.08 (Sat.) 3:00-5:00 p.m., TKG+ Projects

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