《變態路徑》Biàn-Tài Routes

禽獸不如—2020台灣美術雙年展 平行展
“Subzoology─Taiwan Biennial” Collateral Events《變態路徑》Biàn-Tài Routes

展期:2020/10/22-2020/11/22(每周四至日14:00-20:00)

地點:酸屋公寓(新北市永和區永和路2段52巷4弄10號,頂溪捷運站1號出口步行5分鐘)

開幕:2020/10/24(六) 15:00

藝術家座談:2020/11/1(日) 15:00-16:30
與談人:高千惠、姚瑞中

變態事件/行為表演:展期間每周六日,詳見酸屋臉書活動。

指導單位:文化部‬
主辦單位:國立臺灣美術館
主展展策展人:姚瑞中 YAO Jui-Chung
平行展展出單位:酸屋Acid House
平行展策展人:陳冠穎 CHEN Kuan-Ying平行展藝術家:
李敏如 LEE Min-Ju
吳俊輝 WU Chun-Hui
張辰申 CHANG Chen-Shen
陳孝齊 CHEN Siao-Chi
陳俊宇X臺灣行動藝術研究社 CHEN Jun-Yu X Taiwan Performance Art Lab

酸屋自2013年以來便是青年分租、個人工作室與創作展演的複合式空間,歷經多場展演活動策劃、藝術事件/行動、以及社群形塑的分歧與溝通,至今「酸屋」已成為酸民(酸屋的夥伴)的場所精神(genius loci),並且隨著不同創作者的參與產生不同的流變狀態與實踐方式,究竟這樣的地方為何能成為青年藝文創作者的群聚之地?它與其他替代空間有何不同?作為青年自主的藝術實驗場在這世代中又如何可能呢?《變態路徑》是本屆台灣雙年展的平行策劃展之一,我們以酸屋的場所精神為主軸延伸:橫軸提出「變態」的美學觀,變態不僅指稱非常態的怪異行為、精神/物質上的性怪癖,也是動植物成長過程的形態變體,更是古人追求事物變化的情狀,在此「變態」一方面作為群聚創作的多重慾望與實踐方法,另一方面則對應雙年展主題—《禽獸不如》—的另類視界;縱軸以「路徑」的時空思考,強調酸屋展覽的動態視野,包含藝術事件、行動藝術和臨場藝術…等行為表演,以及長時間在酸屋空間中,持續產生變態的交互影響。由是,在縱橫交錯的策展想像之下,「變態路徑」是建立在藝術家、酸民與觀眾共同參與的基礎之上,透過一連串的創作途徑與實驗行動,企圖在當今已規格化的展覽中開啟更多創作形態異變之可能。

Since 2013, Acid House has been a compound space of rental housing, personal studio, and creative exhibition, for young people. After planning several activities and exhibitions, art events/actions, as well as divides and communications regarding the shaping of community, “Acid House” today has become the genius loci of the “Acid Citizens” (partners of Acid House). Also, with the participation of different creators, Acid House has taken on various fluid states and practices. Exactly why has this place become the gathering place of young artists and creative minds? How is it different compared to other alternative spaces? What are its possibilities as young people’s autonomous laboratory of art in this generation?“ Biàn-Tài Routes” is one of the collateral events of this year’s Taiwan Biennial. Based on the theme of Acid House’s genius loci, we have derived horizontally the aesthetic view of “Biàn-Tài,” which not only refers to unconventional and strange behaviors, or mental/material fetishes, but also the transformation of animals or plants through the growing process, as well as ancient people’s pursuit of changing events and objects. Here, “Biàn-Tài” is on one hand the multiple desires and practical method of collective creation, and, on the other, an alternative horizon corresponding to the theme of this year’s biennial—“Subzoology.” Vertically, we have focused on “routes” for temporal consideration, emphasizing the dynamic perspectives of Acid House’s exhibition, including behavioral performances such as activities and events, action art, and live art, as well as the interwoven transformative influences these creative demeanors continue to generate within the space of Acid House. Thus, through both horizontal and vertical curatorial imaginations, “Biàn-Tài Routes” is established on the foundation of the collective participation of artists, Acid Citizens, and audiences; through a series of creative routes and experimental actions, we attempt to explore more possibilities of creative transformation within the standardized exhibitions today.

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