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最終章：「愛的許可證」 - The Last Chapter: The Permission of Love

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2022-01-02 ~ 2022-01-26

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高雄鹽埕黑白切（正白#FFFFFF）

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高雄市鹽埕區新樂街215號

在這座島嶼相愛的兩個同性戀人曾經沒有相愛的「許可證」, 在世界局勢中，台灣沒有一刻不停止追求作為一個國家的「許可證」, 展覽命名為「愛的許可證」。 Two same-sex people who fell in love on this island once had no "permission" to love each other; in the world situation, Taiwan, has never stopped pursuing the "permission" as a country. The exhibition, titled " The Permission of Love ". _____________________________________________________________________________________ 這是我與耕舞最後一次在台中見面，為了一檔即將發生在高雄的展覽，相約於咖啡店。我喜歡在咖啡店開會，咖啡的香氣可以誘發我思考，咖啡店的聲量不會大到影響會議的進行，也不會小到讓談話的內容被聽得一清二楚。趁耕舞還沒到，我將先前 Google Doc 中的對話再閱讀一遍。這個關於「以島為家」的對話不知不覺進行了快一年，從疫情期間的線上展覽「修補一份無濟於事」開始，兩人興奮的迎接台北的新作「共存著」，接著在台中「兩者之間」展覽中回憶了我在英國初次見到耕舞的創作—— 現成物，或許是作品議題的傷痛情緒、或許是我與耕舞合作關係的進一步親密，當中開始有些躁動不安，彼此感受到某種消耗......來到了高雄的最終章，我們要一同回顧耕舞創作的初始狀態——北藝大期間的行為作品，同時是這場合作的終點，我們都察覺到一種難以名狀的困頓。對耕舞而言，他要面對一個時空遙遠的作品屍體;於我而言，我始終對行為藝術的再現存疑，並且當年年輕耕舞的作品總是衝動、直接，表達他對所處社會環境的反抗，再現之於回顧有何意義? 之於 2022 年觀眾又有何意義? 沉思中，耕舞已在不遠處揮舞他的手臂走到我身旁，緊接著述說起這幾日在他腦中的思考路徑，語氣中有些急促、帶著點強迫，諸如「就只能這樣了」、「我想不到其他方法了」的鋪墊讓我感受到他的焦慮不安，最後他提出了大概所有策展人都意想不到並且難以接受的展示方案——讓作品缺席。「那個抵抗已經不存在了! 那個行為演出已經沒有存在的必要了! 所以我要它空。我不知道你想表達的是甚麼? 但是對我來說就是空。」「耕舞，我們還有時間! 我不希望你對自己的作品妥協、對這個展妥協，這個展是你創作的源頭也是回顧展的結尾，它很重要! 一定還有更好的展出方式。」話語在緊繃處，我們決定給彼此一根菸的時間緩衝。星火在菸頭燃燒，一口煙霧緩緩吐出，他說: 「你大概很難想像，那個時候的我是逃離這座島的，護家盟出現、太陽花學運的結果並不明朗，我選擇離開;5 年後我再回來也是逃回來的，英國的疫情越來越嚴重，歧視(華人) 事件也一直在發生，對比起來，台灣像是一個平行世界，這裡好安全，並且同性法案也過了，一切都變了，但這樣的改變沒有我的努力，這 5 年我不在台灣，你懂嗎?」「耕舞，那個行為演出就是你的努力。」現在在玻璃窗前的你，面對一張張像是幽靈的黑白面孔，當中帶著很多的驚恐、些許的疑惑、一點點的不捨、略微的冷漠，他們是 2014 年見證了這場行為演出的觀眾，他們穿越至 2022 年與你相見，現在的你又帶著什麼表情呢? 「你會繼續留在這座島嗎? 」長椅小姐寫於 2021 平安夜 This was the last time I meet Kengwu in Taichung. We met in a cafe for the upcoming exhibition in Kaohsiung. I like to hold meetings in a café, the aroma of coffee can induce my thinking. The noise over there is not too loud to interfere with the conversation, yet not too quiet so the conversation will be heard by others. Before his arrival, I read through our previous text exchange from Google Docs once again. This long-lasting exchange about "Home Land Is Land" has been going on for almost a year. Starting from the online exhibition “Mending the Irreversible” during the lockdown, then both excitedly welcomed Taipei's new work "Co-living in this World", and in Taichung "Between the Two" which recalled the first time I saw Kengwu's artwork in the UK -- the ready-made objects. Perhaps the painful emotions of the subject of the work, or the further intimacy of our cooperative relationship, I began to feel the unease, both feel a certain consumption... Now coming to the final chapter in Kaohsiung, we intended to review the initial state of his practice - the performance works during his TNUA’s study, meantime which will be the end of our cooperation, we both felt indescribable distress. For Kengwu, he has to face a corpse of a work that is far away in time and space; for me, I have always doubted the reproduction of performance art, and the works of his early stage were always impulsive and direct, expressing his concern for the society in which he lived, the rebellion of the status quote environment. What does pure reproduction mean for the concept of retrospectives? Why do the audiences in 2022 need to care? While thinking about it, Kengwu waved his arm and walked toward, immediately talked about his thinking path in mind these few days, his tone was a little hurried with a bit of force, such as "This is the only way", "I can't think of another way" made me feel his anxiety, and finally, he proposed a display plan that was unexpected and unacceptable to all curators - to make the work absent. “That resistance doesn't exist anymore! That performance doesn't need to exist anymore! So I want it to be empty. I don't know what you're trying to say here, but it's really just empty to me." "Keng, we still have time! I don't want you to compromise on your work or exhibition. This exhibition is the source of your art and the end of the retrospective. It is very important! There must be a better way to show it. ” The words were tense, and we decided to give each other a cigarette break as a buffer. The spark was burning on the cigarette butt, and a puff of smoke was slowly exhaled. He said, "It's probably hard for you to imagine. I sort of escaped from this island, the Family Guardian Coalition emerged, and the outcome of the Sunflower Student Movement was blurred and uncertain, so I chose to leave; 5 years later, I fled back because the pandemic in the UK is getting worse and worse, and discrimination (Toward East-Asian) incidents have been happening all the time. In comparison, Taiwan is like a parallel world. It is very safe here, and same-sex marriage has passed. Everything has changed, but this change is without my contribution, I have not been in Taiwan for the past 5 years, you see what I mean?” "Keng, But that performance was your effort." Now on the glass window in front of you, facing black and white faces like ghosts, with the face expression of panic, a little doubt, bit of reluctance, and more likely indifference. They were the audience who witnessed “Happening Performance” in 2014. In which, they traveled to 2022 to meet you, so what expression do you have now? "Will you stay on this island?" Miss. Bench Written on Christmas Eve 2021 _________________________________________________________________________________________ 「以島為家—失敗藝術家回顧巡展」(Home Land Is Land - Retrospective Tour of the Failure Artist) 將會是一個物理上橫跨台灣島嶼北、中、南三個展區的巡展，觀眾將隨著展期的時序回溯藝術家的創作歷程：在台灣藝術學院的創作初期（2022年1月，高雄）；英國留學期間的創作語言轉換（2021年11月，台中）；返台後對故鄉作為島嶼的創作回應（2021年7月，台北）。＿＿＿＿＿＿＿＿＿＿＿＿＿＿＿＿＿＿＿＿＿＿＿＿＿＿＿此計畫獲得（文化部：積極性紓困補助） "Home Land Is Land - Retrospective Tour of the Failure Artist", will be a touring exhibition that physically spans the north, middle, and south of the island of Taiwan. Together, the audience will be tracing the artist’s artistic development along with the timing of the exhibition: In the early stage of creation at Taiwan’s Arts education (January 2022, Kaohsiung); Artistic language shift during the study in the UK (November 2021, Taichung); Reflecting on hometown as an island, after returning to Taiwan (July 2021, Taipei). ＿＿＿＿＿＿＿＿＿＿＿＿＿＿＿＿Sponsor by（R.O.C Ministry of Culture：Pandemic Help Out ）

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最終章: 愛的許可證 2014/2022 The Last Chapter: The Permission of Love 2014-2022

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