林耕舞，
1993年生於台北。曾就讀於國立臺北藝術大學 電影創作學系，而後於倫敦藝術大學的雀兒喜學院，取得藝術學士。同時是一名演員、作家、視覺藝術家。
他將自身的肉體、時間、經歷作為創作媒材，沈浸/扮演著社會所給予他的不同身份，透過探尋自身矛盾的身份認同，質問著制式社會框架下所形成角色分工、角色形象及角色期待。
在靜態的展示語言中擅長使用錄像、現成物及文字，仍在不斷的嘗試與擴張中。近期，他將個人關注轉向更為宏觀的社會議題，諸如少數群體人權、性別政策和全球運動，在其近作《這是我們所承諾的未來嗎？》中更層層揭開近年諸多大國為經濟利益而選擇背棄社會正義的真相。


Born and raised in Taipei City, Kengwu Yerlikaya (b. 1993)
studied at the Department of Filmmaking, National Taipei University of the Arts, going on to earn his Bachelor of Fine Arts from Chelsea College at University of the Arts London.

Kengwu begins with his body as media itself, exploring societal expectation and the contradictory image it creates. Identity and labour division are central themes. Using video, ready-made objects, and text – his work operates as both experimental and expansive.

Recently, he has shifted his personal attention to macro social issues, such as minority human rights, gender policies, and global movements. In his recent work “Is This The Future We Promise For?”, countries that abandon social justice for economic gain are primary concerns.

"Selected exhibitions, Screenings, Conference, Art fair:"
最終章：「愛的許可證」, 2022 Kaohsiung (正白#ffffff), Taiwan
(https://fb.me/e/2agvedooZ)

第二章:「兩者之間」, 2021 Taichung (窯座), Taiwan
(https://artemperor.tw/tidbits/11948)

文化平權駐村聯展_共􏰁著, 2021 Taipei (臺北國際藝術村), Taiwan
(https://www.facebook.com/events/320044679853199?locale=zh_TW)

序曲:「修補一份 無濟於事」, 2021 Online (Artogo), Taiwan
(https://artogo.tw/exhibition/mendingtheirreversible)

Other ways of watching together (film screening), 2020 Rotterdam, Netherlands
(https://thisismama.nl/events/home/other-ways-of-watching-together)

QUEER ARTist NOW (exhibit artist), 2020 London, U.K (http://queerartistsnow.com)

A World Without End (exhibit artist), 2020 Online, U.K (https://www.nobarkingartgallery.com/#/)

So Close (exhibit artist), 2020 Online, U.S
(https://sidexsidecontemporary.com/So-Close-International-Online-Juried-Group-Exhibitio)

Out The Window (film screening), 2020 Bristol, U.K
(https://www.instagram.com/weareoutthewindow/)

Widening the Gaze (presenter as artist), 2018 London, U.K
 A conference exploring the role of Race in Creative Practice today
(https://www.ucl.ac.uk/slade/events/widening-the-gaze)

LOA-upload gallery (exhibit artist), 2018 London, U.K
 (https://www.leaveofabsence.london)

第一屆藝術自由日 (exhibit artist), 2014 Taipei (華山文創園區), Taiwan
(http://www.freeartfair.tw/)

2014 超新星 (exhibit artist), 2014 Taichung (自由人藝術公寓), Taiwan
(https://www.facebook.com/events/872150919484597/)

林耕舞 Kengwu Yerlikaya

長椅的一端坐著女公爵，另一端坐著無家可歸的流浪漢，一段談話正要開啟。

這就是展覽的存在，向上面對購買藝術品的百萬富翁，向下面對對藝術感興趣的普羅大眾。這一刻，它將一個線性的二維關係轉化成了一個存在在三維空間的平台，無論你是誰，歡迎進入這場談話，這有可能是現存改變世界最平和的的方式了。

長椅小姐是一名對旅行上癮的策展人、平民藝評人、日常中的奇觀鑒察者，以下內容為她的見聞分享，僅供擁有獨立思想的個體閱讀，尋找正確答案者勿入。

2018年，「異常狀態」，切爾西藝術學院，倫敦
2018年，「//」，切爾西藝術空間，倫敦
2019年，「儀式性動物」，柳美術館，台中
2019年，「O//O」，柳美術館/窯座，台中
2021-2022年，「以島為家系列」，ARTOGO/臺北國際藝術村/窯座/鹽埕黑白切，雲端/台北/台中/高雄


On the end of the bench sits the Duchess, with the homeless tramp at the other end, thereby a conversation is about to begin.

This is the existence of the “Art Exhibition”, facing upwards to the millionaires who purchase art, and downwards to the general public who are interested in it.
At this very moment, it transforms a linear two-dimensional relationship into a platform that exists in three-dimensional space. No matter who you are, welcome to the conversation. This may be the most peaceful way to shift the world.

“Miss Bench” is an curator addicted to travel, a civilian art critic, and an observer of daily spectacles. The following content is her experience and thought sharing, which is only for individuals with independent thinking to read. Those who are seeking the correct fixed answers should not enter.

2018, Abnomal, Chelsea College of Arts, UAL, London
2018, //, Chelsea Space, London
2019, A Ceremonial Animal, Liu Museum, Taichung
2019, O//O, Liu Museum / YAO Space, Taichung
2021-2022, Home Land Is Land_Retrospective Tour of the Failure Artist, Various location of Taiwan

長椅小姐 Miss Bench

策展人

(目前更名為－正白#FFFFFF)

黑白切到# FFFFFF
「#24小時的展覽」黑白切空間概念始於 2010 年，成立在台中第二公有市場，
由 107 畫廊主人邱斯基、藝術家蔡志賢及幕後輔助敏甄共同創辦，無償提供藝術創作者展出，
創立至今堅持沒有申請政府補助，在非商業的路徑下僅由私人贊助維持營運，自台中發展出的模式在 2015 年拓展至高雄。

「# FFFFFF」
2022 年，以網路色碼 # FFFFFF「正白色」作為空間的新名稱，擷取「白」的視覺意象，
在港都的老社區裡展現充分的自由與去中心化的特質，延續黑白切在市場形塑 「藝術公共領域」的理想。

《黑白切》自2010年成立至今，堅持不申請公部門補助，營運經費僅來自私人贊助，無償提供藝術創作者展示空間，延續黑白切創立的精神，期待藝術創作能保持純粹的實驗性。因此我們需要細水長流的贊助，期待你成為「# FFFFFF正白」的贊助者，邀請你一起打造多元的藝術環境，扶持在地藝術空間走得更長遠。
銀行代碼｜822 中國信託 員林分行
銀行帳號｜325 540 337 196

鹽埕黑白切

場地方

Foggy Incense 是一個由各領域的藝術創作者複合而成的品牌，他們神經連結著彼此的視網膜，相互分享視覺與美感。
從視覺出發，脈絡起源于內容，藉由創作者們的思想體系與精神，將內容影像化並追尋更多可能性。我們有著跨越各種維度的視野，並不斷追求非物質上的進化。時而在雲端上冥想，時而在地下汲取養分，探索未知的世界是我們的使命。
於2020年4月20日在台灣台北由李奧納多博士、燁歌爾、神經寶貝、舊浪潮與軟笛共同創立，法映是一間主要專注在影像創作與概念設計的公司。
創作類型的守備範圍極其廣闊，商業廣告、音樂錄影帶、紀錄片、藝術創作皆囊括在內，我們的理念在於提供客戶嶄新的世界觀。不追隨潮流而嚮往漫遊在波峰與波谷，帶有F.I.印記的作品持續在這個宇宙中默默誕生。

如果有任何視覺上的需求、有趣的提案、或期望某個事件的發生，想找我們一起參與或合作，都請直接來信。

Founded by Dr.Leonardo, PsychobabyGill, O-WAVE and TsaiTsaiTsu.
F.I. Inc. is a conceptual design/film production company based in Taipei City that specializes in creating visual contents.
With a wide spectrum of creations: commercials, music videos, documentaries, artistic creations are all included.

Our prospect is to provide customers with a new world view.

Not following the existing tide but roaming the crests and troughs, creation engraved with the F.I. Inc.  trademark continues to be born in this universe.

Foggy Incense 法映視覺創意

指導單位

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

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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