A curatorial Practice: Taipeking 2011

台北京 Taipeiking

策展人：Zoe Yeh

展出藝術家：王萱、林奕維、林欣琦。

展覽期間：2011/3/23-27

展覽地點：北京市區（展覽時況隨時更新facebook.com/zoe.cj.yeh）

以一種輕便，依附的狀態，我們進行了一次展覽實驗。

在旅行的過程當中，展覽將隨策展人的移動而變更展場，展覽可能在北京市區的任何角落，從天安門廣場、美術館、畫廊區、某個胡同、到一個十字路口，甚至有可能是私人住宅的一個客房。依附在執行者/策展人身上的展覽，以及依附在現場/展 覽上的作品，各自用一種有機的狀態，隨時調整著最終的展成。除了在現場與展覽不預期邂逅的觀眾，大部分的展覽實況僅能透過記錄並上傳至網路的方式供觀眾閱 覽，一個難以親臨的狀態將成為展覽的現實。具有實體的展覽，沒有實體的觀展；實際參與的未知，無法蒞臨的已知；透過一種矛盾來交織出展覽與觀眾的關係，同 時也向展覽的形成進行一種提問。

王萱 - 他們總是為我歌唱 聲音裝置 2010

藝術家從她家窗口收錄了一系列日常生活中的聲音，並剪輯成一段段的曲目，這些曲子的內容是台北市郊普通的社區生活，從日常之中編織出生活的樣貌。在作品的展示過程中，台北的日常將在北京街頭出現，透過聲音的播放製造出空間的交錯。

林奕維 - 無題(暫訂) 印刷品 2011

利用台灣的廣告傳單拼貼出的作品，包含五花八門的內容，資訊可能來台灣的任何時間地點，而且零碎而不完整。將拼貼的海報到北京與當地的海報合成之後，作品才完成。只限在展示現場完成的作品，企圖利用一種沒有意義的資訊入侵來形成一種「台北京」狀態的想像。

林欣琦 - 我的阿撇 壓克力顏料、畫布 2010

「死亡，總是來的無聲無息又毫不驚奇」，藉由一隻壁虎過度戲劇性的遭遇，藝術家傳達了這個訊息。毫無預期但是又毫無影響力，一個稀奇的偶然但是又沒有太多重要性，創造了一次難以定位的經驗，這樣的錯愕感，彷彿呼應了整個展覽的狀態。

這 個展覽圍繞著兩個都市，在政治與經濟上關係敏感的台北和北京。有一些共同的故事在兩個地方被分享，但是訴說的方式卻全然迴異，在展覽中我們並不企圖彰顯這 點，只是隨著展覽過程這些細節將自我浮現。展覽的構成或許相當簡單、輕便甚至帶點詼諧，不過的確點出了我們想討論的事，當代藝術方面的問題也好、科技運用 的方面也好、兩岸交流方面的問題也好。或許沒有這樣輕鬆的態度，我們很難去面對沉重的問題，只能透過這樣若即若離的狀態，來表達我們的關心。

Taipeiking

Curator: Zoe Yeh

Artists: Hsuan Wang, Yi-wei Ling, Hsin-chi Lin.

Duration: 2011/3/23-27

Venue: Beijing City (Randomly Updated: facebook.com/zoe.cj.yeh)

With an agile and easy-going attitude, we started a curatorial experiment.

The exhibition is attached to the curator’s trip, the venue varies according to the sites she visits, which will not be known in advance. The venue of the show could be anywhere in Beijing, it could be on the Tiananmen Square, in the palace museum, in the 798 gallery area, on the street, or in simply a hotel room. The show is attached to the agent/curator’s constant moving, so do the works being attached to the uncertain site/venue. Both of them will change in an organic way, in order to complete the show in every condition. Except those who bump into the show randomly, most of the audience can only follow the show by the data updated onto the website. “Hard to be there” will be the fact to the show. The physical show can only be experienced in virtual sites. The one who wants to see the show will not be able to reach it, while the one who didn’t plan to visit the show might meet it somewhere in the city. The show will not be able to be anticipated. And that generates a new kind of relationship between the show and the audience, which will also be an interesting test for curatorial practice.

Hsuan Wang - They always sing for me, sound installation, 2010

The artist recorded the daily life sounds from the window of her house and edited them into songs. The songs might have no melody, no lyrics, only the sounds from the streets of the neighborhood, which is a normal residential area in city Taipei. With the install of artwork, the sounds of daily life in Taipei will be playing on the street of Peking (Beijing), creates a feeling of non-place at the moment.

Yi-wei Lin – Untitled, Flyer collage, 2011

The artist collected the flyers in Taipei, the contents of the flyers could be anything, a sale of the department store, a notification of an exhibition or performance, or simply a coupon for a restaurant. The fragmented information reveals the consumer society in Taipei. The display of work requires the flyers or posters on Peking’s street. The trick artist plays is to evade the information received by the audience in the other city.

Hsin-chi Lin – My gecko, acrylic on canvas, 2010

“Death always comes silently and un-surprisingly.”With the over dramatic situation (or we should say, disaster?) the gecko encountered, the artists left above message. It is not anticipated, but it is not overwhelming as well. It is an unusual scene but it is not serious at all. The weird experience which makes people speechless more or less reflects the original idea of the show.

The show involved two cities, which have a complicated relationship economically and politically. Some stories have been shared between Taipei and Peking (Beijing), but they have long been told in different ways. In the show we didn’t aim to specify that, we think it’s going to prove itself with the process of realizing the show. The composition of the show is light, simple and fun. But it raises many questions we’ve been thinking, no matter in the aspect of contemporary art, or in the aspect of cross-strait relationship. The lightness might be the only way for young generation to approach the heavy issues. But the care to the problem might not be regarded nonsense.