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Alice’s Rabbit Hole 愛麗絲的兔子洞 - Everyday Life, Comprehensible and Incomprehensible
Yu Cheng-Ta at Taipei Fine Arts Museum Gallery 1A

Oct,9,2015-Dec,31,2015

“Alice’s Rabbit Hole” is an exploration of hybrid forms in between exhibition and performance. It signals that an exhibition is not the “venue” or “stage” we perceive, but rather what transpires within it: installations, a series of performances, actions, events, or poetry, music, dance, sound or image. These designs may be configured or improvised. They may present performers arranged in advance, or unexpectedly engage visitors in a serendipitous encounter. But it all takes place with no written script. Visitors may join the scene as actors or collaborate with artists, or a dramatic event may take place before their eyes. When exhibitions go beyond the frame of the visual, what are they? Exhibitions? Performances? Actions? Events? Ultimately, they contain far more than the questions we ask. This demonstrates how today’s art constantly challenges our attitudes toward art itself. Indeed, in our age, art produced purely to be viewed is no longer the only option. Each trenchantly observant artist achieves more adventurous realizations in their work. Painting, images, sculpture, film, fiction, poetry, drama, dance, music, and other categories of art are no longer quarantined. Whether they cohabitate by way of absolute intermingling or mutual contradiction, they have become a choral art form comprised of many different voices. To a certain extent, art is hybridity. It strives to preserve mutual differences while also achieving mutual resonance, and so engenders expansiveness. One might describe “Alice’s Rabbit Hole” as an attempt to cross the barriers dividing professional fields and engage in exchange and cooperation. It is a rumination on what things can be inserted into the formation process of an exhibition, and what things can ultimately emerge from it. The result is an embodiment of symbiosis.



《愛麗絲的兔子洞》是一個介於「展覽」和「表演」之間的混雜形式,這意味著展覽並不是發生在我們所認知的「場域」或「舞台」之上,而是現場有裝置、一系列表演、行為和事件,還有詩、音樂、舞蹈、聲音、影像,這些設計可能是被配置的、即興的、事先安排好的表演者、或出其不意地讓觀眾來一場奇遇。但這一切都沒有寫好的劇情。觀眾親自上場演出一個角色,或者成為藝術家的合作夥伴,亦或是某個更戲劇性事件正發生在他們眼前等等,展覽超越視覺框架,它們是什麼?展覽?表演?行為?事件?終究來說,它們含納了什麼遠遠超越了我們的提問。這是表現出當今的藝術不斷在挑戰我們面對藝術品的態度。確實,在我們這個時代,從純粹觀賞這個觀念而產生藝術不再是單一選項,每一個敏銳的藝術家在創作上有更多冒險的體認。繪畫、影像、雕塑、電影、小說、詩歌、戲劇、舞蹈、音樂等各種門類的藝術不再自律,不論是以最高程度的相容方式或矛盾方式來共居,它們是一種不同聲部組合而成的合唱藝術。就某個程度上來說,藝術早就進行混種,且堅持保持彼此間的差異性去創造共鳴,從而拉出一種擴張性。換句話說,這個展覽企圖跨出某個專業領域去進行交換、合作,思索在展覽的形成過程中能放進什麼東西,最終能生成什麼東西,其結果就是非常具體地表現出不同領域之間的共生。