《檔案作為藝術》Art as Archive Exhibition

%e5%8d%97%e8%97%9d%e6%89%8b%e5%86%8a%e4%bf%ae%e6%ad%a3

《檔案作為藝術》Art as Archive Exhibition
——台南藝術大學 藝術創作理論研究所博士班亞州藝術交流展

日期|2016.12.15.THU -12.20.TUE
時間|絕對空間—12:00-20:00、南藝大—–10:00-17:00
地點|
絕對空間—台南市中西區民生路一段205巷11號
南藝大(視覺館大廳、南藝大視覺館大扇形、南藝大南畫廊1樓迴廊)—-台南市官田區大崎里66號

開幕|2016.12.15.THU
10:00絕對空間、15:00南藝大視覺館大廳
專題演講|2016.12.16.FRI 09:30-16:30 視覺館五樓大教室
演講者|
辛友仁(新)、李寶妍(韓)、丁穎茵(港)
參展藝術家|
蔡雨昇(韓)、南里朋子(日)、黃鈿翔(台)、蕭佑任(台)、江上賢一郎(日)、林善春(新)、趙世琛(台)、梁莉苓(台)、賴佩瑜(台)、陳冠彰(台)

本交流以2016台北雙年展提出的「檔案」作為概念的起點。台北雙年展今年的命題「當下的姿態與檔案紀錄,即是未來的系譜:雙年展新語彙」,此次交流在這個概念的基礎下也將重新思考當代藝術面對檔案以及面對歷史一些回應可能。

檔案成某種主流與年鑑學派發展有很大的關係,基於二十世紀的史學危機,年鑑學派反對傳統史學只重視政治、軍事、外交和大人物的傾向,轉而著重經濟史和社會史的研究,將個人與事件放在更大的環境文本中觀察,也就是所謂的「總體歷史」(histoire totale)。人類學家李維史陀將此概念擴延解釋,提出了:《神話比歷史更真實》的說法,這或許可以提供檔案思維之外的一個可能,一個藝術思維的可能。藝術如何思考檔案,回應歷史、指向未來!?

從檔案與藝術為起點我們打開了互相反思的空間,影像也可以變得以文字更具詮釋性.在檔案與想像的藝術之間開啟某種過渡與轉譯,讓檔案因而在當代的文本概念中具備了「流動性格」.在當代以檔案回顧歷史,彷彿在當代讓檔案資料如遊牧者般不斷的踏上存在的路途,或者如同「輪迴」般的將檔案重生於新的載體當中。檔案似乎可以用以抵抗傳統史學在紀錄歷史的同時也選擇性的刪除歷史,使歷史成為一個巨大的「遺忘機制」,或因語言或因年代或因紀錄者的立場而所忘卻。

而藝術家如何重新思考檔案或許可以先從反思檔案與藝術的辯證關係開始。若說檔案是作為記憶的延續的話,在經濟史與社會史的實證歷史資料之外,詩歌、圖畫、工藝品、口傳的故事與影像等都有可能最為記憶的載體而延續群體的過往。也是當今世界指向未來最具動能的載體.而檔案在不同的時空文本被詮釋所產生的「流動性格」不正是對藝術創作者提出了轉譯以及產出作品的邀請。若說當下是一個未經編碼的世界,作為藝術家如何透過作品的轉譯將序亂無章重整為「檔案」,將被理性語言所排除的生活[歷史]再現出來,藝術家在這個創作過程不但回應了當下,也讓這片刻的當下透過作品直指未來最擴延的每一種可能。

Art as Archive Exhibition – Doctoral Program in Art Creation and Theory (TNNUA) exchange exhibition
The exhibition aims to further extend 2016 Taipei Biennial’s concept of “archives," while using the main theme of this year’s Taipei Biennial: “Gestures and archives of the present, genealogies of the future: A new lexicon for the biennial" as a conceptual foundation to reconsider the possibility of contemporary art making responses toward archives and the history.

The reason behind archives becoming a mainstream is the emergence of the Annales School. Developed in the 20th century, the school rebelled traditional historical researches, which only focused on politics, military forces, international relations and important figures, by putting individuals and events into a bigger context of economic and social history, or so called “histoire totale." French anthropologist Claude Lévi-Strauss further broadened the concept, arguing that myths are realer than the history, and the argument may be able to provide us a new possibility. Maybe besides archives, we should also consider from the aspect of art: how to use art to think about archives, to respond the history and to enter our future?

With archives and art, we have more room to re-imagine several mechanisms: images can be more explanatory than texts, and certain transition and translation are now initiated between archives and imaginary art to make archives “flowing" in the contemporary context. Today, when reviewing our history via archives, it seems that we make archives and files repeatedly travel on the path of existence like nomads, or resurrect them on new carriers like “reincarnation" again and again. Traditional historical methods, in fact, delete parts of the history in a selective manner when trying to document the history, making the history a tremendous “system of forgetting," which forsakes fragments of the past due to various factors of languages, time, or beliefs of the archive maker. But now with archives, we should be able to defy such a system.

As for artists, maybe the way to start re-imagining archives is to examine the dialectical relationship between archives and art. If archives are considered as an extension of memories, then besides practical documents of economic and social history, poems, paintings, artifacts, oral traditions, images can also be taken as carriers of memories that extend the past of a group. Moreover, they are currently the most dynamic carriers toward the future. At the same time, the “flowing" archives made from various interpretations due to different times and contexts can be seen an invitation for artists to translate, and produce their works. When we say that the current world is yet to be encoded, then how can an artist translate this chaos into “archives" and represent the life (history) that has been repelled by rational languages via artworks? In this process, an artist can find a way to response to the present, while making the present moment a solid road sign to every extensive possibility in the future via their works.

相關檔案 Related Files