十日談-虛構且真實的異域I
赤粒藝術策展
參展藝術家：
蕭雅心 Hsiao Ya-hsin （1982）
李佩姍 Lee Pei-shan （1985）
周柏翰 Chou Po-han （1988）
張書毓 Chang Xuo-yu（1988）
林衍馨 Lin Yen-hsin （1989）
蕭珮宜 Hsiao Pei-i （1990）
林郁珮 Lin Yu-pei （1991）
陳肇彤 Chen Chao-tung (1991)
洪　瑄 Hung Hsuan （1992）
邵士銘 Shao Shi-ming （1993）


我們把時間拉回1348年，佛羅倫斯爆發瘟疫，漫延歐洲，屍橫遍野，薄伽丘以此為背景寫出《十日談》，十名青年男女避禍郊區別墅，每人每日說一則故事，在死亡橫行的家鄉切劃出一個洋溢田園與感官情調的異時空。

然而，生之焦慮與死之恐懼總有辦法超越虛實，從故事，從說故事的人，從聽故事的人的眼耳鼻舌身意泌出汁液......

讓我們把時間拉回20世紀，提出殘酷劇場概念的安東尼‧亞陶(Antonin Artaud, 1896 - 1948)認為瘟疫無差別擊垮好人也擊垮壞人；擊垮惡人也擊垮善人，無疑是一種「道德失效」......

終於，讓我們把時間拉到21世紀此刻，某種程度來說，全球暫時停止往來的此時；各國對內、對外暫時停止往來的此時；我們把時間拉到此刻，然後向前期盼並畫下記錄，說出故事，在不久的時間與不遠的空間之後，也許我們可以看見道德與失效，或者平息道德與失效的可能性。

就在此時，我們策畫「十日談-虛構且真實的異域」邀請藝術家一天天細說著故事，在這疫情蔓延的當下。也許，期盼，瘟疫之後展覽之時，我們可以看見……

 
Decameron: A Figurative and Literal Sphere
Curated by Red Gold Fine Art
Participating Artists:
Xiao Ya-xin (1982)
Li Pei-shan (1985)
Zhou Bo-han (1988)
Zhang Shu-yu (1988)
Lin Yan-xin (1989)
Xiao Pei-yi (1990)
Lin Yu-pei (1991)
Hong Xuan (1992)
Shao Shi-ming (1993)


Let us shift to 1348. Florence was plagued with an epidemic which spread across Europe and its plains invaded by corpses. Against this backdrop, Boccaccio composed Decameron depicting 10 male and female adolescent suffragists whom shunned in a suburbia manor. Each day, each person would narrate a tale, juxtaposing a luscious garden and an exotic sensuous sphere on death-stricken home soil.

Nonetheless, the tension of life and trepidation of death embed a potential to supersede reality. From narrative, narrator, the visceral organs of audience secret bodily fluid... ...

Let us shift to the 20th century. Antonin Artaud (1896 - 1948) whom proposed the theory of Theatre of Cruelty advocated pandemic vanquishes both the virtuous and the vicious. Indeed, such maxim of annihilating villains as well as saviours could be perceived as a form of ‘ethical nihilism’.

At last, let us shift to the contemporary 21st century. To a certain extent, during which global society has suspended all activities and communications; during which nations have suspended all domestic and foreign activities and communications. Let us shift to this historical moment to anticipate, document, and narrativitise. From an imminent future and a contiguous dimension, perhaps we can witness ethical nihilism or rather, overcome potential ethical nihilism.

At this historical moment, we have curated ‘Decameron- A Figurative and Literal Sphere’ to invite artists to narrativitise tales during an epidemic-rampant era. Perhaps, with such anticipation, at the exhibition featured in this post-pandemic society, we can witness ......