「當我們不在/再」宣言
當我們
佈展不再佈展，不佈展不在不佈展。
現場不再現場，不在場不在不在場。
可聽不再可聽，不可聽不在不可聽。
表述不再表述，不表述不在不表述。
可見不再可見，不可見不在不可見。
失語不在失語，不失語不再不失語。
當我們不處在重複性的勞動之後
當我們不處在重複性的藝術之後
當我們不重複性處在勞動之後
當我們不重複性處在藝術之後
當我們不再在
當我們不在/再

以展覽技術為副業的陳冠中與葛大乘，起初每當結束一檔佈展後，都從中獲得技術面與創作面的養分，這些養分在他們身上不斷發酵，時而帶來療癒或者焦慮的效果，隨後在一次又一次的成全展覽後，意識到反覆學習展覽技術，可能意味著作品的展示方式逐漸均質化，但這些經驗仍然持續潛移默化到他們自身的創作形式上。
於是在這樣的自我審查下，使他們逐漸陷入創作表述的困境，他們嘗試放下各自原先用心建立的創作脈絡，透過作品闡述自身的窘境，以及反省往常的佈展模式來構築本次展覽。
「若我們抽離所習慣的方式與身份執行創作與展覽，那我們會成為什麼模樣？若一個展覽不再只是服務作品內容展示，那又會是什麼模樣？」
在這個提問中，在乎的不是將佈展中被排除的美學看作是正確的，更重要的是喚起對展示機制的懷疑，以及思考看不見的細節中潛藏的種種可能性。
陳冠中的《聲影創作計畫》進入了某種失語的狀態，將無法聽到的聲音以一種弔詭式的辯證，讓無聲流變於影像和裝置之間。而葛大乘的《語言矯正所》則提供展覽語言的矯正服務，透過展覽語言的咀嚼與矯正，闡述在展覽製作背後被矯正的事物的模樣。

日期｜2022 . 2 .19（Sat） – 3 . 14 （Mon）
時間｜11:00 - 18:00 （週一至週六）
開幕｜2022 . 2 . 19（Sat）14:00
座談｜2022 . 3 . 12（Sat）14:00
地點｜覓計畫（Project Seek）
贊助單位｜台北市文化局、洪建全教育文化基金會

【Info】
Exhibition | When We Are Here/ No Longer - Chen Guan-Zhong, Ko Ta-Sheng Dual Exhibition
Date | 2022.2.19 (Sat) – 3.14 (Mon)
Time | 11:00 – 18:00 (Mon to Sat)
Opening | 2022.2.19 14:00
Forum | 2022.3.12 14:00
Address | 12F, No. 9, Sec. 2, Roosevelt Rd., Zhongzheng Dist., Taipei City 100, Taiwan
Sponsor | Hong Foundation

【About】
“When We Are Here/ No Longer” Manifesto
When our
set-up no longer an exhibition, not exhibiting here is not no exhibition.
presence no longer present, not being present here is not no presence.
sounds no longer audible, inaudible here is not no sound.
representation no longer representable, non-representable here is not no representation.
visibility no longer visible, invisibility here is not no visibility.
aphasia here lies not in the aphasic, the aphasic no longer speechless.
when after we are no longer present in repetitive labor
when after we are no longer present in repetitive art
when after we are no longer repetitively present in labor
when after we are no longer repetitively present in art
When we are no longer present
When we are here/ no longer

Chen Guan-Zhong and Ko Ta-Sheng who set up exhibitions as their side jobs find installation techniques have nourished them from the outset on levels of technicality and creativity every time an exhibition program finishes. These fruits of labor ferment in them, sometimes resulting effects of healing or suspense. But soon after when Chen and Ko complete programs again and again, it dawns on them that learning installation techniques repetitively may imply a homogenizing in methods of exhibiting artworks. Nevertheless, these experiences continue to grow imperceptibly onto each of their artistic practices.
As a result of such self-censorship, creative expression for Chen and Ko fall into a predicament. By letting their artworks elucidate their dilemma, Chen and Ko put aside their primary and carefully developed contexts of artistic practices, and constitute this exhibition by their reflection on the usual modes of exhibiting.

“What if we detached ourselves from the habitual methods and identities to execute artworks and exhibitions, what would that make of us? What if an exhibition was no longer subjected to the context of the artwork, what would that look like?”

In these questions, what is concerned here is not taking the excluded aesthetics in setting up exhibitions as veracious, but more importantly to arouse doubts about the mechanism of exhibitions, and to contemplate the hidden potentiality in the unseen details.

Chen Guan-Zhong’s Sound Image Project enters into a state of speechlessness. Through a peculiar dialectic of inaudible sounds, Chen allows inaudible sounds to travel and transform between the image and the installation. Ko Ta-Sheng’s The Language Orthodontic Clinic provides correction services for the language of exhibitions. By contemplating on the language of exhibitions and its corrections, Ko expounds on how things are edited behind the production of exhibitions.

REFERENCE

陳冠中網站
葛大乘網站