哺挫 BOOCHOA

隨著網路與智慧型手機的技術和日常生命密切結合，我們今天的民主生活朝向（多樣）同溫層與（封閉）控馭系統矛盾卻並行的發展，社交、商務、管理和科學等等的重要性和影響力遠遠超過許多人們過往奉為圭臬的人文科學。這些巨大的變化逐漸在二十一世紀最初十年間浮現出各種認知混淆和意識危機，社會關係與認知的嚴重斷裂、敵對價值的衝突、資源分配的嚴重失衡與地球環境的破壞，無疑地，關於佔領、人類世、泛靈論、社群連結、回返地球、性別友善等等的探討隨之成為大家關心的問題，我們確實需要關係與知識的重建。

基於這般脈絡環境的變化，美術館與展覽似乎也必須面對這樣的時代要求，這項面對是一個艱鉅的工程，因為知識與關係的重建需要感知的全面質變，才得以跳脫各種層層疊疊的機制與重複。這無疑就是「無器官身體」的核心命題，即跳脫好幾百年積累的結構認知，也唯有「藝術」是既有的也是最為直接的「方法」，「哺挫」這個計畫源自於三位策劃人的互動，讓三個不同計畫從不同的面向著手改革「感知」；「哺挫」直接訴諸與身體切身相關的「發聲」，企圖從另類課程、表演衍生和變種派對挑戰我們的既定感知，也試驗著美術館空間與觀眾的關係，開啟一場探入內心的「時空」之旅：擺脫彷如計時裝置與動線慣習的各種器官。

With technology of the Internet and smart phones becoming closely integrated with daily life, our democratic life today is headed into a direction with contradicting and parallel developments of (diverse) echo chambers and (closed) control systems; socialization, business, management, and science, now have far greater importance and influences than humanities people used to adhere to as standards in the past. These giant changes have gradually given rise to all kinds of cognitive confusions and consciousness crisis, severe ruptures of social relation and cognition, conflicts between opposing values, serious imbalance in distribution of resources, and destruction of the environment on Earth, in the first decade of the 21st century. Undoubtedly, explorations and discussions on issues such as occupation, Anthropocene, animism, community network, return to Earth, and gender friendliness, have quickly become the main concerns of all people, and we do need reconstruction of relationships and knowledge.

Based on this kind of changes in contextual environment, art museums and exhibitions seem to have to face the demands of this age too. This is a grave task, for the reconstruction of knowledge and relationships requires full qualitative change of sensations in order to break free from various layered mechanisms and repetitions. This, undoubtedly, is the theme of “body without organs”—that is, breaking away from the structured cognition accumulated over centuries; only “art” is the existing and the most direct “method.” This project, “BOOCHOA,” originated from the interactions between the three curators, allowing three separate projects to launch from three different aspects the reform of “sensation;” “BOOCHOA” directly resorts to “voice” that is closely related to body, and attempts to challenge our existing sensations through alternative courses, performance derivatives, and mutant parties, and experiment with the relationship between art museums and audience, launching a journey of “time-space” that probes deep into the inner world: getting rid of all the organs that resemble timing devices and routine routes.

計畫Projects

l 《聚落計畫The Village Project》
「聚落計畫」這個藝術專案的源起便來自於這些根本問題。身為與他人共同居住於社會的個體，我們如何發展獨立思考和決策的能力、如何能觀大局而非僅見片斷、又該如何尊重自己與他人？而在具備這些能力之後，我們如何為自己與未來世代創造更美好的生活和社會機制？本計畫意圖以另類藝術教育作為尋找這些問題答案的平台。「聚落計畫」以一個中介者的角色，呈現實務和心理層面的經驗，藉由引發另類思考且將個人工作轉變為志業的方式，清楚展現創意學習與另類教育之觀點。

The Village Project is an art project, deeply rooted on these ultimate questions. As an individual living with others in the society, how can we generate abilities to think and make decisions in our way, to see the broader structure rather than a fragment, and to respect ourselves and others? Furthermore, based on these abilities, how can we create a better life and society for us and future generations? This project proposes alternative art education as a platform in which, we can find the answers to these questions. The Village Project functions as a mediator and presents a form of physical and psychological experience that sheds light on certain aspects of creative learning and alternative education by generating alternative thoughts, and transforming individual practices into real engagement.

l 《露台:主觀千種Terrace of Subjectivities》

從詩意書寫到行為藝術，本次策展從廣泛的創作形式及感知層面出發，探索主觀性的意涵，並採用展演、論壇、工作坊及講座等形式，討論主觀性是如何被構築及比較。美術館露台經驗於此指涉的是：當一個個體被擺置於美術館建築與廣裘自然之間，自身的覺察並不會因此與其他感受斷連──來自外在的、內在的、整體場域脈絡的一一接收蔓生，這絕非臆測，實誠的身體將迎來最直接的主觀感受。

The project explores subjectivities through a broad spectrum of artistic creation and reception: from poetics to performance, and takes an exhibitionary form, pedagogical structure, and talks to examine how subjectivities are constructed and contested. At the museum’s terrace is a metaphor at which the body is lodged between the body of the museum and the presence of nature, the body does not disassociate the feeling of self from the feelings of others—the outside, the exterior, and context—that is not discursive, but physical.

l 《擬酷液得Liqueered》

昨晚我們才剛在這結束一場派對，你錯過了嗎？在23點47分那刻，愛波對著麥克風，造作地從塗抹豐厚唇蜜的雙唇間，發出意味不明的爆裂吼叫聲，瞬間的情緒波動差點讓為了掩蓋平頭的粉紅假髮掉落，左手仍沒落拍地同步效果器調轉至極限。後方手臂有刺青的場控男子應和著這份情緒，將各色燈光調至急速閃爍…他其實不懂，但他知道這理當是一個高潮橋段。嗡…太大的聲響導致我耳鳴，倚賴的雙瞳不斷地被重複曝光，認知像是幻燈影像般進入了流變的狀態。接著，現場被紅光全面籠罩，愛波瞬間溫柔地說：「我們現在都是女生。」，這個指令讓我頓時分不清現在是在線還是離線 ……

We just finished a party here last night. Did you miss it? At exactly 23:47 exploded into the microphone meaningless screams through her lips with thick, pretentiously applied layers of lip gloss; her instantaneous emotional shockwave almost made her pink wig that was intended to cover up her shaved head drop on the floor. Her left hand, without missing a beat, simultaneously turned the effects unit up to the max. The man with tattoos on his arm in charge of onsite control behind her played along with her emotion, and switched the lights in different colors to rapid gleaming…He really did not understand, but he knew this was inevitably a climax. Humm…the sound was too loud, it gave me tinnitus, and the pupils I relied on were being constantly re-exposed; like projections, cognition entered a rheological state. Then, the place was covered in red light, and, all of a sudden, A tenderly said: “We are all girls now.” This command suddenly made me confused with whether we were online, or offline….

策者人Curators & 參與者Participants
l 《聚落計畫The Village Project》
Ham Yang Ah 咸良娥（Korea韓國）
Ali Nesin 阿里．涅辛（Turkey 土耳其）
Chih-Chin Wang 王志欽 & Shih-To Sun 孫世鐸（Taiwan 台灣）
Hyunjin Shin 申鉉真（Korea 韓國）
Keiko Sei 清惠子（Japan 日本）
Marianne Flotron 瑪麗安．佛洛倫（Switzerland 瑞士）
Pascal Gielen 巴斯卡．吉倫（Netherlands 荷蘭）
Sohyun Park 朴昭鉉（Korea 韓國）

l 《露台:主觀千種Terrace of Subjectivities》
Judha Su 蘇由達
Amy Lien 連潔 & Enzo Camacho 恩佐·卡馬喬
Ho Rui An 何銳安
Jing Y Ng 吳盡源
Sheryl Cheung 張欣 & Xia Lin 林亭君
Thanapol Virulhakul 坦那普·維魯哈古

親愛的觀眾：

我刻意不讓國家的識別出現，是希望藉此表示藝術家們跟他們所來自的國家之間並沒有直 接關係。在當代，國籍概念的使用，應僅限於移民管控。而我們不應持續鞏固這個概念， 而是要以棄守這個概念爲目標。這目前在政治上雖然是行不通的，但在這裡，我想提出的 是一種想像。

就策展而言，有很多種方式都可以傳達訊息。因此我不斷鼓勵藝術家重新想像展覽製作及 呈現方式的更多可能。這也就是爲什麼我對這些我們在牆上常見的文字，重新提供了一種觀看方式。

如有更多疑問，並且需要更多資訊，請參見展場裡的出版品。另外，只要email我，我就 會提供免費的pdf檔。我也很樂意透過email進行更多的討論。 祝您看展愉快。

蘇由達

露台:主觀千種的策展人

Dear visitors,

The identification of countries is made absent here; I would like to suggest that artists do not represent their countries. In contemporary times, nationalities should be strictly used for the immigration control, and we should aim to give them up, instead of reinforce them. It is not yet politically possible, still, I offer such an imagination here. Curatorially, there are numerous ways of giving information, and I encourage artists to keep re-envisioning what could be considered as part of exhibition-making and presentation. This is how I negotiate with the conventions of wall texts by offering an alternative way to look at them. For any further questions and information, please refer to the publication available in the exhibition, so email me for a free pdf file. I’m also more than happy to discuss further via email.

I hope you enjoy the exhibition.

Yours,

Judha Su

The curator of The Terrace of Subjectivities.

l 《擬酷液得Liqueered》
Yu Cheng-Ta 余政達（Taiwan台灣）
Betty Apple貝蒂愛波（Taiwan台灣）
Huang Ding-Yun 黃鼎云（Taiwan台灣）
River Lin 林人中（Taiwan台灣）
Tzuan Wu 吳梓安（Taiwan台灣）