PALNS 計畫


問 #5 [ 臨時工 一份藝術與社會的問卷 ]
ASK #5 [ Temporary _A Questionnaire Of Art and Society ]

以往我將一筆材料費作成大眾觀看的作品,一個觀看的裝置,展覽後這些裝置被包裹收進倉庫,甚至拆解變成資源回收,或垃圾。
我思考著那些車站裡各式各樣邊緣的人物,流離的人,失業的人,待業的人,流浪漢......。如果材料費可以變成一份流動的工資,或許可以稍微轉變這些「材料費」的意義。
思考「作品創作費」轉換成「流動的工資」,尋求在地失業者在車站公共場所作為一份臨時工作,他們舉著自己的肖像剪影,「他們」成為作品,在車站彷若「流動的雕塑」,與民眾交談,去進行一份關於藝術與社會的問卷表,讓觀看者思考藝術生活化的可能與藝術的定義。

 

 

 


問 #4 [ 尋找看展覽的人 ]
ASK #4 [ Looking For Audience ]

在這個計畫裡,我是Order系統傢具的臨時員工, 展Order展的導覽專員,身著歐德藍色Polo衫,遞上正式的名片,隨機詢問民眾(以不知道這個展覽的民眾為對象),並將其引入Order系統傢具,對民眾解說此次" 展.歐德.展"的其他藝術家作品(但並不包含我在內,我必須隱形於藝術家展覽現場行列),並請民眾填一張簡單問卷。而『我』也可以由其他人代替執行。
一個藝術生產者同時也可以是公務員,廚師,道士,高校學生,一個母親,或是無稱謂的路人。社會的多重疊身分,以及行為表演藝術裡的轉換,或者社區劇場裡的串場人等等並不是這個計畫裡需要提醒的部份。我所關心的比較是,一個參與的過程,其不斷變換意義性的漂移。希望去掉一個作品的單一歸納,去掉尋求定義,去掉扁平。我關注民眾對於其他藝術家在這個非常態的商業展示空間裡的觀感,藉由參與者的問卷回應我的關注,以及策展人的關注,更多的是不可預知的延展。

For this project, I was a temporary employee at Order modular furniture company. I worked as a guide in an Order Exhibition, I wore a blue Order Polo shirt, handed out formal business cards, questioned some of the crowd randomly (mainly the ones who weren’t familiar with this exhibition), and led them into Order modular furniture, and explained some other artists’ works in this「DisOrder/ Exhibition/ in Order」to the crowd (but not including my work, I had to remain invisible among the list of the artists’ exhibition [that is, while in character as an employee of Order modular funiture company]). I also asked the crowd to fill out a simple questionaire. This “I” could be played by the others as well.
An art producer can also be a civil servant, a chef, a Taoist, a high school student, a mother, or a nameless passerby. Society’s multi-overlapped identities, the transformations through the act of performance art, or the sidekicks in the community theater, etc., are not the parts that should be reminded in this project. What I am concerned with is more about the process of participation, the drift of the constant transformation of meaning. I want to get rid of the single categorization of a work, to get rid of the search for definition, to get rid of the flatness. What I am concerned with is the impressions of the crowd in this unusual commercial exhibition space. The questionaires filled out by the participants, responding to my concerns and the concerns of the curator, will lead to more unpredicatable extensions.

 

 

 

問 #3 [ 想像一段生活的音景及其他 ]
ASK #3 [ Imagine One Life Through A Soundscape Or The Others ]

《想像一段生活的音景及其他》,剪接了一段台灣花東旅行以及去年到北京考試的錄音,聽著這段聲音在電腦上用滑鼠畫下對這段聲音的想像線條。展出時這些線條在牆上被A4紙張分割列印,重組於牆上,觀眾在現場一邊聆聽耳機裡的聲音,一邊觀看牆上的抽象線條,填寫一份問卷。藉由設計一段「參與計畫」而去進行「提問」,成為我現階段一個感興趣的方式。

In March 2013, I exhibited a projected called《Imagine One Life Through A Soundscape Or The Others》in the joint exhibition of graduate students of my school in Beijing. I made a sound recording edited together from a recording of a trip to Hualian-Taitung in Taiwan, and a recording of my attendance of an examination in Beijing last year. Listening to this recording, I used a mouse to sketch the imaginary lines of this sound on my computer. When I exhibited, these lines, dismembered due to being printed on A4 paper, were recombined on the wall.
The audience viewed these abstract lines on the wall while they listened to the sound on earphones, and filled out a qustionaire. Through designing a “participative project” to “raise questions”, this process has become something that I am currently interested in at this stage.

 

 

 


問 #2 [ 一個城市青年回鄉的路上 ]
ASK #2 [ On The Way To Hometown About One Urban Youth ]

我構想《一個城市青年回鄉的路上》,作為我到北京念書(2012年9月)之後的計畫,計畫是透過一個晚餐餐桌,邀請在北京的「北漂」離鄉青年,談談家鄉這個古典的命題,這同時我的台灣身分具有不可忽略的主體性了,但我的焦點不在兩岸或者政治上,而是回到近期台灣「青年回鄉」風潮的某種對應關係,以大陸的大版圖移動遷徙的離鄉經驗,我想關心在小版圖上的台灣島嶼,對於某種「大的城市化厭倦」與「小的鄉鎮回歸」之抗衡現象。

After this exhibition, I conceived of 《On The Way To Hometown About One Urban Youth》in May 2012, which became my project after my studies in Beijing (September 2012). The project is to invite the teenage itinerants in Beijing (beipiao) to a dinner table to talk about the classic topic of “homeland”. At the same time, my Taiwanese identity had this unavoidable subjectivity. However, my focus wasn’t on cross-strait relations or politics, but rather on corresponding relations with the recent trend in Taiwan of “youth returning to their hometown” (qingnian huixiang). Through the diasporic experience of migrating in the much larger territory of Mainland China, I want to consider the reactionary phenomenon of a kind of “sickness of big cities” and “return to small hometowns” in the smaller territory of island of Taiwan.

 

 

 

問 #1 [ 工作表 ]
ASK #1 [ Subsist Worksheet Of An Artist ]

時逢「台北市創作者職業工會」的成立,對藝術工作者在政府官方定義職業化有一番討論,我從以往大學時期以剪髮作為交換晚餐的經驗,構想出了《工作表》的參與式方案,一方面契合誠品書店的空間屬性,一方面是我個人現實經驗的轉移,成為公開性的行為。
在這個計畫裡,每個參與者在歷經:報名/確定時間地點及部份特殊要求/剪髮接觸/給予交換物資,最後是「填寫一份問卷」作為結束,當時我預期從問卷的提問中,某種嚴肅,有趣,無厘頭的,去開啓這個計畫的另一些延伸與參與者對參與整個計畫之後的觀感參考。一般的「問卷」是對於某些場域的意見統計,用以檢討及反饋。對我亦然,我關心整個計畫方案實際實行後的參與者心態與看法,也對整個過程加上一個好奇的「問號」?,思考問號本身帶來更多的問號思考。

To link the individual’s collective memory within folk or festival culture. Using this popularly recognized “stamp” as a “pivot” and taking to heart a kind of resistance to definition, during the establishment of the Art Creator Trade Union and subsequent discussion about how to officially define “art workers” as professionals, I used my experience during college of cutting hair to barter for daily needs, to construct the 《Subsist Worksheet Of An Artist》participative project, which, on one hand, ties into Eslite Bookstore's ART STUDIO , and on the other hand, transformed my personal experience into a publicized act.
In this project, every participant went through this process: registration, confirmation of time, location and any particular special requirements, going to the haircut appointment, the exchange of goods, and finally, they had to fill out a questionaire to complete this whole process. At that time, starting from these questions, some serious, some interesting, some nonsensical, I expected to develop another extension to this project, and to consider the participants’ reaction towards the whole participatory process. Most questionaires are concerned with statistical opinions of certain field, in order to review and get feedback. It’s the same for me, I care about the attitudes and viewpoints of the participants after the realization of the whole process. Furthermore, I’ve added a curious “question mark” to the whole process, and thinking about the “question mark” itself only brought forth more “question mark” thoughts.