展覽介紹｜
達三件委託製作的影像裝置作品，分別回應台灣1990年代的三個文化史檔案，包括台北空中破裂節（1995）、台灣渥克劇團早年劇碼，與文化評論雜誌《島嶼邊緣》中一場酷兒身體的對談。展覽重新凝視當時以身體官能為基底的文化實踐──關於破敗的身體、踰越的感官、未竟的烏托邦。
The three commissioned video installations by Hsu Che-Yu, Su Hui-Yu and Yu Cheng-Ta in this exhibition respectively echo three archives of Taiwan’s cultural history in the 1990s, including the Taipei Breaking Sky Festival (1995), the plays by the Taiwan Walker Theatre in its early days, and an article featuring a discussion on the queer body in Isle-Margin, a magazine of cultural criticism. This exhibition gazes again at the physical function-based cultural practices shaped by wrecked body, sensual pleasure and unmaterialised utopia during that period of time.
三件作品背後的歷史文本乍看是零散而不規則的計畫，卻不約而同地涉及了某種遊戲的、干擾的、混雜的、庶民的文化實踐，遙遙相對於當時主流場域中雄辯、系統化的論述。在解嚴與野百合學運之後蓬勃發展的地下文化場景中，破敗的身體性化為各種小敘事，在大寫政治的解放周邊如影隨行，並被武裝為一種反文化的戰略，也形塑了當時對於邊緣與反叛的想像。
The historical texts underpinning the three works were somewhat unorganized at first glimpse, yet they coincidentally embodied a kind of playful, interfering, hybridised and vernacular cultural practices that contrast starkly with the eloquent, systemised discourses of the mainstream culture. In the exuberant underground scene after the lifting of martial law (1987) and the Wild Lily Student Movement (1990), the broken corporeality metamorphosed into various little narratives. They have crept up on the liberation of Politics as its shadow, and have been transformed into a counter-culture strategy, which also inspired the imagination about periphery and rebellion throughout the 1990s.
「破身影」的展題，指涉了1990年代台灣地下文化關鍵字的「破」，也是對「Brocken Spectre」（布羅肯鬼影）的訛譯與誤讀，該詞指稱登山者在頂峰時背對陽光，身體在前方雲霧中投射出的巨大陰影，舊時常被誤認為幽靈。這個橫亙在我們視線前方如鬼魅般的身影，在展覽中變成了一個歷史隱喻──它是我們自身的投影，卻又像是一個如幻術般溢出了主體的幽靈。
Broken Spectre, the title of this exhibition, not only refers to the keyword pò (broken / to break) of Taiwan’s underground culture in the 1990s, but also insinuates the term “Brocken Spectre,” a phenomenon which occurs when the sun shines from behind the climbers who are looking down from the peak into the mist. The sunlight projects their shadows that are enlarged through the mist, which had been mistaken for spectres. This exhibition managed to turn this huge, ghost-like silhouette erecting in front of us into a historical metaphor—it is a projection of the human body like yours and mine on the one hand, and resembles a ghost summoned out of the physical body by necromancy on the other.
展覽並不著力於再現歷史，更像是試圖捕捉文化史的鬼影。三件作品是破敗身體的歷史迴光，也是對於晚近文化檔案的改編、致敬與再想像。
This exhibition is dedicated not so much to representing historical facts as to capturing the spectre of cultural history. In addition, the three commissioned works are not simply the terminal lucidity of the broken corporeality, but also the tribute to as well as the adaptation and re-imagination of Taiwan’s modern cultural archives.
展覽資訊｜
展期Duration｜2017.07.01~2017.09.17
地點Venue｜臺北市立美術館 Taipei Fine Arts Museum
開幕Opening｜2017.06.30 14:00
參展藝術家Artists｜余政達YU Cheng-Ta、許哲瑜HSU Che-Yu、蘇匯宇SU Hui-Yu
策劃Curator｜游崴Yu Wei
策畫團隊Curatorial Team｜在地實驗計劃論壇 Etat Forum