啊! Breathless!

 


自製在地牡蠣殼粉和糯米膠、藝術機構文宣品、藍腹鷴(台灣特有種,第二級保育類)郵票
《啊!》描繪了台北 101(台北世界金融中心)半淹沒於水中,以及人們的兩極反應。圖像由自製顏料(牡蠣殼粉混糯米膠)印在藝術機構文宣品上,以無包裝的方式寄往展場,後不受干預地自然老化。

若欲改變世界,須先改變自己。藝術屬於藝術家的責任。可持續性不僅眾多藝術家試圖藉作品提高人們意識的熱門議題,更是對當代藝術所處歷史狀況做出更好反應的要求,是對未來世代的承諾。作品從三途徑接近這一目標:一、圖像內容及其可複製性;二、永續與臨時的形式;三、降低成本。

一、台北101,曾經的世界第一高樓,落成於千禧年之初,紀念著時間的再生(100+1)。圖像展示了一種可能的末日場景,當中該建築的淹沒分別被視為奇觀和自身下沉的平行事件,又或一個隱喻,當中大自然反撲資本主義與人類野心的象徵,那正導致氣候變遷的野心。可複製性重申作品概念和脈絡相對圖像本身的重要性,亦暗示單次行為的侷限,惟滴水足以穿石。

二、台灣每年有約16,000噸牡蠣殼被丟棄,這是政府多年來積極開發的再生材料之一,同時,實體文宣品至今仍屬機構傳播藝術資訊的重要媒介。作品回應在地需求,結合藝術品生命週期中各層面的調整,增進可持續性,包括材料(回收再利用/可生物降解)、製造(自製)、宣傳(回收再利用)、運輸(消除浪費)和保存(低耗能),後兩者分別是藝術家和藝術機構最主要的碳排放來源。臨時的形式一方面呼應今日世界在氣候危機下的風雨飄搖之感,另一方面回應今日繪畫在更科技、更互動、更沉浸、更跨領域作品圍困下,作為「傳統」媒材的相似感受:以勉強殘存到未來的作品,對抗潛伏於常態陰影中的威脅。

三、無可否認,個人相較企業對現狀的影響甚微,且藝術機構十分仰賴後者支持。降低成本作為策略,使作品更有效避免與石油工業直接或間接相關的資金,並拒絕藝術界普遍存在的經濟特權等級制度,捍衛——無論自然還是藝術的——多樣性。

是時候改變了,不是嗎?


Self-made ink (local oyster shell powder + glutinous rice glue), used cardboard box from Taiwan public art museum, stamp of Lophura swinhoii (Taiwan endangered endemic bird)
Breathless! describes drowning Taipei 101 (Taipei World Financial Center) and people’s polarized opinions. It is printed with self-made oyster shell ink on used cardboard box from public art museum, sent to exhibition place without packaging and supposed to age naturally.

In order to change the world, we must first change ourselves. Art is artist’s responsibility while “regeneration” is a demand for better reaction to the historical condition of our contemporary art, a promise to future generations. The work takes three approaches to this target: 1) subject of image; 2) sustainable and repeatable form; 3) cost reduction.

1. Taipei 101, the once tallest building, completed as the new millennium arrived, commemorating the regeneration of time. The print shows a possible doomsday scenario, where flood is treated as a spectacle or a threaten, and a metaphor, where nature counterattacks the ambition of capitalism and humankind, the very thing that contributed to climate change.

2. Approximately 16000 tonnes of oyster shell per year in Taiwan is abandoned. It is one of the recycled material government works for years developing. Meanwhile, cardboard box is commonly sent by art museum here. The form responds to local needs, improves sustainability in different aspect of the artwork life cycle, including material (recycle&reuse/biodegradable), manufacturing (self-made), transportation (waste elimination) and preservation (low energy consumption) and implies the limitation of one-time behavior: only repetition leads to change.

3. There’s no escaping the fact that individual has a small impact on current situation compare with enterprise, and that art institution relies on funding from the latter. Thus, cost reduction is a strategy to avoid support directly or indirectly related to petroleum industry and also a rejection to the hierarchies of economic privilege already pervasive in art world, protecting diversity in both nature and art.

Time to change the world, shall we?