匿名的想像 Anonymous Imagination





匿 名 的 想 像     Anonymous Imagination

葉 子 啟     Yeh Tzu-Chi 

Shin Leh Yuan Art Space,  Taipei,  2013/8/23 

                              Photo  林文藻 曾郁萍

在林慧如個展開幕式上所做的表演。我在觀眾群中穿梭﹐一邊將紅毛線纏到左手手臂上﹐毛線球在地上跟著滾動。走到主要表演定點﹐我透過裝水的酒杯看四周及觀眾﹐接著我放下原先盤在頭上的頭髮遮住眼臉﹐將黃﹐藍﹐綠色顏料塗抹到臉上﹐然後開始剝洋蔥﹐剝到核心時開始吃它。接著我將黑色長禮服往上拉﹐露出腰部以下的身體﹐蓋住胸部以上的身體和頭部﹐曲身走向毛線球﹐將手上的紅線依序卸下到毛線球上﹐之後跪趴如動物般倒退移動﹐一邊將毛線拉進包覆上半身的黑禮服中﹐毛線球跟著我慢慢挪移﹐直到我與毛線球最終消失在觀眾的眼前。

此作呼應慧如的抽象畫作﹐她的畫有各種圓與自圓形上滴流而下的顏料。於我﹐圓象徵一種凝具與聚合之能量﹐而滴流則隱含離散與放手之精神。這便構成我這個表演的內在精神。物件﹐顏色﹐我與物件產生的行動﹐以及行動與行動之間如何轉換﹐與在畫廊空間裡的動線是我此作主要的思考重點。最終這個表演也許如慧如的畫作一般﹐也是一個抽象的表演。但這並不表示觀眾必然無法在觀看表演過程中靈光一閃感受到這個或那個的意義。

I did this performance in the opening of Lin HuiRu’s solo exhibition called “Anonymous Future.”  I started walking through the audience as I wrapped the red yarn on my left arm.  Reaching the main performing spot, I looked at the audience through the wine glasses with water, let loosen my hair to cover my eyes and face, smeared the color of yellow, blue, and green on my face, peeled onion to the core and ate it.  Then I pulled up my long black dress to cover my chest and head, but lay bare my lower body from the abdomen, bent and walked to the yarn ball and let loosen the yarn on my arm back to the yarn ball.  Then I walked backward like an animal with hands and feet on the ground, pulling the yarn into my dress in the meantime, until the yarn and I totally disappeared in front of the audience.

This performance echoes the abstract painting by Lin HuiRu where there are various circles and dripping colors from them.  For me, circles represent condensation; dripping, dispersion.  This thought consists in the inner spirit of my performance.  In this performance I think about objet, color, action, the link between actions, and the course in the venue more than the meaning itself.  Eventually, it might become some abstract performance echoing the abstract paintings by HuiRu.  However, it doesn’t mean that audience couldn’t find this or that meaning during the process of watching my performance. 

林慧如文章  http://rubyart.pixnet.net/blog/post/98346541

林慧如影片  https://www.youtube.com/watch?v=LuuR1FWexFE&feature=share



Making Space, Body as Woman

與新加坡雙年展同時舉行的行為藝術活動

聚焦東南亞及東亞地區女性藝術家 

Event	MAKING SPACE, BODY AS WOMAN A Performance Art event organized and curated by Daniela Beltrani
Sypnosis	MAKING SPACE intends to propose a platform for the exchange and discourse amongst emerging and established performance artists based in Southeast and East Asia. With such precursors as Womanifesto initiated in Thailand in 1997 and inspired by a more recent exchange programme for female artists based in Southeast Asia which took place at the end of September 2012 in Yangon, Myanmar, MAKING SPACE focuses solely on female artists. Ultimately, far from being a presentation of the best performances, MAKING SPACE ‘s primary concern is to create an environment conducive to the exploration of performance art practices relevant to the body and consciousness of the female psyche in Asia. As such presence of both emerging and established artists will offer the opportunity of uncovering the personal and artistic achievements and challenges of practitioners at different stages of their career, whilst exploring notions of art and life within the female perspective. MAKING SPACE will unfold in several directions to include platforms for theoretical and practical discourse.
Dates	30 October 2013 - 3 November 2013
Venue	SCWO Centre, 96 Waterloo Street, (S)187967
Hours	30 Oct & 3 Nov (2pm-6pm) | 31 Oct & 1 Nov (7pm - 10pm) | 2 Nov (6pm-10pm)
Admission	Free admission http://www.singaporebiennale.org/?page=parallel_event

Uzar 烏扎

 

 

 



  烏 扎  葉 子 啓

Uzar   Yeh Tzu-Chi

Koprivnica, Croatia   2013 

Photo by Vasan Sitthiket, Watan Wuma

curator:  Sinead O'Donnell,  Vlasta Delimar

http://www.mojazemlja.hr/en/my-land-2013/

以表演場地原為製繩場為發想的Site-specific之作。我自井裡拉起沒有水的四只水桶﹐以繩索將之拉到寫著Uzar字樣的黃色牆面前的小桌旁。在Uzar下方寫上「繩匠」二字﹐帶領觀眾念此意義相同的二字。稍後﹐我將桌面上的石子及未熟果子撥進抽屜裡﹐再以推拉抽屜製造聲音。之後﹐我在左手臂掛上三條不等長之衛生紙條﹐繼續以右手推拉抽屜製造類似機械運作的聲音。當中穿插拉開抽屜拿出裡面的果子或石子塞進口中咀嚼的動作。時而製造聲音﹐時而將果子石子塞進口中。到無法再塞進任何果子時﹐我拿掉瓶中玫瑰花﹐將口中嚼碎的渣渣吐到瓶裡﹐再把玫瑰花插回去。那時我口中彷彿著了火﹐於是我說:現在我需要水﹐一位觀眾立刻遞上瓶裝水給我﹐我漱漱口﹐將水吐到地上。

This is a site-specific performance dealing with the history of the venue as a rope-factory before.  After pulling four buckets without water out of the well, I pulled them to the small table in front of the yellow wall with the word UZAR.  I wrote繩匠, rope maker, under the word UZAR, and taught audience to read it.   I removed the pebbles and immature fruits in the jug to the drawer, made noise by pulling and pushing the drawer.  Then with three different length of toilet paper on my left arm, I kept using my right hand to make mechanic-like noise by pulling and pushing the drawer.  In the middle of that action, sometimes I took pebbles or immature fruits out of the drawer, put into my mouth and chewed them.  I stop the action when I couldn’t put anything more into my mouth.  Then I took the rose away the jug, spit everything into it and put the rose back again.  At that moment, I felt fire in my mouth so I said “now I need water.”  Someone gave me his bottle of water.  I washed my mouth with the water and spit them to the ground.

 

犀牛 Rhino

犀 牛   Rhino

  葉 子 啟   Yeh Tzu-Chi

 Seoul Art Space-Mullae, South Korea  2012/11/8 

Photo by Yuen Kin-leung Maru, Zoe Sun

curator:  Jae Seon Moon

Pan Asia Performance Art Network

                                   

2011年在重慶動物園裡我錄下三段動物的影片。之後,在仁川駐村時﹐有時間整理自己的小筆電﹐再度看到這三段影片。我想這三段影片擺在一起﹐本身就已經是一件作品了。但如何把我自身與它們結合在一起成為一個現場藝術呢？那時我手邊剛好有一本Marina Abromovic的作品集﹐裡面有一個作品﹐Ulay在牆上﹐她在地上面對面平行走向彼此﹐錯身而過的一個作品。這個作品給了我靈感。我想我就模仿犀牛走圈圈吧﹐這樣就可以把這三段影片帶到現場藝術來。而不管是我錄下影片的當刻﹐是我表演的現場﹐或是在我事後的論述時﹐我的心情始終沒變：身為人類﹐我真得覺得對這些動物很愧咎… 

I recorded three clips of animals in the Zoo of Chung Qing in 2011.  I saw them again when I had time to sort out my note-book in my residency in Incheon Art Platform.  For me, these three clips themselves were already a piece of works!  The problem was how to make them a live performance with me?  At that moment, a book, a collection of Marina Abromovic’s works, happened to be beside me.  One of her works shows how Ulay, on the wall, and her, on the ground, walked to each other in parallel and never really came together….  I got inspired by that works.  Why not just walk in a circle like the rhino, I thought.  And that’s how I brought these three clips to the field of live art.  My feelings have never changed no matter when it’s the moment I videoed them, the moment I performed them, or the moment I talk/write about it later: as a human being, I really feel very sorry and owe so much to these animals….  



匿名的未來感 Anonymous Future

 

 

同為女藝會會員的林慧如

 

邀請我在她的個展開幕上

 

做一個現場行為

 

I will perform in the opening of

 

solo exhibition of Lin Hui-ru

 

2013/8/24  18：00

 

台北新樂園藝術空間

 

 

此外﹐特別感謝慧如在她的部落格上

 

論述我的行為作品

 

And I appreciate Hui-ru's article about

 

my performance on her blogspot

 

http://rubyart.pixnet.net/blog/post/96597583

 

 



My Land 2013

 

 

                               於克羅埃西亞舉辦的國際行為藝術交流展 我的土地 2013

                                          聚焦亞洲藝術﹐共有十位亞洲藝術家受邀參展

                                                      感謝 台南市政府贊助部分旅費

 

 My Land 2013

International Meeting of Artists: Antonio G. Lauer
Curator: Sinead O’Donnell
June 13th to June 15th 2013
Štaglinec / Koprivnica, Croatia

     http://www.mojazemlja.hr/en/


 

泡 菜 也 瘋 狂 Kimchi Kimchi

泡 菜 也 瘋 狂     Kimchi Kimchi 

葉 子 啟   Yeh Tzu-chi

Incheon Art Platform, South Korea, 2012/11

 

photo   莊惠琳   Chuang Hui-Lin

                          

從日常生活中撿拾有趣的物件﹐擷取有趣的聲音﹐意象與動作﹐然後想像自己在三度空間裡畫畫。我思考的是如何將這些個別部分拼貼連結成一個充滿動能而有趣的總體藝術。其結果也是一個較接近視覺藝術的表演﹐而非傳統劇場表演

I used some interesting objects, sound, images, and action I pick from daily life.  I was like painting in a three-dimensional space.  I thought about how to collaborate or collage all these parts together to form a total art full of kinetic energy and fun.  The result is a performance closer to visual art rather than a traditional theatre.

風的奏鳴曲 Wind Sonata

 

 

葉 子 啟  Yeh Tzu-Chi

風 的 奏 鳴 曲  Wind Sonata

Incheon Art Platform,  South Korea,  2012/10

photo  莊惠琳 Chuang HuiLin

我躺在樹葉裡﹐樹葉很輕也保暖﹐陽光自葉縫中灑進來﹐風來的時候﹐帶走一些葉片﹐我聽到年輕觀眾驚呼連連﹐風與葉片與地面磨擦的聲音甚是好聽！這是一場藝術家隱身不見﹐讓風﹑葉﹑陽光與時間大秀特秀的表演。藝術家並非不表演﹐觀眾「看」到了藝術家的意志力﹐耐力﹐毅力﹐與觀念。當時間漸漸流逝﹐樹葉幾度翻飛﹐陽光來來去去﹐光影進退挪移﹐樹葉大量飄走後﹐藝術家的身體也自頭部開始漸次顯露﹐原來這不只是風的奏鳴曲﹐同時也是風的雕塑。

I was lying in the dry leaves. The leaves are light and warm.  Sunlight came in through the joints of leaves.  When the wind took away leaves from me, I heard young audience exclaiming.  The sound of friction between wind, leaves, and ground are so beautiful. It’s a performance by wind, leaves, sunlight, and time. The artist hid herself, but the audience saw her will, patience, persistence, and concept.  As time went by, the leaves flied away, the shadow came and went when the sun showed and hid itself.  The artist body gradually revealed from the head, shoulder and the back when most of the leaves flied away.  It's not just wind's sonata, but also a sculpture of the wind.

Chia Ji Ryang's version with music   http://vimeo.com/53083690