2014年12月31日 星期三

反戰即興行為 Impromptu against War






反 戰 即 興 行 為  Impromptu against War

葉 子 啟   Yeh Tzu-Chi

Taipei Artist Village,  Taipei     2003

Taipei International Performance Art Festival

curator:  Wang Mo-Lin


參與藝術節時,策展人要求我們針對甫發生之美國攻擊伊拉克事件做一件五分鐘以內的行為。我將衣服脫下,再內外前後反穿回去,拿美國國旗手絹捆綁頭部,再擺出美國法院證人宣誓證言屬實的手勢,如雕像般站立到結束。


The curator asked us to do a performance shorter than 5 minutes to protest that USA attacked Iraq.  I took off my blouse and wore it back with inside out and front to the back, bound my head with the United States Flag handkerchief, and then stood still like a statue with the gesture that witness take an oath at the trial.

2014年10月24日 星期五

我們這樣過馬路 That’s How We Cross the Road















我 們 這 樣 過 馬 路    That’s How We Cross the Road

  葉 子 啟   Yeh Tzu-Chi

Tainan, Taiwan   2014/7/10

Photo  Chen Bo-Yii

curator:  Yeh Tzu-Chi



十字路口是人們過馬路的地方。綠燈亮時﹐人們必須在特定時間內快步走過斑馬線。但細想﹐也沒人規定你必得用的過馬路。這麼想時也就帶來了可能性﹐可以在十字路口做些什麼行為的可能性。2013年新加坡雙年展裡有幾個錄像行為作品就是在十字路口發生的﹐非常有趣。我深受吸引﹐也埋下想要在十字路口做行為的欲望/想法。然後有一天當我在書房爬上鋁梯取物時﹐我突然福至心靈﹐想到可以在斑馬線上爬梯子﹐那應該會是一個有趣的行為﹐而且不會中斷自身行進狀態﹐也不會防礙正在行進中的他人﹐時間也正好可以由紅綠燈掌控。於是就有一天﹐在十字路口﹐我們這樣過馬路。
 
Crossroads is a place for people to cross the road. People have to walk quickly across the zebra crossing before the light turn red.  However, one doesn’t have to cross the zebra crossing by just“walking”.  It thus gives a possibility where we may do some performance at the crossroads.  I was deeply attracted by some very interesting video performances where people do performance at the crossroads shown in the Singapore Biennale 2013.  Perhaps I had a desire to do some performance there since then.  Then one day when I climbed up the ladder to fetch something in my study, I suddenly got the inspiration to climb the ladder at the zebra crossings.  It should be something interesting.  It won’t stop my moving state, nor block others’.  The time can also be controlled by traffic lights. So that’s how we crossed the road at the crossroads one day in Tainan.  


龔卓軍  游動民的藝術:看不見的精神圖繪術
http://gongjowjiun.blogspot.tw/2015/04/blog-post_48.html

林慧如 阿川國際行為藝術節 心與海 全紀錄






2014年9月26日 星期五

為 惡 朗 讀 Reading Evil


                                                   Ye YuJun

                            Ye YuJun

                                             Chen Ginton

                            Chen Ginton


為 惡 朗 讀    Reading Evil 

葉 子 啟   Yeh Tzu-chi
 

Treasure Hill Artist Village, Taipei 

2014/7/15 

Photo   Chen Gintong,   Ye YuJun

curator:  Liping Ting


請觀眾在紙上寫下心裡黑暗﹐惡毒﹐無恥﹐負面﹐邪惡總之人們無法向他人啟齒的念頭或是過往生命裡的一段經驗 ; 將紙投入一個容器裡﹐然後請另一組觀眾自容器裡抽出一張紙﹐然後朗讀紙上所寫的文字。朗讀聲音同步放送到屋外巷弄裡。最後將所有紙付之一炬。 
人們總是宣揚正向﹐光明﹐愛﹐卻忘了面對處理人性中惡的一面﹐或者總是壓抑它。這樣並不健康。人們應該要學習面對它。此作受2014年台北捷運鄭捷持刀殺人案啟發而做。
A group of viewers were asked to write the dark, vicious, outrageous, negative, evil or whatever difficult to say to others in their mind/life on the paper and threw them into the bowl.  Then another group of viewers took a piece of paper from the bowl, read the text by turns.  The reading voice was broadcast to the outside alleys at the same time.  Finally, I burned all the papers.
People like to talk about the positive, light and love, but forget to deal with the evil side of human nature, or always suppress it. This is not healthy. People should learn to face to it.  This piece is inspired by Zheng Jie who killed passengers on Taipei MRT 2014.



2014年4月11日 星期五

短暫的韓國 Temporary Korea:詩人與行為藝術家的相遇 The Encounter of a Poet and a Performance Artist




短 暫 的 韓 國       葉 子 啟

Temporary Korea     Yeh Tzu-chi

2003/08   South Korea  

我脫下上衣﹐請觀眾在我身上寫字。我用粉紅緞帶將胸部包圍﹐在胸前打蝴蝶結﹐然後﹐說韓國話。最後﹐到觀眾席裡與觀眾合照。 

I asked the audience to write on my body.  I wrapped my bosoms with pink ribbon and tied a bow on my chest.  Then I spoke some Korean.  Finally, I stepped down to the audience and took pictures with some of them.



詩人與行為藝術家的相遇

2003到韓國參展﹐整天走在韓國大街小巷裡﹐吃韓國食物﹐聽韓語﹐看韓國人﹐索性就讓自己韓國個夠吧!自己一直不是很重視這個作品﹐就是一個簡單的小品﹐多年來幾乎沒再提起過它﹐也許潛意識裡一直認為這個作品有點膚淺與幼稚吧!很怕別人看到我曾做過這樣的作品﹐但是有一個人改變了我對這個作品的態度。
200885日在韓國金泉高鐵車站外表演即將展開之前﹐一位高瘦斯文的中年男子趨前向我問候﹐那時我隱身在觀眾群裡﹐一般的穿著打扮﹐並不顯眼﹐但他向我走來說:「請問你是不是「顏」子啟?」那是我第五次到韓國參與行為藝術活動﹐如果我記得沒錯﹐是我第三次造訪金泉﹐都是同一位策展人Hong O-Bong的活動。 
在剛開始踏上韓國參與行為藝術活動的頭一兩年﹐Hong O-Bong老是把我的姓氏拼錯﹐把Yeh拼成Yen﹐後來我一再提醒他才更正過來。所以早期我老是聽那邊的人叫我「顏」子啟。可見那人是認得我的。他說他看過我的表演﹐隨即拿出一本韓文詩集﹐熟練地翻至某一頁﹐摺下頁角﹐告訴我那首詩是寫我的﹐我因為節目即將進行﹐無法繼續多談所以只能稱謝收下詩集。那一夜﹐我看到他席地而坐靜靜觀賞不同藝術家的現場表演。當然﹐他也再次看到我的表演。 
整個活動結束時﹐人來人往中﹐他再度趨前向我﹐他說他必須趕最後一班高鐵回去﹐然後像是行注目禮般﹐將右手按住胸口定定地看著我好幾秒的時間﹐那一刻﹐我有點錯愕﹐他的眼神專注甚至到深情的地步﹐牢牢將我懾住﹐然後他轉身快步朝高鐵車站走去﹐我回過神來但他已走遠﹐只能定定地站在原地望著他漸行漸遠的背影 
那人﹐那眼神﹐以及那詩﹐便一直放在我心上。對我而言﹐那簡直是個奇遇﹐因為做現場行為多年﹐從沒有觀眾與我(藝術家)產生這樣深層的關係﹐竟有觀眾因為看了我的表演而寫了一首詩﹐而我竟然完全不知道!然後多年之後﹐我們還有機會相遇﹐他特地趕來親手將那詩交到我手上﹐這是何等的機遇啊!只可惜當我突然意識到這是多麼珍貴而稀有的相遇時﹐他已走遠不復出現在我眼前 
他看的是哪一個作品呢?他寫的是什麼呢?我時常納悶著﹐一直到2011年終於找到有人可以幫忙譯成中文﹐一解多年的疑問。原來他看的是我03年做的「短暫的韓國」﹐可能是我最早到韓國做的作品!沒想到他竟動筆為這個作品寫了一首小詩!真是出乎我意料之外﹐而且在我看來寫得還不錯呢 
所以﹐因為他﹐因為他的詩﹐這個作品因而有了不一樣的命運。


The Encounter of a Poet and a Performance Artist 

I went to join a performance art event in Korea, 2003.  Walking on the streets in Korea, eating Korean food, listening Korean, and watching Korean every minute almost made me feel like a Korean.  Then, why not trying to be a Korean for 1 night!
In 2008, just before the performance outside Gimcheon High Speed Rail Station, a tall skinny gentleman came to me.  I was then among the crowd, wearing like an ordinary people.  But he came to me and asked “Are you ‘Yen’ Tzu-chi?”  That’s my fifth participation in performance art events in Korea, and third time in Gimcheon.  Hong O-Bong, the curator, failed to spell my surname in the right way.  It should be Yeh, but he spelt it as Yen.  So Many Korean people called me Yen Tzu-chi in the first two years.  Hong corrected later, but still many people called me Yen Tzu-chi.  So the gentleman really knew me.  He wanted to give me a book of poetry as a gift.  He opened the book to a certain page and pointed the poem on that page, saying that the poem was about me.  He said he had seen my performance before.  I was so surprised but the performance was going to begin that we can’t help but separated, and then he sat quietly on the ground as an audience.  
He came to me again after the performance.  He said he couldn’t stay any longer because he had to take the last train to go home.  Then suddenly he put his hand on his chest and looked at me into the eyes for a few seconds without saying anything.  There was such a strong power in his eyes that I was quite charmed by the way he looked at me.  Then he turned around and walked quickly towards the gate of HSRS.  My eyes followed his back until he disappeared behind the gate.  I still remembered that he was in white suits that day. 
That man, that look, and that poem have always been on my mind for years.  Which performance did he see?  What did he write?  It’s not until March of 2011 that I found someone to translate the poem From Korean to Chinese.  So, it was Temporary Korea that he saw.  It’s a very simple and short piece which I almost categorized as something shallow and childish.  To be honest, I was surprised that it’s the performance he saw and it’s the one that made him to write a poem for me.  
However, it’s a nice poem.  Because of him and his poem, I decided to show the performance here.



空氣中的一紋   

 

朴晉亨(Park Jin Hyoung)   鞠文瀞 譯

大約三十餘歲的台灣女人yen chu qi
在觀眾之前不受拘束的脫掉衣服
在月夜下淡淡的露出雙乳
不定形的中心掛著乳頭
萬物之母的肚臍也被火光喚出

在白嫩的女人背上
男人1, 用紅色的麥克筆畫上圓圓的臉孔
女人1, 用藍色的麥克筆亂畫一隻鳥
小孩1, 用黃色的麥克筆寫上拼音錯誤的名字

一瞬間變成塗鴉板的裸身
被綁在粉色的蝴蝶結
默默的走進觀眾群裡坐下來
圍繞在空氣裡的一線圖紋
悄悄的望過去  

(朴晉亨詩集﹐頁68, 2007

2014年3月15日 星期六

匿名的想像II Anonymous Imagination II








匿 名 的 想 像 II       Anonymous Imagination II

葉 子 啟  Yeh Tzu-chi

Singapore Council of Women’s Organization, Singapore, 2013/11/1

Photo by  Nel Lim

curator:  Daniela Beltrani

Making Space, Body as Woman


在新加坡的展場裡﹐我重做八月在台北新樂園空間做過的〈匿名的想像〉這件作品。因為場地裡有紅色的毛毯﹐所以我改用策展人提供的淡紫色毛線。短時間內找不到符回期望的塗身顏料﹐於是改用自己的黑色眼影。表演的順序有點更動(不自覺地)。以及因為毛線球在毛毯上滾不動﹐無法將毛線漸次收進黑衣裡﹐所以只能拖著它跟著我在空間裡移動。
活動結束四個月後﹐我收到策展人Daniela Beltrani自新加坡寄來的紀錄手冊 Making Space, Body as Woman裡﹐出身夏威夷﹐長居於新加坡的日裔美國人Jane M. Shishido對此作做了有趣的論述:
大約從嬉皮﹐自由戀愛﹐和普普藝術文化盛行的1960年代中葉的紐約開始﹐亞洲著名藝術明星小野洋子和草間彌生即已使用裸體做為表達方式和不必感到羞赧的活力所在﹐至今已有數十年光景。子啟受到日本激進藝術家霜田誠二的高度影響﹐使用大膽毫不妥協的裸身去定義及面對身體論述。
子啟的表演從剝吃洋蔥開始。接著她手握一對裝有水的酒杯研究水的本質。接著有點像是性別倒置﹐她把臉塗黑摸擬男性的鬍鬚。但當這個男性形象出現在觀眾眼前時﹐子啟很快就將她的長袍往上拉露出她淡紫色的底褲來﹐然後就這樣一路在房間裡爬行。過程當中並無令人眩目或激情的演出﹐但是卻帶來了有趣而不斷湧現的曖眛不明。 身體是我們的自我與身份的最終庇護所﹐是個人歷史的載體﹐而且正如子啟在表演裡所明示的﹐它絕對是不折不扣地隱藏在層層疊疊的神秘繁複中。(頁15
In the room of Singapore, I did the performance Anonymous Imagination again which I had done in Taipei last August.  There’s red carpet in the room so I used the lavender yarn offered by the curator.  We couldn’t find the proper body paint in a very limit time, so I used my black eye shadow instead.  And I changed the orders of movements without even knowing it.  Furthermore, I could only drag the yarn with me along the space without collecting it little by little into my black dress simply because the yarn couldn’t roll on the red carpet! 
Four months later, I receive the documentary catalogue Making Space, Body as Woman by the curator Daniela Beltrani from Singapore, where Jane M. Shishido, a Japanese American who lives in Singapore, thus writes about my performance:
….The usage of the naked body as expression and unabashed vitality has been around for decades with notably the Asian iconic art stars Yoko Ono and Yayoi Kusama in New York at the height of hippy, free love, and pop art culture of the mid 1960s.  Tzu-chi herself is highly influenced by the radical Japanese artist Seiji Shimoda and uses the bold and uncompromising unclothed body to define and confront physical discourse.
Tzu-chi’s performance started with a whimsical peeling and eating of an onion.  She then proceeded to hold up a pair of wine glasses full of water and examine the properties of the liquid.  It was a sort of gender reversal, next, as a quick make-up fix made her face smeared with black to mimic a rough moustache and masculine facial hair.  But as soon as the faux male character appeared in front of the audience, like a bored and antsy pre-schooler, Tzu-chi shed her clothing yanking her dress above her shoulders as she dragged herself around the room with lavender underwear showing.  There was nothing glamorous or titillating taking place, but an almost amusing and restless ambiguity.  The body is our last refuge of self and identity, it’s a vessel for personal histories and as Tzu-chi had shown with her performance, it is literally hidden beneath layers and layers of mystifying complexity. (p. 15)