一 的 複 數
在爲新的策展整理文字論述時，「一的複數」突現腦中，不知從何而來的靈感，久久不去。從事藝術創作多年，體驗到靈感惠我良多，於是便留下它。仔細想想，這詞充滿矛盾無從理解。什麼叫做「一的複數」？是111111? 3個1，8個1？還是1s？無解！但再仔細分析，這詞又彷彿蘊含各種想像與歧異！
2017年11月28日 星期二
Multiversity: 2017 ArTrend International Performance Art Festival Curatorial Manifesto
Plural of One
“Plural of One” came up to me when I was writing curatorial concept for this year’s festival. It occurred to me several times for the following days. Being an artist, I learn by experience that how inspiration can help. So I keep it. Thinking thoroughly, though, this phrase is full of paradoxes and contradictions. What is “plural of one?” Is it 111111? Three 1, eight 1? Or 1s? No answer! But if we analyze thoroughly, we will also find this phrase full of imagination and divergence!
First, “one” is a number. It’s math. “Plural” comes from math, but it also exists in English, a language. My educational background is English literature so naturally I tend to understand “plural” more by English. Therefore, “plural of one,” for me, is like a concept that has both math and English at the same time. Accordingly, it can be seen as a concept of “interdisciplinary” if you like.
Second, in English, “one” refers to singular, whereas plural refers to the amount of more than one. So we never say “plural of one.” Since “one” is singular, how can it be plural? Consequently, “plural of one” is totally an illogical phrase which will be categorized as wrong on an examination sheet. Why then I treat it as something so valuable that I’m willing to spend time and energy to speculate it? Is my brain dead? Am I crazy? Or dare I not to be limited by logical rational reality and jump into the world of imagination, enjoying the freedom of creativity in the realm of art?
As for “one,” one is one. It’s not 0.5, or 1.5, or whatever. But such purity perhaps exists only in a priori. Does anyone ever see a permanent unchanging “one” in the reality? An apple gets rotten. A man gets old. A dog will die. A concept tends to be replaced by another. A great man could be degraded into a criminal. Even a country is lucky enough not to be colonized by other countries, it will inevitably go through different regimes…! These show the changeability of “one” diachronically. “One” is also full of changes if we see it synchronically. For example, dog is “one” of animals, but not all the dogs look alike. There are Poodle, Chihuahua, Tibetan Mastiff, Dachshund, Yorkshire Terrier, etc. It’s the same for human beings. People have different colors of skin. Even if they have the same color, they might grow up in different culture/country and behave differently. Even for people living in the same country, it’s very likely that there is difference for those living in the North from those in the South, and those living by the sea from those by the mountain. So perhaps we can daringly conclude or propose that One is Plural!
It is no wonder that when we look back diachronically at the 40-years-development of performance art in Taiwan from the street art in 1980s, the video performance and action art in 1990s to the contemporary live performance starting from the beginning of 21 century; and then synchronically from contemporary live performance, sound art, interdisciplinary performance, dancing performance theatre, to concept theatre, isn’t it fully echoing this absurd but realistic idea of “One is Plural?”
Based on such acknowledgement, I obtain a more friendly attitude toward the recent boosting performing art/show that is entitled as or claimed to have a touch of performance art. And I believe this attitude has more or less led to the choice of this year’s artists.
This year we, again, invite local and overseas performance artists to show their solo performance and experiment together the group performance that has not been rehearsed or well planned in advance. Between these two poles of the spectrum, we invite for the first time the domestically rare seen duo-performance and Zentai Walk, hoping to enlarge and elevate Taiwan’s vision of performance art. For the local artists, we focus on emerging artists that are highly interested in performance art, some of whom have already joined international performance art event abroad.
Eventually we hope the atmosphere of this year’s festival will be: here I come, so colorful I am; here I come, so multi-diversity I am!
Yeh Tzu-Chi 2017 / 3 / 7
2017年10月22日 星期日
多歧：2017阿川國際行為藝術節 Multiversity: 2017 ArTrend International Performance Art Festival
今年（2017）11月在台灣台南組織的一個活動，詳情請瀏覽
A performance art event I organize in November 2017, in Tainan, Taiwan. Plz check details in
https://www.facebook.com/2017-阿川國際行為藝術節-2017-ArTrend-International-Performance-Art-Festival-1687925447919376/
2017年8月16日 星期三
沒有臉的女人 Woman without Face, Norogachi III
沒 有 臉 的 女 人 Woman without Face
葉 子 啟 Yeh Tzu-Chi
feat Sabina Cienega Leyva and Ana Miriam Espino Garcia
photographer: Leonardo Martinez
Performancear O Morir
curator: Gustavo Alvarez
Sierra Tarahumara, Chihuahua, Mexico
2017 / 4 / 15
與在諾羅卡其民宿裡幫忙的兩位Raramuri族姐妹共同合作的即興行為。作品裡的一切皆出於日常，終了並復歸於日常。是友善環境與地球的貧窮藝術。其創作的核心理念是：在日常裡發掘與形構藝術；在藝術裡重塑並思考日常。
An improvisational performance I do with two Raramuri women who help in the kitchen of Alba's house where we stay in Norogachi. Everything in the performance comes from daily life and goes back to it at the end. So it's an Arte Povera that is friendly to environment and earth. The core of the idea of creativity is to find and construct art in daily life, as well as to remold and speculate daily life in art.
2017年8月13日 星期日
河邊的表演 Performance by the River, Norogachi II
河 邊 的 表 演
Performance by the River
葉 子 啟 Yeh Tzu-Chi
photo David Quezada
Performance O Morir 2017
curator: Gustavo Alvarez
Sierra Tarahumara, Chihuahua, Mexico
2017 / 4 / 14
太陽張狂風蕭蕭 The sun is scorching; wind, blustering.
但我很安靜 I am very quiet yet,
繡縫身上我的衣 Sewing the clothes on my body,
收線 然後 Then taking the lines.
運動中的身體 Body in action
很太極 Like playing TaiChi.
手動 腿弓 身轉 Hands move, legs bow, and body turns.
時而緩轉 時而靜止 Sometimes slow down, sometimes stop.
太陽張狂風蕭蕭 The sun is scorching; wind, blustering.
我看似安靜 Quiet I look like,
實則不然 But I am not.
運動中我力求平衡穩定與 In action, I try to keep balance, steady and
靜心 Tranquil
以維持頂上兩塊相疊大石 To keep the two overlapped stones from
不墜 Falling
於身動風動中 when I moves and wind blows.
繡縫，收線，大石 Sewing, taking the lines, and the two stones
我全心以對 Have all my heart.
烈陽強風 The tyrant sun and the violent wind
我奮力抵抗 Have all my resistance.
一切盡在 Everything happens in
靜與不靜之間 Between quiet and unquiet.
山上的表演 Performance in the Mountain: Norogachi I
photo by Silvia Alonso
photo by David Quezada
photo by Luis Lujan
photo by David Quezada
photo by David Quezada
山 上 的 表 演
Performance in the Mountain
葉 子 啟 Yeh Tzu-Chi
2017 Performancear O Morir
curator: Gustavo Alvarez
Sierra Tarahumara / Chihuahua / Mexico
2017 / 4 / 13
2017年5月31日 星期三
兩岸行為藝術與小劇場發展的趨勢觀察 Observation on the Development of Cross-Strait Performance Art and Theatre
一 種 趨 勢 葉 子 啟
舞台上，瘦高花美男全身塗白，包括頭髮和臉，他背上背著像乾草的東西也是，那是翅膀嗎？
舞台上另一個花美男是米開朗基羅的大衛石膏雕像，大概2到3倍於真人的頭頸部雕像，也是全白。
大衛前躺著幾朵紅色玫瑰花，挨著他。
花美男隔空狀似拿筆端詳目測大衛，然後做勢似在紙上描繪大衛。畫著畫著繼而趨前愛撫親吻大衛，良久。
接著他突然取出噴槍將大衛噴黑。
然後，一塊大布拉起隔開舞台與觀眾。舞台上有動靜，但觀眾看不到。良久。
布幕終於放下，花美男也一身黑了。
這時他高舉起大衛，在舞台上恣意移動，觀眾漸漸看出他可能是在跳芭蕾，扛著沉重的大衛，原先的翅膀此時也往下拗，如今看來倒像是芭蕾舞裙。
跳著跳著他力氣用盡了，再也扛不住大衛了，大衛於是一下摔到地上碎了。
最後，他抱著大衛碎片走出舞台。
很像劇場，但這是2014年9月14日，在北京798藝術特區樹畫廊舉辦的OPEN國際行為藝術節裡的表演。花美男藝術家後來說他之前的作品都比較簡潔，但此作他嘗試帶進劇場元素，因為「現在劇場好像挺時髦的」。這位藝術家是以《遛白菜》聞名的韓冰。
無獨有偶，自2000年起在西安以「谷雨行動」為名推動現場行為藝術的相西石，從2012年開始其「行為劇場」表演，他在2015年寫就的〈西安「行為劇場」簡述〉一文中指出
“行为剧场”是以“行为艺术”的观念和方式为基本要素的
“场域化”剧场形式。是行为艺术在现实中另一种方式的
延伸与呈现。
所以，在今日中國大陸，有一些行為藝術家開始借鏡劇場了。
有趣的是，台灣卻呈現相反的態勢。2014年7月冉而山劇團三名成員遠從花蓮來參加「阿川行為群」舉辦的行為藝術工作坊，並接續觀賞「心與海國際行為藝術節」 近20位中外藝術家的演出，為該劇團8月赴英參加愛丁堡藝穗節台灣季演出作準備，因為他們帶去的新作「企圖將行為藝術中關於時間空間的表演形式劇場化」 。接著12月中旬，另一位阿川行為藝術工作坊學員顏佳玟帶領其舞團在台南呈現「不純unPURE舞蹈行為」，在表演中融合了行為，舞蹈，與劇場的元素。
而今年5月，趙虹惠從台北請來Baboo導的戲〈棄，時間的聲音並不哀傷〉即將登場，從宣傳照看來，很行為，我特地在臉書私訊請教，趙虹惠的回應是「導演Baboo近年的作品確實帶有觀念或行為的語言」。所以，在台灣，有一些劇場或舞團已經開始熱衷向現場行為藝術取經了！
在中國大陸，現場行為藝術興起於1980年代，現代劇場的出現是近10年的事。
在台灣，小劇場則興起於1980年代，而現場行為的出現則是近15年的事。
看來老靈魂企待新血注入！兩岸皆然。更何況跨領域已然政治正確。但以在下所見，行為是行為，劇場是劇場，舞蹈是舞蹈。它們之間可以互借元素，跨界合作，但卻無法互相取代。
跳脫兩岸，國際現場行為藝術圈近年則是佳音頻傳。2013年，Irma Optimist榮獲芬蘭國家藝術獎。今年，Marilyn Arsem榮獲美國波士頓美術館首度頒發給行為藝術家的Maud Morgan獎；Melati Suryodarmo 則榮獲新加坡藝術獎的評審大獎。而在05年獲頒過新加坡文化獎的Lee Wen李文，今年又獲提名新加坡自由藝術獎！值得一提的是前三位藝術家曾受邀來台參與 阿川國際行為藝術節，在台灣留下寶貴的藝術身影。他們以及其他尚在現場行為藝術領域奮鬥不懈的前輩/資深藝術家是我們追隨的典範，鼓舞我們再向下一個十年邁步前進。 （寫於 2015 / 4 / 8）
（本文原刊載於《 心與海 》－阿川國際行為藝術節記錄手冊）
A Kind of Trend Yeh Tzu-Chi
On stage, the body of the skinny tall beautiful man was painted white, including his hair, face and the hay-like things on his back. Are they the wings?
The plaster figure of the head and neck of Michelangelo's David is another beautiful man on stage. It’s about 2 to 3 times of a real man and also all white.
There are some red roses in front of David, lying on the floor.
The beautiful man act like taking a pencil measuring David and drawing him on the paper, from a distance. After a while, he approached to David, caressed him, and kissed him for a long time.
Suddenly he took out airbrush and sprayed David into all black.
Then, a large cloth was pulled up to separate the stage and the audience. Something happened on the stage, but the audience couldn’t see it. When the cloth finally put down, the audience saw the beautiful man had also become all black.
Then he lifted the heavy David on his right shoulder, moving difficultly like dancing. The wings-like things on his back now also put down like a ballet skirt on his waist.
When he was exhausted by dancing and couldn’t carry David any longer, he let go of it, which made David break into pieces.
Finally, he held some of the debris in his arms and stepped down the stage.
It’s almost like a theater piece, but it was one of the art performances shown in Open International Performance Art Festival held in the Tree Gallery of 798 Art Zone on September 14, 2014. After the performance, the artist said his earlier works had been simpler in form, but he tried to show something more complicate and theatrical this time because "now theater seems quite trendy." The artist is Han Bing who is famous for walking a cabbage on the street.
Xiang Xi-Shi has started and promoted live performance event Gu Yu Action in Xian since 2000. He started Performance-Theatre in 2012 and declared his concept on his website:
“Performance Theatre” is a “sited” theatre form based
on the concept and method of “performance art.” It’s
another way for performance art to extend and show in
the reality.
So in mainland China today, some performance artists began to borrow elements from the theater.
Interestingly, there’s an opposite trend in Taiwan. In July 2014, as a preparation for presentation at the Edinburgh Fringe Festival in August, three members of Langasan Theatre came from Hualien to join our performance art workshop and stayed to see the following performances shown by 20 international and local artists in Mind & Sea：ArTrend International Performance Art Festival. According to them, they tried to theatricalize the performing forms of time and space in the performance art in their new piece for EFF. In the mid-December, Nina Yen，another participant of our workshop, presented UnPure Dancing Performance in Tainan where she mixed the elements of performance, dancing, and theatre.
And this coming May, Le Bruit du Temps N’est Pas Triste, a small scaled theatre piece will be shown in Tainan. It’s directed by Baboo from Taipei. It looks like performance art from the photos released as advertisement. Zhao Hong-Hui, who invited Baboo to direct this piece, answered my question on face book “Indeed, the works by Baboo in recent years have the language of concept or performance art.” So, in Taiwan, some theatre and dance troupes have been highly interested in learning and adopting elements from performance art in recent days.
In mainland China, live performance art emerged in the 1980s; the modern theater, recent ten years.
In Taiwan, the small-scaled theatre emerged in the 1980s; live performance art, recent 15 years.
Old soul aches for new blood! It seems to be same on both sides across the strait. Not to mention the cross-discipline political correctness. However, for me, performance art is performance art, theater is theater, and dance is dance. They can borrow elements, cross-border cooperation, but cannot replace one another.
Looking beyond Taiwan and mainland China, we are more than happy to find that good news keeps pouring into the international performance art circle. In 2012, Irma Optimist got the Lifetime Achievement Award of Finnish Art Society; 2013, the State Prize of Art. Marilyn Arsem is the winner of the 2015 Maud Morgan Prize in Boston. Melati Suryodarmo has won the Jurors' Choice Award in 2015 Singapore Art Prizes. And Lee Wen, awarded the Cultural Medallion Singapore in 2005, has been named as one of seven nominees for the inaugural Joseph Balestier Award for the Freedom of Art 2015. What’s worth mentioning is that Marilyn and Melati have been invited to Taiwan by ArTrend to join 2009 On the Way International Performance Art Meeting; Irma, 2014 Mind & Sea IPAF. They and the other senior artists that are still working very hard for performance art play as our role model. It’s them that encourage us to move on toward the next decade. ( 2015 / 4 / 20 )
（The article is originally published in Mind & Sea : Document Catalogue of ArTrend International Performance Art Festival)
2017年5月23日 星期二
台灣第一份高中行為藝術教案 Performance Art Taught in Senior High of Taiwan
2016年6月7日我應藝術生活學科中心洪祖玲教授推薦，陳韻文教授的邀請，到由葉子彥老師主導之台北市復興高中藝術科演講廳帶領表演藝術工作坊，與來自全國的高中教師們分享行為藝術種種。當時台下約有20位教師，當中有9成老師未曾看過現場行為演出。有些老師遠從高雄，花蓮前來參與。我則分享了超過30位藝術家，100張行為作品圖片，以及5段錄像，結結實實講了三個鐘頭。在第一個鐘頭有一位老師當著我的面走出演講廳.....，幸好其餘老師或者大部分的老師都堅持到最後一秒鐘。結束前韻文老師期許我的分享可以在參與的教師心中種下小小種子。
之後，我收到韻文老師寄來的課程筆記如下：
6/7 《教師即策展人:人人都是藝術家》課程筆記
【講座之前的探索】
1.劇場與行動藝術(by Marilyn Arsem): http://yehtzuchiart.blogspot.tw/2015/01/blog-post_25.html
2.一與許多: 記「超越壓迫」行為藝術活動:http://yehtzuchiart.blogspot.tw/2015/01/blog-post_91.html
【講座當下】
葉子啟老師在講座中，通過許多行為藝術的作品，提示「人人都是藝術家」的概念。
在講座一開始，葉子啟老師開宗明義:「行為藝術是一個人，運用一個身體，在一段時間和特定的空間中，演示一個過程;可以包含或不包含物件的運用、觀眾的參與。」這與當代英國劇場導演Peter Brook廣受引用、以人為本的戲劇定義似乎若合符節:「我可以選取任何一個空間，稱它為『空蕩的空間』。一個人在他人的注視下走過這個空間，就足以構成一齣戲劇了。」所不同的是，行為藝術似乎更著眼於「觀念」與「身體」的展演。
葉老師提到，台灣早期的行為藝術創作以錄像方式、在美術館展示居多。但她作為一位在觀眾面前公開展演的行為藝術家，認為與觀眾共存的那一段「時間」以及不可預期、難以複製的「偶發」(happenings)是非常珍貴的，錄像作品對她而言的意義則比較趨近於「物件」。她將前者稱之為「時間取向的藝術」(time-based art)，後者則是「物件取向的藝術」(object-based art)。我的理解是，行為藝術展演與行為藝術錄像的異同，就好像劇場與電視電影一般;它們共享了某些形式上的特徵，但因為觀演關係的設定，以及可後製/重複性的不同，創作者的藝術選擇以及觀眾對於作品的審美經驗也就各異其趣。
葉老師自謙雖不具藝術背景，卻因緣際會走上了行為藝術這條路。從她分享的許多藝術家創作中，可以發現行為藝術充滿了可能性與不可預測性。相對於劇場提供了虛構的敘事框架，以精準成就展演，行為藝術將驚奇埋伏於未知與臨場即興中，直面觀眾、裸裎相見，剝開日常的紋理—它可能是沉重的、尖銳的、諷索的、謎樣的，卻也可以是幽默的、輕盈的、單純的。因此對於表演者和觀眾來說，可能更像是一場冒險，不只通過作品的演示與觀看，開啟探索生活議題的新視野，也在歷程中察覺自己對於「界限」的設定和對於「未知」的耐受力。
葉老師以參與藝術節和擔任策展者的經驗指出，由於行為藝術並不預設文本，乃是調和動作、形象與空間，邀請參與者打開感受、自由心證，不管是從藝術家或是從觀眾的角度而言，是一種極為民主的藝術形式—策展者不會設太多的限制，作品的品評未必建立在觀演雙方對於符號意義的共識，更多繫於經驗的當下是否獲得感動。換言之，藝術的定義和人我關係皆是流動的，自由的;相較於對藝術外在形式、內在意義的追尋，行為藝術的展演本身即是目的，在短暫的交會間，試探、翻擾演者與觀者對自我、他者、環境的覺知。
| 姓名 | 作品名稱 | 描述 |
| 身體 | ||
| 馮盛宣 | 體腔淨化深層鑽探 | 口水 |
| Vu Duc Toan ＋ 卓明 | 抱著走 | |
| 身體+物件 | ||
| 林杏鴻 | 收據 帳單 | |
| 徐嘉莉 | 政治旅行 | 地圖國旗 |
| Sakiko Yamaoka | 風從天上來 | party |
| 身體+物件+觀眾(互動) | ||
| 黃韻嘉 | 腋毛 | |
| 林季怡 | 榕葉的名字 | |
| 宇中怡 | 滿漲 | 氣球 懷孕 |
| Sinead O’Donnell | Palimpsest | 脫衣 |
| 鄭詩雋 | 心心相惜 | 香菸 |
| 陳明淑 | 氣味 | |
| 八娜娜 | 香腸 | |
| Iwan Wijono | 被火包圍 | |
| 身體+物件+時間 | ||
| 葉子啟 | 人卵 vs 動物卵 | |
| Boris Nieslony | 自然學－時間 | 毛線 |
| 石晉華 | 走鉛筆的人 | |
| 回應特定空間/環境的行為表演 | ||
| Boris Nieslony | 自然學－時間 | 站立 |
| 邵燕心 | 砲 | |
| 周斌 | 墨汁流下 | |
| Melati Suryodarmo | 抱歉，先生！ | 針滿臉 |
| 王楚禹 | 溪裡看書 | |
| Iwan Wijono | 溪裡派對 | |
| 藝術家的關聯互動 | ||
| 葉子啟 | 外面的世界 | |
| 丁禹仲 | 你是我的假想敵（告白） | 軍裝 |
| Marilyn Arsem | 甜蜜腐朽 | 廢棄糖廠 |
| 阿道 巴辣夫 | 無題 | 泥水 |
| 瓦旦 烏瑪 | 原民 | |
| 我的行動表達我的觀念 | ||
| 陳界仁 | 自我盜版和自由樂捐計畫 | |
| 發生在公共空間/日常裡的行為藝術 | ||
| 李銘盛 | ||
| 林鉅 | 紀念日 : 救世主的生命意義 | 十字架 |
| 身體+觀眾互動+日常空間+3C產品 | ||
| 林亮宇 | 3C 翻筋斗 | |
| 葉子啟 | 我們這樣過馬路 | |
【講座之後的想像】
藝術模糊了藝術與生活、表演者和觀眾之間的界限—當人以思維感受為驅力，身體為載具，即能成為藝術的生產者，而每個人也都具有詮釋所見、所聞、所感的能力。當劇場作為一門綜合藝術，集眾人之力成就精彩，行為藝術認可個人即已齊備完整的感受力、創造力與表現力。拉回至教學現場，或許可以提示教師從展演的指導者轉變為行為藝術的策展者，通過教學和引導，讓每一個學生善用時間、空間、身體的存在、與他者的關係等元素，展演某個議題或概念，在創作、呈現、彼此的觀看與回應中，打開對於自我和生活的覺知。少了戲劇的「虛構」和心理安全的「距離」，它也許難度更高，更需要老師的引導，但卻也可能因此在學生心中種下珍貴的種子，長成個體在生活行為中發現、感受、實踐藝術的能力。
「老師好！我是政大附中表演老師高宇人，今年6/7號那天，有在復興高中聽您的講座，我與一些老師們都覺得受益良多，我想把行為藝術發展成教案帶到高中校園......」
今年2月26日，我邀請高老師前來參與我們在台北寶藏巖藝術村的現場行為活動，同樣有參與我講座任教北一女中的黃俐芳老師也前來參與：
今年2月26日，我邀請高老師前來參與我們在台北寶藏巖藝術村的現場行為活動，同樣有參與我講座任教北一女中的黃俐芳老師也前來參與：
今年3月11日高老師傳給我他的行為藝術教案，我回訊給他：「這是我所知台灣第一份高中行為藝術教案，我十分高興你深具慧眼，為高中表演藝術教育帶來變革！」後來我很驚訝地被告知這份教案已經在課堂上實施了！高老師動作真快！
後來，我再次驚訝地被告知這份教案不只在政大附中實施，也在我的母校北一女中由黃老師帶領實施！
五月初黃老師私訊給我說 「北一女行為藝術課即將結束」，並傳給我她們上課的圖片，看啊，她們是不是很開心啊？！
我真的很高興看到這顆小小種子在兩位老師的心中發了芽，而且還把它散播出去了！
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