201610040031我們如何在一起 / Together

我一直很希望做展覽這檔事可以是一場遊戲。

 

開啟這回合 

這首先是一個邀請,來自臻品藝術中心已舉辦多屆的年度策劃展。作為一個帶有任務性質的委託,它理所當然具備了一些預設的背景,包括預定發生的時間、地點,也包括主辦單位預擬的各項合作條件,以及一個期待能被回應的主題叫做「建築與藝術」。它們既是資源也是限制的雙重屬性,完善了遊戲成立的基本要件,於此,我被給予的機會是,可以用自己覺得有趣的方式開啟這回合。 

臻品藝術中心的母企業龍寶建設是深耕中部已歷27年的建設公司,選擇「建築與藝術」為題彰顯了其長期投注其中的兩個領域,就著這個頗為寬廣的起點我想到的是建築與展覽共同的基本單元,同時也是無論在藝術之內或之外都特別吸引我的對象空間。對應臻品擁有一、二樓及地下室共三個獨立展間的先天條件,我於是開始以「空間性的創作」在腦海裡鋪排一份三人組合的藝術家名單…… 

在王德瑜的創作實踐裡數量特別顯著的氣囊系列,本身就是一個藉由造型、材質、色彩與互動方式等元素的變化持續在不同空間裡變化著的空間;在專注於空間的許多次個展裡,杜偉以迥異的方式讓觀眾意識到此前或許不曾意識到的展覽空間本身,以及關係於它的各種屬性;秦政德自2005年延續至今的立碑行動,將一次次對歷史或當下情境的重讀以紀念碑的形式座落在不預期何時能被遭遇的山林田野間,其所觸及的是在時間裡流變著的空間。 

藉由藝術家的作品來呈現空間思考與實踐的多樣性,是我自始至終的核心概念,但在萌生這個想法的同時卻也覺得如果只有這樣的話,遊戲的性質似乎淡薄了些,我於是想要試著加入另一個我有興趣探究的情境,也就是合作這檔事,畢竟當藝術家們最低限度總可以在展覽裡實現自己的作品同時,作為策展人的我卻經常性焦慮於如何使集合諸多藝術家與作品的展覽成為一件作品。

為了不違背讓藝術家自主發展創作的初衷,請他們挑選一位想與其合作的對象並徵得對方同意,成為我邀約參展時附帶的條件,然後有些意外的發現他們並不排斥甚至還覺得挺有趣。對我而言這個其實有點繞路的過場,除了平添等待答案揭曉前的焦灼與興奮感之外,也帶來如若依循慣性將無從得見的風景。在他們陸續回覆成功覓得夥伴之後,這個包含了幾種不同組構狀態的群體,這個由我們一起形成的我們,才終於正式開啟這回合。

 

杜偉x謝大良:我們在何時何處? 

可以自己選擇合作者是杜偉覺得這個展覽裡比較特別的部分。雖然不是沒在相熟的藝術家名單裡想像過,幾經考慮後他還是決定依照自己最初的想像――邀請從未做過藝術的好友謝大良,首先但非唯一的理由在於「這樣比較特別」。 

雖然此前並不具備藝術家的身份,大良對藝術卻一點也不陌生,自90年代末起,他一直是杜偉和其他幾位相熟的藝術家朋友有布展需求時的基本班底,除了貢獻他在電子設備與程式設計等技術上的專長之外,也經常性陪聊究竟怎樣才算藝術之類的話題,最近的例子即是杜偉甫於去年發表的個展(註1。正是在這種慣性裡,大良以為他不假思索應允的是他總會不假思索應允的又一次幫好友布展。 

也是相同的背景下,杜偉深信對大良來說做出一件作品並不困難,關鍵在於如何使做一件作品真能成為做藝術。後來不出杜偉所料,大良的思考源自他最熟悉也最能掌控的領域――成音,這個涵蓋了一切關係於聲音的範疇同時是他的職業與興趣,在試圖回答我對空間的提問時他形成了自己的提問:在我們即將進駐的那個空間裡有些什麼聲音?實際勘場後他決定在展場裡製作一場以聲音為主角的現場直播,內容除了那些在作品所屬空間裡聽不到卻在周遭持續發生著的聲音之外,也包括那些在一般性狀態下難以聽聞卻切切實實存在著的聲音,與此同時,現場直播的概念將使得觀眾所能接收到的即是特屬於該時刻的聲音,既不可逆亦不可重複,一如我們所有的時間經驗。 

杜偉的計畫充分展示出從一個相同的起點可以抵達多麼不同的所在,在我看來它也像是一場現場直播,內容正是他(和大良)進駐的那個空間本身。在大良的技術協助下,杜偉讓兩個雷射水平儀得以藉由電動雲台進行最大角度的移動,於是它們分別投射出的十字光束將會持續遍歷這個空間裡的所有表面。為了滿足肉眼所不能企及的觀測欲求,雷射水平儀同時常見於建築工事與展覽布置,杜偉覺得當那組總是異常顯著的水平與垂直線條在空間裡移動時,「很像是在尋找什麼……」。透過同一個動作,藝術家既引導著我們將目光投向此前未曾注意的各種角落,也展示了有一種外在於我們的目光,於是我們看到它們一直正在看著。 

在這個目前還待逐步實現的想像空間裡,有兩種可清楚知覺的現象:聲音與活動影像,它們互不干預甚至很可以互為背景,它們在近乎空蕩蕩的空間裡同時持續充滿整個空間,期待迎接一種讓人驚覺原來並非在作品之外而是在作品之中的發現。

 

秦政德x劉和讓:我們還記得什麼? 

秦政德幾乎是在同一時間想到了他的作品計畫與合作對象。2014年年底,劉和讓邀請政德到他所經營的空間mt.black舉辦個展,這個包含提供自己的工作室空間、展覽經費以及多數布展勞務並且預期幾乎不可能回收什麼的邀約,其理由顯然不僅僅因為他們是從國中同學開始交往的朋友。 

在醞釀那次個展期間,阿讓聊起因為父親曾服役於勝利女神飛彈營的緣故讓他一直有以這個主題發展作品的想法,作為一項由美國在二次大戰後開發的超級武器,勝利女神飛彈在台灣的出現充分體現了冷戰期間的台美關係,正是這些無目的閒聊促生了政德在該次個展裡所發表的「冷島」系列(註2 

基於這個前因,能夠在與劉和讓合作的條件下,繼續發展這個關於台灣冷戰時期的主題,成為政德向好友提出邀請的說帖,而在由政德發起的這次合作裡,阿讓終於提出了他的「NIKE Project(註3。因臻品位處台中,政德於是選擇了在冷戰時期位居要角的清泉崗基地發展他的「冷島-中關」系列,預定製作的所有石碑會先發表於展場,待展期結束後再陸續於預定地點完成立碑,而在他這次的計畫裡讓我印象特別深刻的是一名陌生女子。 

在報載發生於1972422日的一起兇案新聞裡,她是一名在台中大雅鄉無照酒吧工作的吧女,是日被發現死於租屋內並有明顯遭受凌虐的跡象,經警方調查發現正是報案的美軍下士魯茲涉有重嫌。自1950年起,流亡台灣的中華民國政府為仰賴美國的協助以與共軍對峙,陸續迎來大批美軍駐台,而且他們盡皆享有司法豁免權,在如此特殊的社會背景下,這個當時頗為轟動的案件,雖然最終魯茲的確被判刑入獄,但訴訟逾三年期間屢屢浮現因涉案者為美軍而不得不的例外狀態,而這不過是無數類似事件中的一例(註4 

對政德來說,重提林維清之名意味著以經常被湮沒於大歷史中的個人歷史來重新觀看歷史。除了想為林維清及有著近似命運的女性們擇地立碑之外,政德也計畫在台中覓得一個無名山頭以立碑的方式將其命名為「維清崗」,當獲悉清泉崗的命名源自紀念一位於戰事中陣亡的軍事將領邱清泉時,他覺得也很可以用自己的方式來紀念一位其生命銘刻著某段國家歷史的台灣姐妹。 

阿讓的「NIKE Project」源自他圍繞著家族成員發展的「家景計畫」,其中亦帶有他一向對物質身世的高度敏感。同樣有著勝利女神飛彈在場的兩張照片映現出不同的視野,在作為國慶閱兵典禮的紀錄裡它們是展現武力的內容,而在藝術家的父親與同袍的日常合影裡它們是生命經驗的背景。在另一個命名為《三璽》(Three Seals)的裝置作品裡,藝術家將製作三枚圖文印石,內容是勝利女神飛彈從「升起」、「於天空中」,到「作廢」的生命歷程∕歷史階段,然而用以製作這組權力象徵物的卻是取自緬甸礦石業者捨棄的剩餘材料,作為一種物質性的證言,這組裝置中的每個部位都保有或描繪著歷史變遷的軌跡。

 

王德瑜x陳慧嶠:我們覺得這樣比較好看

王德瑜第一時間即表示她想合作的對象是陳慧嶠,而這也是她在預期已經過滿的展覽行程之外還認真考慮加入這一個的主要原因。這是一份延續的情緒,從她們去年年底受邀參與的一個聯展開始(註5),當時她們被安排共用展場裡最大的一個空間,期間兩人一邊討論各自要做什麼一邊衡量現實條件是否允許,直到一起赫然發現開幕日已在眼前,於是設想一起做會不會又快又好,結果顯然是肯定的。

現場可見的合作其實很簡單,德瑜出了一件恰恰適合該空間規模的氣囊,嶠出了一張上面綴滿橘色乒乓球的雙人床,只是她們沒有依照聯展裡最合理的布置方式,讓作品各據一方並保持互不干擾的間距,而是將雙人床搬進了氣囊的深處。這個簡單的動作使得原本即容許觀眾探進氣囊的互動裡有了更強烈的遊戲性質,德瑜與嶠的作品在媒材與造型上截然迥異,卻同樣屬於純粹感性的抽象路線,這種組構方式多少更動了作品原初所給予的體驗,卻也意外生成了前所未有的全新感受。

這個讓她們很有興趣再來一次的合作經驗,出於現場的決斷多過事前的計畫,這也是為什麼她們可以在我們初次勘場的當下毫不遲疑的放棄了原本的構想,「因為實際的空間跟我們的想像差太多了」。一如德瑜的描述,她和嶠一向以來的實踐總是無法脫離一種因應現場的實戰或說就地展開的組裝。於是,在尚未真正進入現場的此刻,可以確定的是,德瑜會有一件恰恰適合於該空間規模的氣囊,嶠則會有一組特別為該空間規劃的乒乓球-鐵板,選自兩人持續發展的系列,除了它們共同具備足以於任何空間就地展開的潛能之外,被預先設想到的是它們無論在材質、造型、色彩、展出位置以至作品名稱上都恰恰形成對比,有點像是一首視覺版的協奏曲一個她們覺得在這個空間裡恰恰適合的就地組裝。

 

誰跟你我們 

好奇於當「我」在意識著「我們」的時刻會萌生哪些思考和什麼作為,是這個展覽設計的初衷之一,而在針對每組藝術家的訪談與旁觀展覽成形的過程中,我也的確獲悉了一些未必能在展覽現場覺察的成分。 

在為了準備展覽所發生的頻密討論中,一邊覺得應該積極照顧初次出道的好友,一邊得要警覺著別讓關切變成了影響其自主性的干預,這種持續性的輕微焦慮讓杜偉發現在這個展覽裡自己「有點像個小策展人」在確定了阿讓的加入之後,政德就有一種無須再擔憂展場如何整全的輕鬆感,而阿讓在發展自己計畫的同時,的確也仔細設想了如何以有意思的材料與展陳方式來構成他與政德一起的那個空間。在勘場當日重複以一句「誰跟你我們?」來調侃我的嶠,後來除了刻意將作品布置在足以引導觀眾前往二樓與地下室的樓梯牆面之外,還特別做了一件作品叫「我們之間」 

對我來說,在這些雖然動人但其實有點瑣碎的小故事裡有一個深富啟發的共同性,那就是一切的努力都指向如何抵達自身與夥伴的自我實現,一種特屬於創作領域的友誼,一種為了完善每一個「我」的集體意志,正是在這種意識著彼此的共同情緒裡,讓他們生成了足以成為作品的三個空間。 

無論是一個人的作品、兩個人的空間,或七個人的展覽,這個事件裡的所有生產在充分滿足了自我實現的願望同時,也形成了一個飽滿的表達投向將會遭遇的所有對象,並等待嶄新友誼的建立,正是這些在未來的空間裡可能形成的「我們」,足以令創作者永恆保有重啟下一回合的欲望。

 

 

1杜偉個展「未竟之謁」,伊通公園,2015.8.1-8.29

2秦政德個展「冷藏摘要」,mt.black2014.12.6-2015.1.31

3:勝利女神飛彈為美國「Nike Project」的防空導彈研製計畫的產物,其所生產出的系列飛彈也常以Nike命名,Nike為古希臘語的勝利之意,同時也是希臘神話中勝利女神的名字,因而成為中文命名的由來。https://zh.wikipedia.org/wiki/%E5%8B%9D%E5%88%A9%E5%A5%B3%E7%A5%9E%E9%A3%9B%E5%BD%88

4:在文史工作者管仁建《我們那些被美軍姦殺的姊妹們》一文裡有關於林維清案及其他類似案件的詳細報導。http://mypaper.pchome.com.tw/kuan0416/post/1313635815

5「溫柔的產出」,李依樺策展,台北國際藝術村百里廳,2015.10.31-11.29

 

Together

Chin Ya-Chun

I have always hoped to make an exhibition like a game.

 

Game On!

This started with an invitation from Galerie Pierre, which has held annual curated exhibitions for many years. I was commissioned to curate this exhibition, and it involved certain expectations, such as when it would happen, the location, and a list of other conditions set forth by the gallery. The gallery also anticipated that the exhibition would somehow respond to the theme “architecture and art.” Since expectations are both opportunities and restrictions, they perfectly establish an essential condition of games. As long as I followed the rules, I could start playing the game in whatever way I felt was most interesting.

The Galerie Pierre's parent organization, Treasure Dragon Corporation, has been in the construction business in central Taiwan for 27 years. Choosing architecture and art as an exhibition theme reflects two of their long-term interests. Regarding this rather broad starting point, I realized architecture and exhibitions shared a fundamental element: space, which is something I have always found particularly interesting, whether it is in art or elsewhere. Due to another precondition, the venue being housed on three floors, one of which is a basement level, I started forming a spatial plan in my mind where each space would present one artist for a total of three artists in the exhibition.

Wang Te-Yu's specialty is inflatable soft sculptures, which transform the spaces they occupy through interactivity and sustained variations in their form, material, and color, like space inside space. Tu Wei uses widely different methods to make viewers aware of space and unique properties of space that they had not noticed before. Since 2005, Chin Cheng-Te has been erecting commemorative tablets in Taiwan's mountains, forests and fields to reinterpret historical or contemporary situations. He places them so that they are come upon unexpectedly, and in places that have witnessed change over time.

My core concept for the exhibition is the diverse ways in which artists present their thinking about space through art practices. But as the idea arose, I felt that concentrating on it alone would weaken the game quality of the exhibition, so I introduced collaboration, another idea I was interested in exploring. Also, at the very least, artists can realize their art practices in an exhibition, but the curator often feel anxious about how to make an exhibition involving multiple artists and their works into a single piece.

Not wanting to violate the premise of letting the artists develop their own artwork, I asked them to choose their own collaborators and then make an agreement with that person. When setting this as a condition of participating in the exhibition, I was surprised to discover that the artists were willing to accept it and even found it interesting. It actually created worry and excitement while waiting for answers from the artists and seemed like a detour, but it made possible the realization of something that would have been impossible following a more traditional path. After the artists told me that they had found collaborators, a community of different collaborative groups formed, and it was not until all of us came together as a group that the next part of the game got underway.  

 

Tu Wei and Hsieh Ta-Liang: The time and space we share

Tu Wei thought that being able to choose a collaborator was the most unique aspect of the exhibition. While he considered the artists he was familiar with on the list, he decided to stick with his first choice—his friend Hsieh Ta-Liang, who had never made art before. Foremost but not his only reason for choosing him was that “doing it this way is more special.” 

Ta-Liang had never been an artist but was no stranger to art. At the end of the 1990s, he started lending his electronics and programming skills to Tu Wei and other artist friends when they needed help with exhibitions, as well as chatting with friends about the nature and definition of art. A more recent example is the assistance he gave Tu Wei with a solo exhibition last year. (1) Just like he always had, Ta-Liang agreed to help without giving it much thought.

Tu Wei had faith in his collaborator's ability to make a work without difficulty. The key point was how to make a piece that could become art. What happened later did not deviate from Tu Wei's expectations. Ta-Liang's thinking is based in the field he is most familiar with—audio engineering, which covers everything related to sound and is both Ta-Liang's profession and interest. After I raised some questions about the space, Ta-Liang started thinking about the sounds that would be in the venue at the time the artwork would be occupying it. He later decided he would create a live broadcast in which sound would play the leading role after surveying the space. The sounds would be those continually generated elsewhere but impossible to hear when in the area surrounding the artwork, as well as those background noises that are difficult to hear under normal circumstances. In addition, the concept of a live broadcast will make it possible for the audience to be able to receive a sound that is unique to that moment, both irreversible and non-repetitive, as is all our time experience. 

Tu Wei's project amply demonstrates the possibility of arriving at completely different places from the same starting point. It seems like a live broadcast, the content of which is the space that he (with Ta-Liang) has taken over. With Ta-Liang's technical assistance, Tu Wei uses motorized pan heads to move two leveling lasers spaced in such a way that their crossing laser beams continually traverse every surface in the venue. In order to satisfy the desire to observe what cannot be seen with the naked eye, leveling lasers are commonly used at construction sites and to install exhibitions. “They seem to be looking for something,” Tu Wei said of those remarkable horizontal and vertical lines as they move around the space. With this same movement, the artist guides us to previously unnoticed corners. The lasers demonstrate a sight beyond our sight, and we see them as they are continually looking.

In this space still in its imagined phase that will gradually be realized, there are two phenomena that can be clearly perceived: sound and moving image. They do not intersect with each other, possibly even providing backgrounds for each other, and also continuously filling this otherwise nearly empty space. This creates the expectation of viewers startled to discover they are in the work, not outside looking in.

 

Chin Cheng-Te and Liu Ho-Jang: What do we remember?

Chin Cheng-Te decided on his project and collaborator at practically the same time. At the end of 2014, Liu Ho-Jang invited Cheng-Te to hold a solo exhibition at mt.black art space, which Ho-Jang operates. The invitation included studio space and the funds and labor needed for the exhibition. Nothing was expected in return, and not just because they had been friends since middle school. When planning the mt.black solo exhibition, Ho-Jang discussed doing a project based on the goddess Nike because his father had served in the military at Taiwan's Nike Missile installation. Cheng-Te added that after the U.S. developed such super weapons following World War II, they were deployed in Taiwan, which is ample evidence of the U.S. and Taiwan's Cold War relationship. This casual discussion inspired Cheng-Te's Cold War Island series in his mt.black solo exhibition. (2)

Based on this experience, Cheng-Te invited Liu Ho-Jang to collaborate on the exhibition at Galerie Pierre and further develop themes related to the Cold War period in Taiwan. When Cheng-Te initiated the collaboration, Ho-Jang mentioned his Nike Project. (3) Since Galerie Pierre is located in Taichung, Cheng-Te decided to create his Cold War Island—Taichung Pass series base on the Ching Chuan Kang Air Base, which played a decisive role during the Cold War. Stone tablets fabricated for the artwork would first be exhibited at the gallery, and then after the exhibition closed, placed at predetermined locations in the Taichung area to complete the project. I find the story of a certain woman in the work, someone I had never heard of before, to be especially poignant.

The woman in question was a Taichung bar girl whose brutal murder was reported in an April 22, 1972 newspaper. Her body was discovered in an apartment and showed obvious signs of torture. According to the police investigation, a corporal in the U.S. military named Ronald A. Lutz reported her death to the police and was suspected of being involved. In 1950, the Republic of China Government in exile on Taiwan started relying on the United States for assistance in confronting the Mainland communist government, and consistently garrisoned large troops of American soldiers in Taiwan, who all enjoyed diplomatic immunity. This disturbing incident under these unique social conditions still resulted in a prison sentence for Lutz, but litigation exceeded three years, and because the person involved was in the U.S. military, exceptions had to be made. This case is just one example of countless similar incidents. (4)

Cheng-Te believes raising the name Lin Wei-Ching suggests a revisionist undertaking based on individuals whose stories have been lost to the greater expanse of history. For the Galerie Pierre show, he chose a place to erect a tablet dedicated to Lin Wei-Ching and women who have met similar fates. Also, after learning that the Taichung Ching Chuan Kang Airport was named for General Chiu Ching-Chuan who died in battle, he sought an unnamed hilltop in Taichung to erect a tablet that named the hill Wei Ching Kang. He wanted to commemorate Lin’s life, which was also inscribed with a period of national history.

Ho-Jang's Nike Project originated from his work Home Landscape, which is centered on family members and involves his consistently acute sensitivity to materiality.  Similarly, two photographs of Nike missiles reflect two different fields of vision: in a commemorative photograph of a military procession on National Day, the missiles represent military power; but in a group portrait of the artist's father and his fellow soldiers, they represent the background of their life experience. For an installation work titled Three Seals, the artist engraved patterns on three stones which concerns the history of a missile from launch and flight to becoming refuse. However, manufacturing Ho-Jang's symbols of power actually required collecting leftover materials from mining companies in Myanmar. Together, these objects serve as a testament in the installation, as their every aspect either retains or portrays historical changes. 

 

Wang Te-Yu and Chen Hui-Chiao: We think this way looks better

Wang Te-Yu indicated right away that she wanted to collaborate with Chen Hui-Chiao. She was already very busy and would only participate in the exhibition if Chiao could be her collaborator. This sentiment between them has been ongoing since being invited to participate in a group show at the end of last year. (5) The curator for that show had arranged for them to exhibit separately in the largest space in the venue. They discussed what each would make and what was possible until they realized, much to their dismay, that the opening day was coming. They then decided that making something together would make things go more quickly, and the result was well received.

It could be seen that their collaboration was really quite simple. Te-Yu made an inflatable sculpture for the venue and Chiao made a double bed covered in orange ping-pong balls. They did not, however, install their work in the most reasonable way for a group exhibition, which is to be sure there is enough space between works so they do not interfere with each other. Chiao put the double bed deep inside the inflated sculpture. This simple action encouraged visitors to enter the inflatable sculpture, thus making the work more interactive and heightening the quality of play. The medium and form of Te-Yu and Chiao's works were completely different, but both belong to pure perceptual abstraction. This kind of arrangement more or less altered the primary experience of each artwork while unexpectedly generating completely new perceptions.

During this experience that made them very interested in collaborating again, on-site decisions exceeded those made in advance, which is why they did not hesitate to abandon their original ideas at Galerie Pierre. When we inspected the venue for the first time they changed their plan “because the space was very different from what we had imagined.” According to Te-Yu, their practices never deviated from responding to the site or from creating artwork in the venue. Therefore, writing this before they enter the Galerie Pierre to start working, I know Te-Yu will definitely have an inflatable sculpture that perfectly fits the dimensions of the space, and Chiao will definitely have a custom set of ping-pong balls and metal panels. They chose to continue a series they had worked on before, which had enough potential to be developed in any space. Furthermore, the contrast between the works is already precisely imagined regarding materials, forms, colors, installation strategies, and titles. Their collaboration is a little like a visual orchestral composition, and an on-site installation they think perfectly suits the space.

 

Who told you we can be together?

Exploring the thoughts and actions that arise at the moment when “I” becomes conscious of “us” was an original intention of planning this exhibition. I certainly learned things from interviewing each pair of artists and watching the exhibition take shape, which would have been impossible to learn from only visiting the completed exhibition.

The frequent and intense discussions that occurred between Tu Wei and Ta-Liang as they were preparing for the exhibition made Tu Wei feel that he should be actively taking care of his friend, and yet he wanted to be vigilant about not letting his concern impact Ta-Liang's autonomy. This minor yet continual feeling of anxiety made Tu Wei realize that he is “a little like an assistant curator” in this exhibition. After Ho-Jang's participation was confirmed, Cheng-Te no longer had to worry about how to fill in his exhibition space. When Ho-Jang was developing his own project, he thought carefully about how to use meaningful materials and display strategies to incorporate his own and Cheng-Te's work in the venue. On the day that Chiao inspected the space, she mocked me by repeating, “Who told you we could be together?” Later, besides deliberately placing work in the stairwells to draw visitors to the basement and second floor, Chiao made a work titled “Between Us.”

I think these seemingly trivial but also moving events were deeply inspiring. Everyone's striving directed toward fulfilling one's own and one's partner's needs, exceptional friendships unique to the creative realm, and a collective will to perfect every “I” existed. And in this feeling of awareness of each other, the artists transformed three spaces into artworks.

Everything produced over the course of this experience, including an individual's artwork, a space created by two, or the entire exhibition created by the seven of us, satisfied each individual's need for self realization. This project also created a richness of expression that awaits visitors and new friends. The possibility of “us” being formed in a future space will encourage artists to always want to play another game.

This article was written before the exhibition was installed. (September 29, 2016)

 

Note:

1.  A Solo Exhibition by Tu Wei: NOT YET!, IT Park Gallery, August 1 to 29, 2015.

2. Refrigerated Abstract: Qin Zheng De Solo Exhibition, mt.black, October 6, 2014 to January 31, 2015.

3. The Nike Guided Missile was part of an air defense system created by the United States. Frequently referred to as Nike, which means victory, the system took its name from the goddess of the Greek myth. https://en.wikipedia.org/wiki/Project_Nike

4. Details of Lin Wei Ching's case can be found in the article Women naxie beimeijun jianshade jiemeimen [Our sisters who have been raped and murdered by American soldiers] written by cultural critic Kuan Jen-Chien.  http://mypaper.pchome.com.tw/kuan0416/post/1313635815

5. Considerate Creations, Curated by Lee I-Hua, Taipei Artist Village, Barry Room, October 31 to November 29, 2015.

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