晚安,待會見。— 蘇育賢個展 | 8.28-11.13| TKG+


你們先走,我停在這裡喘一下就跟上了」——蘇育賢。

2017年,蘇育賢在個展「石膏鑼」中,以追索著黃華成《先知》(1965)的檔案化姿態,將當初《先知》上演時由陳映真敲碎的石膏鑼演繹成一系列的聲音實驗,但所完成的聲響畢竟走向了與重返歷史截然不同的(非)檔案意義。時隔四年,蘇育賢同樣敲碎了一件樂器,只是這次的聲響卻是在TKG+發生,事實上,不同於過往兩次個展仰賴大量前期的研究調查,蘇育賢這次個展「晚安,待會見。」有更多看似輕盈的「現地」製作作品,只是這種「現地」——又由於今年五月爆發的新冠疫情及其後各種有形無形的隔離,遂從展覽場域逐步擴展或凝縮成另一些地方。

有時這些地方指向「家」,正如同展覽命題「Good night, see you later.(晚安,待會見。)」,這是對至親才會有的親暱告別,其實出自蘇育賢每日睡前給孩子們的暫別語,孩子醒著時他扮演著父親、當他們入睡後,父親才能登入藝術家狀態,也因此,這句再尋常不過的話也意味著日常生活中的身份界線。不過,等到夜半時分蘇育賢也要入睡時,不但必須格外輕聲地回到臥室,最後,為了琢磨出一個適合入睡又不至擾動枕邊人的絕佳姿勢,卻也讓難眠的藝術家成為一件以床板為台座的超級難定型的活雕塑,結合提線偶戲的錄像作品《晚安,待會見。》便是以一條蠕動的棉被,演示著一齣對位於身旁家人但不幸地必須極盡扭曲之能事的藝術家╱父親身體。

《加法》原來預定在五月中於TKG+進行現地製作,製作首日蘇育賢按計畫在展場反覆摔砸一把吉他至破碎,並在展牆上留下各種痕跡,最後將吉他帶回台南修復——但也是在這一天,新冠肺炎的本土確診人數忽然從29例成長至180例,這使得現地製作計畫不得不展延,當藝術家返回台南繼續過原本的日子,吉他的修復過程卻也因無法北上轉而成為焦點,對藝術家來說,這把瞬間碎裂並花了更多時間「恢復原貌」的吉他,不僅填補了未能實現的現地製作計畫所遺留下的空隙,疫情爆發後,也彷彿形成了一個在實體隔離與通常難以推託的遠距互動間的略顯奇異的一致性通道。無論如何,通道還是會把我們帶往其他地方,而這會是一個看起來一致,卻又有什麼不太一樣的地方,這個特徵也反映在蘇育賢看待「寫生」的態度上。如果說寫生總是要在自身與眼前景物間豎立起一組介面,之後才方便寫生者捕捉其悉心描繪的風景,但也是在這種與風景間持續的中介狀態中,一方面,提醒了我們這個介面同時也是一道阻隔,即便與它長時間的相處會使得創作者產生某種消融到風景中的感受,然而,一旦完成的風景被移置到展場,觀者對於作品的觀看又會形成另一組介面——這些介面讓我們看見風景,卻也總是讓我們沒看到風景。

《前景寫生》就是一種讓我們通往其他地方又到不了這些地方的介面,或可形容為一種使觀眾看不見風景的風景,而這一切又十分合理,用蘇育賢自己的話來說會更貼近:「戴著防疫面罩的畫家,在面罩上畫下了眼前的現象,這樣的描繪既是成為了現象,又是對現象的拒絕。」

本次個展可視為蘇育賢自2013年「花山牆」起,轉而以田調作為創作前期研究方式後的重大轉向,這種轉向或許就如同新冠疫情沒來由地出現在人類世界,同樣只能歸諸偶然(當然,背景音總是不乏著各種言之鑿鑿的陰謀論),但在這個當代藝術圈仍持續爭議著各種確實十分要緊的議題論述與趨勢的當下,戴著口罩和防疫面罩的藝術家在展場與家之間的徘徊,那種我待會就跟上的心情,或許也更貼近因三級警戒而不得不改變的諸多日常,而那些聽得到「晚安,待會見。」的人們,則是在偶然之外、在無處不在的隔離中,我們唯一可以看見的口罩下的面容。

—蘇育賢,1982年出生於台南,現居於台南。
⭕ 溫馨提醒,因應全國疫情警戒,TKG+ 即日起採預約參觀制。相關細則與規定,請見以下預約參觀表單。
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“You go ahead. I need a moment to catch my breath. I’ll catch up.” — So Yo HenFor his 2017 solo exhibition Plaster Gong, So Yo Hen recovered lost footage of Chen Ying-Zhen cracking a plaster gong in Huang Hua-Cheng’s play Prophet (1965) and transformed it into a series of sound experiments. By resurfacing this scene, which was often omitted from historical archives, he produced sounds carrying a cultural significance that echoes far beyond a mere return to history. Four years later, So has taken the destruction of an instrument into his own hands in the production of Good night, see you later., his latest solo exhibition at TKG+. Departing from his previous two exhibitions which featured works centered on archival research and field investigation, this exhibition incorporates more organic on-site productions. With this new in situ approach — in conjunction with the various physical and intangible quarantines imposed by the Covid epidemic that broke out in May — the scope of the exhibition has gradually expanded and condensed between the exhibition space and other locations.At times, as the exhibition title “Good night, see you later.” suggests, these locations point towards home. This intimate farewell is a reference to So’s parting words to his children when he sends them off to bed each night. When his children are awake, he plays the role of the father; when they are asleep, he may resume his role as an artist. As such, this unique phrase also signifies the compartmentalization of his different identities in daily life. However, when So prepares to retire for the night, not only must he return to his bedroom silently, he must also position his body in a manner that is suitable for falling asleep without disturbing the person sleeping beside him. The sleepless artist thus transforms himself into a living sculpture set upon a bed pedestal, as seen in Good night, see you later. The video work uses marionette puppetry to portray a figure squirming beneath a quilt, demonstrating the struggle of an artist/father who must contort himself to fit various roles in juxtaposition to his family.The work minus addition was initially scheduled to be produced on-site at TKG+ in mid-May. On the first day of production, So repeatedly smashed a guitar until it was shattered, leaving various traces of destruction along the gallery walls. However, that same day, the number of confirmed Covid cases in Taipei suddenly spiked from 29 to 180, forcing the artist to postpone his plans for on-site production. Because he was unable to continue working in Taipei, he took the guitar back to Tainan for repair. When he returned to Tainan to resume the course of his regular life, the restoration of the guitar became his primary focus. For So, this guitar that was destroyed in an instant, but required a tremendous amount of time and effort to restore to its original appearance, not only filled the gap left by his impeded production plans, but in the aftermath of the outbreak, opened up a consistent channel of bizarre remote interactions that are inevitable during times of self-isolation.Such a channel transports us to places and situations that feel simultaneously familiar and foreign. This phenomenon is also reflected in So’s views on drawing from life. An artist preparing to create a sketch from life must erect a set of interfaces between himself and the objects in the foreground, so that he may carefully depict the scenery before him, thus educing an intermediary state between him and the landscape. On one hand, we must acknowledge that this interface functions as both a bridge and a barrier, even if extended interaction with it elicits the sensation of dissolving into the landscape. However, once the completed landscape is transferred to the exhibition site, the viewer’s observation of the work forms another set of interfaces that paradoxically permits and prevents the viewer from truly seeing the scenery.Ultimately, the work Drawing on the Outlook forms an interface that acts as both a bridge and a barrier between the viewer and the scenery depicted in the landscape. In So’s own words, “The painter who wears a face shield draws the scene before him on the shield itself. Such a depiction is an expression of the phenomenon, but also a rejection of the phenomenon.”This solo exhibition marks a major shift away from So’s previous approach of field research as a basis for his work, which he had been practicing since his 2013 solo exhibition Hua-Shan-Qiang. This shift runs parallel to the Covid outbreak, which can be attributed only to the arbitrary progression of the natural world (although conspiracy theories inevitably buzz amid the commotion). However, in the contemporary art sphere, there are ongoing controversies surrounding numerous issues and trends that are important to address. Wearing a mask and face shield, the artist meanders between the exhibition space and his home, with an attitude embodied by the phrase “I’ll catch up.” In this way, his experience mirrors the experience that many have endured due to the imposition of level 3 lockdown restrictions in Taiwan. Meanwhile, during this time of ubiquitous self-isolation, the only faces we are able to see belong to those nearest to us, to whom we can say “Good night, see you later.”—


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