北師美術館開館大展 by MoNTUE

A Contemporary Dialogue with Michelangelo

米開朗基羅的當代對話

策展人 Curator—林志明 LIN Chi-Ming 展出藝術家 Artists— Michelangelo Michelangelo school Damien Hirst Thomas Ruff Thomas Struth Sam Taylor-Johnson Bill Viola Andy Warhol 陳界仁 CHEN Chieh-Jen 張乾琦 CHANG Chien-Chi 曾御欽 TSENG Yu-Chin 劉瀚之 LIU Han-Chih 謝春德 HSIEH Chun-Te 展覽時間 Date—2013.4.25-2013.7.25 展覽地點 Venue— 國立臺北教育大學 MoNTUE 北師美術館 Museum of National Taipei University of Education 借展單位 Artworks on Loan from— 羅浮宮 Musée du Louvre, 大都會美術館 The Metropolitan Museum of Art, Andy Warhol Museum, Bill Viola Studio, David Zwirner Gallery, Marian Goodman Gallery, Science Ltd., White Cube 獨家運輸贊助 Exclusive Transportation Sponsor— Bonhams 設備贊助 Equipment Sponsors—Acer, Panasonic 展務贊助 Exhibition Production Sponsors— 美術館之友聯誼會, 陳澄波文化基金會, 歐洲經貿辦事處 European Economic and Trade Office, 許勝傑先生 , 陳昌先生 , 楊淑蘭女士展場設計 Exhibition Design—Noiz Architects 平面設計 Graphic Design—莊濟寰指定運輸 Designated Shipping Company—翔輝運通

A Contemporary Dialogue with Michelangelo ｜ Content ｜ 5

米開朗基羅的當代對話｜目錄｜ 4

PREFACE

序言 06

一個新的起點 — 林曼麗

—

— ESSAY

策展人專文 08

文藝復興與當代、台灣與西方間的對話 — 林志明

A New Origin—Dr. LIN Mun-Lee

—

A Dialogue between the Renaissance and the Contemporary, Taiwan and the West — Curator, LIN Chi-Ming — ARTWORKS

展出作品解說 17

白晝雕塑

Day

利比亞女先知

The Libyan Sibyl

男性裸像

Male Nude

受審判者

A Damned

撒拉提爾及母親

Salathiel and his Mother

兩位小天使

Two Putti

為了上帝之愛，祈禱

For the Love of God, Pray

與死者之頭合影

With Dead Head

穆勒肖像

Porträt (R. Müller)

裸像 LK18

Nudes LK18

奧津一家，山口 1996

The Okutsu Family, Yamaguchi 1996

李希特一家 (1)，科隆 1996

The Richter Family 1, Köln 2002

哀慟

Pietà

暴風雨 (《梅杜莎之筏》習作 )

Tempest (Study for The Raft)

試鏡：艾迪．塞姬維克

Screen Test: Edie Sedgwick

凌遲考：一張歷史照片的迴音

Lingchi-Echoes of a Historical Photograph

逃離北韓

Escape From North Korea

狂躁之夏

Manic Summer

訪客／看領帶

Visitor / Look at the Necktie

降生

Birth

沼澤

Swamp

— 92

展覽後記 — 林志明

— 92

— 98

附錄：展出作品英文解說

AFTERWORD —Curator, LIN Chi-Ming

— 98

APPENDIX

A Contemporary Dialogue with Michelangelo ｜ Preface ｜ 7

米開朗基羅的當代對話｜序言｜ 6

序言

Preface

一個新的起點

A New Origin

文／林曼麗

Dr. LIN Mun-Lee

承繼國立台北教育大學前身 — 台北師範學校的百年榮光，北師美術館在去年 2012 年

Inheriting one hundred years of reputation from Taihoku

Of course, exhibition planning and implementation

的 9 月，以《序曲展》揭開序幕，正式進入台灣的美術館事業發展進程中；開館大展《米

Normal School, the predecessor to National Taipei

are also one of the core tasks of an art museum.

開朗基羅的當代對話》更是以北師美術館的重要典藏 — 來自紐約大都會博物館長期借

University of Education, the Museum of National Taipei

However, what makes MoNTUE's exhibition planning

展，將近百件十九世紀石膏模製的西洋經典藝術作品中的重要代表作，即文藝復興大師

University (MoNTUE) officially entered the Taiwan art

different from that of typical art museums is that we

米開朗基羅的《白晝》為核心，邀請林志明教授擔任策展人，進行主題延伸探討與當代

world with the exhibition "MoNTUE Special Opening:

begin each event with an integrated concept. The

對話。本展直接向五國十四個地點 — 包括法國羅浮宮，借展二十三件重要作品，並結

Still the Vanguard of Education, the Forefront of Art" in

"MoNTUE Special Opening" exhibition commissioned

合台灣當代藝術家參展，揭示作為一個大學美術館在學術研究、人材培育及推廣普及的

September of 2012. This exhibition, "A Contemporary

Director Tsai Ming-liang's work Transformation to

社會責任與價值。

Dialogue with Michelangelo" is another important

break away from the frame work of Taiwanese art

event for MoNTUE, with nearly one hundred 19th-

history. Using its unique spatial characteristics to

北師美術館的當代性格，來自於「場域」與都市、校園的連結與擴散，從高高在上到比

century plaster casts of important representative

combine a three-dimensional installation of an art

鄰而居，從封閉到開放，從殿堂到平台，用細胞的生成、繁衍、有機體的概念去思考美

Western artworks on long-term loan from New York's

history timeline, a visceral experience was created for

術館和城市的關係；一座會呼吸的美術館，與社會脈動、人的需求是息息相關的，如何

Metropolitan Museum of Art, with Renaissance master

viewers. The self-portrait gallery removed explanatory

回應需求、創造知識、創新價值，是當代美術館必須不斷面對的課題與挑戰。

Michelangelo's piece Day as its central piece. Professor

cards, forcing visitors to rethink the approach to,

Lin Chi-Ming, who was invited to serve as curator for

and the nature of, art appreciation. "A Contemporary

至於策展與展覽，當然是美術館的核心要務之一，但不同於一般美術館展覽組的功能編

this exhibition, extended its subject matter to include a

Dialogue with Michelangelo" surpassed the numerous

組，北師美術館的展覽策劃一開始即以整合型的概念出發；《序曲展》以委託蔡明亮導

dialogue with modernity. MoNTUE borrowed 23 important

texts, interpretations and narratives on time, space,

演創作的《化生》，打破台灣近代美術史展覽的框架；以空間特性結合美術史立體年表

works from fourteen locations in five countries, including

historical culture, anthropology and the human body.

的裝置，創造參觀者身歷其境的體驗；自畫像展區去除說明牌的展示方式，促使觀者重

the Louvre in France, also integrating contemporary

Works echoed the display of spatial characteristics

新思考藝術欣賞的態度與本質；《米開朗基羅的當代對話》跨越時間、空間、歷史文化、

Taiwanese artworks. This was done to fulfill its role as a

and invited the viewer to read explanatory cards in

人類學及身體的多重文本、演繹與論述；作品呼應空間特質的呈現，並提供觀眾以近似

university-based museum, namely promoting academic

an almost ceremonial manner; yet with the cards

儀式的行為，讀取作品說明卡，取代制式的作品說明牌的展示手法，創造了觀者不同於

research and talent cultivation, and encouraging social

having been replaced, a novel experience for viewers

以往的參觀經驗，也刺激了觀者更豐富的想像空間。

responsibility and values.

was created, one that only further stimulated their

大學美術館不同於一般的美術館，沒有固定的預算編列也沒有充沛的人力編制，但它具備

MoNTUE's contemporary character stems from both its

了更獨立自主的精神，和純粹的批判力，持續的創新和能量的匯聚，是它源源的生命力。

space and its connection to the campus and city at large.

One difference between MoNTUE and the typical art

From the ivory tower to our local neighbors, from being

museum is that although there is neither a steady

closed off to opening ourselves up, from the temple of

budget nor sufficient manpower, it does enjoy greater

art to a platform for dialogue, we hope to use the organic

independence, autonomy and critique. It continues to

concepts of growth and propagation to reconsider the

innovate and gather strength, which is the source of its

relationship between art museums and cities. To be a

vitality.

imagination.

這是一個起點，一個新的起點，各種新的可能也由此展開，不只是觀念，也是實際的作為。

contemporary art museum that breathes freely and is closely intertwined with the pulse of society and the

This is a starting point, a new starting point from which

needs of the people, it is vital to continuously face the

all kinds of new possibilities can emerge. This is not

issues and challenges of how best to respond to needs,

just a lofty concept, but is in fact concrete action.

generate knowledge and create value.

A Contemporary Dialogue with Michelangelo ｜ Essay ｜ 9

米開朗基羅的當代對話｜策展人專文｜ 8

策展人專文

文藝復興與當代、台灣與西方間的對話文／林志明「北師美術館」的成立，其緣由來自於美國大都會博物館的一批長期出借收藏，因此，

由米開朗基羅塑造〈白晝〉這個複雜的綜合體出發，展覽規畫呈現更多米開朗基羅畫派

開幕大展從中選定一件重要作品，即西方文藝復興大師米開朗基羅的「白晝」（Day）

臨摹素描。首先發展出回視與背後這兩個主題，並使其相互纏繞對話：展覽觀察在由西

作為核心，進行主題延展探究，並開展出古代及當代傑作之間的對話，其展出作品橫跨

方近、現代繪畫（委拉斯奎茲、馬奈）開始的直視觀眾主題，如何在華荷、史楚斯、魯

世界與台灣，提示跨文化的迴盪空間。

夫、維歐拉、赫斯特等人影像作品中得到新的發展，而台灣藝術家陳界仁、張乾琦、劉瀚之又如何在他們各自當代關懷中轉化了這個主題。對於人體姿態及背部的展現，其實

此次展覽的特點，除了集合美國大都會及法國羅浮宮兩大世界博物館的收藏，進行細部

是米開朗基羅人體造形中，較少為人注意，但又一直持續的表現主題，這個罕見的主題，

的探索，並將由此發展出數個問題性線索，將許多西方當代藝術中的重要作品（包括

像是一道歷史中的潛流，在魯夫、曾御欽、謝春德、劉瀚之作品也有各自的發展。

Damien Hirst, Thomas Ruff, Thomas Struth, Sam Taylor-Johnson, Bill Viola, Andy Warhol），再加上台灣各世代翹楚的藝術家（謝春德、陳界仁、張乾琦、曾御欽、劉瀚

面對死亡的沉思（Memento Mori）

之），進行作品之間的對話，企圖打破藝術展覽的既有成規，展開新的相互照明可能。更加令人感受到主題上普世性的，當是和生、死有關的主題。時間的侵蝕和面對死亡的回視 / 背後

沉思（memento mori 直譯為憶起死亡的時刻），自然是米開朗基羅麥第奇墓室 – 禮拜堂的核心主題。這主題在當代藝術中並不缺席：赫斯特用嘲諷的方式面對它、維歐拉處

米開朗基羅〈白晝〉一作，原和〈夜晚〉形成對稱及對比，兩者結合並和〈黎明〉及〈黃

理此主題時呈現出跨越藩籬的連結、華荷作品則帶有令人印象深刻的青春詩意。更明

昏〉兩兩相對。觀察其所在麥第奇禮拜堂的對稱設計，〈白晝〉和〈夜晚〉一樣都是身

顯的是，珊．泰勒 - 強生在以錄像形式改寫米開朗基羅著名的〈聖母慟子像〉時，亦表

體高度扭曲，呈現出巨大張力的姿態，這和〈黎明〉及〈黃昏〉的鬆弛形成對照。仔細

達對此一主題的當代看法。台灣的藝術家也在各自的作品中展現面對死亡的沉思：謝春

觀察〈白晝〉，更可見到它的背、手、腿等部位的刻意扭曲、甚至已超過平常人體的可能。

德談及宇宙的毀滅重生和人類因素間的關係、陳界仁質疑酷刑中死亡與狂喜是否真能相遇、張乾琦則拍攝一直處於受死亡及監控威脅的逃亡者如何能有重新面對世界的可能。

〈白晝〉人物的頭部，採取了一種向背後回轉，回看後方的姿勢，雖然這和原來禮拜堂作為家族墓室的構想相符，但這件作品人物的眼窩凹陷、眼睛刻畫不明確，引發它是未完成或描繪盲目的爭論。在盲目這條線索上，其象徵意義被認為意指人物以無畏的勇氣轉身面向所有的攻擊，但他卻無法看到人生最致命危險，即時間侵蝕帶來的死亡。

這樣的對話，突破了一般的展覽框架，使我們有可能看到一些新的相互理解正在形成。

A Contemporary Dialogue with Michelangelo ｜ Essay ｜ 11

米開朗基羅的當代對話｜策展人專文｜ 10

ESSAY

A Dialogue between the Renaissance and the Contemporary, Taiwan and the West Curator, LIN Chi-Ming The impetus behind the founding of the Museum of National Taipei University of Education was a collection of works given on long-term loan from the Metropolitan Museum of Art (the Met) in New York. Thus, the concept behind the inaugural exhibition was to select an important piece from the collection, namely Renaissance master Michelangelo's Day, as the core of the exhibit. Not only could an exploration of this theme be conducted, but a dialogue between ancient and contemporary masterpieces could be sparked. The works displayed here cross boundaries both in Taiwan and throughout the world, implying a reverberating space that crosses different cultures. What makes this exhibition unique is that not only are works from two leading global museums, the Met and the Louvre, collected here for critical exploration, but several questioning clues are left here to urge a dialogue between important contemporary Western works (from artists such as Damien Hirst, Thomas Ruff, Thomas Struth, Sam Taylor-Johnson, Bill Viola and Andy Warhol) and Taiwanese masters from many eras (including Hsieh Chun-Te, Chen Chieh-Jen, Chang Chien-Chi, Tseng Yu-Chin and Liu HanChih). This is an attempt to break through the established practices for art exhibitions and display a novel possibility for mutual illumination. Staring / Back Michelangelo's sculpture Day was originally arranged together with Night in a symmetrical yet contrasting manner, and forming a complete set with the Dawn and Dusk sculptures. Observing the symmetrical design of the Medici Chapel, one will see that Day and Night both depict bodies that are quite twisted and exhibiting extraordinary tension, contrasting with the more relaxed forms of Dawn and Dusk. Closely examining the form of the body, the back, arms and legs in Day are all in contortion position beyond the ordinary capabilities of the human body. The head in Day adopts a kind of twisting towards the back, as if he is looking behind him. Although this suited the planning for the family tomb it occupies, the statue's eye sockets are sunken and the eyeballs were not well depicted, resulting in debates as to whether it was completed or not, or if it purposely depicts blindness. If it does depict blindness, this symbolism is thought to signify the subject's fearlessness in turning to face all that

is attacking him, even though he is unable to see the ultimate danger to his life – death brought about by time's erosion. Setting forth from this complex piece of Michelangelo, the exhibition also displays numerous drawings from the Michelangelo school. This displays the two themes of 'staring' and 'back,' and creates a dialogue between them: this exhibition observes these staring back to the viewers themes beginning with modern Western paintings (Velazquez, Manet), exploring how portraits from artists such as Andy Warhol, Thomas Struth, Thomas Ruff, Bill Viola and Damien Hirst achieve novel developments, and how Taiwanese artists such as Chen Chieh-Jen, Chang Chien-Chi, and Liu Han-Chih transform these themes through their contemporary styles. The exhibiting of human backs is actually not as often noticed in Michelangelo's works, but in order to continue the exploration of these rarely-seen themes, the works of Ruff, Tseng, Hsieh and Liu are displayed, as each bestow their own contribution. Memento Mori An even more universal theme is the relationship between life and death. The erosion of time and reflection on death (memento mori can be translated as 'remember your mortality') is naturally the core theme of Michelangelo's works in the Medici Chapel. This theme is certainly not absent in contemporary art: Hirst uses sharp humor to face it, Viola handles it by showing connections among people, and Warhol's work possesses an impressive poetic sense of youth. Even more obvious is the contemporary interpretation of Michelangelo's Pietà by Sam Taylor-Johnson in the medium of film to express her idea about memento mori. Taiwanese artists also display reflections of death in each of their works: Hsieh Chun-Te discusses the relationship between the destruction and rebirth of the universe and the role of human factors in it, Chen Chieh-Jen questions whether there can be a connection between torturous death and ecstasy, and Chang Chien-Chi explores how fugitives who constantly face the threat of death can once again face the world in a new way. This kind of dialogue breaks through the framework of ordinary exhibitions, allowing us to possibly witness the birth of new mutual understandings.

展出作品解說

A RT WOR KS 米開朗基羅的當代對話 A Contemporary Dialogue With MICHELANGELO

A Contemporary Dialogue with Michelangelo ｜ Artworks ｜ 17

米開朗基羅的當代對話｜展出作品解說｜ 16

米開朗基羅和米開朗基羅畫派 Michelangelo and Michelangelo School

白晝 Day 在弗羅倫斯麥第奇禮拜堂中，米開朗基羅〈白晝〉一作，原和〈夜晚〉對稱佈置，兩者結合起來形成朱里安諾墓區的主要雕塑群，並和位於羅倫佐墓區的〈黎明〉及〈黃昏〉兩兩相對。麥第奇禮拜堂是米開基羅最早的建築設計，非常強調古典主義的對稱與均衡。〈白晝〉和〈夜晚〉一樣都是身體高度扭曲，呈現出巨大張力，這和〈黎明〉及〈黃昏〉的鬆弛形成對照。這四件作品共同形成了一種循環不斷的時間觀，彷彿可以借此一再回返、逃離死亡的終極毀滅，然而仔細觀看〈白晝〉一作，卻可看到死亡的陰影散佈其中。由身體造形來看，〈白晝〉的腰部、頸部、及雙腿位置都刻意地扭轉，組合起來後，其扭轉程度甚至已超過平常人體的可能。這個扭轉的姿態，使得人物背部得以大量地露出，和米開朗基羅一貫作風相合，人物的背部也展現出雄健的肌肉。〈白晝〉和〈夜晚〉不一樣的是，並沒有寓意性質的形像（如面具、貓頭鷹）陪伴。〈白晝〉人物的頭部，採取了一種向背後轉，回看後方的姿勢。這個姿勢或許和禮拜堂作為家族墓室的構想相符，可代表一種懷念的意義。然而，人物的眼窩凹陷、眼珠未曾明確刻畫、引發它究竟是未完成或是有意描繪盲目的爭論。在盲目這條線索上，其象徵意義被認為意指人物以無畏的勇氣轉身面向所有的攻擊，但卻無法看到人生最致命危險，即時間侵蝕帶來的死亡。如此，這件作品也呼應了和墓室相關的深度主題，即 memento mori（「向死而生」，可直譯為「憶起人之必死」）。在羅浮宮出借的米開朗基羅畫派臨摹素描中，畫家所採取的觀點，符合原作位置較一般人身稍高的角度。由於是由腳部的位置望過去，身軀和腿部的肌肉有雄健的表現，眼部表情則顯得似在皺眉下望。

A Contemporary Dialogue with Michelangelo ｜ Artworks ｜ 19

米開朗基羅的當代對話｜展出作品解說｜ 18

攝影：莊濟寰

白晝 Day

米開朗基羅 [1475-1564] 1526-1531 ｜石膏模製｜182.9x76.2x101.6 公分

作者不詳 [ 米開朗基羅畫派 ] 15-16 世紀｜素描｜26.5x34 公分

[ 紐約大都會美術館長期借展 ]

Michelangelo Buonarroti [1475-1564] 1526-1531 ｜Plaster Cast ｜182.9x76.2x101.6 cm

Anonymous [Michelangelo School] 15th-16th Century ｜Drawing ｜26.5x34 cm

[Long term loan from the Metropolitan Museum of Art, New York]

[Département des Arts Graphiques, Musée du Louvre]

A Contemporary Dialogue with Michelangelo ｜ Artworks ｜ 23

米開朗基羅的當代對話｜展出作品解說｜ 22

米開朗基羅畫派 Michelangelo School

利比亞女先知 The Libyan Sibyl 利比亞女先知在基督宗教傳統中代表非洲，雖然這個特點在米開朗基羅筆下人物身上看不出來。（其他四位女先知則代表亞洲、三個受希臘影響的地中海文化）。她最突出的特徵首先是高舉的雙臂，類似鴿子舉翅，令人聯想到聖靈，因為在傳統上鴿子代表聖靈。她手上承舉著大書，也因而與「聖言」相關。這幅利比亞女先知圖像塑造的背部描繪十分用心，因為高舉雙臂承舉重書，特別能將其中誇張肩寬及肌肉雄健狀態表現出來，和米開朗基羅特有的女性雄偉造形風格相符。雖然她的雙腳仍有纖細的表現，五官表情和包裹身軀的袍服也保留傳統女性美的一些特色；但整體而言，其裸露的背部特別突出：人物的整個軀體作出腰部以上扭轉及頭部回顧的動作，這一點和〈白畫〉一作接近，也因此突顯了背部的特色。利比亞女先知的圖像來自西斯汀禮拜堂，羅浮宮借展素描是米開基羅畫派所作臨摹，完成於十六世紀。

米開朗基羅的當代對話｜展出作品解說｜ 24

利比亞女先知 The Libyan Sibyl 作者不詳 [ 米開朗基羅畫派 ] 15-16 世紀｜素描｜26x18 公分 [ 羅浮宮素描版畫部門收藏 ]

Anonymous [Michelangelo School] 15th-16th Century ｜Drawing ｜26x18 cm [Département des Arts Graphiques, Musée du Louvre]

A Contemporary Dialogue with Michelangelo ｜ Artworks ｜ 25

米開朗基羅的當代對話｜展出作品解說｜ 26

米開朗基羅畫派 Michelangelo School

A Contemporary Dialogue with Michelangelo ｜ Artworks ｜ 27

男性裸像 Male Nude 這張十六世紀米開朗基羅畫派素描臨摹的是西斯汀教堂《最後的審判》眾多人物中的一位。他正獲得拯救昇天，向上攀升。雖然升上天堂的時候，大部份的復活者都有天使協助拉起，這位人物卻是靠著自己的力量。在原來的壁畫中，他彎曲的左腿墊在雲上，另一隻手則向上去攀爬另一朵雲彩，形成這姿態。這個人物雖然漂浮向上，違反重力的原理，但他仍顯得肌肉雄健，甚至孔武有力。素描的作者把頭部畫得微弱，使得背部和腿部的肌肉造形更為突顯。

米開朗基羅的當代對話｜展出作品解說｜ 28

男性裸像 Male Nude 作者不詳 [ 米開朗基羅畫派 ] 15-16 世紀｜素描｜42x28 公分 [ 羅浮宮素描版畫部門收藏 ]

Anonymous [Michelangelo School] 15th-16th Century ｜Drawing ｜42x28cm [Département des Arts Graphiques, Musée du Louvre]

A Contemporary Dialogue with Michelangelo ｜ Artworks ｜ 29

A Contemporary Dialogue with Michelangelo ｜ Artworks ｜ 31

米開朗基羅的當代對話｜展出作品解說｜ 30

米開朗基羅畫派 Michelangelo School

受審判者 A Damned 這位在《最後的審判》中被描繪為受審判者的人物，其位置正好位於前述男性裸像的下方。他有一半的身軀埋入地中，雖然全身充滿肌肉，卻尚無法將自己由地上拔出，只能絕望地看著那些升天獲救者。這件素描同樣來自十六世紀米開朗基羅畫派的臨摹，由於人物幾乎只有半身，這種由背後觀視的方式突顯了他的肌肉表現，由側面接近四分之三的頭部描繪角度，則強化了他的無力感。

米開朗基羅的當代對話｜展出作品解說｜ 32

A Contemporary Dialogue with Michelangelo ｜ Artworks ｜ 33

(C)RMN-Grand Palais (musée du Louvre) / XXXXXXXXXXX

受審判者 A Damned 作者不詳 [ 米開朗基羅畫派 ] 15-16 世紀｜素描｜24.1x19.6 公分 [ 羅浮宮素描版畫部門收藏 ]

Anonymous [Michelangelo School] 15th-16th Century ｜Drawing ｜24.1x19.6 cm [Département des Arts Graphiques, Musée du Louvre]

A Contemporary Dialogue with Michelangelo ｜ Artworks ｜ 35

米開朗基羅的當代對話｜展出作品解說｜ 34

Michelangelo School

撒拉提爾及母親 Salathiel and his Mother 在西斯汀禮拜堂中，米開朗基羅也描繪了一系列基督祖先畫像，將其家庭故事也融入創世紀以來的偉大宇宙歷史之中。其中撒拉提爾和他的父親耶哥尼雅都是西元前六世紀被放逐到巴比倫的猶太人國王（根據馬太福音）。此次羅浮宮所借米開朗基羅畫派素描，臨摹的是西斯汀禮拜堂窗洞旁撒拉提爾及母親的畫像，原壁畫完整景像還包括父親耶哥尼雅和其懷抱中的兄長斐代亞。斐代亞向前伸出手要贈予撒拉提爾一個禮物，因此壁畫呈現撒拉提爾伸手去接。這個畫面被詮釋為兄弟愛的表現。素描畫面的主角則是懷抱撒拉提爾的母親。她背對著丈夫及長子，用全身保護流亡中的次子，但轉過頭來，卻用眼神餘光看著其餘兩人。這一點在素描的表現上較不清楚，但在原壁畫中卻很清晰。素描版本的這個特點應是有顯露人物姿態特質的企圖。

(C)RMN-Grand Palais (musée du Louvre) / XXXXXXXXXXX

米開朗基羅畫派

米開朗基羅的當代對話｜展出作品解說｜ 36

撒拉提爾及母親 Salathiel and his Mother 作者不詳 [ 米開朗基羅畫派 ] 15-16 世紀｜素描｜28x20 公分 [ 羅浮宮素描版畫部門收藏 ]

Anonymous [Michelangelo School] 15th-16th Century ｜Drawing ｜28x20cm [Département des Arts Graphiques, Musée du Louvre]

A Contemporary Dialogue with Michelangelo ｜ Artworks ｜ 37

A Contemporary Dialogue with Michelangelo ｜ Artworks ｜ 39

米開朗基羅的當代對話｜展出作品解說｜ 38

米開朗基羅畫派 Michelangelo School

兩位小天使 Two Putti 如同文藝復興壁畫常見的，西斯汀禮拜堂有許多地方利用欺眼擬真畫法，將壁畫畫得像是建築的一個部份。這次由羅浮宮借展的兩位小天使素描，便是畫在建築壁面上，但使他們看來像是柱子上的浮雕。這兩位小天使圍繞著先知傑若米，和其它的「柱面浮雕」小天使一樣，都是俗世的小嬰兒樣貌，有著一男一女的性別。在這裡，女性的身體打開，以正面面對觀者，男性則背對觀者，並且扭轉回視；兩者開合之間形成對比。女性的小天使兩手持著袍子，右手並且繞到男性小天使頭後方，男性小天使則將手放在她額頭，於是兩人的手臂形成交叉狀態。這個男性的手勢可能代表十字架祝福，而女性的手勢則可能代表將男性包裹，符合傑若米的預言「將有女性包含男性」，預示聖母處女懷孕。男性的眼神看向遠方，其象徵意義不明，或許是指基督的受難未來將產生救贖。

米開朗基羅的當代對話｜展出作品解說｜ 40

兩位小天使 Two Putti 作者不詳 [ 米開朗基羅畫派 ] 年代不詳｜素描｜17.5x12 公分 [ 羅浮宮素描版畫部門收藏 ]

Anonymous [Michelangelo School] date unknown ｜Drawing ｜17.5x12cm [Département des Arts Graphiques, Musée du Louvre]

A Contemporary Dialogue with Michelangelo ｜ Artworks ｜ 41

米開朗基羅的當代對話｜展出作品解說｜ 42

A Contemporary Dialogue with Michelangelo ｜ Artworks ｜ 43

A Contemporary Dialogue with Michelangelo ｜ Artworks ｜ 45

米開朗基羅的當代對話｜展出作品解說｜ 44

為了上帝之愛，祈禱 For the Love of God, Pray 達米安．赫斯特 [1965-] 2007 ｜絹印, 紙面上光｜67.2x51 公分 [ 私人收藏 ]

DAMIEN HIRST [1965-] 2007 ｜Silkscreen with glazes on paper 67.2x51cm ／ Edition of 750 [Private Collection]

達米安 • 赫斯特 2007 年的作品〈為了上帝之愛〉產生了極大的媒體震撼。這件作品由白金模製一個 1720-1810 年間真人的頭骨，在上面鋪滿鑽石，在額頭上鑲了一顆巨大的梨形鑽石，牙齒則是從真實頭骨原件上取下來的。他表示作品靈感來自大英博物館收藏的青松石骷髏頭，來源是阿茲特克文化。〈為了上帝之愛，祈禱〉是此作的簽名限量攝影版本，少了閃亮和色彩，它空洞的眼窩顯得更為強烈猙獰，但也暗藏了一份幽默：張開的大口在吞噬的意象之外，似乎也在大笑。事實上他另作有四個正面或四分之一側面的影像版本，在「為了上帝之愛」之外，都冠上副題，包括「信」、「閃」、「笑」及「鑽石頭骨」。赫斯特的創作主題包括生命、死亡、肉體的衰敗及隨之而來的醫藥工業。他這套作品重拾傳統「向死而生」主題（memento mori，拉丁文直接意譯為「記著人之必死」），但和靜物畫的「萬物虛空」（vanitas）主題不同，象徵永恒的閃亮鑽石代表一種人為不滅意象，正面地宣說美和裝飾的轉化可以戰勝死亡之腐朽意象。此作的攝影版本則以黑色幽默的方式給予曖昧的反轉，提問此一可能。

米開朗基羅的當代對話｜展出作品解說｜ 46

A Contemporary Dialogue with Michelangelo ｜ Artworks ｜ 47

與死者之頭合影 With Dead Head 達米安．赫斯特 [1965-] 1999 ｜銀鹽相紙｜66.8x107.6x7.5 公分 [ 私人收藏 ]

DAMIEN HIRST [1965-] 1999 ｜Gelatin silver prints ｜66.8x107.6x7.5cm [Private Collection]

從很年輕的時候開始，彷彿是繼承米開朗基羅的傳統，赫斯特經常前往解剖學校練習素描。他在其中感到恐懼，但也為此著迷，甚至大量收集病理學書籍，卻又愛好其中客觀平靜的圖像。〈與死者之頭合影〉原影像攝於 1981 年，仍是青少年的赫斯特經常前往里茲解剖學校，留下了這張與死者之頭的合影。在這個影像中，赫斯特像是要驅邪一樣，刻意地咧開嘴笑，與身旁緊閉著嘴的死者之頭形成對比。這張十六歲留下的影像，彷彿宣告他作品思考的主軸將是「向死而生」（memento mori）。1991 年，赫斯特將這張年輕時的留影加以放大，製作成十五張限量版。同一年，他將鯊魚屍體浸入福馬林中展示。這件作品使得成為家喻戶曉的人物，作品的命名即是「生者心中死亡肉體上的不可能性」（The Physical Impossibility of Death in the Mind of Someone Living）。這次展出的版本年代為 1999 年，是一個大型作品中的一部份。作者將尺寸比較小的六張照片裝裱起來，製作成一個新的作品。這種系列性的複製作法抵銷了藝術的原創性迷思和主觀表達概念，而且也提醒觀者思考攝影與時間消逝 / 死亡間的內在關係。

米開朗基羅的當代對話｜展出作品解說｜ 48

A Contemporary Dialogue with Michelangelo ｜ Artworks ｜ 49

穆勒肖像 Porträt (R.Müller) 湯瑪斯．魯夫 [1958-] 1986 ｜顯色印相｜210x165 公分 [David Zwirner[ 紐約 , 倫敦 ] 收藏 ]

THOMAS RUFF [1958-] 1986 ｜Chromogenic print ｜210x165cm [Courtesy David Zwirner, New York/London]

1981 年間，湯瑪斯 • 魯夫開始為杜塞爾多夫藝術學院的同學和友人拍攝肖像，他把老師貝赫夫婦拍攝工業廠房的模式帶入肖像中，以固定的模式，客觀中性地拍攝這個正面直視的肖象系列。到了 1986 年，他開始進一步實驗，把肖象的尺寸放大，將原先彩色的背景改為接近白色的中性色彩，並且要求被拍攝者穿著平常服裝，不要有任何情緒表達。這些肖像被放大到兩公尺乘一點五公尺以上的尺寸，並且以眾多的數量佔據一整排畫廊的牆面，氣勢浩大又帶領新鮮的觀念，使得他受到國際矚目。為何要製作這樣沒有表情，所有資訊只停留於表面細節，卻無法進入人物內心，大大違反傳統理想的肖像系列呢？魯夫曾表示，在他成長的年代和國度裡，生活中已經沒有燭光，而且到處都被照亮，甚至受到監視器監控。而且和在創作相近的年代裡，德國有赤軍連事件，人們常被檢查護照，面對警方的盤查，自然不想顯露內在的想法。這也是為何他要求被拍攝者有意識地直面鏡頭，卻不顯露任何表情、個性和內在思想，彷彿一種無言的抗議。

©Thomas Ruff / BILD-KUNST, Bonn – SACK, Seoul, 2013. Courtesy David Zwirner, New York/London.

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A Contemporary Dialogue with Michelangelo ｜ Artworks ｜ 51

裸像 LK18 Nudes LK18 湯瑪斯．魯夫 [1958-] 2000 ｜地亞賽克顯色印相｜156x112 公分 [David Zwirner [ 紐約 , 倫敦 ] 收藏 ]

THOMAS RUFF [1958-] 2000 ｜Chromogenic print with Diasec ｜156x112cm [Courtesy David Zwirner,New York/London]

畫家傑哈德 • 李希特以攝影影像為描繪對象的系列畫作，經常顯現出一種模糊的畫面效果，師承於他的德國攝影藝術家湯瑪斯 • 魯夫裸像作品也呈現這樣的畫面風格。這系列影像是由大量氾濫的網路色情影像中取得，由他將畫面放大到畫素尚可承受到程度，但在過程中改變了色調、對比和色彩，使得這些原本不堪入目的影像變得富麗堂皇起來。湯瑪斯 • 魯夫除在杜塞爾多夫藝術學院時，曾向李希特學習並深受啟發外，他也是由該地興起的德國客觀攝影學派重要成員。但他最近把這一點推論到極致，認為影像已不能再是現實的紀錄或光影的擷取，而只是一個表層，一個單純的影像的製作。如此，改造經由網路取得的影像，正是使得他不必再透過相機取像的重要途徑。在《裸像》系列之後，他更是推出了 JPEG 系列，取材於各種網路來源，尤其是紐約雙子星大廈受 911 攻擊正在冒煙倒塌中的影像，更將此一系列發展推向高峰。

©Thomas Ruff / BILD-KUNST, Bonn – SACK, Seoul, 2013. Courtesy David Zwirner, New York/London.

A Contemporary Dialogue with Michelangelo ｜ Artworks ｜ 53

米開朗基羅的當代對話｜展出作品解說｜ 52

奧津一家，山口 1996 The Okutsu Family, Yamaguchi 1996 湯瑪斯．史楚斯 [1954-] 1996 ｜4/10, 顯色印相｜131.5x156 公分 [ 藝術家收藏 ]

THOMAS STRUTH [1954-] 1996 ｜4/10, Chromogenic print ｜131.5x156cm [Courtesy of Artist]

由 1980 年代中期開始，來自杜塞爾多夫客觀攝影學派的湯瑪斯 • 史楚斯開始拍攝一系列的家庭肖像。這個系列雖然重拾了一個傳統的攝影主題，卻有自己特定的規則：他基本上拍攝自己熟識的友人家庭；拍攝時會和被拍攝家庭共同討論如何拍攝，比如如何形成群體、人物姿勢；拍攝時間往往很長，一次高達數小時，拍攝多張底片再經過共同挑選，甚至會進行多次討論及拍攝，使得作品創作時期拉得很長；拍攝時他會使用自然光源，大底片相機和長時間曝光以取得細節，要求被拍攝的家庭成員面向鏡頭，而他則站在相機旁。如此完成的《家庭生活》，產生了一種吸引人的特質，在大尺寸的彩色沖放版本中，可以清楚地看出其中的各種「連結」：首先是家庭成員間面容特徵的相似性，接著也涉及到人和環境、歷史間的關係，以及它們如何影響著家中成員間相互關係。由於被拍攝的都是藝術家的友人，而且過程經過共同討論，雖然觀者不認識這些家庭，但總覺得他們有一種沉著且開放的迷人性質，吸引人沉浸閱讀其中許多細節。湯瑪斯 • 史楚斯曾為他散佈世界各地的友人家庭拍攝，比如山口的奧津一家很早便進入此一系列。當來自不同文化背景的家庭肖像被並置在一起的時候，彼此對照，文化、社會和歷史的影響變得更為明顯。

The Okutsu Family, Yamaguchi 1996 ©Thomas Struth

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米開朗基羅的當代對話｜展出作品解說｜ 54

李希特一家 (1), 科隆 2002 The Richter Family 1, Köln 2002 湯瑪斯．史楚斯 [1954-] 2002 ｜顯色印相｜135x193.4 公分 [ 藝術家收藏 ]

THOMAS STRUTH [1954-] 2002 ｜Chromogenic print ｜135x193.4cm [Courtesy of Artist]

這張攝影以著名德國畫家傑哈德 • 李希特家庭為主題，它在湯瑪斯 • 史楚斯的《家庭生活》系列中具有例外地位。史楚斯基本上會主動邀請友人家庭讓他拍攝，而〈李希特一家〉卻是由畫家提出邀請。2002 年初，李希特即將於紐約現代美術館舉辦回顧展，他邀請史楚斯為他和家人拍照。此作後來於紐約時報雜誌與李希特作品專文一同刊出。史楚斯拍攝此一系列時，其原則之一便是和被拍攝家庭共同討論拍攝方式。〈李希特一家〉也因為拍攝的是當代繪畫大師而在系列中突出，它呈現出非常明顯對稱構圖，不但男性的家庭成員和女性成員分坐兩邊，其姿態也形成對比中的統一。細膩的地方是，雖然一家人的衣著色調和手勢都很接近，也和室內整體氣氛相融，但女兒的眼神銳利，接近父親；兒子的眼神則接近母親，較為平和，五官面像上的相似性亦相同。如同傳統家庭肖像繪畫及攝影，會把室內擺設的畫作保留在景框中，這裡室內也懸掛著一張骷髏頭畫作和一位年輕女子頭像，同樣形成死亡沉思和青春象徵間的對比。在整體佈置上，這個代表藝術文化的裝飾群體位於男性的一方，也和女性成員身邊象徵純潔自然的百合形成對比。

The Richter Family 1, Köln 2002 ©Thomas Struth

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哀慟 Pietà 珊．泰勒 - 強生 [1967-] 2001 ｜35 釐米影片 / DVD,1 分 57 秒 [White Cube 收藏 ]

SAM TAYLOR-JOHNSON [1967-] 2001 ｜35mm film /DVD, 1 minute 57 seconds [Courtesy White Cube]

米開朗基羅於 1498 至 1499 年間所作的〈聖母慟子像〉，乃是他早期的傑作。這件作品雕鑿出聖母臉龐的超凡之美，並且使她保有完全年輕，不受時光侵襲的樣貌。雖然聖母肩膀寬闊，但仍有身體纖細之感，但她卻似乎毫不費力地持抱著由十字架上卸下的耶穌基督。〈聖母慟子像〉現存於梵蒂岡聖彼德教宗聖殿，是米開朗基羅最著名的作品之一。珊．泰勒 - 強生於 2001 年所作的〈哀慟〉，是這次展覽中和米開朗基羅對話最明顯的作品。雖然也如〈聖母慟子像〉一般，由藝術家自己持抱著名的好萊塢演員小勞勃．道尼橫躺著的身軀，但其意涵和米開朗基羅作品卻接近點對點地反轉：珊．泰勒 - 強生當時已身受兩次的癌症襲擊，並不是聖母那般超越凡俗時空和歲月侵蝕的樣貌；藝術家也無意展現毫不費力抱起男體的能力，正好相反，因為是由影片來展現這個形像，觀眾可以清楚看到她有時會顯得難以支持，要費力才能支撐起男子健壯的身軀，而她張開並分立於階梯不同層級的雙腳，更是明白地說明了這一點。小勞勃．道尼在此也無意扮演死者，而是努力協助珊．泰勒 - 強生，設法不使自己由她手中落下。珊．泰勒 - 強生這件作品雖然襲取了傳統的名稱，卻沒有任何宗教上的意謂。這件作品借用了米開朗基羅原作的名稱、基本樣式，但其深沉意義正好相反：它揭露出人的脆弱。此一作品的造形效果也在於表達出哀慟的情感，以及人與人之間的支持，但那是因為意識到生死間時刻的短暫，人面對不可避免毀壞時的脆弱；以這樣的方式，引用米開朗基羅但不是臨摹他的作品，珊．泰勒 - 強生表達出「向死而生」（memento mori）的當代意義。

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暴風雨（《梅杜莎之筏》習作） Tempest （Study for The Raft）比爾．維歐拉 [1951-] 2005 ｜彩色高畫質錄像 ,16 分 50 秒｜109x66x10.2 公分演出者：Sheryl Arenson, Robin Bonaccorsi, Rocky Capella, Cathy Chang, Liisa Cohen, Tad Coughenour, James Ford, Michael Irby, Simon Karimian, John Kim, Tanya Little, Mike Martinez, Petro Martirosian, Jeff Mosley, Gladys Peters, Maria Victoria, Kaye Wade, Kim Weild, Ellis Williams [ 藝術家收藏 ]

BILL VIOLA [1951-] 2005 ｜Color High-Definition video on flat panel display mounted on wall,16 minutes 50 seconds Screen size: 43 x 26 x 4 in (109 x 66 x 10.2 cm) Performers: Sheryl Arenson, Robin Bonaccorsi, Rocky Capella, Cathy Chang, Liisa Cohen, Tad Coughenour, James Ford, Michael Irby, Simon Karimian, John Kim, Tanya Little, Mike Martinez, Petro Martirosian, Jeff Mosley, Gladys Peters, Maria Victoria, Kaye Wade, Kim Weild, Ellis Williams [Courtesy of Artist]

十九位男女，具有不同的民族和經濟背景，似乎在一處等待公車。他們保持著人和人之間慣有的社會距離。突然，一股強大的水柱，如海嘯一般沖擊他們。有些人立刻被沖倒，也有些人設法和洪水對抗。人們為了求生必須互相扶持。洪水突然停止了。這群人慢慢地站起恢復的過程中，有些人仍在為突如其來的災難哭泣，甚至在地上跪爬。仍有力量的人開始協助他人重新站起。比爾 • 維歐拉的作品長期探討生命和死亡、錄像本質和思維間的關係。更晚近時期，他經常使用高速攝影，使得影像得以在極慢的速度中展開，充份展現形象細膩的光線和色彩變化、人物的表情和手勢。〈暴風雨〉的副題「為了《（梅杜莎之）筏》所作研究」，這作品其實同時和莎士比亞的戲劇，以及法國十九世紀畫家傑里訶的名作進行對話，顯露人類面對橫逆命運時的磅礡史詩氣勢。在此作品中，人物面對著象徵死亡的災難威脅，災難結束時卻對陌生人伸出救援，觀者往往為之動容。在人物起身的段落中，可以看到其中一位面對著鏡頭觀看，表情同時含有茫然及呼喚的詮釋可能。〈暴風雨〉雖副題為研究之作，其實和《（梅杜莎之）筏》是基於完全相同的拍攝，只是除去聲音，讓觀眾得以專注於影像之上。《（梅杜莎之）筏》乃 2004 年雅典奧運委託製作的作品。維歐拉意圖超越民族、社會階層等藩籬，呈現人類在共同命運下互助的可能。 Photo: Kira Perov

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試鏡：艾迪．賽姬維克 Screen Test: Edie Sedgwick 安迪．華荷 [1928-1987] 1965 ｜16 釐米影片轉 DVD, 黑白 , 無聲 ,4 分鐘 , 每秒 16 格 [Andy Warhol 美術館 [ 匹茲堡 ] 收藏 ] [Andy Warhol 視覺藝術基金會捐贈 ]

ANDY WARHOL [1928-1987] 1965 ｜16 mm film transferred to digital file[DVD], black and white,silent,4 minutes at 16 frames per second [The Collection of the Andy Warhol Museum, Pittsburgh] [Contribution of The Andy Warhol Foundation for the Visual Arts, Inc.]

1964 年到 1966 年，安迪 • 華荷於工作室中拍攝了一系列人物肖像短片，後來稱之為《試鏡》。這些影片的規格為十六厘米，以正常的速度拍攝（一秒鐘二十四格），拍攝時間大約三分鐘不到，並在播放時放慢速度（一秒鐘十六格）。使影片產生一種奇異的，有點凍結的效果，彷彿存在另一個時空。雖然有這種特質，這些影片大都形式單純，聚焦在直視攝影機的人物臉上。簡單的形式突顯了主題的重要：其實這些人物便是以華荷為核心，圍繞其工作室「工廠」的特定人群，包括詩人、藝術家、模特兒、名人及在華荷影片中出現的「超級巨星」。導演雖然沒有入鏡，但因為他是所有這些人物出現於影片中的理由，他的存在是可以令人感受到的。艾迪 • 賽姬維克的段落特別能顯現出《試鏡》系列中青嫩和脆弱感，像是一首哀歌般的情調。她在影片中既猶豫又自覺，雖然臉部細節被正面打光照明的很清楚，但旁邊的陰影卻像是在威脅她一般。在拍攝試鏡短片的 1965 年，富家女艾迪出現在華荷的每一部影片，但很快便淡出，1971 年於二十八歲死於用藥過度。

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凌遲考：一張歷史照片的迴音 Lingchi-Echoes of a Historical Photograph 陳界仁 [1960-] 2002 ｜超16mm 轉 DVD, 黑白, 局部有聲 ,21 分 04 秒 [ 藝術家收藏 ]

CHEN CHIEH-JEN [1960-] 2002 ｜Super 16 mm transferred to DVD, Black and white, separate sound, 21 minutes 04 seconds [Courtesy of Artist]

〈凌遲考〉的發想來自一張歷史照片，創作者陳界仁曾以電腦掃描及重新繪圖的方式，在 1990 年代將其加以改造，發表了雙頭受刑的「本生圖」。後來他以十六厘米影片拍攝轉成三頻道錄影的形式完成〈凌遲考〉，參加韓國光州雙年展獲得特別獎，並以此片展開了他大受國際重視的影片創作。酷刑展示本身就像是一場奇觀，對於它的觀看者也有一種奇異的舒解作用。當這個場面被現代的機械記錄拍攝，影像中所含帶的權力關係（看／被看、拍攝／被拍攝、影像的擁有、出版和詮釋權力）以凝縮的方式突顯了出來。在影片中途，攝影機緩緩進入受刑者胸前的兩個窟窿，也像是進入了歷史的幽靈場景，把英法聯軍、八國聯軍摧毀的北京圓明園、日本 731 部隊在哈爾濱設立的人體實驗室、冷戰時期的台灣政治犯監獄、跨國企業遺留在台灣的重污染地區，以及產業外移後的工廠廢墟聯結在一起。而當鏡頭由胸前窟窿回望的那一刻，現代性、觀看權力和受苦的線索便凝縮在一起。〈凌遲考〉在國內已多次展出，此次藝術家特別提供創作時的筆記資料，使觀者可以追索其發想過程。

攝影：杜宗尚｜Photography by Dubby Tu

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(

)

2 （紅色字體註記陳界仁先生閱讀手稿轉寫後所做的修訂）

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Eros

Georges Bataille

Eros

4 （紅色字體註記陳界仁先生閱讀手稿轉寫後所做的修訂）

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逃離北韓 Escape From North Korea 張乾琦 [1961-] 2009 ｜錄像, 5 分 40 秒 [ 藝術家收藏 ]

CHANG CHIEN-CHI [1961-] 2009 ｜Video, 5 minutes 40 seconds [Courtesy of Artist]

1990 年代末的北韓發生了嚴重飢荒，死者數以百萬計，有些人開始逃離北韓，跨越邊界，進入中國。他們躲藏於中國，之後展開一趟極為隱密、危險的逃脫之旅，可能耗時數週、數月甚至數年。他們由中國東北南下進入寮國，跨過湄公河來到泰國，向警方自首，進入監獄兩個月後依外交協議被引渡至南韓定居。出身台灣的馬格蘭攝影組織成員張乾琦，於 2007 至 2008 年受美國國家地理雜誌委託，以九個月的時程陪伴紀錄這些逃亡者的危險旅程。後來他將其中拍攝的影像重新組成一個配上聲音的多媒體作品，命名為〈逃離北韓〉，此作於 2011 年獲得加拿大人權組織「人之描繪」多媒體類首獎。〈逃離北韓〉表達強大的人權政治關懷，同時也顯露人在持續受到死亡威脅下的壓抑和警覺狀態。影片主要為靜照和密語簡訊的組合，但到快結束前，有位小女孩的簡短動態影像，直視著鏡頭，由閉眼到開眼，反抗了這個一直被監控的旅程，形成片中最令人動容的時刻。除了在影片之中剪輯了人物的內在獨白和風聲鶴唳的環境聲音，張乾琦也將他在 2011 年於北韓境內境外所錄下的聲音素材重新混音，內容包括官方電視新聞報導中對美韓聯合軍演的抨擊、金正日之死的宣佈、地下秘密通訊及其官方干擾，再加上後製的音效。這件聲音作品，配上北韓所製的地圖，以及可讓觀眾帶回的明信片，以聲響裝置《來自北韓的明信片》讓觀眾能更直接地體會當地的氣氛和世界觀。

Courtesy of 2007 ©Chien-Chi Chang/Magnum Photos/Chi-Wen Gallery

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《來自北韓的明信片》《Postcards from North Korea》

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Artist unknown, collection of Chien-Chi Chang.

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狂躁之夏 Manic Summer 曾御欽 [1978-] 2009-2011 ｜四頻錄像 ,10 分鐘 [ 藝術家收藏 ]

TSENG YU-CHIN [1978-] 2009-2011 ｜Video 4 channels,10 minutes [Courtesy of Artist]

幽微的光線由窗簾透入，顯露出似乎在休憩中的人體。背部遮掩了面容，暗淡的光線下看不清人物表情，再加上清淡悠揚的鋼琴音樂，乍看之下彷彿是午睡情景。然而正是因為人物姿態的關係，耐心地觀看之後，逐漸能體會到作品要表達的是一種壓抑的狀態（正常的午睡不會出現如此扭曲的姿態）。人物是因為之前的躁動而落入此一情景（如標題所暗示的）？或者那是一種普遍狀況的表達？創作者曾御欽一向描寫深層意識，他說明此作如下：「我現在所敘述的是在這強大爆炸之後，那巨大的轟然，餘燼，那躲藏在密室之下的喘息，那痙攣漸漸退去身體，肌肉漸漸放鬆，微微的氣息釋放，餘燼慢慢升起，如狼煙一般打著極私密的信號，在密室當中再將灰燼吸入，喘息交換著。」曾御欽的作品一向有懾人的感官特質，近年他的創作亦展現出含蓄及緩慢的特質，在同世代的台灣創作者中顯得獨樹一幟。

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訪客 Visitor 劉瀚之 [1982-] 2013 ｜複合媒材｜95x10x210 公分 [ 藝術家收藏 ]

LIU HAN-CHIH [1982-] 2013 ｜Mixed media ｜95x10x210 cm [Courtesy of Artist]

由門眼向外看，是一種事先的防衛，讓人們知道來訪者是誰，是否應該開門。但如果有位催眠師利用門眼催眠由屋內向外察看的人呢？一段極短篇小說似乎就這樣飄然而出，劉瀚之想像此時催眠師對著門內叨叨絮絮地念著指令：「現在，你正進入到潛意識的深處，你會看到…」「現在，你會回到過去，回到還是嬰兒的時候…」。於是，隔著門的兩個人，共同合作經歷了一段神秘時光。劉瀚之獲得 2011 年台北獎首獎的系列作品便是類似這樣的「器具」，看來無用或無大用的輔助器具，但卻能形成一種製造語言、情境或關係的類道具，呢喃地敘說一些意識閥下的慾望。

看領帶 Look at the Necktie

一起展出的〈看領帶〉也類似，但把輔助的荒謬性表達

劉瀚之 [1982-] 2013 ｜複合媒材｜75x60x110 公分

可轉動而下壓背戴者的後腦勺。背戴者被迫保持低頭的

[ 藝術家收藏 ]

LIU HAN-CHIH [1982-] 2013 ｜Mixed media ｜75x60x110cm [Courtesy of Artist]

得更明顯，使得它接近一件「刑具」：「一件穿戴在背上的機具，機具的前端有方向為上下的螺桿／螺母機構 ( 此機構一般用於重物的夾壓固定 )，螺桿上設有把手，姿勢，他可以感覺得到從他面前經過的人，有人放慢腳步、有人繞遠，但不管怎樣都不會跟他們有眼神上的交會，領帶上的花色佔滿他的視線。」對於劉瀚之而言，在人和機械的關係中，人往往都是被動的，但也因為是「輔具」，需要人的某種推動，所以把人和機械詭異地組合在一起。背戴著機械的狀態正好體現了這份沉重的被動性和奇特、甚至內化的整合。

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A Contemporary Dialogue with Michelangelo ｜ Artworks ｜ 83

米開朗基羅的當代對話｜展出作品解說｜ 84

降生 Birth 謝春德 [1949-] 2002-2012 ｜空間裝置｜150x450 公分 [ 藝術家收藏 ] MoNTUE 北師美術館委託創作｜美術館之友聯誼會贊助

HSIEN CHUN-TE [1949-] 2002-2012 ｜Mixed media installation ｜150x450cm [Courtesy of Artist] Commissioned by MoNTUE ｜Sponsored by Museum Friends Association

巨大的天火降臨，一位反伊甸園中的夏娃正在唱出她的悲歌，人體的光滑和天空力量對照著巨石及叢林的大地力量，在這部壯麗的末世史詩中，作者提問人類因素在世界毀滅神話中的作用。當謝春德談及他的《天火》計畫時，他經常會提到一個古老的時代，在其中楚漢及楚之前的上古史為人類文明創造出一個全新的層次。由這個反思出發，他把視象具體化，在一個壯麗但又蒼涼的風景中，安置完全赤裸的男女，並使他們與天地對話。天火的意象，也指向了北美印地安 Hopi 族人的神話：世界已經歷三次的毀滅與重生，其中第一個世界是因為人對傳統告誡的「遺忘」而遭到毀滅，而這次的毀滅是以大火的形式發生。在跨文化背景之外，〈降生〉這次的展出，更使用裝置的方式呈現，使其中生死的意象和末世的意象相對話，突顯了毀滅終結和循環時間之間的辯証關係：如果誕生即是走向毀滅，那麼如果沒有毀滅又如何有新生呢？因為展覽的佈位，此作品也對照著白晝與夜晚的日常循環。

A Contemporary Dialogue with Michelangelo ｜ Artworks ｜ 85

米開朗基羅的當代對話｜展出作品解說｜ 86

米開朗基羅的當代對話｜展出作品解說｜ 88

沼澤 Swamp 謝春德 [1949-] 1968 ｜無酸噴墨輸出｜72x100 公分 [ 藝術家收藏 ]

HSIEN CHUN-TE [1949-] 1968 ｜Archival inkjet print ｜72x100cm [Courtesy of Artist]

在〈沼澤〉這件作品中，天空熱力的來源 — 太陽，雖然只存在於地平線上，卻仍主宰著一切。畫面有一單獨人物，彷彿在向太陽致敬或投降，而他雪白的背部則和佔據大部份畫面的沼澤形成強烈對比。因為攝影的角度，人物濃黑的頭髮看起來像是和沼澤中的植被呼應，甚至溶入其中。〈沼澤〉突出了天空力量和大地力量間的鬥爭，而人介於其中，並不能確定他屬於那一方。沼澤中比較是屬於沙丘的部份紋路鮮明，吸引了目光，但這顯然是一個不穩定的、處於乾濕之間的地帶。和每日升起的太陽相對照，沼澤的狀態是一直在變化的，人如果陷入其中，其形像則會象徵蜉蝣般隨生隨死又不可預期的命運。謝春德拍攝這件作品的年代是 1968 年，那時他才十八歲，但很早便顯露了後來會貫串其創作的主題。這一點和一同展出的赫斯特十六歲作品〈與死者之頭合影〉相映成趣，都是在青少年時期便展露了創作的主要線索。

A Contemporary Dialogue with Michelangelo ｜ Artworks ｜ 89

A Contemporary Dialogue with Michelangelo ｜ Afterword ｜ 93

米開朗基羅的當代對話｜展覽後記｜ 92

展覽後記策展人／林志明「米開朗基羅的當代對話」這個展覽有許多特點，其

這樣的文化特質，如果我們身處在原本的文化裡，是很

中有一些我也是在策畫及執行過程中逐漸領會的。現

難看清楚的：它會被當作是一種慣習，一種「習而不察」

在用後記的方式把其中三個要點記述出來，以供往後

的事物。只有離開了這個文化，進入另一個文化再回頭

失去了對「死後還有生命」及「最後審判」的信仰，西

務人員協助下於出口處裝訂，故亦增加了現場人員和

參考。同時，有關展覽的思考，我想不只策展人在展

來看，利用這個間距，它的許多特質才變得清楚起來。

方當代藝術顯露出面對死亡之不可避免時的各種姿態：

參觀者互動的機會。由現場得到的回饋顯示，絕大部

覽前的思考是重要的，在展出之後的思考及反省也同

這次的「米開朗基羅的當代對話」展覽雖然不是有意地

這尤其顯露在赫斯特與華荷涉及青春身體的作品中，但

份的參觀者都對這樣的作法給予正面評價。

樣重要。思及此，也促使我用「後記」的形式將其分

在這條軸線上選擇作品和運作對比，但它讓我們看到這

也內含於維歐拉處理災難的突然降臨。然而，就像前面

開陳述。

樣的一道線索：當代的影像作品，以某個方式而言，也

的紀念物議題所顯示的，這些終將毀壞的身體，大多和

在電子訊息介面的應用方面，展覽採取了年齡分眾的

是一種紀念物（影像乃是逝去時光的標記）。雖然這些

環境相脫離，突顯自身於一空無之中，因而其毀壞的不

作法，此應也是特點之一。由於我觀察到今日青少年

一、

紀念物已不再使用雕塑的形式，但這個形式的一些基本

可避免，仍存有一絲悲劇氣息。

已少讀紙本，但對平板電腦這種新載具反而具有高度

西方作品和台灣當代藝術之間的對照，以及當代藝術

特質仍然存在：以直立人形為主的造形，如果是橫臥，

和文藝復興藝術之間的對照，原本便是此次展覽基本

上半身也偏向直立、臉部特徵的清晰性、人物和背景相

反觀台灣當代藝術家所呈現的身體，其和周邊環境、歷

Museum）參觀時所獲的啟發，於是在宏碁公司的贊

的雙重架構。然而在展覽的執行過程中，更清楚浮現

當程度的分離……。

史或社會脈絡間的關係，則顯得較為緊密：彷彿我們的

助下，展覽採用高品質的平板電腦來提供另一個版本

身體總是被一些關係所編織和穿透。這其中最年輕的展

的資訊，其內容和視覺語言都儘量配合青少年喜好及

雖然相對照的台灣當代藝術數量不足以大到以之談論一

出者劉瀚之，其作品表面上是個例外，人物彷彿飄浮於

適合的方式。整體而言，展場分眾媒介的實現以主視

首先，這個展覽的發想緣起來自於北師美術館所收藏

個文化，但我們仍可以說，以上的特徵在這次展出的台

不特定的時空，其身體甚至空無化，只留下刑具般的所

覺牆上論述、說明卡、載有網路資源的電腦配備（載

米開朗基羅〈白晝〉（石膏模製品），而它原是佛羅

灣當代藝術作品中是不明顯的，而且即使它們出現，也

謂「輔具」懸盪於展場。但只要我們仔細閱讀他所提供

入美國哥倫比亞大學麥第奇家族禮拜堂的線上 3D 再

倫斯麥第奇家族禮拜堂整體墓室設計的一部份。也就

很快會被其它元素所中和。比如陳界仁的《凌遲考》，

的文字及圖像說明，他所作的作品大都是某種身體狀態

現）等方式提供以成人為主的觀眾層資訊；以平板電

是說，在成為藝術品之前，它首先是一個人類文化核

中央受刑的人物似乎符合這種紀念碑式的造形，但他的

的極端化，並且和物件 / 設置緊密結合，幾乎成為一體，

腦觸控互動介面提供青少年觀眾層補充資訊；更年少

心標誌：對於死去先人所作的紀念。動物並不會埋葬

突出獨立也很快地被周邊圍觀群眾中和，因為後者如此

但它們又隱微反諷地談論某一種社會 / 心理狀態。

的幼、小學生觀眾層則以為期十週的 MMM 系列工作

或以象徵的方式紀念牠們的祖先，而人類卻會如此。

貼近，本身也成為被拍攝景觀的一部份。這其中，張乾

於是，由這個足以定義人的特質出發，可以看到各式

琦由北韓帶回來的明信片可能是唯一的例外，但很容易

三、

長的大量演講及導覽活動、跨界館內藝術創作、FB 介

各樣的墳墓造形發展，而其中有許多日後也成為藝術

看出來這些戰士形象是某一種西方雕像傳統的直接模

除了展覽主題、展出作品間關係，這次展覽在和觀眾介

面社群網絡連結，除了它們自身的價值外，也在開展

的源頭，或直接便是其表現場所之一。帝王或達官貴

仿，而這又可由納粹 / 蘇維埃、法國凱旋門一路上溯到

面的形塑上，也有許多特點可談。

後為展覽提供了綿綿不絕事件性傳播助益。

人的陵寢，今日仍有許多遺留下來成為巨大的紀念物，

希臘柏加蒙神殿諸神與泰坦戰鬥的浮雕壁飾。

的則是一種人類學的面向。

贈予一本導覽手冊，而是自行選取所需的資訊，因而會更加珍惜和重視。由於這些說明卡最後可在櫃台服

興趣，再加上 2013 年初於洛杉磯蓋堤美術館（Getty

坊方式進行推廣教育活動。再加之北師美術館原就擅

首先，這次展覽很可能是在國內正式展場中，首度採用

文章最後還要提及一點，連藝術家自身也對展覽提供

二、

取消說明牌的決定。我的理由是說明白牌夾在作品中

了「文件」式的說明協助。比如地下室展場集中了三

比如埃及的金字塔、中國的明陵；稱它們為古代雕塑重要的起源或展現場所，並不為過。

演方式，則看不到有任何要扮演死者的「企圖」。

接續著這個「紀念物」特質對照而來的，則是「身體」

間，不但干擾了作品間的視覺對話，而且它提供的資訊，

位台灣當代藝術家，每一位都以不同的文本位階提供

如果人們觀察地中海沿岸的文明，即可發現在墳墓上

的議題。米開朗基羅式的身體，雖然繼承著西方文藝

總是在不足和過多（相對於站立閱讀姿勢）之間，令人

藝術文件：劉瀚之懸掛於牆上的圖文其實是作品的一

或墓區裡塑立人像，乃是一個處處可見的實踐。這由

復興物質和精神協合的理想，但它在這兩方面都顯露

無法滿意。

部份，張乾琦則乾脆製作了一個由明信片、地圖和聲

前希臘的文明如埃及、克里特島，到希臘、泛希臘，

出「過度」的狀態，直指後來的「雄偉」美學（the

乃至後來的艾楚斯克、羅馬，不但是處處可見，也顯

sublime）。相對地，不論是西方或台灣的當代作品，

但取消說明牌的設置，並不表示我們為了追求展場極簡

界仁的《凌遲考》雖然在國內已多次展出，但這次展

得一脈相承。因此，在墳墓上或墓區設立人像，不論

在身體這個議題上，卻都可被視為具有「反米開朗基

美感，卻以犧牲對觀眾提供必要資訊為代價。相反地，

出我們除了堅持要呈現原有的三屏投影版本，並且把

這人像是寓意的、象徵的，或甚至是對死者的實際指

羅」傾向。這個傾向，在西方當代藝術作品中特別明顯，

我們太清楚身為教育大學所設美術館，對於美術館各

聲音效果做到儘可能的完美（許多人表示這是第一次

涉，都是一個長時段且跨文化的特徵；它是一種底層

比如珊 • 泰勒 • 強生的《哀慟》一作，乃是本次展覽

層面的教育功能絕不能忽視，反而是要努力加以創新。

真正聽到作品中的三個低頻段落），更重要的是，對

的、具有韌性的文化特質。米開朗基羅的麥第奇家族

唯一直接針對米開朗基羅作品所製作的，但它也是件點

所以表面上說明牌取消了，實際上一個容量更大，內容

於這件廿一世紀台灣當代藝術的重要作品，受惠於藝

禮拜堂雕塑群，即使它在藝術史中有其創新或獨特的

對點直接反對米開朗基羅《聖母慟子像》的「引述」。

中英並陳的說明卡則繼之登場。它在每一個樓層集中置

術家的慷慨出借，我們得以首度展出他創作當時的構

地位，由這個更廣大的角度來看，也同樣是處於如此

相對於《聖母慟子像》中聖母不受時間侵蝕的神聖之美

放，由參觀者自行取得，使參觀者必須進行一種基本的

思筆記。由於這是一份重要的歷史文件，這本展覽專

的傳統之中。

（divine beauty），珊 • 泰勒 • 強生自己在錄像中出

互動和主動選擇。這樣的作法，除了內容更豐富之外，

輯亦將其全文轉寫，並經藝術家校閱修訂後與原件複

現時則受過兩次癌症治療；飾演基督的小勞勃道尼的表

也和參觀者產生近一層的關係，因為他們不是被動地被

製對照出版。

音截取後製組成的新作品《來自北韓的明信片》。陳

A Contemporary Dialogue with Michelangelo ｜ Afterword ｜ 95

米開朗基羅的當代對話｜展覽後記｜ 94

Afterword Curator, LIN Chi-Ming

There are a number of unique qualities to be found

displayed. The mausoleums of emperors or high

necessarily use the format of sculpture, some of the

Michelangelo" in terms of "body." This tendency is

within the exhibition "A Contemporary Dialogue

officials are still huge sites of commemoration today,

format's features remain, including images in which

clearly seen in contemporary Western pieces, such

with Michelangelo," including some of which I only

such as the pyramids in Egypt or Ming Dynasty Tombs

people are upright (where even those lying down

as in Sam Taylor-Johnson's Pietà, which is also

began to gradually realize during its planning and

in China. These are now considered origins or sites of

have their torsos positioned vertically), where faces

this exhibition's only piece that directly refers to

implementation. Thus I am using this afterword

important ancient sculptures.

possess clarity, there is a certain separation between

Michelangelo. Yet this piece is a "citation" which

the subjects and backgrounds, and so on.

point-for-point directly opposes Michelangelo's

as a way to chronicle three of these qualities for future reference. At the same time, in terms of

Surveying the civilizations along the Mediterranean

the thought process behind an exhibition, I believe

Sea, we may discover that sculptured portraits are

Although the number of contemporary Taiwanese

the Virgin Mary in Pietà, Sam Taylor-Johnson's had

that the curator's thoughts are not only important

found throughout mausoleums and other gravesites.

artworks is not as voluminous when compared to some

already faced two fights with cancer before recording

preceding the exhibition, but his or her views and

This practice reaches back from Pre-Greek culture,

of these cultures, we can say that these characteristics

this work. Robert Downey Jr.'s portrayal as Jesus

reflections are similarly important after the event

including Egypt, Crete, to Greece, Pan-Hellenism,

are not as obvious in the contemporary Taiwanese

shows no "intention" of acting out death.

has completed. This is what prompted me to use this

Etruria, and later Rome, where not only can they be

works displayed in this exhibition, and even though

"afterword" format to describe my thoughts.

seen everywhere, but they seem to be an inheritance

they do appear, they are quickly neutralized by other

Losing the beliefs in "life after death" and "the final

of sorts. Thus it can be noted that such images in

factors. For example, the tortured man in Chen Chieh-

judgment," Western contemporary art reveals all

mausoleums or gravesites are long-term, cross-

Jen's Lingchi – Echoes of a Historical Photograph

varieties of attitude towards the inevitability of death.

The original framework of this exhibition was to

cultural characteristics, regardless of whether they

seems to conform to this kind of memorial, but his

This is particularly seen in Damien Hirst and Andy

explore both the contrast between Western works

contain implied meanings, are symbolic, or are even

striking independence quickly becomes neutralized

Warhol's works, but also includes Bill Viola's handling

and Taiwanese contemporary art, and the contrast

an actual reference to the dead. They are a kind of

by the surrounding crowd. As it presses closer, he

of sudden catastrophe. However, just as seen in the

between contemporary art and the art of the

foundational, tenacious aspect of culture. Even though

becomes just a part of the landscape. Among these

previous discussion on monument, these bodies that

Renaissance. However, during the execution of this

Michelangelo's sculptures in the Medici chapel occupy

pieces, Chang Chien-Chi's Postcards from North Korea

will eventually be destroyed mostly break away from

exhibition, what emerged even more clearly was

a p l a ce o f i n n ova t i o n a n d u n i q u e n e ss w i t h i n a r t

may be the sole exception, but again it is easy to see

their environments, highlighting their existence in

more of a direction towards anthropology.

history, from this wider perspective, we see that they

that the warrior figures found within are a kind of

nothingness. As a result, the inevitability of their

are also a part of this tradition.

direct imitation of traditional Western sculpture. This

destruction still possesses a thread of tragedy.

First, the inspiration for this exhibition originated

Pietà. In opposition to the timeless divine beauty of

could also perhaps be traced back to the Nazi / Soviet

in the Mu seu m of Nat io nal Taip e i U nive rs it y o f

From a perspective within our own culture, this kind

and Paris' Arc of Triumph, and even further back to the

E x a m i n i n g t h e b o d i e s d i s p l a y e d b y Ta i w a n ' s

Education's collection of Michelangelo's Day (plaster

of cultural characteristic is difficult to see clearly;

reliefs depicting war among the deities and titans in

contemporary artists, we see that they are more

cast). This piece was originally one part of the

they are looked at as customary, something that is not

Greek temples.

closely connected in their relationships with their

overall design of a chamber in the Medici Chapel

even called into question or ever really reflected upon.

in Florence, Italy. In other words, before becoming

Only when one leaves the culture, and looks back

the bodies are interwoven with and infiltrated by

a piece of art, it was first a core symbol of human

on it from another culture, does this new distance

Following in the footsteps of the characteristic of

our relationships. Of these artists, the youngest

culture: a memorial for deceased ancestors. Animals

allow these characteristics to become clear. Although

"monuments" is the topic of "body." The Michelangelo

i s L i u H a n - C h i h , w h o s e wo r k s a p p e a r to b e a n

do not bury or symbolically commemorate their

"A Contemporary Dialogue with Michelangelo" did

body, although inheriting the Western Renaissance

exception on the surface, with his subjects often

ancestors, but humans do. Thus, starting with this

n o t i n t e n t i o n a l ly s e le c t p i e ce s t o co n d u c t s u c h

ideal of combining the material and the spiritual, in

floating through unspecific space. Their bodies are

defining human trait, one can see the development

comparisons, it did allow us to see that from a certain

fact reveals an "excessive" rendering of these two

even immaterialized, leaving only torture devices

of an enormous variety of grave forms, many of

perspective, contemporary works are also a kind of

aspects, leading to an aesthetic of the "sublime."

suspended within the exhibition space. However, if

which contain objects which later become art, or

commemoration (images are still markers of times

I n c o m p a r i s o n , b o t h W e s t e r n a n d Ta i w a n e s e

we read the text and explanations he provides more

even these sites even became places for art to be

passed on). Although these remembrances no longer

contemporary artworks can both be viewed as "anti-

closely, his works are in fact mostly a radicalized

peripheral environment, history and society; often

A Contemporary Dialogue with Michelangelo ｜ Afterword ｜ 97

米開朗基羅的當代對話｜展覽後記｜ 96

state of the body, and are closely tied to the objects

the staff near the exit, there was also an additional

works. The images and text suspended on the wall

/ installation, seemingly becoming one entity. Yet

opportunity for the staff to interact with visitors. Most

of Liu Han-Chih's piece is in fact a part of the work.

they also conceal a mocking discussion on a specific

visitors gave very positive immediate feedback.

Chang Chien-Chi created his piece Postcards from

aspect of society or psychology.

North Korea through a combination of postcards, In terms of the application of electronic information,

map and sound. Although Chen Chieh-Jen's Lingchi-

this exhibition adopted a unique age-segmented

E c h o e s o f a H i s t o r i c a l P h o t o g r a p h h a s a l re a d y

I n a d d i t i o n to t h e re l a t i o n s h i p b e t we e n t h i s

a p p ro a c h . I h a ve o b s e r ve d t h a t yo u n g a d u l t s

been displayed numerous times in Taiwan, for this

exhibition's topic and its works, it also possesses

nowadays rarely read paper books, yet are extremely

exhibition we not only insisted on using the original

numerous other characteristics in terms of the

interested in new tools such as tablets. Therefore,

version with three screens, but also enhanced the

viewer interface that are worth discussing.

w i t h i n s p i r a t i o n f ro m t h e G e t t y M u s e u m i n L o s

audio to make it as ideal as possible (many people

Angeles, and with the support of Acer computers,

told us this was the first time they were able to hear

F i r s t , t h i s m a y b e t h e f i r s t o f f i c i a l ex h i b i t i o n

this exhibition adopted high-quality tablets to

the work's three low-frequency sections). Even more

i n Ta i w a n t o m a k e t h e d e c i s i o n t o f o rg o a n y

provide a new method of delivering information,

importantly, through the generous loan by the artist of

explanations on wall for the pieces. My reason for

using content and visual language most suitable for

this important contemporary Taiwanese work, we were

this is that having explanatory cards in the works

younger visitors. Generally speaking, the segmented

able to be the first to show his creative notes from the

not only interferes with the visual dialogue between

media used included visual discussions on the walls,

piece. Since this is an important historical document,

works, but also provides an amount of information

explanatory cards, and internet-equipped computer

the exhibition catalogue reprinted the notes in their

that always lies between not enough and too much,

equipment (including an online 3-D model of the

entirety, including both the original and the artist's

which leaves one feeling unsatisfied.

Medici chapel created by Columbia University of

own revisions.

the US). These various media provided segmented However, not using explanatory cards does not mean

information layers targeting adults, with interactive

we sacrifice giving any vital information to viewers

interfaces on touch-screen tablets providing younger

in the pursuit of the beauty of simplicity. In fact, we

adults with supplemental information. Our youngest

are very aware of the fact that we are an art museum

v i s i to rs , i n c l u d i n g k i n d e rg a r te n a n d e le m e n ta r y

of a university of education, so we will not neglect

st u d e n t s , e n j oye d e d u ca t i o n a l a c t i v i t i e s t h ro u g h

any level of educational opportunity, and indeed

the MMM series workshops. Finally, the Museum

even strive to increase innovation. Therefore, on

of National Taipei University of Educations ability

the surface the explanatory cards were cancelled,

in organizing numerous lectures, guided activities

which in fact increased capacity so that visitors must

and interdisciplinary artistic creations, as well as

implement a kind of basic interactive and proactive

promoting Facebook connections, provided continuous

selection. As a result, this method not only enriched

improvements in further spreading information.

the content of the exhibition, but also created an increased relationship with the viewer. Since they

The final point I wish to bring up is the 'documentation'

did not passively receive a guidebook, and instead

provided by the artists themselves to help explain

decided for themselves what information they needed,

their pieces. For example, the three contemporary

they in fact found greater appreciation and respect.

Taiwanese artists whose works are displayed in the

As these explanations were installed in the end by

basement hall all supplied differing texts with their

APPENDIX 米開朗基羅的當代對話 A Contemporary Dialogue With MICHELANGELO

A Contemporary Dialogue with Michelangelo ｜ Appendix ｜ 101

米開朗基羅的當代對話｜附錄：展出作品英文解說｜ 100

Day

The Libyan Sibyl

In the Medici Chapel in Florence, Michelangelo's sculpture Day was originally arranged symmetrically together with Night, becoming an important pair of sculptures on the tomb of Giuliano de' Medici, and forming a complete set with the Dawn and Dusk sculptures on the tomb of Lorenzo de' Medici. The Medici Chapel itself is Michelangelo's earliest architectural design, and clearly emphasizes the symmetry and balance of classicism. Day and Night both depict bodies that are quite twisted and exhibiting extraordinary tension, contrasting with the more relaxed forms of Dawn and Dusk. These four works together create a kind of unending, cyclical view on time, as if they could utilize this repeating cycle to avoid the ultimate destruction of death. However, upon close inspection of Day, one can see the shadow of death disseminated throughout.

Although not obvious in this Michelangelo's version, The Libyan Sibyl is a traditional Christian symbol representing Africa (The other four sibyls represent Asia and three Mediterranean cultures that were influenced by the Greeks.) Here the sibyl's most striking characteristic is her raised arms, almost like a dove taking flight, perhaps causing one to think of the Holy Spirit, which is traditionally represented by a dove. She is also lifting a large book, and thus is also associated with 'the word.' The back of this figure was depicted with great attention. Since such a large book is being lifted, exaggeratedly wide shoulders and musculature are shown, which fit well with Michelangelo's typical style of powerful women. Although her feet are still very slender, her facial expression and the robe around her body retain some traditional feminine beauty. However, looking at the entire piece, her exposed back is especially predominant. Her twisted upper body and head is quite similar to that seen in Day, which again further highlights her back.

Looking at the form of the body, the waist, neck and legs in Day are all twisted beyond the ordinary capabilities of the human body to do so. This posture results in the back becoming very exposed, showing the power ful muscles seen throughout Michelangelo's works. The difference between Day and Night is that there are no accompanying figures with allegorical meanings (such as the mask or the owl). The head in Day adopts a kind of twisting towards the back, as if he is looking behind him. Perhaps this posture suited the planning for this family tomb room, as it can represent a kind of commemoration. However, his eye sockets are sunken and the eyeballs were not well depicted, resulting in debates as to whether it was unfinished, or if it purposely depicts blindness. If it does depict blindness, its symbolism is thought to signify his fearlessness in turning to face all that is attacking him, even though he is unable to see the ultimate danger to his life – death brought about by the erosion of time. Thus, this work also echoes the deep issue associated with a tomb room, memento mori ('remember your mortality'). In the Michelangelo school's drawing of Day lent by the Louvre, the viewpoint that the drawer adopts matches the original vantage point of slightly higher than the average person's height. However, as you look up and over the feet, the muscles of the body and legs seem very vigorous, while the eyes look down worryingly.

The Libyan Sibyl can be found in the Sistine Chapel. The drawing on loan from the Louvre is done by the Michelangelo school completed in the 16th century. Photography by Roger Chi-Huan Chuang

A Contemporary Dialogue with Michelangelo ｜ Appendix ｜ 103

米開朗基羅的當代對話｜附錄：展出作品英文解說｜ 102

Male Nude

Salathiel and his Mother

The subject of this 16th century Michelangelo school drawing is found within the numerous figures in the Last Judgment fresco in the Sistine Chapel. The subject is receiving salvation and climbing to Heaven. Although most of those resurrected ascend to Heaven receive help from angels, this person is relying on his own strength. In the original mural, his bent left leg was on a cloud, while his other hand was reaching up to another cloud, which explains the figure's posture.

A series of portraits of Jesus' ancestors was also created by Michelangelo in the Sistine Chapel, incorporating this family story into the expansive history of the universe beginning with Genesis. According the Gospel of Matthew, Salathiel and his father Jeconiah were kings of Judah exiled to Babylon in the 6th century BC. This Michelangelo school drawing on loan from the Louvre is a copy of the depiction of Salathiel and his mother located next to a window in the Sistine Chapel. This mural also includes his father Jeconiah holding his brother Pedaiah in his arms. Pedaiah's outstretched hands are presenting Salathiel with a gift, with Salathiel also extending his hands to receive it. This is generally interpreted to be an expression of fraternal love.

Although this person is floating upwards and def ying the principles of gravity, he displays powerful musculature and even great power. The artist drew his head more lightly, which further highlights the muscles of his back and legs.

The central character in this image is Salathiel's mother, who is holding him in her embrace. Although she faces away from her husband and older son, using her entire body to protect her exiled second son, she still looks back at her husband and other son. The meaning behind this posture is not as clear in the drawing as it is when looking at the original mural. This difference in the drawing is likely an attempt to better display the characteristics of her posture.

A Damned This drawing from the Last Judgment of a damned person is located below the male nude image discussed before. Half of his body has entered hell, and although he is extremely muscular, he is unable to lift himself up off the ground, and is only able to look up at those saved and going to heaven in despair. This drawing is also from the 16th century Michelangelo school. While only half of the subject's body is seen, this view from behind him highlights his musculature, while the angle of his almost three-quarter profile head emphasizes his sense of powerlessness.

A Contemporary Dialogue with Michelangelo ｜ Appendix ｜ 105

米開朗基羅的當代對話｜附錄：展出作品英文解說｜ 104

Two Putti

For the Love of God, Pray

As often seen in murals from the Renaissance, the Sistine Chapel has many works that boast extremely realistic styles (trompe-l'oeil), transforming murals into seemingly part of the architecture. This is a drawing of two angels loaned by the Louvre. Although painted onto a wall, it looks like they are actually a relief on a column.

Damien Hirst's 2007 For the Love of God created a huge media sensation. This piece was a platinum cast of a human skull, dating around 1720-1810, set with diamonds with a large pear-shaped diamond on the forehead. The teeth are original. He explained that the inspiration for this piece was an Aztec turquoise skull collected by the British Museum.

These two angels surround Jeremy the prophet, appearing as earthly infants similar to other 'column relief' angels, with one male and one female. Here the female angel's body is facing the viewer, while the male angel's body is facing away with his head twisting around to look back, creating a stark contrast.

The name of the limited edition of signed prints of this work is For the Love of God, Pray. Lacking any brilliance and color, the skull's empty eye sockets became even more intensely grim, while also concealing a bit of humor – in addition to the symbolism of devouring presented by the large open mouth, it also seems to be laughing. In fact, he also created one additional frontal and three one-quarter profile photographic versions of this work, adding the word Believe, Shine, Laugh, and The Diamond Skull, respectively, to the end of the original piece's title For the Love of God.

The female angel holds a robe in her hands, with her right hand wrapping behind the male angel's head. The male angel's hand is placed on her forehead, resulting in a crossing of their arms. The male's gesture could represent the blessing of the cross, while the female's could represent an embracing of the male angel, corresponding to Jeremy's prediction of "the female embracing the male", indicating the pregnancy of the Virgin Mary. The symbolism of the male angel looking to the distance is unclear, but perhaps could represent the future salvation through Jesus' passion.

The themes of Hirst's art include life, death, the decay of the body and the pharmaceutical industry and medical technique which take care of it. This set of works adopted the concept of memento mori (Latin for "remember your mortality"), but what differs from Vanitas is that in this piece the eternally shining diamonds represent man's immor tality, positively announcing that by transforming it into beauty and ornamentation one can overcome the image of decay in death. The photographic versions of this work use black humor to bring up the possibility of bestowing an ambiguous reversal on this transformation of mortality and decay. © RMN-Grand Palais (musée du Louvre) / Christophe Chavan

A Contemporary Dialogue with Michelangelo ｜ Appendix ｜ 107

米開朗基羅的當代對話｜附錄：展出作品英文解說｜ 106

Porträt (R. Müeller)

With Dead Head Beginning at a very young age, almost as if continuing the tradition of Michelangelo, Damien Hirst would often visit an anatomy school to practice sketching the human body. He would feel fear there, but also fascination to the point that he collected large numbers of pathology books, in which he enjoyed the objective yet peaceful images within. With Dead Head was originally photographed in 1981 at Leeds anatomy school, which he frequented when he was young. In this image, it seems as if Hirst wants to drive out an evil spirit, purposefully opening his mouth to laugh, and creating a contrast with the close-mouthed head next to him. Taken at age 16, this photograph seemingly declares what became to be a consistent theme in his works – memento mori ('remember your mor talit y'). In 1991, Hirst enlarged this photo and produced 15 limited edition versions. That same year, he also created his work The Physical Impossibility of Death in the Mind of Someone Living by placing a shark in formaldehyde, which made him a household name. The version displayed here was made in 1999, as part of a bigger edition. The artist framed six smaller versions of the image to create a new version of the work. This kind of serialized reproduction offsets the creative myth and concept of subjective expression of art, while reminding the viewer to reflect on the intrinsic relationship between photography and the fading of time and death.

ㄒ

In 1981, Thomas Ruff began photographing portraits for his friends and classmates at Dusseldorf Academy. He adopted the method used by his teachers Bernd and Hilla Becher to shoot industrial buildings by objectively photographing a series of standard portraits in which the subject stared straight at the camera. In 1986 he began to experiment further, enlarging the portraits, changing the original background colors to a more neutral nearwhite, and requiring those photographed to wear everyday clothing and not have any expression. These portraits were enlarged to 2 x 1.5 meters or larger, with multitudes of them occupying an entire galler y wall, creating an imposing scene and introducing a fresh viewpoint, which has served to garner much international attention for the artist. Why this kind of portrait with deadpan expression? All information conveyed is only on a superficial level, not truly allowing the entering of the person's inner thoughts. So why create a portrait series that so greatly breaks from traditional thinking? Ruff explained that candles were no longer used in his country by the time he grew up, and that everywhere was lit up and even monitored. Furthermore, near the time he began these works, passports were often checked throughout Germany due to the event of the Red Army Faction. When facing these police, it is natural to not reveal any of your inner thoughts. He therefore asked his subjects to consciously face the camera without any expression, personality or inner thoughts showing, almost like a form of silent protest.

A Contemporary Dialogue with Michelangelo ｜ Appendix ｜ 109

米開朗基羅的當代對話｜附錄：展出作品英文解說｜ 108

Nudes LK18

The Okutsu Family, Yamaguchi 1996

Painter Gerard Richter uses photographs as the motifs of many of his paintings, often displaying a kind of blurred effect in them. Incorporating this style, his student German photographer Thomas Ruff's nude pieces exhibit a similar kind of style. The images in this series of photographs were obtained from the deluge of available online pornography, with Ruff enlarging them as far as possible, while also changing their tones, contrasts and colors, transforming these unbearable pictures into stately, beautiful images.

Thomas Struth, a member of the German Objective photography movement, began taking a series of family portraits in the mid-1980s. Although this series uses a very traditional subject of photographs, he added a couple of his own rules to his works. He only photographed the families of friends he knew well. He discussed how to shoot the photograph with the family, including arrangement and postures. The time used shooting was often very long, even reaching several hours at one sitting. These were later sifted through together with the family, and could include numerous discussions and further shooting, resulting in a lengthy amount of time spent for each work. Finally, he would only use natural lighting, large film cameras and long exposure times to better capture details. He would also ask family members to look at the camera while he stands next to it.

When Ruff was studying at the Dusseldorf Arts Academy, he was not only deeply inspired by Richter, but was also a member of the German Objective photography movement. However, he has recently explored this aspect to its extreme, and believes that photography can no longer capture realistic records or images; it only captures an external layer, becoming simply a production of images. Therefore, transforming images obtained from the internet allows him to no longer need to go through the important step of obtaining images through a camera. After the Nudes series, he released the JPEG series in which the original material was obtained from a variety of online sources, particularly images of the smoking and collapsing Twin Towers during the 9/11 attacks, which pushed this series to new heights. ©Thomas Ruff / BILD-KUNST, Bonn – SACK, Seoul, 2013. Courtesy David Zwirner, New York/London.

The Family Life theme created a kind of fascinating quality, as many 'connections' can be seen in the large color prints: first is the similarities in the facial features of the family members, followed by the relationships among the people, environment and history, as well as how these influence each other and each family member. Since everyone photographed is friends with the artist, and joint discussions are held with the families, viewers will feel the subjects to have a kind of fascinatingly composed yet open quality, even though the viewer does not know them, which entices the viewer to become immersed within all the details. Struth has photographed the families of friends all around the world, with the Okutsu family of Yamaguchi participating very early on in the series. When portraits of families from various cultures are arranged together and contrasted with each other, the effects of culture, society and history become even clearer.

A Contemporary Dialogue with Michelangelo ｜ Appendix ｜ 111

米開朗基羅的當代對話｜附錄：展出作品英文解說｜ 110

The Richter Family 1, Köln 2002

Pietà

This photograph is a por trait of renowned German painter Gerhard Richter and his family, and is an exception in Thomas Struth's Family Life series. In this series, Struth normally is the one to invite the families of his friends to be photographed, but The Richter Family 1 was created at the request of Richter instead. In early 2002, Richter held a retrospective at the Museum of Modern Ar t in New York, so he asked Struth to photograph his family. This piece was later published in the New York Times Magazine accompanying an article on Richter's works.

The Pietà (1498-1499) is Michelangelo's early masterpiece. He skillfully sculpted Madonna's face into a divine beauty and kept her youthful, invulnerable to the invasion of Time. With broader than normal shoulders, her body gives a feeling of delicacy yet she seems to hold the body of Jesus after the crucifixion effortlessly. The Pietà is currently located in Saint Peter's Basilica, and is one of the artist's most famous works.

One of the principles behind this series is to discuss the photographic procedure with the family. Since the subject of The Richter Family 1 is a master contemporary painter himself, this piece stands out in the series, displaying a clearly contrasting composition, not only with the male and female family members sitting on opposite sides, but also with a unified contrast through their postures. One exquisite aspect is that although the clothing color and hand positions of the family members are all similar and compatible with the interior atmosphere, the daughter's eyes are sharp and similar to her father, while the son's eyes are similar to his mother's, being more peaceful and similar in features. Like traditional family paintings or photographs, much of the room's interior remains in the frame. A painting of a skull and a picture of a young woman's face can also be seen, creating another contrast between a reflection on death and a symbol of youth. The overall composition displays yet another contrast with decorations of artistic culture on the male side and symbols of purity and nature – white lilies – on the female side.

The 2001 piece Pietà by Sam Taylor-Johnson is the work most obviously in dialogue with that of Michelangelo in this exhibition. In this work, the artist holds in her arms the body of famous actor Robert Downey Jr., much like Madonna holds Jesus in Michelangelo's work. The meaning of this piece is almost a point to point reversal of the Pietà by the Renaissance master – Sam TaylorJohnson had by then faced two bouts of cancer and was unable to transcend human time and the erosion of age as Madonna seemingly could. Further, the artist has no intention to show that she can hold the male body without effort, and in fact the viewer can clearly see the she is sometimes struggling to hold him, evidenced by her legs trying to find leverage on different steps. Robert Downey Jr. also has no intention of playing dead as he tries to help the artist so that he does not fall from her arms. Although this work inherits the tr aditional title, it possesses no religious meaning. The title and the basic composition are similar but this work's underlying meaning is quite the opposite – it shows vulnerability. The effect of the composition is to express pity and human support born from the consciousness of the transience of life and death and the awareness of human fragility in front of inevitable decay. In this way, Sam Taylor-Johnson expresses a contemporary meaning of memento mori by citing, but not copying, Michelangelo's work.

A Contemporary Dialogue with Michelangelo ｜ Appendix ｜ 113

米開朗基羅的當代對話｜附錄：展出作品英文解說｜ 112

Tempest (Study for The Raft)

Screen Test: Edie Sedgwick From 1964 to 1966, Andy Warhol filmed a series of short portraits of people in his workshop, which was later titled Screen Tests. These 16mm films were shot at the normal speed at the time (24 frames per second). Although they were mostly filmed for less than three minutes, he played them back at the slower speed of 16 frames per second. This created a kind of strange, slightly frozen effect, as if they existed in another dimension of time and space. Despite these qualities, the films were all simple, focusing on the subject's face as they looked into the camera. This straightforward style highlighted the importance of the theme: in actuality, Warhol was at the core of these people's lives. These people refer to the group of people around his workshop The Factory, including poets, artists, models, celebrities and "superstars" that appeared in his films. Although the director never enters the shot, since he is the reason all these people are being filmed, his presence can still be felt.

Photo: Kira Perov

Nineteen men and women from different ethnicities and economic backgrounds seem to be waiting together for a bus, maintaining the standard social distances expected between various people. Suddenly powerful pillars of water, much like a tsunami, slams against them. Some are immediately knocked over, while others look for ways to resist it. They must support each other to survive. The water suddenly stops, and they slowly begin to stand up and recover. Some cry from the disaster, or even crawl along the ground. Those with any remaining strength begin to help the others stand back up. Bill Viola's works have long explored the relationships between life and death, and the nature of video and consciousness. In his later pieces, he has often used high speed cameras, playing them back in extremely slow motion to fully display the exquisite changes in lighting and color, as well as the expressions and postures of those being filmed.

The subtitle of Tempest is Study for The Raft. This actually engages in a dialog with both Shakespeare's play of the same name and the 19th century French painting The Raft of Medusa by Théodore Géricault, both of which display mankind's epic vigor in the face of harsh fates. In this piece, the people face a disaster that represents death. When the disaster is over, strangers hold out their hands to help others, a sight which often moves viewers. As the people begin to get back up, viewers can see one of them facing the camera with an expression that could be interpreted as either vacant or calling for something. Although the subtitle of Tempest calls it a study, it is based on the same film as The Raft. The only difference is the absence of sound, causing the viewer to focus more on the images. In The Raft, which was commissioned by the 2004 Olympics in Athens, Viola hoped to transcend the fences between ethnicities and social classes, and display the possibility for supporting each other in our shared fate.

T h e w o r k s h o w i n g E d i e S e d g w i c k h i g h l i g ht s t h e delicateness and sense of fragility within the Screen Test series, almost like the feel of a funeral dirge. During the film she is hesitant and self-conscious. Although the direct light on her makes the details in her face very clear, the shadow to the side seems to be almost threatening her. Daughter of a rich family, Edie was in each of Warhol's films in 1965, but she quickly faded out. She died in 1971 of an overdose at the age of 28.

A Contemporary Dialogue with Michelangelo ｜ Appendix ｜ 115

米開朗基羅的當代對話｜附錄：展出作品英文解說｜ 114

Lingchi—Echoes of a Historical Photograph

Escape From North Korea The major famine that hit North Korea in the late 1990s left millions dead and some attempting to flee the country. They crossed the border and went into neighboring China. Living in hiding, they would later undertake an extremely secretive and dangerous journey that lasted weeks, months or even years. From northeastern China they traveled south to Laos, and finally crossing the Mekong River into Thailand. Here they surrendered themselves to the police, and after staying in prison for two months, were extradited to live in South Korea. Originally hailing from Taiwan, Chang Chien-Chi is a member of Magnum Photos. He was commissioned by National Geographic to accompany and record the dangerous journey of some of these escapees for nine months in 2007 and 2008. Chang later reorganized some of his photographs and added sound to create a multimedia work entitled Escape from North Korea. This piece received the 2011 Canadian Anthropographia Award for Human Rights in the category of Multimedia.

Photography by Dubby Tu

T he inspir ation b ehind L ingchi w as a his tor ic al photograph. Ar tist Chen Chieh-Jen once scanned, redrafted and altered a photo in the 1990s, publishing the torturing of a double-headed man in Ben Sheng. Later he used 16mm film to shoot Lingchi, a three channel video installation. This became an important film that received special award at Korea's Kwangju International Biennale, and helped bring international recognition to the artist. Torture displays are unusual spectacles, and provide a kind of strange release in viewers. When this scene was filmed by modern equipment, the power relationships in the images (seeing/seen, filming/filmed, and rights of possessing, publication and interpretation) are condensed and highlighted.

During the film, the camera slowly enters the two cavities in the tortured man's chest, as if entering the site of the specter of histor y, linking together the destruction of the Old Summer Palace by British and French troops and later the Eight-Nation Alliance, Japanese Unit 731's human experimentation labs set up in Harbin, Taiwanese political prisons during the Cold War era, major pollution left behind in Taiwan by international corporations, and the ruins of factories following the dislocation of jobs. As the camera looks back from the chest cavities, the modernity, the power of the gaze and the themes of suf fering condense together. Lingchi has been exhibited numerous times in Taiwan. The artist especially provided documents on the creation of this piece for this exhibition, so that viewers can better follow his thinking process.

Escape from North Korea displays a powerful concern for human rights and politics, while at the same time revealing the pressure and unwavering vigilance of people constantly under the threat of death. Most of the film is composed of stills and coded SMS messages, but before it ends, movement occurs as a small girl begins to open her eyes and look directly at the camera, seemingly resisting this constantly monitored journey, and creating the most moving moment of the film. In addition to editing the interior monologue of the personage and the environmental sounds suggesting danger everywhere, Chang also remixed sound recordings he took inside and outside North Korea in 2011, which included official television critique on the joint US-South Korea army drills, the announcement of the death of Kim Jong-il, and secret underground communications and their interference by officials, as well as sound effects added in the production. In Postcards from North Korea, this audio artwork was combined with a map made in North Korea and postcards that viewers can take home with them, allowing viewers to more directly experience the atmosphere and worldview of this country.

A Contemporary Dialogue with Michelangelo ｜ Appendix ｜ 117

米開朗基羅的當代對話｜附錄：展出作品英文解說｜ 116

Manic Summer

Look at the Necktie/Visitor

Weak light permeates through curtains, exposing what seems to be a resting body. Its back keeps the face hidden, while the dim light fails to expose the person's expression. Combined with the light piano music, this seems much like an afternoon nap upon first glance.

Looking outside through a door's peephole is a kind of preventative safeguard, allowing people to know who is at the door and whether or not they should open it. However, what if a hypnotist outside the door hypnotizes the person looking out? A very short story seems to emerge from this, with the artist Liu Han-Chi imagining the hypnotist speaking commands to the door, "now you are entering a deep place in your unconscious, you will see…" "Now you return to the past, back when you were still an infant..." The two people on opposite sides of the door experience a mysterious passage of time together.

However, because of the person's posture, patient viewers will gradually realize what the work intends to convey is actually a kind of state of constraints (this twisted posture is not seen in most naps). Was the person moving about restlessly before ending up like this (as the title suggests)? Or is this a kind of expression of a universal condition? The artist Tseng Yu-Chin has always depicted the deeper levels of consciousness, explaining this piece by stating, "What I am narrating is what happens after a strong explosion. That enormous crashing, the ash, that grasping for breath while hiding in a secret room, those cramping that gradually recede from the body, the muscles gradually relaxing, gently releasing that breath, the slow rise of ash like smoke signals sending out private signals, breathing in the ash again in that secret room, exchanging gasps." Tseng's works consistently possess a fascinating and sensual quality. In recent years, his art has also begun to show understatement and slow pace qualities, developing a style that is unique among his peers in Taiwan.

The series of works that garnered Liu Han-Chi the top prize at the 2011 Taipei Arts Awards is similar to this kind of "tool." While they seem useless or nearly useless, they are able to form a kind of creative language, scene or relationship, whispering as they narrate desires below the level of consciousness. His other work on display, Look at the Necktie, is similar, although the absurdity is displayed even more clearly, as the work is almost transformed into an instrument of torture. "A machine carried on the back with a vertical screw/nut mechanism on the front end (these devices are normally used to clamp and stabilize heavy objects). On top of the screw is a handle, which presses down the wearer's head when turned. As the wearer is forced to maintain this head-down position, he is able to perceive people in front of him, whether they are strolling nearby or circling him from afar, but he is not able to meet their eyes. The patterns and colors of his tie occupy his entire field of vision." Liu believes that in the relationship between man and machine, man often plays the passive role. Yet since they are 'auxiliary tools,' machines still need some kind of impetus from people, resulting in a strange combining of man and machine. The machine being worn embodies this oppressive passivity and strange, even internalized, integration between human and machine.

A Contemporary Dialogue with Michelangelo ｜ Appendix ｜ 119

米開朗基羅的當代對話｜附錄：展出作品英文解說｜ 118

Swamp

Birth

In Swamp, although the source of heat in the sky – the sun – is very low on the horizon, it still dominates everything. There is a person in the piece who seems to be either paying homage to the sun or surrendering to it, with his snow-white back creating a strong contrast with the swamp that occupies the rest of the picture. Due to the angle of the photo, the person's black hair looks as if it is echoing the vegetation in the swamp, or perhaps even dissolving into it.

Great fires in the sky approach. An Eve in the anti-Eden is singing her elegy. The smoothness of the human body and the power of the sky contrasts with the power of the giant rocks and forests of the earth. In this majestic epic poem of the end of the world, the artist asks the responsibility of human factors in the myths of world destruction. When asking artist Hsieh Chun-Te about his project Tenky, he often brought up ancient times, in which the civilizations of the ancient times of the Chu-Han era or earlier created a completely new level. Setting for th from this reflection, he made visual symbols concrete, arranging nudes within a majestic yet desolate landscape and making them converse with heaven and earth. The symbol of the Tenky points to a myth of the North American Hopi, which says that the world has

already been destroyed and reborn three times. The first world was destroyed due to the 'forgetting' what is warned against in tradition. The destruction this time is caused by giant fires. In addition to crossing cultural backgrounds, Birth uses installation to create a dialog between the symbolism of life and death and the symbolism of the end of the world. This highlights the relationship between the final stage of this ending and the cycle of time: if birth is a movement towards destruction, then how can there be rebir th without destruction? In the arrangement of this exhibit, this work faces the daily cycle of Day and Night.

Swamp highlights the struggle between the power of the sky and the power of the earth, with man caught in the middle and unable to determine to which he belongs. The small clumps of sand in the swamp are obvious and attract the eye, but these are clearly unstable lands somewhere between wet and dr y. In contrast to the sun that rises regularly every morning, the swamp is constantly changing. If someone were to become trapped within, they would become like the mayfly, in which their life, or death, becomes completely unpredictable. Hsieh Chun-Te took this photograph in 1968 when he was just 18 years old. Yet even this early he was giving glimpses of the connected themes of his later works. This is similar to Damien Hirst's work With Dead Head, also on display in this exhibition, which he completed when he was 16 years old, and which also gave a good peek into his later creative themes.