《測繪十年》The Topography of a Decade

THE TOPOGRAPHY

of a Decade

測繪十年 立方計劃空間十周年募款展

The Fund-raising Exhibition for the 10th Anniversary of TheCube Project Space

目錄 Content

測繪十年 The Topography of a Decade 區秀詒 Au Sow-Yee

﹣ 克里斯計畫 II：If the Party Goes On

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Kris Project II: If the Party Goes On

﹣ 序 : To the Party

Prelude: To the Party

陳界仁 Chen Chieh-Jen

﹣ 十二因緣－生Ｉ The Twelve Karmas – Birth I

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侯俊明 Hou Chun-Ming

﹣ 香港罪與罰 Sin and Punishment in Hong Kong

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李傑 Lee Kit

﹣ Sing an anthem.

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鄧兆旻 Teng Chao-Ming

﹣ 這麼多年過去， After All These Years,

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萬迪﹒拉塔納 Vandy Rattana ﹣ 炸彈池塘 Bomb Ponds

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鄭波 Zheng Bo

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﹣ 蕨戀 3 Pteridophilia 3

﹣ Movements

測繪十年 在一般的認知中，「十」總被認為是「完滿」的象徵，因為它帶有「周而復始」、「回歸與再啟程」的意義。 「十年」作為一個階段的達成，這個數字的視覺意象如同一條銜尾蛇般頭接尾，又像是在開展之中不斷循 環、持續變化的碎形世界。同時，它也像使我們站在「跨越」的邊界上同時回顧過去和望向未來。正因這 些意涵，立方計劃空間所走過的「十年」不只是一個數字，它還是一個測量與描繪的線索，引導我們去重 新思索二十一世紀的台灣文化空間生產經驗和可能的未來期許。 從 2010 年至 2019 年為止，立方計劃空間以不同形式與超過兩百位的創作者、策展人及文化行動者合作過， 策劃執行了五十多檔規模不一的展覽，以及上百場大大小小公眾性的表演與講座論壇活動。如果我們把在

這個過程中所呈現的視為個體和群體對生活的世界的探索、感知與思辨，那麼或許也可以經由回顧立方這 十年來所曾關注過的創作與實踐，再「測繪」出一段實際上並不限於十年的更為宏觀的時代樣貌。這個「測 繪」的手段，正如同人類期冀通過各種觀測數據和經驗去累積、勾劃，並對生活與環境進行瞭解。 因此「測繪」是一個動態的過程，它無時無刻不在進行中。而立方的自我定位正是企圖以廣義的策展作為 方法去實踐，以搭建創意的另類知識生產平台。在實體空間上，立方位於公館的所在之處，前身是一個已 被現代城市的發展渦漩所淘汰的老旅館，它的過去以某種時間過程、空間轉化的意義微妙地聯結了它現在 的身分。已故的文化行動者李士傑在為立方規劃 2018 年「學實學校」的講座主題時曾提出「差異旅店」

這個概念，某程度上，它正生動地描述了當代關於「（文化）空間生產」理想中的某種特質：支持和構建

一個容納「差異」聲音、向群眾（來自各地與遠方的客人）開放，並願意開啟交流對話的「驛站」。今日， 在這個凡事趨向同質聚合、而各種意識型態又不斷刻劃其邊界藩籬的世界，「差異旅店」的意象則更顯現 了它可能的想像與思辨價值。 作為十週年展覽的「測繪十年」，並非僅是要回顧立方過去的十年，更希望的是通過時間作為參照，來對 我們的生存時空進行再思考。在此之中，我們得以檢視自上個世紀以來人類經歷的移動、離散或聚合，戰 爭、病疫、災難的發生乃至於人與歷史、人與自然的關係的課題，同時，也對曾經洋溢的科技樂觀主義和 經濟全球化的生存價值進行新的評估。立方邀請了曾經合作過的七位藝術家──台灣的侯俊明、陳界仁、 鄧兆旻，來自香港的李傑、馬來西亞的區秀詒、柬埔寨的萬迪拉塔那及中國的鄭波，從他們兼具知性與感 性的觀察、田野研究等不同的視角出發來進行不同層面的探索。參展作品雖非全數新作，而如今觀之，有 些作品詩意地預見了今日動盪的世界，甚至可能是即將來到的變局，這或許是因為歷史總是驚人地相似， 也或許歷史早就激起敏感的藝術家對環境及文明發展的思忖。 在這個特別的時間點，「測繪」仍是持續的思想行動。立方計劃空間一方面以此對所有曾經與我們合作過、 啟發我們的朋友，以及曾給予立方計劃空間不同形式的熱忱支持的個人、同儕團體表達由衷的感激，另一 方面，我們也期待藉這個機會積極審視一個藝術微型機構在當下時代所能扮演的角色，並從中提取、凝聚 出更多關於未來實踐的方法和信念。

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The Topography of a Decade

In general understanding, “ten” is emblematic of “consummation,” for it implies “cycle” as well as “reset and

restart.” We celebrate the “ten-year” milestone in the development of TheCube Project Space. The visual imagery of the number of ten resembles not only an ouroboros but also a fractal world that continues

unfolding in a cyclical and ever-changing fashion. In the meantime, it refers to our retrospect of the past and prospect of the future from the perspective of a boundary crosser. In view of these implications, “ten”

is not merely a number that denotes the decade of TheCube’s operation, but also a clue for the topographic mapping that guides us to rethink the experience of cultural production in Taiwan and its prospects in the 21st century.

From 2010 to 2019, TheCube had collaborated with upwards of 200 artists, curators and cultural practitioners in various forms, organizing more than 50 exhibitions and over 100 public performances, talks and forums in different scale. If we construe the entire process as individuals’ and a group’s exploration, cognition and reasoning of the world we live in, we may also make a more macroscopic

topography beyond our current horizons via the works and practices that TheCube followed closely over the past decade. The topographic approach is ergo tantamount to human beings’ attempt to depict and grasp their living environment by amassing observational data and experiences of all stripes.

Accordingly, the “topographic mapping” here is a dynamic, ongoing process, and TheCube orientates itself

exactly toward building a creative, alternative platform of knowledge production by employing curatorial practice in a broader sense. TheCube is physically located in Taipei’s Gongguan District, in a building that was formerly a hotel and steeped in history over the course of urban development. TheCube’s past subtly embodied its current identity through a sui generis process of spatio-temporal transformation. The late

cultural practitioner Shih-Chieh llya Li formulated the concept of “difference inn” when he was organizing

the lecture series for the 2018 Praxis School. To some degree, the concept vividly depicts an ideal quality of contemporary (cultural) spatial production: supporting and constructing an “inn” as difference-

tolerant as open to the multitude (i.e., guests from all corners of the world) for exchange and dialogue.

Today, the imagery of “difference inn,” along with the imagination and reasoning it inspired, has found a

more powerful expression in the world where everything is homogenized while ideological barriers are incessantly erected.

As TheCube’s tenth anniversary exhibition, The Topography of a Decade is intended not only to review TheCube’s artistic practice over the past ten years, but also to rethink the space-time we live in from the temporal dimension. Thus, we are able to examine the issues concerning human migration, diaspora

and aggregation, the occurrence of wars, pandemics and disasters, as well as the humanity-history and

humanity-nature relations since the 20th century. Besides, through this exhibition, we seek to re-evaluate the once prevailing technological opportunism and the value of existence under economic globalization.

Featuring seven artists who had previously collaborated with TheCube (incl. Hou Chun-Ming, Chen

Chieh-Jen, and Teng Chao-Ming from Taiwan, Lee Kit from Hong Kong, Au Sow-Yee from Malaysia, Vandy Rattana from Cambodia, and Zheng Bo from China), this exhibition sets out on an exploratory journey

across different aspects from their diverse perspectives, field surveys, and observations that reconcile

sense and sensibility. Although not all the exhibits are newly created, some of them poetically portended TheCUBE

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today’s turbulent world and even the imminent changes. Perhaps “history repeats itself” explains such coincidence, or history has already galvanized astute artists to ponder on the environment and the progress of civilization.

At this special moment, topographic mapping continues to be an ongoing thinking–action. On the one hand, we would like to express our heartfelt gratitude to those who had cooperated with as well as inspired and supported us in different forms. On the other hand, we seize this opportunity to examine the roles that

a micro artistic institution can play at the present time, through which we will extract and pioneer more methods and convictions for future practice.

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區秀詒 Au Sow-Yee

克里斯計畫 II：If the Party Goes On 錄像，13 分 52 秒，物件，2016

序：To the Party（特別版）

手製筆記本、文字敍述，2016

以電影和虛構作為方法，區秀詒化身其分身 Ravi ──一名消失於棉佳蘭叢林的電影導演──重新想像與建 構一個電影工作室和其幽魂。棉佳蘭是位於南海（不管你如何命名）一座想像的島嶼 / 地方。〈克里斯計

畫 II：If the Party Goes On〉藉由 Ravi 未完成的腳本、一些文件以及一部電影，交織想像與歷史。這組作 品試圖揭示邊界製造和神話建構的複雜與變動狀態。「腳本」與電影本身顯現了「陸」──一名二戰後電

影史上具影響力的電影大亨轉變成情報員的故事。這名情報員詮釋了不同的角色，展開跨越了時間、國家、 傳說以及神話界線的旅程。透過「陸」參與過的破碎而不斷變幻的「派對」，這些「陸」的分身檢視了諸 如政治、邊界、移動以及他者化等關鍵字。

Kris Project II: If the Party Goes On Video, 13’52’’, object, 2016

Prelude: To the Party (special edition) Hand-made notebook, text, 2016

Using both film and fiction as a method, Au took up the heteronym, Ravi, a fictional filmmaker lost in

the forest of Mengkerang, imagining and recreating a film studio as well as its’ ghosts and remnants.

Mengkerang is an imaginary island/place located somewhere within the South China Sea (whichever you would like to call it). The Kris Project II: If the Party Goes On intertwined the imagined and history, bringing

together Ravi’s unfinished script, documents and a film. It is an attempt to uncover the complexity and

shifting conditions of border-making, myth-making and to remap (historical) time as well as power structure through the influence of post-war film industry in the region. The narrative of both the script

and film reveals Loke, also a film tycoon and an influential figure in the history of film industry during the post-war era, transforming into a secret agent, depicting numerous characters and embarking on a

journey crossing the borders of time, countries, folklores and mythologies. Through the fractured and transfiguring “party” that Loke has attended, these other selves look into keywords such as politics, borders, mobility and alienation.

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〈克里斯計畫 II：If the Party Goes On〉錄像擷圖 Kris Project II: If the Party Goes On, video still

〈克里斯計畫 II：If the Party Goes On〉錄像擷圖 Kris Project II: If the Party Goes On, video still

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〈序：To the Party〉 Prelude: To the Party

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區秀詒

Au Sow-Yee

出生長大於馬來西亞吉隆坡；現工作、生活於台北。

Born in Malaysia, she now lives and works in

區秀詒的創作主要以錄像、 觀念、 裝置等混合形 式，探討和擴延影像與影像製造以及和歷史書寫、 政治、 權力之間的關係。 她曾經入圍「2018 年亞

太 藝 術 獎 」（Asia Paci�ic Breweries Foundation

Signature Art Prize） 以 及 2018 Hans Ne�ken 基

金 會 巴 塞 羅 納 Loop 錄 像 藝 術 獎。 作 品 曾 在 首 爾

MMCA、 東京森美術館、 柏林 HKW、 曼谷文化與 藝術中心（BACC）、上海外灘美術館、新加坡國際

電影節等展覽與電影節發表。她也是「數位荒原」

特約作者， 吉隆坡「 亞答屋 84 號圖書館 」 共同創 辦人之一。 典藏紀錄

• 新加坡美術館

• 馬來西亞國家美術館

Taipei. Au’s works focus mainly in questioning,

ex plor ing a s wel l a s ex pa nding t he relat ion between images, image making, historiography, politics and power, through video installation and

other mediums. A finalist for the 2018 Asia Pacific Breweries Foundation Signature Art Prize and Han Nefkens Foundation – Loop Barcelona Video Art Award 2018, Au’s works were exhibited in MMCA

(Seoul), Mori Art Museum (Tokyo), HKW (Berlin), Shanghai Rockbund Art Museum, Singapore Film Festival among others. Au is a guest writer for

online magazine No Man’s Land and co-founded K u a l a L u m p u r ’s R u m a h A t t a p L i b r a r y a n d Collective in 2017.

Collection • Singapore Art Museum • National Art Gallery (Malaysia)

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陳界仁 Chen Chieh-Jen 十二因緣－生Ｉ

彩色典藏級照片，75 × 60 公分，1999-2000

陳界仁於 1999 至 2000 年，以預演形式開始拍攝探討「虛假未來」的「十二因緣」系列攝影作品時，同時 拍攝短片〈十二因緣－思考筆記〉，並計劃將其發展成一部更完整的影片，但這個計畫最終並未實現。

短片中，兩位視障者在遍佈監視器的封閉環境內，想像著科技技術超速發展後的未來世界，在這個世界裡 有一位懷孕女性，夢見她的孩子將出生於大瘟疫發生的時代，以及一群被網路連接線串連 / 穿透的後人類， 在與電腦主機失聯下的失魂狀態……，而這一切都被監看器持續紀錄，並上傳至不知位於何方的主機。

十八年後，當人類社會已完全進入由公司王國（Corporatocracy）所主導的世界，每個個體也都以看似日

常的消費行為，成為了可被隨時監控與操控之人時，陳界仁重新編輯這部短片──儘管當前的世界，並不 像影片中瀰漫著末世氛圍，但人處於被監控與操控的狀態，確實已成為新型態的生命政治，而這一切問題 的根源，不只與科技技術有關，更與佛教討論人類貪婪的欲望，爲何會無止境膨脹的十二因緣相關。 〈 十二因緣 － 生 Ｉ〉 為《 十二因緣 》 系列攝影作品的第一張， 照片中當時還在母親體內的胎兒， 如今已 二十歲。他母親二十年前的夢境──一個將發生大瘟疫的時代，已成為此刻的現實。

The Twelve Karmas – Birth I

Color photograph archival quality photo paper, 75 × 60 cm, 1999-2000

Chen Chieh-Jen shot a short film Notes on the Twelve Karmas between 1999 and 2000 while making a series

of photographs titled The Twelve Karmas. The series was based on the notion of rehearsing for life in future society, and also the notion that the future as a concept usually delivers less than what has been promised,

and is therefore a sham. At the time, Chen had planned to extend this short into a full-length film, but that was never realized.

In the film, two visually impaired people are in a closed space filled with surveillance cameras. They imagine a future world shaped by accelerated technological development, and in this world, there is a pregnant woman who dreams that her baby is born during a pandemic. There are also several posthumans who are uncertain what to think or do after their network cables become disconnected from their host

computer. All of this is recorded by the surveillance cameras and uploaded to the host computer, which is in an unknown location.

Nearly two decades later in 2018, the world was completely dominated by a corporatocracy, and the

seemingly normal activity of consumerism had resulted in everyone being constantly monitored and manipulated, a situation that prompted Chen to re-edit the film. Even though today’s world is not

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suffused with the apocalyptic atmosphere we see in the film, we do live in a bio-political state of constant TheCUBE

monitoring and manipulation. The source of this problem is not just technology, but also the continual expansion of greed and desire, which is discussed in Buddhism's Twelve Karmas.

The Twelve Karmas – Birth I is the first photograph of its series. In this photo, the baby in the womb is 20year old now. The dream from his mother — a coming area of a pandemic, becomes reality at this moment.

〈十二因緣－生Ｉ〉 The Twelve Karmas – Birth I TheCUBE

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陳界仁

Chen Chieh-Jen

1960 年生於台灣桃園， 目前生活和工作於台灣台

Born in 1960 in Taoyuan, Taiwan, Chen Chieh-

北。在冷戰 / 反共 / 戒嚴時期，陳界仁曾以遊擊式 的行為藝術干擾當時的戒嚴體制，1987 年解除戒

嚴後，曾停止創作八年。1996 年重新恢復創作後， 開始和失業勞工、臨時工、移工、外籍配偶、無業

青年、社會運動者等進行合作，並通過佔據資方廠 房、潛入法律禁區、運用廢棄物搭建虛構場景等行 動，對已被新自由主義層層遮蔽的人民歷史與當代 現實，提出另一種「再－想像」、「再－敘事」、 「再－書寫」與「再－連結」的拍攝計畫。 其作品曾個展於：盧森堡現代美術館、台北市立美 術館、洛杉磯 REDCAT 藝術中心、馬德里蘇菲雅皇

后國家美術館、紐約亞洲協會美術館、巴黎網球場

國家畫廊等機構。參加過的聯展包括：威尼斯雙年 展、聖保羅雙年展、里昂雙年展、利物浦雙年展、 哥德堡雙年展、伊斯坦堡雙年展、莫斯科雙年展、 紐奧良雙年展、雪梨雙年展、台北雙年展、光州雙 年展、上海雙年展、深圳雕塑雙年展、科欽－穆吉 里斯雙年展、廣州三年展、福岡亞洲藝術三年展、 布里斯本亞太三年展等當代藝術展覽，以及阿爾、 西班牙、里斯本等攝影節。並曾獲 2018 年 AAC 藝 術中國年度影響力評選 — 年度藝術家、2009 年台 灣國家文藝獎─視覺藝術類、2000 年韓國光州雙

年展特別獎。

典藏紀錄 ( 節選 )

• 法國：龐畢度中心、國家造型藝術中心 • 瑞士：瑞士銀行藝術收藏基金會 • 西班牙：COFF 攝影基金會

• 日本：森美術館、福岡亞洲美術館 • 美國：亞洲協會美術館

• 澳洲：新南威爾斯美術館

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• 台灣：台北市立美術館

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Jen currently lives and works in Taipei, Taiwan.

Chen employed extra-institutional underground exhibitions and guerrilla-st yle ar t actions to

challenge Taiwan's dominant political mechanisms during a period marked by the Cold War, anticommunist propaganda and martial law (1950 – 1987). After martial law ended, Chen ceased art

activity for eight years. Returning to art in 1996, Chen started collaborating with local residents,

unemployed laborer s, day worker s, mig ra nt workers, foreign spouses, unemployed youth and

social activists. They occupied factories owned by capitalists, slipped into areas cordoned off by the law and utilized discarded materials to build

sets for his video productions. In order to visualize

contemporar y realit y and a people’s histor y that has been obscured by neo-liberalism, Chen embarked on a series of video projects in which

he used strategies he calls “re-imagining , renarrating, re-writing and re-connecting.”

He h a s held solo e x h ibit ion s at t he Mud a m

Luxembourg; the Taipei Fine Arts Museum; Redcat

art center in Los Angeles; the Museo Nacional Centro De Arte Reina Sofia in Madrid; the Asia

Society in New York; and the Galerie nationale du Jeu de Paume in Par is. Group ex hibit ions

include: the Venice Biennial, São Paulo Biennial, Lyon Biennial, Liverpool Biennial, Gothenburg

Biennial, Istanbul Biennial, Moscow Biennial, New Orleans Biennial, Sydney Biennial, Taipei Biennial,

Gwangju Biennial, Shanghai Biennial, Shenzhen Sc u lpt ure Biennia l, Kochi-Mu zir is Bienna le, Guangzhou Triennial, Fukuoka Triennial, and the

Asia Pacific Triennial. Chen has also participated

in photog raphy fest ivals in A rles, Spain and Lisbon. He was also the recipient of the Award of Art China—Artist of the Year in 2018, the Taiwan

National Culture and Arts Foundation's National Award for Arts in 2009, and the Korean Gwangju Biennial Special Award in 2000.

Collection (selected)

• France: Centre Georges-Pompidou, Centre national des arts plastiques

• Switzerland: UBS AG The UBS Art Collection Zürich, Switzerland

• Spain: COFF Photography Foundation

• Japan: Mori Art Museum, Fukuoka Asian Art Museum

• U.S.: Asia Society Museum (N.Y.)

• Australia: Art Gallery of New South Wales • Taiwan: Taipei Fine Arts Museum

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侯俊明 Hou Chun-Ming 香港罪與罰

凸板油印、手工棉紙，195 × 81cm，三件一套，1996

香港 1997 回歸的前一年，香港藝術中心的何慶基先生策劃了一個街頭藝術活動「走出畫廊」，邀請我到 香港進行一個月的創作。

在香港一個月的期間，透過安排訪談當地民眾、到書報資訊的收集，我整理了當時香港人比較關切的幾項 政治、社會和文化問題。我雖然是以一個外來藝術家的身分進入香港創作，但在同文同種，以及香港與台 灣在某些處境相似的背景因素下，很多的社會情境很容易就觸動我。例如，香港底層社會的「籠民生活」， 所謂的家就只是一張床，寒流來襲，許多孤貧的老人因而凍死；因此，我仍然以一貫反諷的手法，來反思 在這個時空環境下人民承受苦難的問題。 我以仿照中國民間地獄圖的形式來「審判」香港人，將這些印製的版畫海報在香港的銀行門市、街頭四處 張貼。加上 1995 年中共在台灣海峽試射飛彈事件，引發兩岸關係緊張，所以，我頭戴枷鎖，親自在香港

街頭散發「香港罪與罰」的版畫傳單，某一種層面上也想表達：在強權政治的現實裡，台灣人也同樣在遭 受的罪與罰。

Sin and Punishment in Hong Kong

Relief printing (mimeograph), hand-made cotton paper, 195 × 81cm each (a set of 3), 1996

In 1996, a year before the handover of Hong Kong, Mr. Oscar Ho from the Hong Kong Arts Centre organized a street art event titled “Walking out of Gallery” and invited me to be an artist-in-residence there for one month.

During my stay in Hong Kong, I interviewed locals and collected data from papers and books, through which I sorted out several political, social and cultural issues in Hong Kong people’s serious concern.

Since Taiwan and Hong Kong have common cultural and ethnic heritage along with certain shared circumstances, the lat ter’s social ambience had many resonances for me, a foreign artist there notwithstanding. Take the cage dwellers from the underclass for example. The cages they call “home” consist of nothing other than a bed. The poverty-stricken, forlorn elderly among these cage dwellers may die needlessly of hypothermia in cold spell. Hence I followed my consistent approach of irony to cogitate people’s suffering within this context.

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This work was intended to bring Hong Kong people to “trial” by virtue of the scenes of traditional Chinese Hell presented in the form of prints and posted at local banks, stores and everywhere in the streets. On top of that, the cross-strait tensions was running high during the Third Taiwan Strait Crisis from 1995 to 1996. Therefore, I put on stocks and chains, distributing the leaflets of “Sin and Punishment in Hong Kong” on the street, for the express purpose of articulating the view that, to some degree in real power politics, Taiwanese people share the same sin and punishment with their counterparts in Hong Kong.

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〈香港罪與罰〉 Sin and Punishment in Hong Kong TheCUBE

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〈香港罪與罰〉 Sin and Punishment in Hong Kong

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〈香港罪與罰〉 Sin and Punishment in Hong Kong TheCUBE

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侯俊明

Hou Chun-Ming

1963 年出生於台灣嘉義縣六腳鄉， 貫以「 六腳侯

B or n i n L iuc h i ao Tow n sh ip, C h i ay i C ou nt y,

氏」署名，畢業於國立藝術學院（現改制為國立台

北藝術大學）美術系第一屆。九十年代以裝置、版 畫形式進行創作，大膽挑戰禁忌、富儀式性，作品 恆常與當下台灣政治環境和社會現況有密切關聯， 曾於 1995 年及 2013 年受邀威尼斯雙年展等國際 展。近年創作轉向心靈探索的隨手畫、自由書寫和

以文字形音義為發想並結合台灣民俗信仰之漢字創 作；並於 2008 年起陸續於橫濱、台北、台中、曼谷、 嘉義、香港及首爾等城市進行《亞洲人的父親》訪 談創作計畫，其最新的創作系列──《身體圖》創 作也依訪談模式進行身體慾望的意象探索。 著有《搜神記》時報出版；《三十六歲求愛遺書》 大塊出版；《榖雨 ‧ 不倫》華藝文化出版；《鏡之戒》 心靈工坊出版；《侯俊明的罪與罰》田園城市出版 及《跟慾望搏鬥是一種病：侯俊明的塗鴉片》心靈 工坊出版。 典藏紀錄（節選）

• 德國：路德維國際藝術論壇 • 日本：福岡亞洲美術館 • 澳洲：白兔美術館

• 台灣：台北市立美術館 • 台灣：高雄市立美術館 • 台灣：國立台灣美術館

• 台灣：帝門藝術教育基金會 • 台灣：玟秀收藏室 • 台灣：伍角船板

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Taiwan in 1963, Hou Chun-Ming graduated from the National Arts Academy (now Taipei National

Universit y of t he A r t s) and st yles himself as

Hou of Liuchiao Township. He engaged in taboobreaking installations and woodcut prints as early

as in the 1990s, and his uncanny and ritualistic

artworks always faithfully ref lect the political and social status quo of Taiwan. Hou has been invited to participate in many international art

exhibitions including the Venice Biennale, Taiwan

Pav ilion in 1995. In recent years, he has re-

orientated his artistic practice towards freehand draw ing in which he f inds inner sustenance,

écriture automatique, and Chinese characters

t hat represent an aest het ically pleasing mi x of configuration, pronunciation, meaning and Ta iwa nese fol k belief s . Since 2008, Hou ha s

embarked on The Asian Father Interview Project, an interview-based art series created successively in

Asian cities including Yokohama, Taipei, Taichung, Bangkok, Chiayi, Hong Kong and Seoul. His latest

work Body Images once again uses interview-based

techniques and methodologies to transform bodily desires into artistic expressions.

He is t he aut hor of severa l book s, including Anecdotes about Spirits and Immortals (China

Times Publishing, 1994), A Suicide Message of Dying

on Love at Age 36 (Locus Publishing, 2002), Grain Rain· Amorous Affair (Cans Art, 2007), The Caution in Mirror (Psygarden Publishing, 2007), Legend

Hou’s Sin & Punishment (Garden City Publishing,

2008) and Suffer from Desires: Hou Chun-Ming’s Free Drawing (Psygarden Publishing, 2013).

Collection (selected)

• Ludwig Forum for the International Art (Germany)

• Fukuoka Asian Art Museum (Japan) • White Rabbit Gallery (Austrailia)

• Taipei Fine Arts Museum (Taiwan)

• National Taiwan Museum of Fine Arts (Taiwan) • Dimension Endowment of Art (Taiwan) • Windsor Collections (Taiwan) • Five Dime (Taiwan)

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李傑 Lee Kit Sing an anthem.

典藏級數位輸出，木框，66 × 50 cm，2020

Digital archival print, wooden frame, 66 × 50 cm, 2020

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李傑

Lee Kit

1978 年生於香港，現居住和工作於香港和台北。

Born in 1978 in Hong Kong, Lee Kit lives and works

（2019）、 日本東京原美術館（2018）、 義大利

Recent solo exhibitions include: Art Sonje Centre,

近 期 個 展 包 括 韓 國 首 爾 Art Sonje 藝 術 中 心

聖喬瓦尼瓦當諾 Casa Masaccio （2018）、中國深 圳 OCAT （2018）、 比 利 時 根 特 S.M.A.K. 當 代 美

術館（2016）、 美國明尼阿波利斯沃克藝術中心

（2016）、 日本東京資生堂藝廊（2015）、 第 55 屆威尼斯藝術雙年展（2013）等。

聯展包括法國里昂雙年展（2019）、夏威夷檀香山

雙年展（2019）、法國巴黎東京宮美術館（2017）、

尼泊爾加德滿都三年展 （2017）、 台灣台北關渡

美術館（2016）、捷克布拉格國立畫廊（2016）、 阿聯酋沙迦雙年展（2015）、 俄羅斯烏拉爾當代

藝術工業雙年展（2015）、 德國巴登國立美術館

（2014）、 荷蘭伯尼芳坦博物館（2014）、 上海

外灘美術館 Hugo Boss 亞洲新銳藝術家大獎聯展 （2013）、紐約現代藝術博物館（2012）等。

典藏紀錄（節錄） • 法國巴黎龐畢度中心 • 日本東京原美術館 • 香港 M+

• 美國紐約現代美術館

• 比利時根特市立美術館 • 英國倫敦泰特美術館

• 美國明尼阿波利斯沃克藝術中心

in Hong Kong and Taipei.

Seoul, Korea (2019); Hara Museum, Tokyo, Japan

(2018); Casa Masaccio, San Giovanni Valdarno, Italy (2018); OCAT, Shenzhen, China (2018); S.M.A.K., Ghent, Belgium (2016); Walker Art Centre,

Minneapolis, U.S.A. (2016); Shiseido Gallery, Tokyo (2015); and the 55th Venice Biennale, Italy (2013), among others.

Group shows include: Lyon Biennial, France (2019); Honolulu Biennial, Hawaii (2019); Palais de Tokyo,

Paris, France (2017); Kathmandu Triennale, Nepal (2017); Kuandu Museum of Fine Arts, Taipei,

Taiwan (2016); National Gallery in Prague, Czech Republic (2016); Sharjah Biennial, UAE (2015);

Ural Industrial Biennial, Yekaterinburg, Russia (2015); Staatliche Kunsthalle, Baden Baden,

Germany (2014); Bonnefantenmuseum, Maastrich,

Netherlands (2014); Hugo Boss Asia Art, Rockbund Museum, Shanghai, China (2013); MoMA, New

York, U.S.A. (2012); New Museum, New York, U.S.A. (2012), among others.

Collection (selected) • • • • •

Centre Pompidou (Paris, France) Hara Museum (Tokyo, Japan) M+ (Hong Kong) Museum of Modern Art (New York, USA) Stedelijk Museum voor Actuele Kunst (Ghent, Belgium) • Tate Modern (London, UK) • The Walker Art Centre (Minneapolis, USA) TheCUBE

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鄧兆旻 Teng Chao-Ming 這麼多年過去，

藝術微噴（842 × 1189 mm），平版印刷（297 × 420 mm），2019

〈雨夜花〉發行於 1934 年（在皇民化運動開始之前，閩南語歌曲曾有一段很短的榮景），描述一個憂鬱女

性的故事及其心情，至今已超過三十位歌手曾灌錄發行過這首歌曲。〈雨夜花〉有超過九個版本的歌詞（閩 南語、日語及普通話），並在各大大小小的造勢大會、紀念儀式、宗教活動以及任何需要一點台灣懷舊 /

團結感的場合被演唱。作為一個譬喻，「雨夜花」三個字曾被用來形容日治時期台灣共產黨創黨黨員謝雪

紅的一生，在黨外雜誌被用來描述台灣民主運動的悲劇宿命觀，也曾被用來描述台灣的經濟發展史。這首 歌曾被官方禁過幾次，更被許多人厭惡，但也多次被轉化為舞台劇、電影、電視劇，甚至出現在最近倍受 歡迎的電玩遊戲中被當做主要關卡的解謎線索。文化研究者研究著〈雨夜花〉的精神現象學，前總統李登 輝曾公開表示希望國人不要再唱這首歌，而當 2002 年西班牙男高音多明哥來台辦演唱會時，〈雨夜花〉則 是他唯一選唱的台灣歌曲。

鄧兆旻選擇以反轉慣常的方式來豐富這段歷史的閱讀可能：他視〈雨夜花〉這首歌曲在「出生」之後為「求 生存」，竭盡所能地利用各種策略與手段，一步步往「永生」目的前去。他持續收集這首歌在過去八十多 年間所留下的紀錄，整理成年表呈現在展場。而〈雨夜花〉作為一個行動主體，鄧兆旻也為它寫下一篇「回 顧」的自白文章：以第一人稱的擬人化口吻，呈現了〈雨夜花〉過去的起落。它是如何動員各方的人事物， 與不同時代的社會氛圍與政經關係合縱連橫，讓自己得以提升到台灣民謠的代表地位。這件作品挑戰人與 物件的關係，物不單只是為人指揮所用，人也同時被物定義。兩份文字呈現在同一張可讓觀眾隨意拿取的 印刷單張，〈雨夜花〉的過去繼續擴散，而未來？沒人知道。 鄧兆旻過去幾年的藝術實踐利用台灣做為範例，持續實驗著敘事的可能性。對他來說，我們永遠都在跟故 事互動，永遠都在建構敘事，而這些活動形塑了我們對於能動性、因果關係、不確定性以及時間的認識。 鄧兆旻的作品提供了我們更多的工具與譬喻概念，以藝術家自己的話來說：「我們都期望個體與社會的健 康，挑戰其實在於如何加強這些敘事網絡流動的生氣、活力、與開放性。人類，是依附在敘事上生存著的。」

After All These Years,

Archival giclée prints (841 × 1189 mm), digital offset prints (297 × 420mm), 2019

Rainy Night Flowers tells the unfortunate story and feelings of a depressed young woman using the metaphor of a delicate flower. It was released in 1934 during the burgeoning (and very short-lived) period of Taiwanese-language pop songs under Japan's colonization. This song has been released in records

by more than 30 singers and songwriters (most recently in 2016), with nine different versions of lyrics written in Taiwanese, Japanese and Mandarin Chinese. It was performed at numerous political campaigns,

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memorial and religious ceremonies of all kinds, and wherever some dose of Taiwanese nostalgia/solidarity

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is in need. The song once earned its -ism status—Rainy Night Flowers-ism—coined by people in the 80s who think of it as a mentality that is stopping Taiwan’s true independence. It was used by writers to title their books, including a biography of the famous female Taiwanese communist leader, and an examination

of Taiwan’s economy in the 80s. It was banned several times and rejected (still) by many, while also transformed into theater plays, movies, novels and most recently the main puzzle to be solved in a world–

famous video game. It was studied by theorists from a phenomenological perspective, condemned openly by an Ex-President of Taiwan and (after two years) chosen by the Spanish tenor Placid Domingo to perform at his concert in Taipei.

Teng conducted an extensive research on the birth of the song, where and by whom this song has been

recorded, performed, transformed, exploited, and how this metaphor of flowers in a rainy night has been used for various purposes (new items are still being added, whenever Teng finds any new materials).

Compiled these collected quotes from archives, recordings and news clippings chronologically, the artist presents an evolution history of the song. Not surprisingly, the biography of the song’s still ongoing life,

coincides very nicely with the past of the island now under the name of Taiwan. The artist reads this rich

history of the song by reversing the conventional mapping of the network of agency. Rainy Night Flowers,

under this view, has been actively fighting for survival using all possible strategies and tactics for all these years and has finally achieved immortality. Teng demonstrates this by fictionalizing Rainy Night Flowers’ life-long ups and downs and lessons learned into a first-person point-of-view confession by the song itself:

how it mobilizes people and institutions from all sectors for such a long period of time, allies with different socio-political-economic environments/thoughts, and raises itself to the status of the representative of Taiwanese folk songs.

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〈這麼多年過去，〉 After All These Years,

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〈這麼多年過去，〉 After All These Years, TheCUBE

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鄧兆旻

Teng Chao-Ming

出 生 與 工 作 於 台 北。 麻 省 理 工 學 院 建 築 規 劃 學

Born and currently lives in Taipei. Teng graduated

院， 媒體藝術與科學碩士畢業之後定居於紐約， 於 2012 年底返回台灣居住。過去獲邀的重要展覽 包括 2012 台北雙年展「 現代怪獸─想像的死亡

與復生 」、2013 年日本大阪堂島川雙年展「little

water」、2014 年「造音翻土：戰後台灣聲響文化

的探索 」（ 北師美術館 / 高美館巡迴展 ）、2015

年「失調的和諧」（韓國首爾 Art Sonje 藝術中心）、 「 RR

ZZ 」（義大利米蘭 Gluck 50）、「廣島

三部曲 」（ 日本廣島當代美術館 ）、 2016 年「 公

共精神 」（ 華沙當代藝術中心 ）、2018 年「 歷史

變體」（TKG+ 畫廊）、2019 年「即溶生活」（北

師美術館）、「旋轉歷史編撰學的爆炸圖」（日動 畫廊）等。 典藏紀錄 〈這麼多年過去，〉（第一版）私人收藏。

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from the Media Arts and Sciences program from

MIT School of Architecture and Planning. Recently

shows (selected) include Taipei Biennial (Taiwan, 2012), Dojima R iver Biennia l ( Japa n, 2013),

ALTERing-NATIVism─Sound Cultures in Post-War Taiwan (Taiwan, 2014), Discordant Harmony (Art Sonje Center, Korea, 2015), “ RR

ZZ “ (Gluck 50,

Italy, 2015), Hiroshima Trilogy: Part III, Hiroshima

MOCA, (Japan, 2015), Public Spirits (Warsaw CCA, Poland, 2016), Metahistory (TKG+ Gallery, Taiwan, 2018), Mercurial Boundaries (Museum of NTUE, Taiwan, 2019).

Collection Af ter All These Years (1/3 edit ion) ha s been collected privately.

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萬迪・拉塔納 Vandy Rattana 炸彈池塘

錄像，23 分 46 秒，2009

攝影，100 × 121.6 公分，2009 （「炸彈池塘」系列攝影作品之一，全套共九張）

藝術家萬迪·拉塔納在作品〈炸彈池塘〉（2009）中描述的主題，是段關於美國駐軍在柬埔寨的歷史。一系 列錄像與攝影作品凝視美軍轟炸行動對於柬埔寨的景色、人民和集體記憶造成的深遠影響。

〈炸彈池塘〉起源自藝術家另一組攝影系列〈經．歷〉（Walking Through）──拍攝柬埔寨於法國殖民時

期引進的橡膠種植場；創作期間，藝術家因緣際會發現當地人口中的「炸彈池塘」，一個個出現在柬埔寨

鄉間稻田的人為坑洞。這些坑洞，是美軍在 1964 年至 1973 年間，於政治中立國柬埔寨境內，投擲 2,756,941

噸炸彈造成的。這一數據直到 2000 年，才隨著美國總統柯林頓出訪越南時，被美國當局低調公佈。

有鑒於相關歷史檔案的闕如，萬迪·拉塔納開始走訪被美國軍事行動蹂躪摧殘最嚴重的十個柬埔寨省份，與

當地居民一同找尋這些炸彈坑的存在。九張寧靜神秘的風景照和一部單頻道錄像作品正是這一路探查的結 果，記錄著他們對美軍轟炸的記憶，以及今日他們與炸彈池塘共存的生活關係。 直至今日，過去這些柬埔寨境內的軍事行動仍具爭議性，不論這些行動是否促成赤柬（Khmer Rouge）的

崛起、激發群起反抗，抑或是給予柬埔寨人民需要的援助──縱然造成了生命的嚴重傷亡，這場硬仗點出

柬埔寨人民在歷史過程中，面對來自泰國（暹羅）、法國、日本、越南及美國等各方，在政策管理、認同 意識、領土問題的種種干涉；而且正如藝術家所強調的，其複雜程度更甚已公開的歷史。〈炸彈池塘〉見 證柬埔寨對抗歷史修正主義（revisionism）時的掙扎，強調這些軍事行動帶來無止盡的傷害，更希望觀眾

看見當地居民和土地的脆弱與韌性，進一步重新思考越戰期間美軍的行為，以及現今在全球各地從未停歇

的類似暴力。

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Bomb Ponds Video, 23’46”, 2009

Photography, 100 × 121.6 cm, 2009 (part of Bomb Ponds series, a set of 9 )

The history of American presence in Cambodia is the subject of Vandy Rattana’s Bomb Ponds (2009), a video and series of photographs that look at the lasting effects of U.S. bombing operations on the nation’s landscape, its people, and their collective memory.

Bomb Ponds has its origins in the production of another series of photographs by the artist, Walking Through (2009), which pictures Cambodian rubber plantations introduced during French colonization.

While developing this sequence, the artist chanced upon what locals called “bomb ponds,” the man-

made craters emerged from the midst of Cambodia’s rice fields. These craters resulted from the fact that between 1964 and 1975, the United States of America military dropped 2,756,941 tons of bombs across

politically neutral Cambodia. This figure was quietly released by the American government only until 2000 when Bill Clinton traveled to Vietnam.

Unsatisfied with the level of documentation and investigation produced on the subject, Vandy Rattana

traveled to the ten Cambodian provinces most severely bombed in the U.S. military and engaged villagers in locating the existence of the craters made by the bombings. The resultant work is a series of nine quiet, mysteriously serene landscape photographs and a one-channel documentary film in which villagers describe their memories of the bombings and their relationship to the ponds today.

It is debatable whether the military operation in Cambodia contributed to the rise of the Khmer Rouge, its

aggression fueling the resistance or, despite the loss of life and livelihood, aided the Cambodian people.

Either way, the assault points towards the various interventions that Cambodians have faced throughout history, of Thai (Siam), French, Japanese, Vietnamese, and American origin. These interventions were

variously administrative, ideological, and territorial, and were, as the artist emphasizes, often more complex than official histories suggest.

Bomb Ponds stands as witness to a continuing struggle against Cambodian historical revisionism and

underscores the enduring damage wrought by military operations. With the hope, it invites the audiences to see both the fragility and the resilience of the people and the land, and furthermore, to reconsider the

historical thread of America’s actions during the Vietnam War and the similar acts of violence worldwide nowadays.

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〈炸彈池塘〉錄像擷圖 Bomb Ponds, video still

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〈炸彈池塘〉錄像擷圖 Bomb Ponds, video still

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〈炸彈池塘〉攝影 Bomb Ponds, photography

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萬迪·拉塔納 生於柬埔寨紅色高棉時期之後，成長於金邊。萬迪·

拉塔納藉由隱晦、平靜的影像畫面，描繪歷史暴力

設計美術館，2019）；「地圖的呼吸」（山口媒體

的種種篇章。 自 2005 年起， 他開始嘗試以攝影進

亞當代藝術」（東京森美術館，2017）；「伏流 ‧

行創作，結合一系列類比式相機及格式，橫跨了紀 實攝影與藝術實踐。

其近期作品趨向探討史學和影像製作間的哲學。對 萬迪·拉塔納來說，當代的攝影有著虛構的結構、抽 象和詩意的表象，亦表現了其自身的歷史。

2009 年， 攝影及錄像作品〈 炸彈池塘 〉 透過照片

中的彈坑， 訴說了柬埔寨人歷經 1964 年到 1973 年間， 遭受美軍地毯式轟炸後的心理創傷。 萬迪· 拉塔納透過觀景窗紀錄了柬埔寨如詩畫般的鄉村風 景，也揭露了此地過去的傷疤。 在他發表第一部短片〈獨白〉（2015）之後，接著 又陸續創作〈葬禮（預告片）〉（2018）以及〈……

在遠處，就在那裡，有座海洋（預告片）〉（2019） 等短片。隨後，三部短片組合成系列的三部曲作品。

2007 年， 萬迪· 拉塔納擔任柬埔寨藝術組織 Stiev

Selapak /Art Rebels 的共同創辦人，並於 2009 年，

共同成立莎莎藝廊（Sa Sa Art Gallery）。2011 年， 協助創立 SA SA BASSAC， 成為柬埔寨第一個致力 於經營當代藝術的展覽空間。2014 年， 共同創辦

Ponleu 協會，旨在以高棉語翻譯和出版國際參考書

目；同時自行出版涵括各領域知識（哲學、文學、 科學等）的書籍。 曾於下列國際空間舉行個展：「葬禮」（金邊法國

文化中心，2018）、「炸彈池塘、獨白、葬禮」（亞 洲製造藝術節〔Festival Made in Asia〕，吐魯斯水

堡攝影美術館，2018）、「 透工 」（ 立方計劃空

間，2016）。 參與的重要國際群展包含：2019 年 新加坡雙年展；「製造回憶」（馬尼拉當代藝術與

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藝術中心，2019）；「 太陽雨 —1980 至今的東南 書寫 」（ 台北市立美術館，2017）；「 他者的時

間」（東京現代美術館，2015）；「越域：南亞及 東南亞當代藝術展」（古根漢美術館瑞銀聯合全球

藝 術 行 動 地 圖〔Guggenheim UBS MAP Global Art

Initiative〕，亞洲協會中心，香港，2013）；以及 第十三屆德國卡塞爾文件展（2012）。

典藏紀錄（節選）

• 紐約古根漢美術館

• 法國卡蒂斯特當代藝術基金會 • 東京森美術館 • 昆士蘭美術館 • 新加坡美術館

• 法國國家造型藝術中心

• 美國約翰森美術館等美術館收藏

Vandy Rattana Born in Cambodia in the aftermath of the Khmer Rouge and hav ing g row n up in Phnom Penh,

Vandy Rattana portrays episodes of historical

violence through understated and tranquil images.

He began his photography practice in 2005. His

serial work employed a range of analog cameras and formats, straddling the line between strict photojournalism and artistic practice.

also publishes its own books, focusing on various fields of knowledge (philosophy, literature, science, etc.)

His recent solo exhibitions include Funeral, Institut français du Cambodge, Phnom Penh (2018); Bomb

Ponds, Monologue, Funeral, Galerie Chateau d'Eau,

Toulouse, France, dans le cadre du Festival Made In Asia (2018) and Working Through, TheCube

His recent work s mark a shif t in philosophy

Project Space, Taipei, Taiwan (2016). Recent group

R at t ana, photog raphs are now f ic t ional

Art and Design, Manila, The Philippines (2019);

surrounding the relationship bet ween historiography and image making. For Vandy

const r uc t ions, abst rac t and poet ic sur faces, histories of their own.

exhibitions include 2019 Singapore Biennale,

Making Memory, MCAD, Museum of Contemporary The Breathing of Maps, Yamaguchi Center for Arts

and Media, Japan (2019); Sunshower, Contemporary

Art from Southeast Asia 1980s to Now, Mori Art

Since the photographic work and documentary

Museum, Tokyo, Japan (2017); Riverrun, Taipei

Ca mbodia ns who sur v ived A mer ic a n c a r pet

(2015); No Country: Contemporary Art for South

Bomb Ponds (2009), in which his photos of bomb

craters articulate the psychological wounds of

bombing between 1964 and 1973, Vandy Rattana has been scanning t he idyllic Cambodian

countryside with his viewfinders and revealing its traumatic past.

After his first short-film MONOLOGUE (2015), he

released the short-film FUNERAL (trailer) in 2018,

and ...far away, over there, the ocean (trailer), in 2019. Together, these 3 short films form a trilogy.

In 2007, he was one of the co-founders of Stiev Selapak / Art Rebels, and in 2009 he was also

one of t he co-fou nder s of S a S a A r t Ga l ler y.

He cont r ibut ed, i n 2011, t o es t abl i sh SA SA

BASSAC, the first dedicated exhibition spaces for

Fine Arts Museum, Taiwan (2017); Time of Others,

Museum of Contemporary Art Tokyo, Tokyo, Japan and Southeast Asia, Guggenheim UBS MAP Global

Art Initiative, Asia Society, Hong Kong (2013); and dOCUMENTA(13), Kassel, Germany (2012).

Collection (selected) • • • • • • •

The Guggenheim Museum Kadist Art Foundation Mori Art Museum Queensland Museum Singapore Art Museum Centre national des arts plastiques Johnson Museum of Art (U.S.)

contemporary art in Cambodia. In 2014, he also cofounded Ponleu Association, which aims to provide

access to international reference books, through their translation and publication in Khmer. Ponleu

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鄭波 Zheng Bo 蕨戀 3

錄像，15 分 00 秒，4K，彩色，有聲，2018

〈蕨戀〉是作者於 2016 年受邀至台北立方計劃空間駐村期間所發展的作品。在參觀台北市立美術館「台

灣製造．製造台灣」展覽時，他留意到二十世紀初日本藝術家到台灣，多被熱帶花卉所吸引，直到日本戰敗， 準備撤退到山區時，殖民者才意識到蕨類是台灣最豐富、可食用的野生植物。然而國民黨於 1949 年撤退

到台灣後，同樣極少關注蕨類。因蔣介石的個人喜好，台灣種了不少梅花；李登輝總統因對日本的喜愛，

促成台灣山林多了許多櫻花步道；台灣數個社會運動則多以植物命名，例如 1990 年野百合學運、2008 年 野草莓運動、2014 年太陽花學運，至今卻未有以蕨類命名的社會運動。

通過拍攝〈蕨戀〉（英文名 Pteridophilia 取自希臘語字根 pterid-，意為「蕨」），鄭波嘗試探討與蕨類親 密接觸的可能，也試圖勾勒地球生活的另類想像：我們與其他物種的共存不僅僅以工具理性為基礎，亦包

括充滿幻想的理解與快感。 〈蕨戀 2〉拍攝於 2018 年 1 月，影片中一位男生與鳥巢蕨做愛，並將其吞噬。在我們當下的社會想像裡，

食用植物是「自然」的，而與植物做愛是不「自然」的，作者則嘗試反思此道德觀念。〈蕨戀 3〉更進一

步探討權力、控制、恭順等，在社會生活的多個面向交織：政治、性、生態。透過這系列作品，可以看到 作者企圖將蕨類視為另一個社會運動的符徵。（文字出自 2018 年台北雙年展畫冊）

Pteridophilia 3

Video, 15’00’’, 4K, color, sound, 2018

Zheng Bo developed Pteridophilia in 2016 during an artist residency program at TheCube Project Space in

Taipei, following his observations of Formosa in Formation, an exhibition at the Taipei Fine Arts Museum.

Zheng was inspired by the movement of Japanese artists to Taiwan in the early 20th century, who were

drawn in by the island’s tropical flowers; and the way in which colonizing forces from both Japan and

Nationalist Party of China (Kuomintang) have been sustained by the edible ferns when forced to retreat to the forests of Taiwan, following defeat in battle over the control of the island. Today, Taiwan’s woodlands are rich in plum blossoms due to the preferences of early leader of the Republic of China, Chiang Kai-Shek,

and tourists take hiking trails to view cherry blossom—planted by former President of The Republic of China, Lee Teng-Hui. The relationship between the politics of Taiwan and its botany is further reflected by its trend for naming social movements after plants, for example the 1990 Wild Lily Student Movement, the 2008 Wild Strawberry Movement, and the 2014 Sunflower Student Movement. Still, in spite of the

significance of ferns in Taiwan’s political history, to date no social movement has been named after this plant.

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In Pteridophilia (deriving from the Greek pterid, meaning “fern”) Zheng explores the intimacy between

humans and ferns: depicting alternative imaginations for life on Earth, where human co-existence with other living species is not only built on functional rationality, but pleasure too.

Pteridophilia 2, filmed in January 2018, a man is seen making love to a bird’s nest fern and then eating it.

While society considers eating plants as “natural”, making love to a plant is “unnatural”; Zheng reflects on this moral outlook. Presented as a series, Zheng’s Pteridophilia 3 films further explore power, control and submission, and how these manifest in politics, sex, and ecology. The fern, henceforth, becomes an

emblem for the artist’s own enquiry, which suggests the beginnings of a possible social movement. (Source: catalogue of 2018 Taipei Biennial)

Movements

手稿，19.5 × 25.5 公分，兩張，2020

鄭波自 2013 年以來關注野草與政治的聯繫，運用繪畫、影像、植物、網絡等多媒材進行現地創作。鄭波

於 2016 年在立方計劃空間的展覽「野草黨 II」集合了他在上海及台北的創作與研究，聚焦在政黨──廣受 質疑但又揮之不去的當代政治形式──和野草──讓當代社會感到不適但又無法剷除的生態力量──之間

的張力。藝術家一方面繼續在二十世紀的政治文獻和視覺檔案中尋找野草的痕跡，一方面幻想植物在未來 政治中可能扮演的角色。〈Movements〉為鄭波於 2020 年依據「野草檔 II」展覽內容為本次募款展覽製作 的特別版手稿。

Movements

Manuscript, 19.5 × 25.5cm, 2 pages, 2020

Zheng has been investigating the connections between weeds and politics since 2013, undertaking sitespecific projects with multiple media such as paintings, images, plants and networks. Hosted by TheCube

Project Space in 2016, his exhibition Weed Party II featured the works produced previously in Shanghai and the pieces created during his residency in Taipei. The exhibition revolved around the tensions between political parties—an openly questioned yet haunting form of modern politics that refuses to disappear—

and weeds—an ineradicable ecological power that troubles modern societies. While continuing his search

for traces of weeds in 20th-century political documents and visual archives, Zheng also imagines the roles that plants may play in future politics. Based on the contents of Weed Party II, Movements is the specialedition manuscript that the artist prepared in 2020 specifically for this exhibition.

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〈蕨戀 3〉錄像擷圖 Pteridophilia 3, video still

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〈蕨戀 3〉錄像擷圖 Pteridophilia 3, video still

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〈Movements〉 Movements

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鄭波

Zheng Bo

鄭波長期專注多物種之間的活力， 多從邊緣人群

Zheng Bo is an artist committed to multispecies

與邊緣植物的視角切入歷史與想像未來。 他藉由 雜 草 叢 生 的 花 園、 活 體 口 號（living slogans） 及

環 境 酷 兒（eco-queer） 影 片， 建 立 超 越 人 類 世 （Anthropocene）的生態智慧。

鄭波曾與亞洲和歐洲的多家美術館和藝術空間合 作， 最近的有紐約上海當代藝術中心、 京都市立 藝術大學、 亞洲藝術文獻庫（ 香港 ）、Parco Arte

Vivente（ 杜林 ）、 立方計劃空間（ 台北 ）、Villa

Vassilieff （巴黎）。作品曾多次參與國際重要展覽，

包括： 第五十八屆威尼斯雙年展的表演節目、 第 十二屆歐洲宣言展、第十一屆台北雙年展、第十一

屆上海雙年展等。2020 年， 他參與德國柏林的馬

丁葛羅皮亞斯展覽館（Gropius Bau）藝術家駐村計

畫，與科學家一同合作了解、猜測和想像植物如何 實踐政治。

鄭波過去任教於中國美術學院（2010-2013）， 目

前任職香港城市大學創意媒體學院，並領導「萬物 實踐社」（Wanwu Practice Group）。 典藏紀錄（節選）

• 上海當代藝術博物館 • 南京四方當代美術館 • 廣東美術館 • 香港藝術館

• 新加坡美術館

• 英國卡斯雕塑基金會 • 洛杉磯漢莫爾美術館

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vibrancy. He investigates the past and imagines

the future from the perspectives of marginalized

communities and marginalized plants. He creates

weedy gardens, living slogans, and eco-queer films to cultivate ecological wisdom beyond the Anthropocene.

He has worked with a number of art spaces in Asia

and Europe, most recently ICA at NYU Shanghai, @KCUA in Kyoto, Asia Art Archive in Hong Kong, Parco Arte Vivente in Torino, TheCube Project

Space in Taipei, and Villa Vassilieff in Paris. His works have been included in the performance program of the 58th Venice Biennale, Manifesta

12, the 11th Taipei Biennial, and the 11th Shanghai Biennial. In 2020, as artist-in-residence at the

Gropiu s Bau in Berlin, he col labor at es w it h

scientists to understand, speculate, and imagine how plants practice politics.

He taught at China Academy of Art from 2010 to 2013, and currently teaches at the School of

Creative Media, Cit y Universit y of Hong Kong, where he leads the Wanwu Practice Group.

Collection (selected) • • • • • • •

Power Station of Art, Shanghai Sifang Art Museum, Nanjing Guangdong Museum of Art, Guangzhou Hong Kong Museum of Art, Hong Kong Singapore Art Museum, Singapore Cass Sculpture Foundation, Goodwood Hammer Museum, Los Angeles

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藝術家 Artist ｜區秀詒 AU Sow-Yee 、陳界仁 CHEN Chieh-Jen 、侯俊明 HOU Chun-Ming 、 李傑 LEE Kit 、鄧兆旻 TENG Chao-Ming 、萬迪・拉塔那 VANDY Rattana 、鄭波 ZHENG Bo 主辦 Organizer | 立方計劃空間 TheCube Project Space 總監 Director | 鄭慧華 Amy CHENG 經理 Manager | 羅悅全 Jeph LO 策展人 Curator | 孫以臻 SUN Yi-Cheng 專案經理 Project Manager | 黃郁捷 HUANG Yu-Jie 行政助理 Assistant | 董淑婷 Dale DONG 發行 Publisher 立方計劃空間 TheCube Project Space 100 台北市羅斯福路四段 136 巷 1 弄 13 號 2 樓 2F, No. 13, Aly. 1, Ln. 136, Sec. 4, Roosevelt Rd., Taipei, 100, Taiwan +886-2-23689418 立方 7F TheCube 7F 106 台北市羅斯福路三段 241 號 7 樓 7F., No. 241, Sec. 3, Roosevelt Rd., Taipei, 106, Taiwan +886-2-23636662 www.thecubespace.com info@thecube.tw 出版 Published | 2020.6 © 圖片與文字版權所有 攝影者、藝術家與作者 Copyright of the photographs for the artists, of the texts for the authors 立方計劃空間由國藝會、台北市文化局、 RC 文化藝術基金會及陳泊文先生贊助營運 立方 7F 由 RC 文化藝術基金會支持 T h e C u b e P ro j e c t S p a c e i s s u p p o r t e d b y N a t i o n a l C u l t u re a n d A r t s F o u n d a t i o n , Department of Culture Affairs of Taipei City Government, RC Culture and Arts Foundation and Chen Po-Wen. TheCube 7F is supported by RC Culture and Arts Foundation.