為何每當我們憶起心所愛的，
眼底總是一陣風吹沙？
Why does the wind blow 
whenever we remember loved ones?

 2014.12.19 – 2015.1.10





















立方計劃空間與獨立策展人蔡家榛以及tamtamART TAIPEI IPIX 合作，於12月20日推出韓國藝術家安正柱（Jungju AN）與全昭侹（Sojung JUN）的雙人展《為何每當我們憶起心所愛的，眼底總是一陣風吹沙？》－－此標題取自前南斯拉夫導演庫斯杜力卡（Emir Kusturica）《地下社會》（Underground, 1995）中的對白。
這項展覽計劃著眼於「錄像作品對政治現實的敘事語法，以及情境的建構與表達」，並區分為兩部份，動態影像作品於立方計劃空間展出；而聲音作品的計劃於tamtamART TAIPEI IPIX 呈現。此外，展覽並邀請了台灣的江凌青、李立鈞，韓國的李水妍（Sooyoun LEE，韓國現當代美術館策展人）、安素賢（Sohyun AHN，白南準藝術中心策展人）以第一人稱的筆法與角度，撰寫一個游走於依據現實作品或展覽場域而擬想出的藝術場景的小說／散文文本。


◤ Part I 影像場 ◥

開幕｜2014.12.20（六） 下午3點
展期｜2014.12.20 – 2015.3.8 （2015.1.1-1.4期間不開放）
開放時間｜周三 – 日 下午2 – 8點　（周一、二不開放)
地點｜立方計劃空間 （台北市羅斯福路四段136巷1弄13號2樓）
（https://www.facebook.com/thecubespace）
交通｜ 捷運公館站1號出口，水源市場東側－東南亞戲院後方巷弄，韓一閣餐廳樓上

策展人｜蔡家榛
助理策展人｜梁以妮
藝術家 | 安正柱 全昭侹


◤ Part II 敘事與聲音 ◥

開幕｜2014.12.19（五）晚上8點
展期｜2014.12.19 – 2015.1.10
展覽地點｜tamtamART TAIPEI . IPIX （台北市北平東路20-3號）
（https://www.facebook.com/www.tamtamarttaipeiipix?fref=ts）
開放時間｜周四 – 五 下午5－8點；周六－日 下午5－8點

策展人｜全昭侹、蔡家榛
助理策展人｜梁以妮
創作文字撰寫｜江凌青、李立鈞、李水妍、安素賢
聲音配置｜曹良賓、蔡家榛、梁以妮



＝關於展覽＝
文/蔡家榛

看似詩意，或者說有點搧情的標題句，乃取自前南斯拉夫導演庫斯杜力卡（Emir Kusturica）《地下社會》（Underground, 1995）中的對白。《地下社會》一片以類後設手法的劇情諷喻南斯拉夫的政治與歷史現實：「從電影外觀上細究，懷舊的影像質感、搖晃旋轉的鏡頭、快速流動的蒙太奇、荒誕又駁雜的劇情、混亂的物件、詼諧的肢體與對白、狂歡的配樂及氛圍、超現實主義意象等特色，混雜著後現代主義的通俗性、現代主義的前衛性、東歐傳統的奇幻文學等風格，使電影呈現出「一團混亂」，而以「混亂」的手法再現一個國家（前南斯拉夫長達半世紀）的政治與歷史（1945-1991），雖不至罕見，卻可謂大膽。這些批評聲浪涉及了傳統藝術對想像力的侷限，是否唯有「看似寫實」的手法才能再現一段真實的歷史，或進行批判的著力點呢？ 『現在，在《地下社會》中我所要做的，就是馬戲團表演。這是處理南斯拉夫持續的問題，唯一可行的方法。』--庫斯杜力卡」[1]

沿用《地下社會》的敘事手法，本次展覽將著眼於「錄像作品對政治現實的敘事語法，以及情境的建構與表達」。藝術家則是邀請了安正柱(Jungju AN)與全昭侹(Sojung JU)這兩位韓國年輕優秀的藝術家，兩人平時在大學任教，也經常獲得國外駐村機會，這些經驗也豐富了他們對拍攝對象及現象的敏銳觀察，進而擴及作品的表現視野。

安正柱著眼現代社會中那個以進步為名，實則抹去個體多樣性而整併為單一秩序的政治手段，比如工廠裡的標準化作業、都市更新的拆除、整齊劃一的軍儀隊⋯⋯等，面對著這個現代化之惡，安正柱不僅重新編製了視覺影像的呈現秩序，影像也配合著簡單又透著幽默口吻的旋律節點閃現，似乎諷喻了現代化場景及其荒謬，也表現了以藝術批判當代社會之趣。相對於安正柱，全昭侹的《邊緣人》（Marginal Person Series）系列作品則從人物誌的紀錄片角度切入，多次拜訪並逐漸貼近主角的日常生活之後再拍攝那些仍堅守在已然被現代社會淘汰的夕陽產業裡的「最後一個人」，諸如電影看板的畫板師、鑄字行、傳統節慶的表演者，他們堅持的「個體、手工製作」與姿態，完全站在現代化發展的相反面上，時代的發展不僅改變了他們的生命敘事，也改弦易轍了他們的專業在整體發展的角色與位置，這個對立的狀態甚至隱含了政治施加的種種作用所造就的現實，譬如《重拾的時光》(Time Regained)中的電影畫板師，在訪談後才知其年輕時是參與過光州事件[2]的藝術學系學生。

除了呈現兩位藝術家的錄像作品，全昭侹與筆者曾在巴黎一同駐村時，彼此就着錄像以至當代藝術的敘事表達有所感觸並有多次的討論，激盪出著眼於「敘事表達能力」的計劃，如果以「說出好故事，把故事好好說清楚、說得動人」來簡單詮解「敘事與表達」這件事，那麼「想像力」可能是基本功，當代藝術經常地關注並批判當代社會的政治現實，但透過藝術作品呈現的批判力道終是遠不如社會運動，那麼藝術究竟該如何表現，才能使其有所作用力？我們認為「想像」是突破既有框架的可能途徑：透過「想像」對不完滿的現實提出另一種可能的景象。當代的社會或藝術可能不缺批判，但我們或許都匱缺以想像力來脫離現前的困境，以至於詞窮而致使疲乏無力。

所以在本次展覽也另邀請了台灣的江凌青、李立鈞，韓國的李水妍（Sooyoun Lee，韓國現當代美術館策展人）、安素賢（Sohyun Ahn，白南準藝術中心策展人）以第一人稱的筆法與角度，撰寫一個游走於依據現實作品或展覽場域而擬想出的藝術場景的小說／散文文本，而展場設計將盡可能抽離所有視覺之物，意即沒有任何影像，僅以聲音設備播放配音敘事文本的聲音，閱聽者將在空無一物的展場，隨著第一人稱的述說，進入一個看不見但存在，而且可能是穿越多樣性的場域中，我們期待閱聽者據着聲音文本進而想像、構築寫者與配音員所演繹的藝術場景，激發出閱聽者成為藝術場域中「主動」角色的動能。

本次展覽將分別在兩個空間中呈現安正柱與全昭侹的動態影像作品於立方計劃空間展出；而聲音作品的計劃於tamtamART TAIPEI IPIX 呈現。

註[1] 節錄自財團法人國家電影中心 放映週報網站2009年第221期 影迷私房貨｜私房影評之專欄 ：解構真實與虛構的後現代政治劇場──庫斯杜力卡的《地下社會》
註[2] 請參考維基百科：光州民主化運動


＝關於藝術家＝

░ 全昭侹 Sojung JUN
1982生於韓國釜山，首爾國立大學雕塑藝術學士及延世大學藝術碩士，現居首爾創作。
專長為錄像及表演藝術。2009年首爾成均藝廊「一人劇場」個展時，她破除劇場形式，以單一個體建構行為表演的整體性，用系列影像紀錄想法。創作以來，她也關注時間與生活中的重複情緒經驗，可以發現藝術家一定程度的細膩敘述力，全昭侹以個人經歷或故事為文本，她的作品中顯露出一種感性的能量，而正是那股力量引領著她的創作。2012年曾在臺北國際藝術村參與作品駐村計劃。個展經驗包括2012年首爾工廠畫廊「側邊之側」與首爾Zandari藝廊「藝術習慣」；2010年首爾Insa藝術空間「正如你鍾意」與斯特拉斯堡歐洲當代藝術行動中心「六個夜晚」等。聯展經驗包括2009年日本橫濱馬車道校區「Cream：橫濱國際媒體藝術節」、2009年韓國HANMI攝影美術館「攝影魅力」、與2008年巴黎Deburaux Aponem畫廊「韓國當代藝術」等。

░ 安正柱 Jungju AN
1979生於韓國光州，首爾國立大學藝術學士及延世大學藝術碩士，現居首爾創作。
他特別關注人與他方的關連，從他的錄像作品中也可見他擅長的影像與聲音配置。偏好自日常取材，編輯成富有節奏感的音調，演繹成一種擬真敘事語言，創造出具獨特性的交響樂章，例如那些在樹叢間嬉戲的風、柏油路上的腳步聲、亦或是瀰漫人群的私語聲，都是他的聲音元素。這種製作方式就像是DJ，從模擬聲音或真實的聲音混成不同的音調元素，再藉此創作獨特的數位配樂。最後再加上他所錄製的影像排列成他日常聲景。
曾展覽於柏林貝塔寧藝術之家、赫爾辛基國際藝術計劃、首爾錦湖美術館與首爾Newgate藝術論壇。聯展經驗包括橫濱當代藝術動態影像庫、北京美術館、巴黎科學工業城、上海現代美術館、首爾Insa藝術中心、馬德里ARCO 07以及韓國果川市國立現代美術館。


＝關於策展人＝

░ 蔡家榛
1979生於台灣高雄，現居台北。國立台北藝術大學藝術評論組碩士。
獨立策展人，並與四位夥伴自2013年6月共同經營非營利藝術空間tamtamART TAIPEI。


主辦：立方計劃空間、tamtamART TAIPEI IPIX
贊助：國家文化藝術基金會
空間與器材贊助：鏡花園、Samsung
特別感謝：十二點原生概念有限公司

----------------------------------------------------------------------------------------------

◤ Part I Video ◥

Opening reception ｜15:00 / December 20th, 2014
Date｜ December 20th,2014 – March 8th, 2015 ( Wed-Sun 2-8pm)
Venue｜TheCube Project Space ( 2F, No 13, Aly 1, Ln 136, Sec 4, Roosevelt Rd, Taipei, Taiwan )
（https://www.facebook.com/thecubespace）

Curator｜TSAI Jia-zhen
Assistant curator｜LIANG I-ni
Artists | Jungju AN, Sojung JUN


◤ Part II Narratives and Sound ◥

Opening reception ｜20:00 / December 19th, 2014
Date｜ December 19th,2014 – January 10th, 2015 ( Thu-Fri 5-8pm ; Sat-Sun 2-7pm )
{Closed : 2015.1.1-1.4 }
Venue｜tamtamART TAIPEI . IPIX (No.20-3, Beiping E. Rd., Taipei, Taiwan )
（https://www.facebook.com/www.tamtamarttaipeiipix?fref=ts）

Curators｜Sojung JUN, TSAI Jia-zhen
Assistant curator｜LIANG I-ni
Artists | Jungju AN, Sojung JUN
Script | CHIANG Ling-Ching, LEE Li-chun, Sooyoun LEE, Sohyun AHN
Voice | TSAO Liang-pin, TSAI Jia-zhen, LIANG I-ni



= About the exhibition =
By / TSAI Jia-zhen

This seemingly poetic, or somewhat sentimental title is taken from a dialogue in the film Underground (1995) by former Yugoslavia director Emir Kusturica. Underground utilizes metaplot to insinuate the political and historical reality of Yugoslavia: “A deliberate study of the film suggests, the characteristics of nostalgic textures, revolving lens, swift montages, absurd and disparate plots, chaotic objects, whimsical physicality and dialogue, reveled soundtrack and ambience, surrealist imagery, bred with the popularity of postmodernism, vanguard of modernism, and style of East European fantasy literature, creates a “mess” of a film and this “chaos” reproduces the politics and history (1945-1991) of a country (the former Yugoslavia spans over half a century). Although not entirely uncommon, the film can be described as daring. Waves of criticism correlate limitations of our imagination to traditional art, and raise the question: Is a “seemingly realistic” approach the only way to represent authentic history or the sole nucleus for critique? “The thing that needs to be done in Underground is a circus act. This is the only feasible method in the ongoing problems of Yugoslavia.” – Emir Kusturica[1]

Adopting the narration of Underground, this exhibition will focus on the “narrative syntax of political reality in video works and its construction and expression of context,” inviting two young Korean artists Jungju An and Sojung Jun, who also teach in the university, and often partake in residencies abroad, which have astutely enriched their observation of subjects and phenomena, expanding the expression of their work.

Jungju An focuses on an erasure of individuality in the name of modern progress, which conflates into unitary order under political means, such as standardized operations in factories, demolition in urban renewal, the uniformity of honor guards…etc. In countering the evils of modernization, An not only re-establishes the sequence images are presented, the imagery also flickers against an effortless and comical melody, akin to modernized settings and their absurdity, while also exhibiting social critique through art. Sojung Jun, on the other hand, cuts in from the angle of documentary portraiture in Marginal Person Series. Jun pays several visits to his protagonists, comprehending their daily lives and filming those that remain as “the last person” in the declining sunset industries of modern society, including film poster painters, type foundries, and performers of traditional festivals. The insistence on “individuality,” “craft” and attitude, stands in stark opposition to modern development, while time has not only changed their narratives, but also altered the role and position their expertise hold in evolution. This opposition illuminates realities affected by politically imposed actions, as we realize that the film poster painter was involved in the Gwangju Uprising[2] as an art student in Time Regained.

Aside from presenting the video works of both artists, Jun was also at the same residency as myself in Paris. With our thoughts and discussions on the narrative expression of contemporary art, we developed a project based on “narrative skills.” If “narrative and expression” is simply interpreted as “telling good stories in clarity and eloquence,” then “imagination” may be essential. Contemporary art may often attend and critique political realities of modern society, but its strength is incomparable to social movements, and so how is art—to transform itself—to assert force? We believe that “imagination” is the only way to break through existing frameworks: In “imagining” other possibilities beyond flawed realities. Though contemporary society and art have no shortage of critique, we may lack the imagination to escape current hindrances, to the point of exhaustion and fatigue.

We have also invited Chiang Ling-Ching (Taiwan), Lee Li-Chun (Taiwan) and Sooyoun Lee (Curator, National Museum of Contemporary Art, Korea), and Sohyun Ahn (Curator, Nam June Paik Art Center) to construct a novel/prose in first person, shifting between the work and venue of the exhibition, while the space is vacant of all visuality, only voices narrating texts that are played on audio devices. The auditor listens to the narration in the empty venue and enters an imperceptible but existent field of multiplicity. We are hopeful that the auditor imagines and constructs scenes according to text and interpretation of the writer and narrator, motivated in becoming an “active” role in the art venue.

This exhibition will be presented in two spaces—with the video works of Jungju An and Sojung Jun at TheCube and sound projects at tamtamART TAIPEI IPIX.

[1] Zhong, Yue-Ming. Excerpt from “Deconstructing reality and fiction in postmodern political theater—Undergound by Emir Kusturica,” Funscreen (Issue 221, August 21, 2009), Taiwan Film Institute.
[2]The Gwangju Uprising, also known as Gwangju Democratization Movement, refers to the popular uprising in the city of Gwangju, South Korea from May 18 to 27, 1980, with citizens taking up arms after local students were billed and beaten in unprecedented attack by government troops.



= About the artists =

░ Sojung JUN
lives and works in Seoul, Korea
(b. 1982 Busan, Korea) received a BFA in Sculpture from Seoul National University and an MFA from Yonsei University. She is known for her video and performance art. One of her solo exhibitions, One Man Theater, which was shown in Sungkyun Gallery in Seoul in 2009, demonstrates Jun’s interest in producing a series of related shots that constitute a complete unit of action. The artist has been intrigued by the concept of time and the repetitive experience of emotion in our life. Her feminine qualities are expressed to a certain extent. Underscoring sensational value in her works of art, Jun delivers her personal experience or story that motivates her creativity.Selected solo exhibitions include The other side of the other side at Gallery Factory, Seoul, Korea in 2012; The Habit of Art at Gallery Zandari, Seoul, Korea, in 2012; As you like it at Insa Art Space, Seoul, Korea, in 2010; and Six Nuits at Centre Européen d'Actions Artistiques Contemporaines, Strasbourg, France, in 2010. Selected group exhibitions include Cream: International Festival for Arts and Media Yokohama 2009 at Bashamichi Campus, Yokohama, Japan; The Magic of Photography at HANMI Photograph Museum, Seoul in 2009; Korean Contemporary Art at Galaria Deburaux Aponem, Paris in 2008.


░ Jungju AN
lives and works in Seoul, Korea
(b. 1979 in Gwangju, Korea) He received his BFA degree from the Seoul National University in Seoul, Korea and his MFA degree from the Yonsei University in Seoul, Korea.

Jungju An sheds light on a range of issues that concern people in different places across the world, giving universal expression to such themes in his video works by employing a particular composition of images and sound. He demonstrates a preference for the rhythms and sounds of everyday life and their onomatopoeic linguistic descriptions, which he combines to create individualistic symphonies: the wind in the trees, footsteps on asphalt, or the diffuse murmur of voices in a crowd. Working like a DJ, Jungju An creates digital assemblages from different linguistic elements that imitate sounds and so creates veritable sound scores, which he uses later to accompany his own recorded video sequences of everyday situations.

He has exhibited at Kunstlerhaus Bethanien GmbH in Berlin, HIAP in Helsinki, Kumho Museum of Art in Seoul and ArtForum Newgate in Seoul. He took part in group exhibitions at MIACA in Yokohama, Beijing Museum, Cite des Sciences et de I’industrie in Paris, Shanghai Modern Art Museum, Insa Art Center in Seoul, ARCO 07 in Madrid and at the National Museum of Contemporary Art in Gwacheon, Korea.



= About the curator =

░ TSAI Jia-zhen
1979 was born in Kaohsiung, Taiwan, Jia-Zhen Tsai received a M.F.A in Contemporary Art Critics Theory from National Taipei University of Fine Art.She is an independent curator now, and runs a non-profit art space tamtamART TAIPEI with other four members since 2013 June until now.


Co-organizers:
TheCube Project Space, tamtamART TAIPEI IPIX
Sponsor: National Culture and Arts Foundation
Space and equipment sponsors：IPIX、Samsung
Special thanks: 十二點原生概念有限公司