[學生展演]你雙眼闔上我滅亡

展　期 / 2015.6.6 – 8.16
策展人 / 陳漢聲
地　點 / 國立臺灣美術館  數位藝術方舟（403台中市西區五權西路一段2號）
展出藝術家 /
張博傑、陳漢聲、徐叡平
賴宗昀、李冠宜、彭徵維
王博彥、溫　馨、游惠喻

在社會運動與情感議題的碰撞中，我們虛幻的創作空間，與現實生活不斷交錯，情感是根生於創作的靈魂，我們為情感議題發聲，從網路走到現實。2014年，「多元成展」的發起，透過網路分享創作，展示自身感受、思考與經驗；2015年，第一次實體展「多元成展─見光死？」在FreeS福利社，類比從網路到現實生活的歷程，彷彿尋找愛情的過程。在現今藝術家身份與角色已經被廣泛接受，卻還有一種不被接受的愛情？散落在你我身旁角落之中。

今天我們將場域拉到國立臺灣美術館，延伸對於愛情的討論，進一步探討面對性別議題的狀態。「你雙眼闔上我滅亡」是一個愛情的政治宣言，亦是一個宣言式的愛情政治。熱愛藝術創作的我們拋棄定義的姿態，關注著與自己生命經驗攸關的議題，透過符號、圖像、性別對立的思考、以及創作媒材，分別討論日常生活周遭的你我，對於性別的認知如何被建構並實踐在生活的言行中。

訊息發達，資訊爆炸的數位時代中，觀者不知不覺的成為他人主觀詮釋的傳播對象。藝術家身在其中，不可避免的，也是閱聽人群中的一份子，然而藝術家總能夠以一個旁觀者的角度，在媒體的訊息與閱聽人之間，成為媒體的他者，讓作品的觀者能夠思考到另一種觀點。

二元的慣性

男女有別，從生理到外在形象上的塑造，我們總是能自然的生產對立的形容，像是剛硬與陰柔、纖細與粗獷等，就像所有的事物都存在著二元的分類方式，卻忽略了有一種並存的可能。溫馨的作品〈男朋友／女朋友〉中，模特兒從自身情感釋放的延伸，在粉飾的裝扮中，赤裸最隱藏的真實面，反射性別非單向的本質。徐叡平的作品〈共生〉轉譯神話，詮釋陰陽共存的最初狀態，以及情慾感受交融的合體幻象，在虛構的描述中，重現的是並不存在的界線。張博傑的作品〈地圖詩歌：臺北系列／「帥哥」、「正妹」〉本是一種無意識的行為創作，在關鍵字「帥哥」與「正妹」中行走，收集的大量圖像，匯集了城市中特定的觀看印象，這些形象關鍵字上的形塑，最後是否也只是淪為一種既定價值觀的植入？彭徵維的作品〈他和她〉，透過影像的解構與重組，試圖以一種看似對立的觀看方式，找尋一種真實並存的狀態。在二元分類中的對立面向，建構分裂的是性別的本質？又或者是他者知識建構的分裂？

情感的換置

在情感本質的多元面向中，每個獨立的個體都有獨自的情感，建構社會的多元面向，我們理解愛情，從不是因為彼此愛情的元素類似或相同，而是理解愛情就是愛情，然而情感移居在特定身份者之中，情感的面貌似乎就有所不同？人們所無法接受與認同的，是他們的愛情？還是……？李冠宜的作品〈色色的〉，借由一種自身未曾有過的經驗，在他者間的遊歷與收集，建構自身的色彩，在這種自我投射與反射的散色創作裡，倒映情慾與情感複雜卻易解的狀態。王博彥的作品〈黑暗裡我們相遇〉以一種個人情感的釋放，尋覓愛情之中最難的療癒課題，在愛情的世界裡，任何人都是一樣的脆弱與堅強。

可視的遺忘

歷史的視線，建構在訊息忽略與遺忘的過程中，無視已知的存在是忽略，將一切推向滅亡的態度是遺忘，人們漠視多元的差異與權力。陳漢聲的作品〈飄動的彩虹旗〉，以實質的採訪與口述，收集個體經驗中遭受漠視的狀態。游惠喻的作品〈日糸糸頁〉，呈現一種看似彩色、美好的豐富資訊意象，展示的是一種主動對於訊息接收與被動思考的反證，而在這海量的訊息大牆下，顯示我們的渺小從來都不是我們不知。賴宗昀的作品〈自由的邊線〉，利用透明的釣魚線，讓往返自由廣場上的行人，於日常的行走言談中發生變異，發現變異或許才能在中性的歷史書寫中發現隱形對峙的權力關係。

何時婚姻平權在臺灣立法一讀通過？何時上萬人走上凱道反多元成家？「任何愛都需要尊重」何時成為張惠妹在華山義唱的理由？何時臺灣組織幸福家庭聯盟？並舉辦義走高喊「一夫一妻，幸福家庭」？是誰盼婚姻平權民法修正案排入議程？我們挖掘自我，我們提出質疑，面對訊息與歷史的同時，也不斷懷疑與辯證，我們試圖在自我矛盾與辯證的過程，探尋核心的問題本質。創作的思緒裡，不斷地反射、映射、甚至是散射，在主動展示被動觀看的對話空間裡，藝術家在創作中，成為媒體的他者。倘若有一種姿態，能夠以趨近於的方式曲直向前，倘若有一種提問方式，能夠擺脫教條式的宣言，卻能夠故佈疑陣的心照不宣，我們深信不會因為你的闔眼而滅亡。

 Amidst clashes between social movements and emotional issues, our elusive creative space continues to intersect with reality, with the root of our emotions the soul of creativity, allowing our voices for these emotional issues to be projected from cyber space to reality. With the launch of “Coexist” in 2014, we have been showcasing our personal emotions, thoughts, and experiences through sharing our art on the Internet. Our first physical exhibition, “Coexist+Exhibition-Death at Daybreak”, was held at FreeS Art Space in 2015, with an analogy made between the journey of traversing from the cyber space to reality and the process of searching for love. With identities and roles taken on by artists becoming more widely accepted, somehow there still exists a type of love that is unacceptable, despite the fact that it is found all around us.

We have arrived at the National Taiwan Museum of Fine Arts today, where we will continue with discussions on love and further examine conditions related to gender issues. "Your Closed Eyes My Extinction" is a political manifesto on love, and it is a form of politics of love that is manifesto-like. We, people that are passionate about creating art, have abandoned stances set by conventional definitions and have decided to focus on issues that are integral to our experiences in life. Through semiotics, images, thoughts on sexual antagonism, and creative media, discussions will be conducted on everyday people’s thoughts on how gender identification is constructed and practiced through everyday behaviors.

In today’s digital era of information explosion, viewers have the tendency to unconsciously become subjects of other people’s subjective interpretations. Artists are not exempt from such phenomenon and are also part of the group at the receiving end, where they are subjected to listening and reading. However, artists are also able to process everything from a spectator’s perspective and become the Other in the mediated realm, and with information transmitted from the media and listeners/readers positioned at the receiving end, artworks derived from this are aimed at prompting different outlooks in the audience.

Binary Inertia

Men and women are naturally different, and the differences can be seen from physiological traits and superficial features, and this notion has shaped the way that we naturally describe gender in an oppositional manner, such as men are masculine and women are feminine, one’s rugged and the other is delicate. Everything is classified in a binary approach, neglecting the possibilities of simultaneity. Wen Hsin’s artwork X/Y is an extension of the depicted models’ emotional releases, and underneath their dressed up facades are their hidden genuine selves that are being nakedly revealed. The artwork reflects the intrinsic nature that sexuality is not always a one-way street. Hsu Rae-Yuping’s We Suffer Each Other to Have Each Other a While is a rendition of myths as it interprets the original state when elements of the Ying and the Yang coexisted. With a unified illusion where emotions mingle and through fabricated descriptions, the border that does not exist is recreated. Chang Po-Chieh’s Map Poetry-Taipei City [Handsome Boys], [Hot Chicks] was originally an unintentional artwork based on behaviors. As the artist walked among “handsome boys” and “hot chicks” used as search keywords, an incredible amount of images are collected, with distinctive ways of seeing in the city also gathered. Has the shaping of these image-related keywords also become another placement dictated by conventional values? Through deconstruction and reconstruction, in the artwork He and She, Peng Jheng-Wei attempts to search for a situation of coexistence with reality through a seemingly oppositional way of seeing. In an antithesis of binary classification, is segregation formed by the intrinsic natures of sexuality? Or is the segregation constructed by the knowledge of others?

Emotional Displacement

Within the multifaceted intrinsic natures of emotions, each individual is entitled to unique emotions, and as a society is built to encompass multifaceted components, we grow to understand that love is never about the similarities shared between the love we have, but an understanding of love for love’s sake; however, when this sentiment is transferred to particular individuals, why are such outlooks on love suddenly viewed with different colors when applied to them? Is it their love that is unacceptable or unidentifiable for others? Or, what is it? In Lee Kuan-Yi’s The Color of Love, she roams and gathers from others, as she constructs her personal colors through these vicarious experiences. Embodied in this artwork created with dispersion of colors are self-projection and reflection, with a condition of complex yet easy to comprehend desires and emotions reproduced. Wang Po-Yen’s To the Stranger who Meets Me in the Darkness is a release of personal emotions, as the hardest lesson in love – healing – is explored. In the world of love, everyone is equally fragile and strong.

Perceptible Forgetfulness

History’s line of sight is built upon a process where information is neglected and forgotten. To ignore something with a known existence is an act of neglect, and an attitude that pushes everything to a state of demise is oblivion. Differences and powers embodied by diversity are overlooked by people. Chen Han-Sheng’s Floating Rainbow Flag is an artwork based on interviews and oral recounts, with experiences of being overlooked collected. Yu Hui-Yu’s Appear shows an imagery that seems to be composed of colorful, beautiful, and prolific information, presenting a counterevidence of assertive information receiving and passive thinking. This massive wall of immense information reveals that our insignificance is not a result of our ignorance. With the use of transparent fishing lines, Lai Tsung-Yun’s The Boundary Line of Freedom alters the way passersby on Taipei’s Liberty Square walk and talk, discovering that perhaps only such transmutations could lead to neutral historiography and for the hidden conflicting power relations to be uncovered.

Why did the marriage equality bill pass the first legislative reading in Taiwan? Why did tens and thousands of people marched outside the presidential office and protested against the bill for Diverse Family Formation? Why did Taiwanese pop star A-mei held a concert to urge people to “Respect everyone’s love”? Why was the Happiness of the Next Generation Alliance established in Taiwan? And why did they organize a walk to advocate “A happy family is with a husband and a wife”? Who has been pushing for the legislative amendment for Marriage Equality? We dig within ourselves and raise our doubts, and as we face the influx of information and the formation of history, we continue with our critical and dialectical ways. We attempt to search for the core of the problem through a process of self-contradiction and dialectics. Bearing art in mind, reflections, projections, and even dispersions are continuously conducted, and by assertively showcasing the conversational space that is passively watched, the artists then become the Other in the media. If there exists a stance that can keep moving forward but in a subtle and unaggressive manner, and if there can be a way to ask questions that can put side conventional doctrines but is quietly understood, if so, we believe that your closed eyes won’t be the cause of our extinction.