有章藝術博物館
OUR MUSEUM

「超日常Daily ++ ──第二屆大臺北當代藝術雙年展」

超日常── 第二屆大臺北當代藝術雙年展
「藝術使生活比藝術更有趣」── 羅伯．費理歐（Robert Filliou）

那滿額皺紋、年老工人般的《多疑聖托馬斯》，魯莽地將食指探入耶穌的肋骨。如果
我們朝著卡拉瓦喬（Michelangelo Merisi da Caravaggio）所再現的這幕「日常」手勢
望去，免不了看見維梅爾（Johannes Vermeer）畫裡日光斜照下倒著牛奶的婦人、史
汀（Jan Steen）為新生兒命名時留下的一幕，乃至庫爾貝（Gustave Courbet）的捆
石工人、米勒（Jean-Francois Millet）農田裡的拾穗婦人，以及馬內（Edouard
Manet）所描繪的蘆筍，甚或回想起早在15世紀初便堅持以回到現實的方式，刻畫日
常一隅的范艾克（Jan van Eyck），若從自然主義、寫實主義、拼貼、達達、集合藝
術、新達達、新寫實主義、普普藝術、福魯克薩斯、偶發藝術、貧窮藝術……至今，
百年來的藝術實踐進程早已讓藝術一步步從完美神聖的殿堂走入「日常」，那麼，走
入「日常」後的當代藝術何去何從——「日常」是否一如往昔仍為驅動藝術實踐的創
作資源之一？而若人們熟悉的「日常」總是有所遮蔽，讓人無法直視生活本身，從藝
術折返日常是否能讓我們洞察生活？
第二屆大臺北當代藝術雙年展，以「超日常」為展題，集結來自法國、美國、奧地利
、盧森堡、日本以及臺灣等地的藝術家；首先邀請臺灣小說家駱以軍，沿著「北區藝
術聚落」與「九單藝術實踐空間」這一片巷弄蜿蜒的展場空間，書寫一部揉合「日常
生活殘影」與「曾於此發生之作品片段」的小說《翻牆者》，以此作為第一件介入雙
年展的作品，揭開本屆雙年展的序幕。受邀參展的藝術家，繼而以此小說以及展場空
間作為創作發想的參照，以接龍的方式分線發展，而作品在個別發展的同時，亦成為
其他作品的參照對象，彼此漸次勾勒出隱形的聯動關係。由此，以展場空間為主軸書
寫而成的小說、以小說為創作發想參照的作品，在互為文本的過程中，漸次開啟一種
介於作品、文本以及場所之間的多層次對話，交織出相互指涉的意義網絡，一如層層
疊疊的複寫跡痕，積澱成如羊皮紙般的隱跡文本。
如此從日常衍異的「超日常」，不只停留在日常的再現或轉譯，也並非源於與日常之
間的斷裂，而是藝術創作主體在不同的現實切面之間，經由對日常進行拆解與重構的
各種藝術實踐而重返日常，並在重返之中揭示日常的原始獨特；透過與日常拉開距離
，從此間的依附關係中尋獲參照點／可把握／可超越之處，以將日常化為可賴以創造
的無窮資源；猶如於日常的內在輕劃出一道摺痕，讓日常的既有向度在微微轉向之際
，指出陌生未知的他方，將日常帶向似近遠之處，賦予它原本沒有的將來。藉此，
我們希冀開啟藝術與日常的多重對話關係，並於展期間透過一系列的論壇與工作坊，

逐步揭開「藝術工作者們的日常」，邀請觀者穿行在充滿皺褶的想像與思考空間，覺
察一層又一層被挪用、變形或轉化的日常：越是超日常，越是回到日常。

Daily + -- Second Greater Taipei Biennial of Contemporary Art

Art is what makes life more interesting than art.
Robert Filliou

As an old labourer full of wrinkles on his front,《Doubting
Thomas》recklessly probes the index finger into the ribs of Jesus.
Following the direction of the ‘daily’ gesture represented by
Michelangelo Caravaggio, we will experience more ways of seeing
the daily: Johannes Vermeer’s woman pouring milk under the
sunlight, Jane Steen baptising the newborns, even Gustave
Courbet’s stone stackers, Jean-Francois Millet’s cleaners, and
Edouard Manet’s bunch of asparagus. We might even recall Jan van
Eyck of his realism dated back to the 15 th century, who insists of portraying a
corner of everyday life. Then come up naturalism, realism, collage, Dada, art of assemblage,
new Dada, new realism, pop art, Fluxus, happening, arte povera, and so on. If the evolution
of the artistic practice for centuries has step by step turned from the sacred temple of
perfectness into ‘the daily’, then where would ‘the daily’ of contemporary art lead us to ?
Does the ‘daily’ still belong to one of the creative resources stimulating art practice? And if
in the daily we are familiar with exist always some blind points which keep us from gazing
upon life itself, could a shuttle between art and daily life render us more insightful of life?
Baptised as Daily + , the 2 nd Greater Taipei Biennial of Contemporary Art unites 35
participating artists from France, USA, Austria, Luxembourg, Japan and Taiwan. Engaged
firstly in the biennial, the Taiwanese novelist Yi-Chin LO writes along the exhibition venues,
Northern Campus and Nine Single Rooms Art Space, and transforms the spaces full of
winding alleys as interwoven reminiscences into Wall Climber, which consists of residual
images of daily life and what had happened here. The novel is the first invited work that lifts
the curtain of the biennial. Taking the novel and exhibition spaces as reference of inspiration,
the invited artists develop their projects respectively in multiple direction and the developing
projects later become as well a reference to each other, through which the invisible
relationship of linkage is thus gradually drawn out. Therefore, the novel based on the
exhibition sites and the artworks referring the the novel create intertextually between artwork,
text and site a multi-level dialogue from which is generated a significance network of inter-
reference, similar to a parchment-like invisible text, full of layers of overlapping and
accumulated traces.

Derived from the daily life, the daily + is neither translation nor representation of the daily; it is
not a clean break from the daily routine. Rather, it signifies that in the different slices of
realism stands a subject of art creation who, by means of various art practices, deconstructs
and reconstructs the daily in order to return to it. In the very returning can a subject reveal the
originality of the daily. In other words, keeping a distance from the daily life, a subject is thus
able to discover in the relationship of dependency some points of reference, of substantiality
and of transcendence, and to further transform the daily into infinitive resources for creation.
As a folding mark cut slightly on the inner of the daily, the daily + diverges unnoticed the
dimension of the daily to the unknown, to a place seemingly close yet out of reach, and
endows the daily with a future never expected. Thus, we hope to open up a multi-dialogue
between art and daily life, and at the meantime, through a series of forums and workshops, to
reveal progressively the daily of artist, and finally to invite spectators to stroll in a wrinkled
space of imagination and thought so as to observe the layers of daily life, diverted,
transformed, and even flipped. The more the daily becomes the daily + , the more the daily +
becomes the daily.

2018年第二屆大臺北當代藝術雙年展
「超日常」
展期｜2018/11/21 ─ 2019/1/20
地點｜有章藝術博物館、北區藝術聚落、九單藝術實踐空間
（22058 新北市板橋區大觀路一段59號／02-22722181）
開幕｜2018/11/21（三）
官網｜http://museum.ntua.edu.tw（臉書搜尋：「有章藝術博物館」）
The Second Greater Taipei Biennial of Contemporary Art:
Daily +
Date｜2018.11.21-2019.1.20
Location｜Our Musuem, Northern Campus, Nine Single Rooms Art
Space
(No. 59, Sec. 1, Daguan Rd., Banqiao Dist., New Taipei City, 22058,
Taiwan／886-2-22722181）
Opening Party｜2018.11.21 Wed.
Official Website｜http://museum.ntua.edu.tw
Facebook Page｜https://www.facebook.com/AMNTUA/

總策展人：陳志誠博士
Chief Curator：Dr. Chih-Cheng CHEN
策展人：
查理・卡克皮諾
張君懿
駱以軍
建築團隊（賀昌申、王維周）
Curators:
Charles CARCOPINO
Chun-Yi CHANG
Yi-Chin LO
Architectural group (Kenneth HUO, Rémi Wei-Chou WANG)

參展藝術家｜Artists（順序按姓氏字母排列）
查理・卡克皮諾 Charles CARCOPINO （法國）
皮埃爾－勞倫特・卡西爾 Pierre-Laurent CASSIÈRE （法國）
周曼農 Man-Nung CHOU （臺灣）
克羅德・克勞斯基 Claude CLOSKY （法國）

傑夫・帝森 Jeff DESOM （盧森堡）
菲力絲・艾斯堤恩・多佛 Félicie d’ESTIENNE d’ORVES （法國）
杜立安・高登 Dorian GAUDIN （美國）
平川祐樹 Youki HIRAKAWA （日本）
賴志盛 Chih-Sheng LAI （臺灣）
艾曼紐・雷內 & 班雅明・瓦倫薩 Emmanuelle LAINÉ & Benjamin VALENZA （
法國）
劉和讓 Ho-Jang LIU （臺灣）
駱以軍 Yi-Chin LO （臺灣）
伯恩德・歐普 Bernd OPPL （奧地利）
奧利維耶・帕斯格 Olivier PASQUET（法國）
朱利安・佩維厄 Julien PRÉVIEUX （法國）
史蒂芬・帝德 Stéphane THIDET （法國）
尼可拉斯・圖爾特 Nicolas TOURTE （法國）
蔡宛璇 Wan-Shuen TSAI （臺灣）
島嶼時光團隊 Island’s time group （臺灣）
（以上順序按姓氏字母排列）
主辦單位｜Official Organizer
國立臺灣藝術大學 National Taiwan University of Arts
執行單位｜Executive Organizer
國立臺灣藝術大學有章藝術博物館 Our Museum, National Taiwan University
of Arts
合作單位｜Co-Organizer
國立臺灣藝術大學美術學系 Fine Arts Department, National Taiwan
University of Arts