有章藝術博物館
OUR MUSEUM

現在幾點鐘
───── 我們的七個「現在」儀式

 

 

一場全球性大瘟疫，自2019 年末開始，隨後在2020 年初迅速擴散至全球。不論是國際政治情勢，還是區域產業經濟，甚至是個人生活無不造成巨大的衝擊。這讓人想起1937 年出版的《劇場及其複象》一書開篇〈劇場與瘟疫〉，亞陶（Antonin Artaud，1896-1948）談到：一個真正的劇場（eater of Cruelty）應該回到儀式的源頭。他認為瘟疫是一種精神現象；戲劇如同瘟疫一般，具有驚人的感染力，會在我們的內心深處，引發一場對既有秩序的戰爭，以及帶來隨機的無序現象，我們正在經歷時間之輪那「百年一遇」、「千年一遇」的加速度。
 

時間它自己不會加速，加速的是時間裡的事件流程。「時間」很像是一個人獨自站在河流中，看著流水一去不復返。雖說時間如流水，但是當我們努力凝視著時間，還是不會知道「時間」究竟為何物？神學家聖奧古斯丁（AureliusAugustinus，354-430）在「懺悔錄」中說到：「被問及什麼是時間時，他回答：『如果沒有人問我，我倒清楚，有人問我，我想說明，便茫然不解了。』」
 

我們通常會不假思索用鐘錶上測量到的東西來指稱「現在」。換句話說，「現在幾點鐘」除了讓我們知道時鐘所測量的事件在某個刻度上的位置，它也讓「現在」與生活中前前後後的活動綑綁成一體。因為各地時鐘被精準對時，人的生活因此得以相互協調，規劃安排。如此時間意識的內化，一方面建立起群體共同生活，另一方面也強化了整體社會的宰制。因此，當每個人都知道「現在幾點鐘」以後，自然時間就必然被機械時間所取代，時間的過渡儀式成為我們適應衝突的內在需求。
 

美術館是一個同時為了藝術和觀眾而設的地方。在這個地方，觀眾在藝術中，藝術也在觀眾中。觀眾並不是簡單的在美術館中看作品，而是在時間的片刻裡，變成在美術館中的體現。一個美術館中的美術館，讓「現在」從有形的存在過渡到客觀的存在。展覽就像一場儀式，像一座橋樑，像人類學家特納（Victor Witter Turner，1920-1983）所提出儀式的閾限作用（liminality），它調和了從某個狀態轉換到另一個狀態的改變。一種臨界邊緣的過渡經驗，透過儀式來幫助我們在進程當中進行身分轉換，抽離於轉變前後的特質，打破既有分類，建立更大的分類，從而跳脫原有的社會限制並解決衝突，使人暫且離開世俗的拘束和繁瑣。在種種超越性連結中，重新面對更完整的存有，反思社會的框架，重新思考文化的可能性。特別是當代個人日常儀式的詰問：是不是有一種更具創造力的動能，能夠鬆動結構的限制，向我們重新喚回原初的活力，在種種機制底下展現更深刻的看見。

 

 

 

 

WHAT TIME IS IT RIGHT NOW

 ───── OUR 7 Present Rituals

 

 

We are encountering a global plague which began at the end of 2019 and quickly spread to the whole world in early 2020. It has caused a huge impact on no matter international political situations or regional industrial economies, and even our personal lives. It reminds people of the book "The Theatre and Its Double" which was published in 1937 and written by Antonin Artaud (1896-1948). In the beginning of Chapter "The Theatre and the Plague'', the author talked about how a real theater (Theater of Cruelty) should return to the source of rituals. He believes that the plague is a spiritual phenomenon. Theatre is like plague which has surprisingly infectivity, and is able to trigger a war against the existing order as well as bringing random disorder deep down in our hearts. We are experiencing the acceleration of "once-in-100-year" and "once-in-1000-year" in the wheel of time.

Time itself does not accelerate, what accelerated is the flow of events in time. "Time" is like one standing alone in a river and watching the running water never returns. Although time is like running water, when we try hard to stare at it, it is still not possible to know what "time" is. Theologian Aurelius Augustinus (354-430) stated in the "Confessions" that when he was asked "What is time?", he answered "What, then, is time? If no one asks me, I know; if I wish to explain to him who asks, I know not."

We usually refer to "present" by what is measured on the clock without thinking. In other words, "What time is it?" allows us to know the position of the events measured by the clock on a certain scale, and it also binds "present" with the activities before and after in life. People's lives can be coordinated, planned and arranged due to local clocks are accurately timed. Such internalization of time consciousness is not only establishing community but also strengthens the domination of the whole society. Therefore, natural time will inevitably be replaced by mechanical time, when everyone gets the concept of "what time is it", and the transitional ritual of time becomes our inner need for the adaptation of conflict.

Art museum is a place for both art and audiences, where the audiences are in the art, and at the same time art is in them. The audience does not simply look at the works in the art gallery but turns out to be an embodiment in the art gallery in a moment of time. It allows the "present" to transit from a tangible existence to an objective existence. Exhibition is like a ritual, a bridge. As per Victor Witter Turner (1920-1983), the anthropologist, has put forward the idea that liminality of rituals reconciles the dramatic change from one state to another. Liminality is a transitional experience of limbo, which uses rituals to help us change our status in the process. It separates us from the characteristics before and after the transformation, breaks the existing classification and establishes a larger one. From which, to get out of the original social restrictions and resolve conflicts, so that people is able to temporarily leave the restraint and complexity of the world. In all kinds of transcendental connections, we might re-face a more complete being, reflect on the framework of society as well as rethink various cultural possibilities. Especially the individual question concerning daily ritual nowadays – is there a creative kinetic energy that can loosen the structural restrictions so that we could regain the original vitality and show more profound creations under various mechanisms.

 

 

 

【雲端展場】https://reurl.cc/L7R57L

 

【講座活動】

第一場

時間：2021.11.12（五）PM2:00-3:30
地點：有章藝術博物館本館
講者（主持人）：陳貺怡
與談人：藝術家 馮君藍、王鼎曄、林凱琪　
主題：儀式的創造性－潔淨、療癒與默想

 

 

第二場

時間：2021.11.27（六）PM2:00-3:30
地點：有章藝術博物館本館
講者（主持人）：蔡士瑋
與談人：藝術家 洪韵婷、凌瑋隆、吳佳容
主題：過渡的時間探問－睡覺與旅行

 

 

第三場

時間：2021.12.25（六）PM2:00-3:30
地點：有章藝術博物館本館
講者（主持人）：陳彥伶
與談人：藝術家 齊簡、何堯智、吳其育
主題：「我們」的紀念與傳講

 

 

 

 

策展人  Curator

齊簡   CHI Chien

 

參展藝術家  Artists

馮君藍   FUNG Stanley

吳其育   WU Chi-Yu

王鼎曄   WANG Ding-Yeh

洪韵婷   HUNG Yun-Ting

凌瑋隆   LIN Wei-Lung

何堯智   HO Yao-Chih

吳佳容   WU Chia-Jung

林凱琪   LAM Hoi-Kei

 

有章藝術博物館經典作品展

Classic Works Exhibition of Our Museum

 

邱武德   CHIU Wu-Te

林錦濤   LIN Chin-Tao

侯飛月   HOU Fei-Yueh

陳志誠   CHEN Chih-Cheng

黃元慶   HUANG Yuan-Ching

黃光男   HUANG Kuang-Nan

劉高興   LIU Kao-Hsing

賴武雄   LAI Wu-Hsiung

簡正雄   CHIEN Cheng-Hsiung

 

 

策展顧問  Curator Consultan

黃榮智   HUANG Jung-Chih

 

視覺設計  Graphic Design

白日設計   Baizu Design Co.

 

紀錄拍攝  Documentary Filming

Lane 216, East

 

攝影  Photographer

劉薳粲   HLIU Wei-Tsan

 

翻譯  Translator

刁昭勻   DIAO Chao-Yun

 

主辦單位 Organizer

國立臺灣藝術大學 National Taiwan University of Art

 

承辦單位 Exhibition Host

有章藝術博物館 Our Museum