2017,給我一個交陪境!

文──龔卓軍

當代藝術與民間信仰的文化祭可以碰撞出什麼樣的火花?歷經兩年多的田調、編輯、論壇的準備,「近未來的交陪:2017蕭壠國際當代藝術節」,從臺南的「交陪境」傳統出發,著重於三個層次的當代交陪:創作中的技藝方法、儀式中的互動方法、政經結構中的自我組織方法。這三個層次方法,不只指向民間藝術的純粹技法和美學,更希望讓參與的觀者重新體會一種歷久彌新的「做的方法」、「使用的方法」與「生活的方法」,以呈顯出有別於西方美術的聯境、友境、交陪境精神。

這個展覽首先呈現藝術祭的準備過程與方法。2015年的田野訪調、2016年的《交陪藝術誌》四冊出版、「交陪×攝影論壇:2016台北雙年展計畫」系列討論、當代藝術館的春之當代夜「民藝論×當代藝術」系列講座,與A11臺南藝陣館的交陪設計展熱身開展後,2017年1月緊接著展開第一階段以攝影裝置、祭典活動紀錄片、影像裝置和城市浮洲建築為主體的十四位藝術家,以及臺南市美術館攝影典藏品的展覽。

經過2016年初地震後的廠區整修與結構加固,2017年3月下旬,含括廟壁大畫、巨幅門神、繪師畫稿、門神門板、廟牌木雕、攝影、設計、建築、物件、錄像、拼貼、檔案、繪畫、雕塑、紙藝、互動裝置、廊道影像等不同媒材與空間的作品,在文化園區全境開展,共有三十八組國內與國際藝術家,於十個展間、四條廊道、十座城市浮洲建築參與展覽。臺南市沙淘宮的壁堵石刻版畫拓印修復、平面設計者參與園區視覺意象構成、藝術家與策展團隊參與佳里金唐殿的蜈蚣陣繞境、仁德大甲慈濟宮的交陪借展、傳統藝師與當代藝術家的駐村與對場作、建築團隊依現地營造城市浮洲交陪境、攝影家的重訪拍攝計畫、在地策展團隊的自我組織與對話,都是這個展覽不可或缺的姿態與精神。開展後的在地與國際教育計畫,亦將漸次推動,給予一個當代藝術的交陪境,冀求突破僵化的現有藝術機制和廟宇文化生產體制,在當代藝術與民間藝術之間,打開一個新的藝術祭視野。


Introduction of 2017 Soulangh International Contemporary Art Festival -
“Kau-Puê, Mutual Companionship in Near Future”
by Jow-Jiun GONG

To prepare the exhibit Kau-Puê, Mutual Companionship in Near Future: 2017 Soulangh International Contemporary Art Festival, the team has conducted field research, held dialogues, lectures, exhibitions, and forums, done editing and publishing, run cooperative artist-in-residence programs in the past two years. Starting from the local organizations of Lian-Jing (“allied realm,” which has come to existence since the Qing dynasty,) the exhibit focuses on the “Kau-Puê Realm” in temples and Taoism ceremonies, exploring the fluid concept of self-organization. From today's perspective on modern art, the exhibit looks back at the cultural history of folk temples that carries a hint of world and colonial history.

The curating team has traversed from traditional worshipping to contemporary post-worshipping. We have invited a total of thirty-eight artists or collectives. Individually or cooperatively, they explore contemporary art in the scope of near-future post-worshipping. Demonstrating their Kau-Puê imagination with new media, materials, and fields, these artists create a multiple yet unique “allied realm” and Kau-Puê relationship, re-exploring the aesthetic relation between contemporary art, traditional folk art, plebeian beliefs, and civil society. In the Urban Archipelago project, artists from fields of craft, design, paper art, painting, wood carving, photography, video recording, sculpture, installation, performance, and architecture transcend the boundaries between tradition and contemporariness. They have transformed their approval or disapproval of gender, rituals, and religious beliefs into contemporary art practice.

From the Qing dynasty, Japanese colonization, the reign of R.O.C., to the contemporary era, mutual companionship in the near future is a strong confrontation over spiritual beliefs yet a joint performance about body on site. It is not only penetration and invasion of the painting realm, but also a dynamic connection to the changing community. It is exchange and labor in gift economy. It is a tour and rehearsal of history and genealogy. The exhibit aims to open up new areas in contemporary art in Taiwan, developing the potential of traditional folk religious and contemporary art. More importantly, with the help of senior artists, craft artisans, and even the works left by them, the exhibit hopes to provide fertile ground for artists of the new generation, across time and space, assisting them to reverse their thinking about art and expend the energy to the future to come - the “near future.”


交陪境

文──龔卓軍

一般文史研究對於「交陪境」的定義,是自清代以來的地方社區寺廟,如「街廟」、「祭祀圈」、「以一個主祭神為中心,共同舉行祭祀的居民所屬的地域單位」,為敬神活動而相互交誼贊助的結盟關係。從這種觀點來看金唐殿的遶境路關圖,可以看出來這是一種精神地理的地圖。

不過,上面這種定義,會讓我們認為,金唐殿這類的寺廟好像有一個非常明確的社區範圍與社區意識存在,而社區民眾有義務一定要參與所有「交陪境」內的地緣祭祀活動。這種傳統人類學概念所理解「交陪境」的意涵中,「交陪」是指幾種不同等級的廟宇結盟層次。最表淺的結盟屬於「誼廟」,遇神明聖誕則致贈花圈,以示慶賀;若是深一層的「交陪境」,在每年主祀神的聖誕前夕,各交陪境就會前往祝壽,並設平安宴款待,如遇交陪境廟宇有重修或建醮大事時,交陪境各廟宇就需要襄贊慶典費用,或致贈神桌、燭台、扁額,邀請陣頭、藝閣助陣。

但是,中研院的研究員張珣,在2002年提出了不同的想法,她為文指出,臺灣寺廟的「交陪」關係中,具有表演性、政治性、文化資本性的複雜面向,同時,在動態的「交陪」關係中,各廟宇與國家、市場交易產生的協商關係,反而是交陪美學中必須面對的首要問題。她說,如果我們不把「交陪境」的焦點放在「祭祀圈」的人類學傳統概念下,我們就會注意到「後祭祀圈」的影響,也就是廟會活動與經濟實力的展現、政治權力的更迭、文化隱喻象徵、都市脈絡的改變、無政府主義的騷動、精神地理學的遷徙者與移民者、宗教想像的不同聯結都有關係。

從當代藝術的觀點,提出「交陪境」這樣的概念,就是從「後祭祀圈」的角度出發,重新思考在1990年代的大型宗教文化節與近年觀光化的宗教節慶形式外,當代藝術透過民間宗教文化,積極介入社會、介入文化生產,這是一種嶄新的「交陪」形式。就此而言,我們發現更多的是「交陪」活動中對於創造性的要求。就像金唐殿香科過程中,對於每一個儀式陣頭細節的表現性與文化意涵,對於遶境路線的詳細設計與徵詢,對於各交陪境廟宇交接儀式的講究,使我們反思其中蘊含締造當代社區聯結的特異力量,足堪與當代的關係美學、新類型公共藝術、社群藝術、與社會交往的藝術等等進行深度的美學對話。


Kau-Puê Realm
by Jow-Jiun GONG

In the study of literature and history, “Kau-Puê Realm” is generally defined as temples in local communities that have developed since the Qing dynasty. Described as “street temples,” “religious sphere,” and “a district where residents worship one main deity together,”“Kau-Puê Realm” refers to an alliance in which members socialize and sponsor each other for god worshipping. From this perspective, the pilgrimage procession route of the local Jin Tang Temple can be seen as a mapping of spiritual geography.

However, the above definition makes us believe that there seems to be a very specific scope and sense of community for temples like Jin Tang Temple, and residents in the community are obliged to attend all the worship activities in the vicinity of the “Kau-Puê Realm.” In fact, in traditional anthropology, “kau-puê” refers to different kinds of temple alliances. The most apparent one is that of “comrade temples,” members in which give wreaths to each other on gods’ birthdays, as a way to congratulate and celebrate. In contrast, members in a more complex type of “Kau-Puê Realm” visit each other and hold roadside banquets to celebrate and entertain on the eve of the main deity’s birthday. In addition, when temples in their “Kau-Puê Realm” face big events like renovations or Jian Jian (a special Taoism ceremony), other temples have to help with the fees, give god tables, candle holders, and plaques for free, or invite Din Tao (processions) and Yi Ge (bandwagons) to make a grand scene.

However, Hsun CHANG, a research fellow at Academia Sinica, proposed a different idea in 2002. In her article, she pointed out that “kau-puê” relationship between temples in Taiwan has multiple dimensions. It is performative and political, and it carries traits of a cultural capital. Besides, “kau-puê” is a dynamic relationship, and the greatest problem its aesthetics has to face is the negotiation between temples, the country, and market transactions. According to Chang, if we stop focusing on the “Kau-Puê Realm” under the traditional anthropological concept “religious sphere,” we will start to notice the influence of “post religious sphere,” which is relevant to temple fairs, demonstration of financial power, change of political powers, cultural metaphors and symbols, transition of urban fabric, disturbance of anarchism, migrants and immigrants in spiritual geography, and different connections between religious imagination.

From the perspective of contemporary art, “Kau-Puê Realm” is a notion based on “post religious sphere.” There used to be large religious festivals in the 1990s. There have been tourism-oriented religious festivals in recent years. However, above all these, “Kau-Puê Realm” rethinks how contemporary art actively engages with the society and cultural production through folk religions and culture. It is a brand new type of “kau-puê.” In this regard, we found this kind of “kau-puê” requires more creativity. For example, the pilgrimage procession held by Jin Tang Temple pays close attention to every detail. It emphasizes the expressiveness and cultural implication of every ritual performed by Din Tao. Its route of procession has been carefully designed after consultation. It has dealt with the handover rituals attentively in every kau-puê realm. All these prompt us to reflect on the strange power that connects contemporary communities. It is capable of having deep aesthetic conversations with contemporary relational aesthetics, new types of public and community art, and the art to socialize with the society.


總策展人──龔卓軍 Chief curator
Jow-Jiun GONG
1966年出生於嘉義。國立臺灣大學哲學博士。曾任教於淡江大學通識中心、中山大學哲學研究所,2007年起任教於國立臺南藝術大學藝術創作理論研究所博士班。2006年發表《身體部署:梅洛龐蒂與現象學之後》一書,獲臺灣中央研究院年輕學者研究著作獎。2009年起擔任《藝術觀點》(ACT)季刊主編。譯有法國哲學家加斯東.巴舍拉的《空間詩學》,以及莫里斯.梅洛龐蒂的《眼與心》等書。近年來開始進行當代藝術界的策展工作,包括:2013年「我們是否工作過量?」於臺北誠品畫廊,2014年「絕對不純粹」東亞論壇:報民/AABB—臺南/東京交流計畫、「東亞.駐村.對話—r:ead#3」於臺南RICVA+r:ead #3、「鬼魂的迴返:臺灣國際錄像藝術展」於鳳甲美術館。 Born in 1966 in Chiayi. Jow-Jiun Gong gained his PhD degree in philosophy from National Taiwan University. Gong used to teach in the Center for General Education and Core Curriculum at Tamkang University and the Institute of Philosophy at National Sun Yat-Sen University. Since 2007, he has been teaching at the Doctoral Program in Art Creation and Theory at Tainan National University of the Arts. In 2006, Gong published the book Dispositif of Body: Merleau-Ponty at the Limits of Phenomenology and was awarded Junior Research Investigators Award by Academia Sinica. Gong has been the chief editor of the quarterly art magazine Art Critique of Taiwan (ACT) since 2009. In addition, he translates some books into Chinese, including The Poetic of Space by Gaston Bachelard and L’oeil et I'esprit by Maurice Merleau-Ponty. In recent years, Gong has curated exhibits in contemporary art, including Are We Working Too Much? (Taipei Eslite Gallery, 2013), “Absolutely Impure East-Asia Forum: POST News/Art Against Black Box—Tainan/Tokyo Exchange Project” (2014), “Residency, East-Asia, Dialogue—r:ead #3” (Research and Innovation Centre of Visual Art, Tainan), and The Return of Ghosts: Taiwan International Video Art Exhibition (Hong-gah Museum, Taipei.)


策展團隊──陳盈瑛 Team of curators
Yen-Ing CHEN
1966年出生於屏東。曾任職於臺北市立美術館展覽組、《今藝術》主編、典藏藝術家庭叢書部暨《小典藏》總編輯。現為獨立自由工作者。 Born in 1966 in Pingtung. Chen had worked at the Exhibition Department of Taipei Fine Arts Museum. Then she worked as the chief editor of Artco Magazine, the Books Department of Art & Collection Group, and Artco Kids Magazine. Chen works as a freelancer now.


策展團隊──高森信男 Team of curators
Nobuo TAKAMORI
1985年出生於臺北。現就讀交通大學應用藝術研究博士班。擅長當代藝術跨文化研究、當代藝術跨領域實驗、策展實務及理論。2010年創立並主持「奧賽德工廠」策展團隊。策畫展覽包括2011年「Post-Actitud: El Artecontemporáneo de Jóvenes Artistas de Taiwán」於墨西哥的Ex Teresa Arte Actual、「南國.國南」臺越藝術家交流計畫於胡志明市與臺南,2010年「Sommerreise」於GlogauAir柏林,並於橫濱黃金町?????????????(黃金町地區管理中心)進行策展人駐村,2014年「拾荒花園」於臺北誠品畫廊;「鬼魂的迴返:臺灣國際錄像藝術展」於鳳甲美術館,2015年「野生傳說」於朱銘美術館。現亦擔任北藝大關渡美術館策展人。 Born in 1985 in Taipei. Takamori now attends the PhD Program in the Institute of Applied Arts, NCTU, specializing in contemporary cross-cultural art researches, contemporary cross-field art experiments, curatorial practices and theories. In 2010, TAKAMORI organized and hosted Outsiders Factory, a curatorial team. He has curated exhibitions like Post-Actitud: El Artecontemporáneo de Jóvenes Artistas de Taiwán (Ex Teresa Arte Actual, Mexico, 2011), South Country, South of Country— Vietnamese & Taiwanese Artists Exchange Project (Ho Chi Minh City, Vietnam and Tainan, Taiwan), Sommerreise (GlogauAir, Berlin, Germany, 2010), The Lost Garden (Eslite Gallery, Taipei, 2014), The Return of Ghosts: Taiwan International Video Art Exhibition (Hong-gah Museum, Taipei), and Wild Legend (Juming Museum, New Taipei City, 2015). TAKAMORI had worked as a curator in residence at Koganecho Area Management Center, Yokohama. Now he works as a curator at Kuandu Museum of Fine Arts at Taipei National University of the Arts.


策展團隊──陳伯義 Team of curators
CHEN Po-I
1972年出生於嘉義,1999年成功大學水利及海洋工程研究所畢業。曾參加2013年「交叉口.異空間——兩岸四地藝術交流計劃展」於深圳何香凝美術館、2014年「臺灣美術家『刺客列傳』;1971~1980——六年級生」於國立臺灣美術館、2015年「河流——轉換中的生存之道/亞洲當代藝術連線」於駁二藝術特區,以及2016年「傾圮的明日」於歐洲攝影之家等展覽。2015年參加「r:ead # 4」東亞區域藝術交流平台,也曾從事攝影教學及策展等工作。專長為攝影及海洋工程,作品曾被國立台灣美術館、高雄市立美術館、日本清里攝影美術館及歐洲攝影之家典藏。 Born in 1972 in Chiayi. Chen received his master’s degree in Hydraulic and Ocean Engineering at National Cheng Kung University. He has attended several exhibitions, including Crossroads.Another Dimension—A Cross-Strait Four-Regions Artistic Exchange Project 2013 (He Xiangning Art Museum, 2013), The Pioneers of Taiwanese Artists, 1971–1980 (The National Taiwan Museum of Fine Arts, 2014), Rivers—The Way of Living in Transition/ Asia Contemporary Art Links (The Pier-2 Art Center, 2015), and Lendemain Chagrin (Maison Européenne de la Photographie, 2016). In 2015, he participated R:ead #4, an art exchange platform in East-Asia, and he used to teach photography and curate exhibitions, specializing in photography and ocean engineering. Some of his works are now collected in National Taiwan Museum of Fine Arts, Kaohsiung Museum of Fine Arts, Kiyosato Museum of Photographic Arts in Japan, and Maison Européenne de la Photographie in Europe.


策展團隊──陳宣誠
Team of curators
Eric CHEN

1978年出生於臺南,現居住及工作於臺中、桃園。國立臺南藝術大學藝術博士,現為中原大學建築系專任助理教授、共感地景創作|ArchiBlur Lab 主持建築師。長期探索在身體與地景間發展另一種重新定義建築的尺度,企圖用最真實的身體感,反覆地去體會事物最根本的價值,讓建築成為一種關於人的環境。主要的創作實踐為:《邊緣地景》(2014臺北市立美術館「X-Site計畫」)、《屋橋》(2015瀨戶內藝術祭家屋計劃)、《城市浮洲計畫》、馬來西亞《綠洲聚落計畫》,法國《懸山.浮橋》,以及《共感群體》(2016台北雙年展)等。

Born in 1978 in Tainan. Chen now lives and works in Taichung and Taoyuan. Chen obtained his doctoral degree in art in Tainan National University of the Arts and is now a full-time assistant professor of the Department of Architecture, Chung Yuan Christian University and the principal architect of ArchiBlur Lab. He has long been trying to redefine the scope of architecture by exploring the relationship between bodies and landscapes, aiming to perceive the very essence of things via the purest senses of bodies. He hopes to make architecture environments about humans. Major works of his include Landscape of the Boundary (Program X-Site, Taipei Fine Arts Museum, 2014), Bridge House (House Project at Setouchi Triennale 2015), Urban Archipelago Projects, Oasis Village Projects (Malaysia), Floating Mountains/ Suspended bridge (France) and Collectivism (Taipei Biennial 2016).

 

 

 
 
 
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