事 故 NO ON：何采柔個展

主辦人/單位: TKG+ Projects
活動類別: 展覽

首次展演日期: 2019-02-23    結束展演日期: 2019-04-28

活動地點:TKG+

地址:台北市114內湖區瑞光路548巷15號B1

纖細的溫柔，與偏執的緊張；出神的凝視，與恍神的空白；故事的文本，與事故的閱讀。這些由兩個性質迥異之端點所連起的，就像自令人震驚的序幕走向平庸的結局，像從不以為意的日常到揭開了令人詫異的隱藏，「落差」讓敘事線的「中間」多了起伏的韻律，也讓對中間的等待有了意義。若將敘事當成一條線，那麼這線條也似是由每一秒筆尖和面的接觸所填滿的點而構成，但我們的肉眼，往往只能看到一條完整的線，並以兩個端點所構成的形像，存在於腦海裡。再微步些前進，那條線，那些在敘事線上所發生的每一幕，都是為了感受到每個存在於線裡面的點而存在的，為了讓觀看能詩意地行走在敘事線上，進而對「中間」思考和選擇的存在。

何采柔個展「事 故」可以輕易的從字面符號去詮釋猜測，就如同音詞的雙重意義，即使包含閱讀的方向，也至少有三種可能，相同的，英文展名「NO ON」可以是「NO」和「ON」，也可以是「NOON」。在構成一個詞，在字距及語音的細微差異裡，展覽名稱也徘徊在一格空白鍵的距離中間，這就是「落差」的活動範圍，它是何采柔創作所接觸到的第一個空間，也是展覽做為一條線的開頭點及序幕。這樣操作符號本身多重意義的方法有點簡單，但在這符徵和符旨早已失序的當代社會中，其透過展覽和空間所譜出的，反而是將觀看牽引至屬於每個人最私密的日常故事。

踏入展場前，何采柔結合裝置和表演的影像，以類似大螢幕廣告看板的視角呈現做為展覽的服務指南，佇足於此是必須的開始；而在閱讀完這道影像的序語後，我們會來到搖曳的燈光所閃爍著的展場，這因為燈光的搖擺而使得平衡感頓時失了序，觀眾在此或許得以重新擁有辨識空間的可能；緊接在這持續的搖晃感後所見到的龐然大物，是孩提時期輕撫著夢境的搖床，與空間的防衛性所圍起的柵欄；為了安全，觀眾需要加緊腳步通過那危險的搖籃，同時，仰望前方那塊漂浮於空中的布，看著它緩緩地落在桌面，再輕輕地飄起，凝視，在這不斷重複著的動作前，享受這一切半自動化的展覽服務。以上，都是對於展覽的描述，也許會出現意想不到的「事 故」，但故事，則需要由觀眾各自去連結，在敘事線的另一個端點，是只屬於觀眾自己的角落。

關於何采柔

何采柔，台灣跨領域藝術家，加州大學國際關係學士，愛荷華大學藝術研究所碩士，其創作無論是以繪畫、裝置或影像的方式創作，她的作品總能以局部分解的動作，日常習慣的切片與豐富迷離的光影來呈現人與現實之間某種既親密又疏離的緊張關係。而這些獨特而強烈的創作一方面包圍著觀眾，卻又與其保持對峙的狀態，讓日常的片刻成為了一道風景或儀式。

作品曾於台北市立美術館、北京今日美術館、台灣美術館、上海當代藝術館、神戶雙年展、以及亞洲雙年展以及釜山雙年展等展出。自2010年開始戲劇編導工作，創作《206號房》《四季》及《半透明的》等導演/編劇作品。近期展覽包括：“半透明的風景-何采柔個展”，霧島之森美術館，鹿兒島 (2016)，“無何處-何采柔個展”, 伊通公園, 臺北 (2017), “香港巴塞爾博覽會-藝聚空間”，香港 (2017), “所見非所得”，有空間, 深圳 (2017) ，“第九屆亞太當代藝術三年展“，昆士蘭美術館，澳洲 (2018)。

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From the tenderness to the obstinate gripping tension; from being entranced by a stare to the sensation of feeling spaced out in a void; from the text of a story to the reading of an incident, these endpoints of differences in characteristics connect and create a “discrepancy.” It displays an undulating cadence in the narrative and infuses meanings to the anticipation in between, similarly to an exhilarating prelude developed into a mediocre ending or how the concealed surprise is unveiled in the indifferent everyday. If the narrative is a line, this line is formed by numerous connected dots when the pen and surface touch. But our naked eye can only see the line that is completed; our brain processes and archives it as an image of the linked endpoints. To push such connotation forward, that line, that every scene happening in the narrative exists only for us to perceive and feel the dots; to accommodate a poetic stroll on such narrative and thus think and make choices between the “in-between.”

The Chinese title of Joyce Ho’s exhibition, 事故 (literally “incident”), is a witty wordplay that invites interpretations. The myriad of possibilities, just to state out the obvious three, includes the double meaning of the words, homophony of the diction and the reading direction. Its English title NO ON can be read as two separate words NO and ON, or as one word NOON. In the forming of the word and its nuance in its kerning and syllable, the title of the exhibition lingers between the distance created by a spacebar and therefore creating the scope of a discrepancy. This scope becomes the first space Ho came across in her practice and the prelude and the starting point of the exhibition represented by a line. This way of manipulating the multiple meanings of symbols might seem straightforward at first. However, in contemporary society when symbols and their interpretations are disordered, this simple method revealed through the exhibition and the space attracts and draws viewers into perceiving their most intimate everyday stories.

Before entering the exhibition space, there is a large digital billboard acting as a service guide for the exhibition. This combination of installation and performance imagery is a necessary starting point of the exhibition. After perusing the preface, we enter the exhibition space where lights flicker and flash. The flickering of lights interferes with the audience’s vision and throwing them off balance, offering an opportunity that they might regain and acquire a new sense of the space. The colossus that comes into view after the constant sense of wavering evokes a distant memory where we once as children nestled in a cradle; at the same time, it is also a fence erected as a barricade. For safety, viewers would speed up in order to pass through the dangerous rocking crib. In tandem, a piece of cloth floats through the air, drifting and falling slowly towards the table before floating again. Staring in awe, viewers are exposed to these repeated movements, enjoying this semi-automatic exhibition. The aforementioned events are merely descriptions of the exhibition. One might expect “incidents” to happen, yet it leaves to the viewers to draw the line to the other end of the narrative so as to let “stories” unravel and to own this corner of dots and lines.

About Joyce Ho
Joyce Ho received her M.A. in studio arts from the University of Iowa. She is an interdisciplinary artist with an emphasis in painting, sculpture, and theatre. Integrating details of decomposition movements, epitomes of everyday habits, and rich and illusory light and shadow, Ho's painting, installation, and video works always delineate the intimate yet distant relationship and tension between people and reality. Her unique and powerful work simultaneously envelops her audience while keeping them in a state of being confronted, rendering the quotidian moment depicted in her work an immediate landscape or ritual.

Joyce Ho has exhibited extensively, such as the Kobe Biennale, Museum of Contemporary Art Shanghai, Today Art Museum, and Museum of Fine Arts Shanghai, and Asian Arts Biennale, and Busan Biennale. Since 2010, She has also worked as a scriptwriter and theatre director. She has directed theatre performances including “Room 206,” “Four Seasons,” and “Semi-transparent.” Recent exhibitions include the 9th Asia Pacific Triennial of Contemporary Art, Queensland Art Gallery | Gallery of Modern Art, Brisbane, Australia (2018);; Dream about the Edge, IT Park Gallery, Taipei (2017); Art Basel Hong Kong: Galleries & Encounters sectors, Hong Kong (2017); Everything You Need To Know About The FY Foundation: An Exhibition, You Space, China (2017); and Semitransparent Scenery, Kirishima Open-Air Museum, Kagoshima, Japan (2016).

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