《On The Table》2014梁淑玲、許惠晴聯展

主辦人/單位: 新樂園藝術空間

首次展演日期: 2014-06-07    結束展演日期: 2014-06-29
詳細時間說明:
展覽日期：2014/6/7(六) -6/29(日)
開幕茶會Opening Reception：2014/6/7(六) pm 3:00

座談會Symposium：2014/6/15(日) pm 4:00
與談人：黃建亮(亮相館影像文化影像總監)、吳宇棠(藝術家)

幻燈片秀Forum：2014/6/29(日)2:00pm
與談人：陳建北(藝術家、南藝大教授)
互動裝置協力：林暄

活動地點: 新樂園藝術空間
活動地址: 台北市中山北路二段11巷15-2號一樓

梁淑玲創作自述

    當了十三年正職的家庭主婦，身處周而復始、無窮無盡、沒完沒了卻微不足道的日常瑣事所氲圍成的迷霧城堡裡，偶爾，創作的靈光，閃爍眼前迷茫；更多的時候卻是落在城堡的地下渠道，汨汨地流往更飄渺的遠方。 

    迷霧城堡將ㄧ切旋往重心，或快或慢，或遠或近，或實或虛；像是協奏般各自表述，同樣有著自己的重力。動心起念脫離，卻束縛得更緊。惟靜觀處，才能稍得ㄧ縷空間，喧擾停滯。

靈光在此駐足。 

    用修了十三年的舞台摹寫靈光，成了最直覺的舉動，為此，迷霧的空隙漸常瞥見，順著重力的軌道現在卻似活潑歡樂的旋轉舞曲，令人神迷。 

    念念不忘，必有迴響。流到飄渺之外的靈光，以聽不見的回聲，振動迷霧煙氲，城堡竟也成晴朗風景。 

許惠晴創作自述

投身教職已近九年，八年來擔任導師是個忙於處理「人」的事務的職務，同時，也會禁不住的以另一個審視的角度來觀察自己所從事「規訓」這件事情，觀察擔任教師時每個精細的動作、環節、程序、觀念、作為、判斷等等，而這個反省的過程衍生出一系列關於「教育」的作品（請參照許惠晴作品集）。

近一年來，由於自己換了新的職務–美勞科任老師，也因此在教育有了不同的切入點，以新的視點與心態來觀察自己在教職上的所作所為，這次的展覽也由此醞釀而生。

為了要維持教室的整潔度，桌面不要殘留刷洗不掉的顏料，我處心積慮的嘗試了各式各樣的方法，之前老師所傳授的包牛皮紙法，但牛皮紙易被撕得破爛，常常要更換而作罷；再試著包保鮮膜，也終告失敗；試著眼睛閉起來不去看這些髒污，學著忽視，自己心裡難過，也做不到。

最後，自掏腰包去買了坯布將整張桌面包覆起來，試著看看是不是可以一勞永逸？！學生初見包覆著布的桌面非常驚訝，而我也趁機以老師威嚴之姿定下規定，警告他們不可以在上面亂塗鴉，如果不小心畫到，視情況而定是否原諒，也不可以故意割破桌布，如果情節嚴重，將請該生賠償，或是帶回家給爸媽清洗。

剛開始使用，學生小心翼翼，不小心畫到，還會主動承認請求原諒，或是主動找出之前學生所產出的污漬證明自己的清白。原本看到顏料髒污時，心裡還會有些不捨，但靈光乍現，決定讓它變成教育過程的產出物–作品時，心中頓時豁然開朗，原本學生不小心的錯誤，竟變成一筆筆大師般的揮毫之作。從中，我也紀錄了這日積月累的過程，小心翼翼的隱藏內心不段成型作品的喜悅，再不動聲色的將他訴諸成我的作品。

A Few Thoughts on Hsu Hui-chings Upcoming Exhibition in Xin Leh Yuan Art Space

by Andreas Walther (artist, Germany)

For more than a decade the works of Hsu Hui-ching (許惠晴) circle around displacements in-between common expectation – such as public, moral or (ir)rational customs – and alternative notions and ways of proceeding. Her works broach the issue of generalized solutions often unnecessarily impeding particular constellations, while more suitable options and solutions are not only always or mostly given, but even – if chosen carefully – know to integrate positive aspects and effects for both – individual as well as common disposition and well-being.

While her earlier works concentrate on expressing individual suffering from common expectation (such as the 「減重計劃)」or the 「脂肪針刺作品」), with her works in the recent years Hsu Hui-ching considers solutions or overcoming of displacements in-between the common and the individual. With her exhibition in Shin Leh Yuan Art Space (新樂園) in June 2014, Hsu Hui-ching ties in with her 2012 work Right or Wrong (對或錯) and thus initiates a series to be continued in the coming years.

     For the production of CurrentWork, Hsu Hui-ching applied aspects of performance art as it was introduced in the 1960s and 1970s with the involvement of an uninformed public – at that time, random passer-bys, often in public, were confronted with and challenged by unaccustomed situations and thereby involved with the performance, undergoing a process of irritation genererating fresh views upon common, often outdated customs or habits or reality.

     Hsu Hui-ching is an artist and also teaches art (among other subjects) at a public Taipei elementary school and it was during these art classes that Hui-ching already realised Right or Wrong[1] in 2012 by involving her uninformed pupils as contributors to the work.

     For the production of her current work, Hsu Hui-ching covered all classroom tables with tablecloth in order to protect the table desktops from being soiled with paint during art class and requested her pupils not to soil the cloth with paint – a request that demands double concentration from the children: concentration on the subject of painting as a creative process that is yet to be exercized, on the other hand the obediance of a rule resulting in disturbance of the creative process as long as the artistic process, especially if it is yet to be trained; arts or painting class is the one subject within the range of different subjects in school education that appears as a scope for alternative proceeding, that integrates intellectual, tactile and sensuous qualities and thus allows to learn and gain a very different form of concentration. – concentration that derives from the process itself. Overregulation of this process – e.g. by the request to spare table cloth from being blotted with paint – is a waste of such chance. In the given constellation however, under the influence of oblivious concentration on artistic production (and certainly also group dynamics among the pupils), the repeatedly used pieces of tablecloth in result were covered with paint strokes at the end of the school term.

    In a simple last step, the artist installs six pieces of blotted cloth, each in a size of 120 x 240cm as body of work in the exhibition space. The artwork however – also in regards to its aspects of performance art – is only completed with the pupils visiting the exhibition and realising what they have been – and still are – part of.

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