時   間：2014.08.01 (五) 19:00-21:00

地   點：台北當代藝術館1F活動大廳

主   持：張晴文（藝評家、獨立策展人）

與   談：吳方洲（澳門藝術博物館—中國行為藝術文獻展策展人；牛房倉庫—澳門國際行為藝術節策展人）、魂游（藝術家、研究員）

講座綱要：

2003年三月由身體氣象館主辦，王墨林邀請霜田誠二（NIPAF藝術總監），共同策劃的「2003台北國際行為藝術節」，於牯嶺街小劇場與台北國際藝術村舉辦，可說是台灣第一次以行為藝術之名，置於特定場合中的集結展演。透過日本的行為藝術路線，以及國外其它同類型組織的交流，逐漸打開行為藝術在台灣及國外的能見度；其中幾位藝術家也積極赴國外參與相關行為藝術節活動，並將實際參與經驗帶回台灣，隨後各別推動多場行為藝術展演活動。這類集結式的行為展演，的確為一般有興趣瞭解的民眾打開一扇入門窗口，也開始與國外相關活動展開正式民間交流。2004年十一月初，由王墨林策劃，跨界文教基金會與水田部落工作室主辦，在台北差事小劇場舉辦「Live Art工作坊」，則推動在台灣尚屬陌生的「臨（即）場藝術」（Live Art），「臨場藝術」意在模糊以往藝術分類中涉及現場表演的戲劇、舞蹈、行爲藝術、身體藝術、偶發藝術、事件藝術、行動藝術、現場音樂、儀式表演等藝術界線，主要在於探索個人化現場表演方式之可能，是當代藝術與文化中一種新思潮和方法。

這些行為展演非常強調與現場觀眾的互動，以及與在地空間的對話，大多不具彩排或重覆展演的特性，強調臨場感、隨機性與展演的結構性，但並不突顯身體美感、肢體技巧或視覺愉悅，而傾向以某種儀式性與隱喻手法進行展演；隱含於身體行為中的語法，多為體現個人經驗、意識形態或反思生存狀態。以往這類具有前衛與實驗性質的展演活動，大多是靠自力自強的小規模方式進行，切入的議提也比較強悍與直接，因此往往帶有頗高的自省性與批判性，並透過國際行為藝術節及工作坊等方式，不但增進了國際交流機會，也相對添加行為藝術的能見度，並帶給觀眾另一種看待這類藝術形式的思考方式。

The Bodily Battles of Cultural Activists

Organized by Body Phase Studio, jointly curated by Wang Mo-Lin and guest curator Shimoda Seiji (Artistic Director of the Nippon International Performance Art Festival) in March of 2003 at the Guling Street Avant-garde Theatre and Taipei International Arts Village-- the 2003 Taipei International Performance Art Festival marks the first time that a collective performance of behavior art in Taiwan took place at a specified site. The visibility of behavioral art in Taiwan and abroad was bolstered by Japanese behavioral art trends, and by exchanges with similar organizations abroad. Subsequently, a number of participating artists actively participated in behavioral arts festivals internationally and, upon their return, brought their experiences of participation back to Taiwan, followed by with a number of individual behavioral art activities. This sort of collective behavioral art exhibition truly opens up an entry point for members of the public who are interested in learning more about the art form, and also initiates non-governmental international exchanges through relevant activities. In November of 2004, the Live Art Workshop at the Taipei Assignment Theater, unveiled a Live Art exhibition curated by WANG Mo-Lin and organized by the Cross-Border Culture Foundation and Waterfield Theater. At the time still relatively unfamiliar to Taiwanese audiences, live art intends to blur artistic categories of the past related to live performances such as dance, performance art, body art, happenings, event art, performance art, live music, ritual performances, etc.; mainly in order to explore possibilities for personalized live performances, which is a new conceptual trend and methodology in contemporary art and culture.

These behaviors art performances place an emphasis on interactions with the live audience, as well on dialogue with the space on site. Most performances are unrehearsed and unrepeatable, and emphasize presence, spontaneity, and performance structure; without highlighting physical aesthetics, acrobatics, or visual pleasure, but leaning toward a certain ritualistic and allegorical performance method. The lexicon hidden in the bodily behavior mostly reveals individual experiences, ideology, or existential reflections. Such avant-garde and experimental cultural events have usually been self- funded and have taken place on a small scale. The dissection of issues tended to be more aggressive and direct, and therefore they carried a high degree of introspection and criticism. International behavioral arts festivals and workshops not only increased opportunities for international exchange, but also added to the visibility of behavioral art, as well as introduced alternative methodology for observing this art form.

[請點此報名]