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歷史改「皂」:申美璟跨國聯展計劃@當代藝 @當代藝術館,2013/12/14-2014/11/30
piauling(滄瀳飄零) 2014/3/31 11:24

歷史改「皂」:申美璟跨國聯展計劃








官網:
http://www.mocataipei.org.tw/blog/post/29492282

展出地點:■台北市大同區103長安西路39號


展出日期:2013/12/14-2014/11/30

展覽資訊

展覽名稱 | 歷史改「皂」:申美璟跨國聯展計劃


Exhibition | Written in Soap: A Plinth Project

展覽時間 Date | 2013/12/14-2014/11/30

展覽地點 Venue | 當代館戶外廣場 MOCA Plaza


門票 Admission | 免費,Free

策展人 Curator | Kyung An

展覽簡介

策展論述 Curatorial Statement

歷史改「皂」:申美璟跨國聯展計劃

台北,首爾,倫敦

文/ Kyung An


2012 年起,長期旅居於倫敦的韓裔藝術家申美璟(Meekyoung Shin)啓動名為【歷史改「皂」:跨國聯展計劃】的公共藝術計畫。此作以肥皂材料重現18世紀英國坎伯蘭公爵的騎馬雕像,此雕像曾於1770年樹立在倫敦卡文迪什廣場的底座上,後因政治因素於1868年而遭到移除。坎伯蘭公爵其實就是威廉.奧古斯都王子,即英國喬治二世最寵愛的三子,曾在1746年的卡洛登戰役一戰成名,因糜平了查理斯王子企圖廢除漢諾威王室的政變,而在25歲時成為戰爭英雄。但也因此次戰役中肆無忌憚的燒殺擄掠行徑,而使得這位戰爭英 雄同時被貫上「屠殺者」的惡名。

【歷史改「皂」:跨國聯展計劃】(Written in Soap: A Plinth Project)的創作靈感來自山弗.列文森(Sanford Levinson)1998年發表的「石體記憶」(Written in Stone)一書,書中深入研究人類在變遷社會中建造紀念碑的歷史傳統。申美璟藉此計劃,有意營造紀念碑做為特定的歷史文物,被置放在當代不同文化場域中的對話機制,及人們主動閱讀所賦予的新意義。她是144年來,第一位利用卡文迪什廣場(Cavendish Square)上空白的雕像底座來展出個人作品的藝術家。她用肥皂重建的坎伯蘭公爵騎馬雕像,此作自2012年首展以來,因風光雨雪的交互作用而日漸消蝕龜裂,甚至斷肢;申美璟透過此一雕像明顯可見的形質變化,對紀念碑雕像及歷史論述在人類文明中所象徵的恆常性和永久價值,提出一種質疑或表達一種反諷的態度。

2013年7月,這個展出計畫從倫敦延伸到首爾的國立現代美術館,接著於同年12月,串聯至台北當代藝術館的戶外空間,除了為當代藝術的跨國聯展模式開啓了歷史新頁,也體現了申美璟藉由跨國聯展,使特定歷史文 物產生不同「轉譯」效應的意圖。台灣和其他地區民眾在觀賞、閱讀和詮釋此雕像之同時,也會不禁提問:一座因表彰戰爭英雄而樹立的英國雕像,於百年後被後人移除,現卻又被韓國藝術家以藝術手法重現,並裝置於近一萬多公里外的台北當代藝術館廣場展出,人們究竟會如何看待或評價這件創作?除了此作引發的現場對話 和回應,民眾也能透過本作的官網, 去觀察比較同一雕像在倫敦、首爾和台北這三個城市空間中展出的多元情境,和不同的變化狀態。這個從公共空間串聯到網路世界,從當下連結到歷史和未來的跨國展出計畫,不僅顛覆了紀念碑足以對抗時空轉換的歷史文明信念,也點出了當代文化體制及消費系統中,各種「紀念」符號和意義的製造,已日漸影響了人們感官和認同。

本文更長篇幅詳見於2013年出版的 《申美璟》一書 (Anomie Publishing, London.)

Kyung An為【歷史改「皂」:申美璟跨國聯展計劃】(Written in Soap: A Plinth Project)的策展人及申美璟工作室的專案負責人。




Written in Soap: A Plinth Project

London, Seoul, Taipei

Written in Soap: A Plinth Project (2012- ongoing) is an international public art project by the London-based Korean artist, Meekyoung Shin. The artwork re-creates in soap the original equestrian statue of the Duke of Cumberland that sat on a plinth in the square from 1770 and removed in 1868 for politically motivated reasons. Prince William Augustus, Duke of Cumberland, was the third and favourite son of King George II, and the Duke became a war hero at the young age of twenty-five when he prevented Bonnie Prince Charles’s and the Jacobites’ attempt to depose the House of Hanover at the historic Battle of Culloden on 16th April 1746. The victory was met with jubilant celebrations in England but the military hero soon earned the nickname, the ‘Butcher,’ for his unscrupulous orders of executions and plunder. Borrowing from Sanford Levinson’s study on the tradition of public monument building in changing societies, Written in Stone (1998), Written in Soap: A Plinth Project reconsiders the monument as a site of historical and cultural negotiations, and the mutable meanings we attach to them. The project had made use of the Cavendish Square plinth for the first time in 144 years. During the course of its installation spanning across a year, the sculpture has eroded, affected by rain and snow, challenging notions of permanence we attach to such monuments and consequently, to historical narratives.

The international expansion of the project to Taipei Museum of Contemporary Art followed by the successful opening at the Museum of Modern and Contemporary Art, Korea in July earlier this year adds a new and exciting dimension to the project. It encapsulates Meekyoung Shin’s ongoing concern with the notion of ‘translation,’ a process that questions the understanding of objects of historical and cultural specificity when they are re-or dislocated temporally and geographically. As the new audience in Taiwan and beyond participate in the ‘translation’ of this sculpture, we can ask: what does it mean when a statue that was originally erected to celebrate a one-time war hero over a hundred years ago as a personal tribute by an individual, brought down a century later, is now resurrected as a work of art by an emigrant artist in the twenty-first century in a museum dedicated to contemporary art five thousand miles away? As the project continues to expand, each leg of the project can be accessed live by the public, who become witnesses of the sculpture’s transformation, through the project’s website. The appropriation of Written in Soap: A Plinth Project by each new territory – on- and offline, present and future – challenges the assumption that monuments are static in both place and time. Shin’s deconstruction of the cultural strategies of commemoration is a compelling reminder of the complex sets of codes at work, determined by the traditions and conventions of a given society or culture, upon which our perception and engagement so heavily rely.

By Kyung An

A longer version of this text appears in ‘Meekyoung Shin’ (Anomie Publishing, London, 2013).

Kyung An is the curator of Written in Soap: A Plinth Project and Special Projects Manager at Meekyoung Shin Studio.




藝術家簡介 About the Artist

申美璟

1967 年生於南韓,於國立首爾大學取得藝術創作學位,並於1995年遷居倫敦,獲得倫敦大學史雷藝術學院藝術創作碩士學位,個展及聯展經驗豐富,曾在倫敦的 Haunch of Venison藝廊(2010)及倫敦的韓國文化中心(2013)舉行個展。作品曾被許多美術館收藏,包括美國德州休斯頓美術館、韓國國立現代美術館,更 獲得今年韓國藝術獎的提名(2013)。

她以創作「轉譯系 列」作品(2004-)聞名,探討有文化特定性的物品被遷移到其他地域時所產生的再詮釋及解讀可能性。她最具特色公共藝術計畫為「盥洗系列」的雕像,由公 共廁所裡供人使用的肥皂雕刻而成,最後在畫廊中展出這些被侵蝕的雕像。申美璟2012於倫敦展開的【歷史改「皂」: 跨國聯展計劃】(Written in Soap: A Plinth Project),最近串聯至韓國首爾及台北。

Meekyoung Shin

b. 1967, South Korea


Lives and works in Seoul and London

Meekyoung Shin was born in South Korea and completed her BFA and MFA at Seoul National University. In 1995, she moved to London to obtain her MFA at the Slade School of Art, University College London, and has since held solo exhibitions internationally including Haunch of Venison, London (2010) and the Korean Cultural Centre UK, London (2013). She has participated in numerous group shows and her works are found in collections all over the world, including the Museum of Fine Arts in Houston and the National Museum Modern and Contemporary Art, Korea. Most recently, Shin was nominated for the Korean Artist Prize 2013.

Shin is renowned for her expansive Translation Series (2004-onging) that probe the mis- and re-translations that often emerge when objects of certain cultural specificity are dislocated. Her most iconic public art project has been the Toilet Series, installations of sculptures created out of soap in public bathrooms for use, which are subsequently exhibited in the gallery context in their eroded form. In 2012, Shin conceived of Written in Soap: A Plinth Project in London, an on-going public sculpture project which has since expanded to Seoul and Taipei.



個展經歷 / Solo Exhibitions and Projects

2013 Unfixed: A solo exhibition by Meekyoung Shin

倫敦韓國文化中心,倫敦 / Korean Cultural Centre UK, London

2013 Translation: The Epic Archive

2013 韓國藝術家獎,首爾國立現代美術館

2013 Korea Artist Prize, National Museum of Modern and Contemporary Art, Korea, Gwacheon

2012 In between Translation

MOT/Arts,台北 / MOT/Arts, Taipei

2012 Written in Soap: A Plinth Project

卡文迪什廣場,倫敦 / Cavendish Square, London

2011 Translation

Art Club 1563,首爾 / Art Club 1563, Seoul

2011 Translation

Haunch of Venison藝廊,倫敦 / Haunch of Venison Gallery, London

獲獎經歷 / Awards

2012 藝文贊助計劃,英國藝術協會 / GFA, Art Council England

2012 韓國藝術協會贊助 / Korean Art Council Fund, ARKO

2001 第五屆BHAK藝廊傑出青年藝術家,首爾 / The 5th Galerie BHAK Contest of Young & Remarkable Artist, Galerie BAHK, Seoul

藝術家展出及獲獎經驗豐富,請上計劃官網閱讀詳細資訊

Meekyoung Shin has held many exhibitions and won various awards. For further information, please see the following link:

http://www.writteninsoap.com/Meekyoung-Shin_CV.pdf


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