Worlding Writing：墨汁鬼傘與飛燕對位法

雙合作表演式呈現與小誌發表會

A Counterpoint of the Inky Cap and the Swallow

a performative presentation and a zine launch by Fiona Cheng and Judha Su

　　

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• 流程 Schedule /

簡介：Fiona 與 Judha 研究背景

Act 1: 複音 - 墨汁鬼傘與飛燕

Act 2: 匿名者 - 表演式藝評

Act 3: No Refuge

共同討論:

* 以中英雙語進行，活動備有小食

 

Intro: A brief introduction of Fiona’s and Judha’s research background

Act 1: A duologue between Inky Cap and Swallow

Act 2: Anonymous - Performative Criticism

Act 3: No Refuge

Discussion:

* The entire event will be bilingual (Chinese-English) ,Some refreshment will be provided

　　

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One springs from the rotten wood.

The other manoeuvres in the wind.

Three hours of performative presentation,

two disparate bodies meet at an intersection of the earth and the air.

 

一株從爛木冒出

一隻駕馭著風

三小時表演式呈現

雙異身體在土風交點交會

　　

( For English version, please scroll down)

　　

• 簡介 /

敬邀參與「Worlding Writing: 墨汁鬼傘與飛燕對位法」，由Fiona Cheng（台中）與Judha Su（曼谷）合作的一場表演式呈現與小誌發佈會。同步發布一本由Judha與Fiona撰寫的小誌，與Writing FACTory 書寫公廠合作，由張紋瑄擔綱編輯設計。活動將發生在2018年12月22日下午二時到五時於台北當代藝術中心。

 

在台北竹圍工作室駐村期間，Fiona和Judha分享彼此的研究，共同檢視藝術批評的實踐。這場活動也是一場「對藝術評論的評論」。他們共同的問題是——藝術批評的實踐中，什麼形式既詩意又具體，對當前最有效？

 

Fiona進行了52天「在台北當一個藝評人」的參與研究，模仿一位在小首都的理想藝評人生活。同時訪談五位在台北但不在藝術機構、不同領域的（廣義的）藝術評論人。詰問成為藝評人的合法性，分享(台北)藝文生態的映射，並以表演發起公開討論。

 

Judha從2015年開始，前往不同地區調查藝術評論的實踐，她認為，藝術評論的匱乏並非是由於寫作平台的不足，而是因為必須深刻參與藝術評論的特定實踐。她提出，當藝術評論從運作機制中分離出來，視之為一種純粹性、可普遍化與被機構化的實踐而獨立存在時，藝術評論的實踐便失去了批判的能動性。Judha融合日常生活的遭遇與懸盪的記憶，以文本性的實踐涵括她本次的台北行。這次她在台北進行的調查，是一篇正在進行中的論文序曲：交纏了詩學與表演的研究「Writing […] the Unsettling Grounds」。

　　

　　

• 介紹 /

Fiona Cheng 是一位住在台中和吉大港的藝評人、藝術書寫人。她的書寫受地區脈絡與環境影響，將批判性思維放入寫作與生活，發表於媒體上。她以評論人／藝術家的身分，參與過印尼Ruangrupa Artlab、孟加拉Jog Art Space、尼泊爾行為藝術Expression Expedition等的駐村，並獲邀以觀察人身分參與日本Beppu Project的年度活動。她是藝術書寫網"aofa.tw"（https://medium.com/aofa”）的建站編輯。

　　

Judha Su 一直以來致力改變藝術、知識、生產與唯物主義者狀態的邊界。她將自己的實踐視為尚未被想像過的接觸點、協調及進入思維狀態的接點。作為一位作家與藝評家，她相信創造性與反身性在藝術評論的實踐中同等重要，她也相信藝術評論本身就是一件文學作品。同時她是「soi-ซอย」的打造者，這是一個橫向文本、對話、研究的平台，旨在通過合作構思所有最廣泛、最大的可能性。

身為一位業餘舞者，她看到了一種深刻的非語言、不可譯、具傳染力的地形。對她而言，身體既可以是田野工作，也可以是一個典範。 2018年7月，她亦被選為由Jill Sigman發起、紐約市Gibney Dance長達一個月的密集實驗室Body Politic的一分子。

她目前正在進行的計畫初步命名為：「Writing […] the Unsettling Grounds」，一個交纏了詩學與表演的研究。

　　

　　

• BRIEF INTRODUCTION /

Please be invited to Worlding Writing: A Counterpoint of the Ink Cap and the Swallow, a performative presentation and a zine launch from a collaboration between Fiona Cheng (Taichung) and Judha Su (Bangkok). In collaboration with Chang Wen Hsuan from Writing FACTory, Judha and Fiona are creating a zine which will be launched on that day. The event will start from 14:00 to 17:00 hr. on 22 December 2018, at Taipei Contemporary Art Center (TCAC)

 

During their time in the residency at Bamboo Curtain Studio in Taipei, Fiona and Judha have shared some part of their researches, and worked together to review the practice of art criticism. Or one may call it ‘a critique of art criticism.’ Their mutual question is—in what current form is the practice of art criticism most—poetically as much as concretely—effective?

 

Fiona has been doing her 52-day participatory research of ‘being an art critic’ in Taipei, to iterate the living style as an ideal art critic in the capital city. In parallel, she also interviewed 5 critics from music to visual art in Taipei who are not working inside art institutions. Question the “eligibility” of being a critic. She wants to share her reflection of the art ecosystem, and discuss it publicly .

 

Since 2015, Judha has been doing her research on practices of art criticism in diverse locations, and she suggests that a scarcity of art criticism is not the insufficient writing platforms, but the need to engage with situated practices of art criticism. She argues that the practice of art criticism loses its critical dynamics when it is abstracted from its operation and made to stand alone as a purely generalizable and institutionalized practice. Judha encompasses her Taipei visit with her textual practice that merges into her daily life encounters and unsettled memories. Her research in Taipei is a prelude to her ongoing research preliminarily titled Writing […] the Unsettling Grounds, a study on entanglements of poetics and performance.

　　

• CRITICS /

Fiona Cheng is an art critic/writer based in Taichung and Chittagong. Influenced by the surrounding environments and the context of the places, she develops her critical thinking into writing and living, contributes her text to art magazines or online media. As art critic/artist, she participated in the residency of Ruangrupa ArtLab (Indonesia), Jog Art Space (Bangladesh), and  a performance-based event Expression Expedition 2018 (Nepal), and selected to be an observer for Beppu Project (Japan). She is the founding editor of an art writing website "aofa.tw" （https://medium.com/aofa）

 

Judha Su has been working with shifting boundaries of arts, knowledge productions, and materialist conditions. She places her practice as a point of contact, negotiation, and entry to modes of thinking and practice which may not yet be imagined. As a writer and critic, she believes that the practice of art criticism should be reflective as much as inventive, and art criticism is a literary work in its own right. In parallel, she is a construction worker at soi-ซอย, a platform for transversal texts, dialogues, and researches, aimed to conceive all widest and wildest potentialities through collaborations.As an amateur dancer, she sees a profound terrain of non-language, untranslatability, and intransmissibility. To her, a body could be a fieldwork as well as a paradigm. In July 2018, she was also selected to be part of Body Politic, a month-long intensive laboratory with Jill Sigman at Gibney Dance, New York City. Her ongoing research is preliminarily titled Writing […] the Unsettling Grounds, a study on entanglements of poetics and performance.

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• 銘謝 /

竹圍工作室與全體工作人員

台北當代藝術中心

Win Shanokprasith（平面設計）

 

Thank you /

Bamboo Curtain Studio staffs

Taipei Contemporary Art Center

Win Shanokprasith (graphic designer)