展覽日期｜2021.12.18(六)~2022.01.08(六)
開放時間｜星期二~星期日12:00-18:00 (星期一與國定假日公休)
展覽地點｜众藝術Zone Art (桃園市桃園區中埔六街196巷22號)

展覽論述｜
　　2018年冬天，我到貴陽參加好友母親的葬禮，之後在一個天橋下的廢品市場得到一個上海人60多年前的兩本日記，日記的第一篇記錄下他，或者是她在1963年9月6日坐火車從上海到洛陽支援建設，第一天，他／她便高燒不退……。這些年很少回家鄉洛陽的我，時不時會拿起這些日記來閱讀，雖然那個年代已遠，日記中的字跡也潦草難辨，但這樣的閱讀還是讓我進入到作者的視域，這個過程彷彿是對那段特殊時期的一場意臨。
　　一本民間書寫的「又紅又專」的日記展卷在目，牽引出我的兩個創作興趣點，或者說面對的問題意識。首先，如果「菁英」只是作為一種審美「旨趣」的話，那麼，這些滿載激情的民間書寫可以作為我延绵書道的另一扇門嗎？其次，那個時代的集體無意識是如何雕塑一個人的？我用「臨摹」的方式展開日記中的線索，以及面對這些問題。
　　對於第一個問題，書法的典範一定是博物館中被菁英束之高閣的木乃伊嗎？白謙慎曾經討論過「與古為徒與娟娟髮屋」的書法現象，既然「碑學」傳統可以把「民間書法」奉為圭臬，那麼當下的我又為什麼不能以這本撼動我的日記作為「法帖」呢？書法本來就是一件日常的事情，喝高了、死姪子、被貶鬱悶都能執管。如今書寫媒介的衰落，以及「菁英的撤退」使其成為一種美學擺設，我不是反對美學，而是說美本來可以通過書寫的通道進入到我們每個人的生命，而不是作為一種康德式的「審美區分」。邱志杰曾經在北京的菜市場為每位攤主書寫招牌，這樣的行為把書法以親切的方式還給了生活，畢竟「民以食為天」，不把書法當成裹屍布也許才能「當代」。
　　對於第二點，我就生長在日記中記錄的地方，可是那些兒時記憶中的場所都已經慢慢地被擦抹掉了，唯獨文字還在以一種非物質的形式召回那些過往，過去的殘留都在時間的風暴中侵蝕殆盡，唯獨文字如此切近，就像在我們眼前開口說話一樣。我在閱讀日記中那些「紅、光、亮」的文字時，不僅產生了這樣的假設：作者準備好60年之後被我看到他／她的文字嗎？不然，這些書寫為何要設定一個宏大視角的敘述者？可能連這些發問也是出於活在當代的我內心的逼仄。
　　無論如何，我們每個人都不曾走出記憶，同時太陽照常升起。

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藝術家簡介｜
　　畢業於意大利國立米蘭美術學院，國立臺灣藝術大學當代視覺文化與實踐研究所博士生。主要從事影像研究、藝術實踐、策展等藝術活動。

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​Recollect Hurriedly-written Essay

Jianan Wang

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     In the winter of 2018, I went to Guiyang to attend the funeral of my friend’s mother. After that, I got two diaries from a Shanghainese more than 60 years ago at a scrap market under an overpass. The first diary recorded him or her in September6 1963. He／She took a train from Shanghai to Luoyang to support the construction. On the first day, he/she had a fever... I rarely go back to my hometown of Luoyang in recent years. Sometime I pick up these diaries to read from. That era is far away and the handwriting in the diaries is illegible, but that still toke me to enter the author’s Horizon. This process It seems to be an intentional copy for that special period.
     Reading this "red and dedicated " folk diary, bring me two points of interest or the awareness of the problems in my works. First of all, if "elite" is only used as a kind of aesthetic "Gusto", then Could these passionate writings be another door of my calligraphy practice? Secondly, how did the collective unconsciousness to sculpt a man of that era? I use "copying" to unfold the clues in the diary and face these problems.
     Regarding the first question, The calligraphy must be the model of mummies and saved by elites in the museum? Qianshen Bai discussed the calligraphy phenomenon of " Being on the Shoulders of The Classical Masters And Juanjuan Hairdressing Salon ". Since the tradition of "Beixue" regard "folk calligraphy" as a standard, why I can't use this diary that moved me as a“Blueprint”? Calligraphy is a daily affair, and can be in charge of drinking too much, nephew dead, or being depressed. Now the decline of the writing medium and the "retreat of elites" make it an aesthetic decoration. I am not opposed to aesthetics, but beauty could have entered our life by Calligraphy, not as a Kant’s"Aesthetic distinction." Qiu Zhijie once wrote signs for each stall owner at a vegetable market in Beijing. This Performance Art has returned calligraphy to daily life in a cordial manner. After all, " Food is the first necessity of the people.”and Calligraphy may be "contemporary" without treating calligraphy as a shroud.
     Regarding the second point, I grew up in the place which recorded in the diary, but those places in my childhood memories have been slowly erased, only the words are still recalling the past in an immaterial form. The remnants of are eroded away in the storm of time, but the words is so close, it is like speaking in front of us. When I read the "red, light, and bright" words in the diary, I’m not only came up this hypothesis: Is the author ready to be seen after 60 years by me? Otherwise, why do these writings set up a narrator with a grand perspective? Maybe even these questions are due to the constriction in my heart that I live in today.
     In any case, each of us has never walked out of our memory, and the sun salso rise.

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Artists’ Biography:
     Graduated from Accademia di Belle Arti di Brera in Italy, currently study at Graduate School of Contemporary Visual Culture and Practice, NTUA. Mainly field in Photography Research, Art Practice, Curation and other Artistic Activities.