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whatnow Ulysses Machine Tang Huang-Chen's "I Go Travelling"--15 years later stage2
Solo Exhibition 2014 9/13~10/19 Performances & Discussions 9/27 10/18 / MOCA Taipei

2014~2015
尤里西斯機器 -回視湯皇珍「我去旅行」十五年
Ulysses Machine -Tang Huang-Chen's“ I Go Travelling"15 years later
Stage 2

湯皇珍的《我去旅行》肇始於1999〈你說我聽〉,迢遞至2013〈墓誌銘〉。整整進行了十件計畫,歷時十五年,可說是一跨接社會學與語言學的長程藝術創作。
Tang Huang-Chen's "I Go Travelling", a long-term interdisciplinary creation, encompassing sociology and linguistics, consists of ten projects produced over the course of 15 years, starting with "You Talk, I'll Listen" in 1999 and concluding with "Epitaph" in 2013.

旅行?旅行!作為一個陌生旅者,如果你對即將往向的空間與時間不想知道,那麼無疑你將墮入「霧」中,迷路。繞來繞去,看見影、音所提示的種種內容,如何閱讀?如果你從未曾聽聞過湯皇珍《我去旅行》(已延續十五年)的寓言,你自然認為此「旅行」就是一般的旅行,你可能還會很興奮地問她(我),你到巴黎、北非還是新加坡?又,當你果真在《尤里西斯機器》裡面搜尋這些地點風情,你可能破口大罵—這什麼「旅行」?

湯皇珍對於自己《我去旅行》的創作題旨是這麼說的:
提取「旅行」行為作為其行動寓言事件的擬態,直指此二十一世紀最頻繁、複性、吊詭的人類作為—演繹「旅行」之於當代展現於傳導、溝通、互動—無論是抽象心智或實質版圖領域的交換、異位、反噬、無盡變動昏昧的無法追捕。
The author chose the act of travel to encapsulate her sojourning activities, this ordinary, complicated, and paradoxical behavior of the 21st century, to serve as an allegory of sorts. Travel today is characterized by sharing, communication, and interaction in both the abstract and physical senses and involves exchange, displacement, reflection, and pursuit of an unattainable changing ambiguity.

看來,湯皇珍《我去旅行》不是一般旅行?
如果湯皇珍幸運一點,你在十五年看展的日誌中,不小心曾經與她的《我去旅行》相遇。無論是去往北京的〈我去旅行一〉,或放在AVEDA櫥窗、誠品書店又迢遞台中、高雄、台東的〈我去旅行二〉,或者跳遠一點,在瓦倫西亞的廣場撞見正在尋找回家之路的廣場旅人-她,或者湯皇珍等一群老少與動物正手忙腳亂地在威尼斯的麗都島岸翻拍那張記憶中的台灣老照片….或者,最近你才注意到有個在密室中滔滔不絕的「垂釣者」,還有風塵僕僕問你什麼是藝術的「遠行者」,無論如何,兩篇「墓誌銘」“還是滾熱的,它們不久前曾去往台中、高雄以及柏林—好幾場跨語言、敘述、聲音、身體與空間的演出,的確—但這十五年的《我去旅行》更是完整的行動!所有人都覺錯愕的—「行動藝術」是什麼?

校正偏航後,你可確知湯皇珍《《我去旅行》是一場十五年的行動: 作者(湯皇珍)“提取「旅行」行為作為其行動寓言事件的擬態,直指此二十一世紀最頻繁、複性、吊詭的人類作為—演繹「旅行」之於當代,展現於傳導、溝通、互動-無論是抽象心智或實質版圖領域的交換、異位、反噬、無盡變動昏昧的無法追捕。

回視,總共十組相互關連的影音敘述設置,可以拆卸分組,依據持續漂流的三處展演空間進行變化,再度整體在空間中結合成「一個機器」—【尤里西斯機器】。
The ten groups of videos are interconnected and divided according to the three places in which changes occurred and then once again reintegrated as a whole as a machine: the "Ulysses Machine".

【尤里西斯機器】在展演時間擔負視聽,以可以一人進入停留大小(W150XL170XH230cm),或有門,或多方向入口之黑盒子機身為組合單元。 單元間留有通道,入內者選擇路徑進行停留觀視。
During the exhibition, the Ulysses Machine is a black box type unit that serves as a viewing area for one person at a time (dimensions: W:150cm x L:170cm x H:230cm) with a door or entrances on more than one side. There are access aisles
between units, allowing visitors to choose the route they want to take and which units to stop in and view.

藝術家湯皇珍(原敘述者)將1999至2013執行完成的十件〈我去旅行〉再度疊入2014至2015的〈尤里西斯機器〉,形成一個個肖似又延展的影音關係,跌宕這屬於作者的十五年創作行旅。
Artist Tang Huang-Chen (the original narrator) incorporated "I Go Travelling", a piece which consists of ten works completed between 1999 and 2013, into her 2014-2015 Ulysses Machine to form a series of extended audiovisual relationships showing her 15-year creative journey.

進入【尤里西斯機器】的觀眾,實是在原敘與傳講中流竄,不斷在意念的組立與解體間「啓程」與「返航」,恰似希臘神話尤里西斯返家之行,荷馬千古纏頌的敘述。
Visitors that enter the Ulysses Machine alternate between the expression and understanding, with concepts being built up and others shattered. They set off on new journeys and experience course reversals much like Homer's Ulysses did as he strove to find his way home.

穿梭於【尤里西斯機器】製造的「旅行」中,諸位超級旅行家可追捕到什麼?2014 9/13~10/19 泊留於台北當代館MOCA Studio 的【尤里西斯機器】可以造訪:〈旅行八/智者在此垂釣〉、〈旅行九/遠行的人〉、〈旅行七/廣場旅人〉、〈旅行四/TRAVELLER.BALI〉 以及放在〈旅行六/幸福之島〉腹中的〈旅行三/千禧伊通逍遙遊〉。

一旦進入【尤里西斯機器】第九個機器,兩相鄰房間只一入口,穿過放映可互通,外間,三面螢幕,反覆放映無聲跑馬字幕,中有論辯聲;內間,透明片書信文字,間接燈源,風扇翻動。

一旦進入【尤里西斯機器】第七個機器,相對機房,一為聲音ㄧ為聲音加影像。此兩放映實為同步內容。尋找回家之路的問答。

在日泊與特約時間交替鏈結….
平日泊留時分【尤里西斯機器】是遊走在展覽空間中的影音裝置島群,承載著一件件《我去旅行》作品的再闡述,一段段逐次釋放三處展場的【尤里西斯機器】全體製造了關於湯皇珍《我去旅行》的再「旅行」。特約演場時分,【尤里西斯機器】同時成為七次演出(2014年6/7 、6/28 、9/27 、10/18,2015 年4/25、5/2、5/9)的演場,企圖再度升高臨場表述與傳譯在語言、聲音、視聽、身體行為及
空間之複性層次。鏈結展出於有形與無形之際「湯皇珍之於我去旅行」、「尤里西斯之於為人」的命題,讓敘述文本在影音視聽外慨然發出字句與意念的最後嗡響。
The Ulysses Machine, which is both multimedia equipment and part of the performance, is being shown at a specially designated time. As the performance progresses, visitors can choose for themselves when they "enter" and "exit" the machine. The performance consists of climaxes of expression and complex layers interpreted through language, sound, visuals, physical actions, and performance. In I Go Travelling, Tang Huang-Chen followed closely in the steps of Ulysses who chose to opted for a life of mortality rather than become a god, knowing that the brevity of life is the very thing that makes us cherish it.

唯返航也即將啓程,出聲也即將失舌
問藝術家為何這麼執著「我去旅行」?湯皇珍老是說:《我去旅行》是為了言語(說出話來)與表述(達到溝通)—這一人類不死慾望而動。回視她由遙望(旅一)、環島(旅二)、遠航(旅五)、尋路(旅七)、返鄉(旅六)、終至潛往記憶底層(旅八)、錨向自我身分意識(旅九)與生命終點(旅十)的回眸(尤里西斯機器),隨著老掉的十五年,是《我去旅行》的創作,也是藝術家真實生命的行程。由此呼應這一則藝術家特別提取的敘述原型—西元前八百年前荷馬所記尤里西斯(奧德修斯)歷經二十年的返家之行。

一面,尤里西斯於迷航盡頭的天涯外仍掙扎要完成「回家」的不死慾望。那裡沒有征戰的英雄卻有堅持返航的遊子,人的意志與天的際遇擺盪對恃浮沈與悟覺,終至返航也即將啓程。一面,由一個表述漂流到另一個表述,老是在航向意義的途中一次一次迷路,那裡沒有必然的語言架構卻有堅持溝通的不死慾望,人的心智與語言的覓徑擺盪對恃浮沈與悟覺,終至出聲也即將失舌。
If the goals of "I Go Travelling" are language and expression--undying desires of humanity, then Tang Huang-Chen's vision, travels, search, and return home settled deep into her memory and serve as an anchor for her self-identity and consciousness as well as a glance back at life's terminus. Much like the adventures of Ulysses in the Greek tale The Odyssey, our protagonist is no victorious hero, just a wanderer who wants to return home. Pendulum swings between human will and the fickle finger of fate produce a faceoff between the vicissitudes of life and the awakening of conscious, so that in the end, the return home marks the launching of a voyage of a different kind. In much the same way that the narrative drifts from adventure to adventure, continually striving toward the goal, but drifting off course time and time again, there is no necessary language structure, but there is an undying desire to communicate. The pendulum that swings between human psyche and the search for words produces a confrontation between the continual changes of life and awakening of conscious, so that in the end, words fail to express what she wants to say.

湯皇珍《我去旅行》跨越十五年的行動,一次次挑釁二十一世紀最敏感的寓言行為—表述與傳譯(溝通)之困頓,一次次具現藝術的心智活動所指—如何觀視、想像、演繹,湯皇珍在〈語言飛航〉文中陳述:語言讓人失舌,記憶令人目盲,慾望必須著陸,那麼這個挾帶什麼不知名敘述的「敘述人」原型,永遠樂於由一個遠方來到,再去往另一個遠方。它就是敘述的本身。語言就在這些無盡開始與終止當中啓示由意念到陳述,由想到說,由說到聽之間慾望與絕望的循環。藝術家在【尤里西斯機器】中完形為敘述中再不可切分的癲狂與了然的本身。
Spanning 15 years, Tang Huang-Chen's project stirs up ideas of travel--an allegorical behavior of the 21st century, leading to mental adventures of art that include observation, imagining, interpretation, and an awareness of the human predicament. The process of artistic creation, from contemplation to interpretation, from conceptualization to expression, is a constant challenge of self… an act that can be compared to sailing against the wind. In the end, she employed the Ulysses Machine of 2014~2015 to produce a narrative journey characterized by vicissitudes of life that is unmatched in the way it touches the soul.

如果藝術有最核心的思辨
尤里西斯在遺忘之島拒絕了女神卡呂菩娑永生成神的建議,選擇為人,迎接必死。湯皇珍說:跟著《我去旅行》系列創作老掉的十五年後,我也來到面對自己的衰老與父母的年邁。生死栔闊,我深自問:這豈不是返抵我之於藝術最核心的思辨?—人的必死之途已經展開,為何,以及何往,能解其中意義。

【2014~2015尤里西斯機器—回視湯皇珍《我去旅行》十五年】
Ulysses Machine: Tang Huang-Chen’s “I Go Travelling”—15 Years Later

展覽概介   石瑞仁 / 台北當代藝術館執行總監
Exhibition Introduction
J. J. Shih / Executive Director of the Museum of Contemporary Art, Taipei

尤里西斯是荷馬神話中,參與特洛伊戰爭後,於返國時在海上迷航十年的戰爭英雄,途中他有機會成為不死神仙,但最後他仍選擇當人,並回到家中與親人團聚。湯皇珍的【尤里西斯機器】個展,遙遙呼應了這個神話故事的意涵,但是自始發展出了她個人身體旅行/精神迷航的多重版本。本次於當代館的定點展出,實際關連到三場展覽串成的一種時間「旅行」*,而這個展覽本身也被定義為將十件連作不斷拆卸分組、使之變化重生的一部「機器」。
Ulysses (Odysseus) was the war hero of the Trojan War in Homer’s epics. He was lost in the homebound voyage for 10 years on the sea, during which he was offered a chance to become immortal, but chose to remain human and returned home for his family. In the Ulysses Machine, Tang made use of this mythological story and developed multiple versions of her personal travels of the body and mind. The exhibition at MOCA Studio is the second stage of three exhibitions that constitute one complete “voyage” in time*, and this exhibition in three parts is defined by the 10 projects that could be deconstructed, reassembled and reshaped, which Tang calls her “machines.”

此次展出,湯皇珍將之前的《我去旅行》系列重新配置為八組新作,分別是在第一展間的〈旅行九/遠行的人〉、〈旅行四/ Traveller.Bali〉和〈旅行七/廣場旅人(影音版)〉,第二展間的〈旅行七/廣場旅人(聲音版)〉、搭配成組的〈旅行六/ 幸福之島〉及〈旅行三/千禧伊通逍遙遊〉、〈旅行八/智者在此垂釣〉,以及置於廊道中,用來總括過去十件旅行作品概念的〈語言飛航〉裝置。
For the MOCA Studio exhibition, Tang presented 8 projects of the reorganized I Go Travelling series: in the first gallery are “I Go Travelling IX—The Sojourner,” “I Go Travelling IV—Traveller.Bali,” and “I Go Travelling VII—Plaza Traveler (audio-visual version),” and in the second gallery are “I Go Travelling VII—Plaza Traveler (audio version),” “I Go Travelling VI—A Happy Island,” “I Go Travelling III—IT Vacation,” “I Go Travelling IX—Wise Man Fish Here”; another installation titled “A Flight of Language” that introduces the concepts of the 10 projects is placed in the hallway.

湯皇珍從尤里西斯海上迷途的神話得到靈感,以多年的時間和真實的行動,深入探索「旅行」同時作為行動和寓言事件的各種擬態。她兼從抽象心智與實質空間的角度,詮釋「旅行」中的交換、異位、反噬、變動,以及無法被確實捕捉、言說的特點。在這個展覽中,觀眾將進入湯皇珍策劃的迷航旅程,探訪藝術家心智活動的核心:創作者如何觀照、想像、演繹,達成對人類存身處境的覺知;展出的作品,具體呈現了創作者由思考到傳譯,由概念到表述,反覆地挑戰自我,不斷逆風奮行的意志和行動。
With years of time and real actions, Tang has extracted the story of Ulysses’s voyage and explored different aspects of “travelling,” which can refer to physical actions but function as a metaphor for Tang at the same time. She interprets the idea of “travelling” from both perspectives of intellectuality and physicality, and examines the exchange, displacement, disavowal, variations and everything that could not be captured by words. In this exhibition, audience venture into a lost journey planned by Tang, and get a glimpse of the core of Tang’s thinking: how an artist thinks, imagines and interprets to achieve the awareness of the human condition. From the formation of thoughts to the delivery of ideas, and from having concepts in mind to expressing statements, the installations manifest the artist’s persevering will and actions, in which she has constantly challenged herself.

本次展出,也排定了四次的現場行動表演及論述座談,由藝術家本人擔綱將概念、演出與裝置串寫為新的文本,藉以引領觀眾重新思索語言、聲音、媒體、身體及空間所形成的多元感知層次。觀眾進入【尤里西斯機器】中,可以在湯皇珍《我去旅行》的原初敘述及不同版本的傳講中,尋找線索去穿梭,也可以恣意地或停或走,在藝術家傳遞的意念之間進行一次次的「啓程」與「返航」。
There are two live performances and two lectures scheduled during the exhibition, and Tang aims to weave her concepts, performances and installations into a new tapestry of texts, leading the audience to re-think the multiple layers of language, sound, media, body and space. Entering the Ulysses Machine, one could find clues to travel, anchor or sojourn in the original version and various new versions of Tang’s I Go Travelling series, making his or her own departures and returns in between the ideas and concepts that Tang wishes to deliver.

此展也是湯皇珍跋涉二十多年的創作旅程後,對自我和人生提出的大哉問:即人若必死,選擇生命這趟旅程,究竟為何?又何往?穿越【尤里西斯機器】的旅行後,或可提供新的思維面向。
After being an artist for over 20 years, Tang also proposes a major question on one’s self and on life through this exhibition: if one must die in the end, what is the purpose of life? Where is one eventually heading? A travel through the Ulysses Machine might shed new light on these questions.
 

*【尤里西斯機器】首部曲從2014年5月在新竹藝術八空間揭幕,今年9月則在台北當代藝術館的實驗空間,展開第二段航程,旅行的終點將於2015年5月駐紮於北師美術館,完成最終的回顧。
* The first stage of the Ulysses Machine started at Art 8 in Hsinchu City in May, 2014. The second stage is revealed at MOCA Studio in September, 2014. Finally, the voyage will go to the Museum of National Taipei University of Education in May, 2015.

藝術家介紹
About the Artist
湯皇珍1958年出生於台北,師大美術系畢業後,至法國巴黎第八大學修習造型藝術,創作擅長結合行為、表演、裝置及影音等不同媒材與形式。過去十五年來,湯皇珍以《我去旅行》為題,陸續完成十件複合了身體旅行、思想飛航與人生哲思的創作,其中2006年的〈我去旅行五/一張風景明信片(台灣篇)〉,除了榮獲第四屆台新藝術獎視覺藝術類年度大獎,也應邀於2007年第五十二屆義大利威尼斯國際雙年展台灣館展出。
Huang-chen Tang was born in Taipei in 1958. After graduating from the Department of Fine Arts of Taiwan Normal University, she studied Plastic Art at the Université Paris VIII. She specializes in combining action art, performance, installation and audio-visual works. For the past 15 years, Tang has been making use of the theme, I Go Travelling, and has created 10 projects, integrating physical travels, journeys of the mind and her personal philosophy. Her “I Go Travelling V / A Postcard with Scenery (Part 2—Taiwan)” in 2006 won the grand prize of the 4th Taishin Arts Award, and was invited for the Taiwan Pavilion in the 52nd Venice Biennial in 2007.

03當代館DM摺頁

04湯皇珍開幕邀請卡

05作品卡moca

06【MOCA Studio湯皇珍】演出單n

07當代館空間設置與影音需求

08當代館新聞稿二

10當代館導覽文

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