歷年展覽查詢|
《新浜貳拾x南方游擊》SPP 20週年特展
展覽時間: 2017.10.7(六)~2017.11.26(日)
「新浜碼頭藝術空間」成立至今已屆20年,堪稱是高雄市公立美術館外的一個視覺文化重點地標。我們歷年來秉持著增加公共性參與,以倡導當代藝術創作、展覽、論述,推廣民眾藝術教育、鑑賞,培育藝術行政與管理等專業人才為要務。新浜碼頭藝術學會於2009年改制立案後,更秉持社會公共財的精神,為實踐公民素養之促進,推動藝術、文化、社會等跨域的公民論壇,力求將新浜碼頭藝術空間塑造為一個具有「南方生猛」、「跨域活化」特質的藝術場域。
回顧這20年,「新浜碼頭藝術空間」見證了社會、時代、文化藝術的複雜變化。下一個20年,新浜又將如何開啟新局,肯定所有「新浜客」與「浜友」們一定滿懷期待。敬邀各界朋友與我們一起分享這份得來不易的甘甜,共同開啟下一個新浜碼頭20年。

高雄市新浜碼頭藝術學會理事長 陳奕彰暨全體理、監事 敬邀

《新浜貳拾x南方游擊》SPP 20週年特展

l  指導贊助單位:文化部
l  主辦單位:高雄市新浜碼頭藝術學會
l  協辦單位:哲學星期五@高雄
l  受邀單位:新樂園藝術空間
l  贊助單位:財團法人國家文化藝術基金會、瑚岩美術舘、台灣在生活藝術文化發展協會
l  媒體協力:典藏今藝術

l  特別感謝:慶聯港都有線電視  

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 策展人|楊堯珺、協同策展人|陳奕彰

■ 展區A:《新浜貳拾x南方游擊》 會客室
l  展期:2017.10.7(六)~2017.10.29(日)
l  展覽地點:新浜碼頭藝術空間A、B展覽室、Pin-Bien館
l  二十週年紀念餐會: 2017.10.28(六) 18:36 吉時開席(餐卷認購請來電洽詢)
l 【會客室】藝術家:方憶芝、王藁賢、吳梅嵩、宋清田、李侑誠、李俊陽、李俊賢、何佳眞、周耀東、林育正、林怡君、林奕軒、林建忠、林純用、邱建仁、邱國峻、眼蟲計畫 (焦聖偉、呂沐芢)、莊洊有、陳水財、陳况豪、陳宏群、陳俊雄、陳奕彰、陳美嘉、陳慧郁、曾玉冰、黃士綸、黃文勇、黃文琳、黃孜穎、黃志偉、黃俊傑、萬歲少女 (蔣涵玶) 、蔡孟閶、鄭明全、賴新龍、闕巧涵、羅亞馨、新樂園藝術空間(林文藻、張雅萍、陳文祥、曾鈺涓、簡佑任)

 


■ 展區B:《新浜貳拾x南方游擊》曬檔案
l  展期:2017.10.22(日)~2017.11.26(日)
l  展覽地點:駁二藝術特區C7-1倉庫 (803高雄市鹽埕區大義街99-2號1號)
l  活動收費:入園套票
l  開放時間:週一至周四10:00-18:00、週五六日及國定假日10:00-20:00
l 【曬檔案】藝術家:王武森、王清課、吳光禹、吳梅嵩、李銓、李億勳、周益弘、林熺俊、洪根深、莊彩琴、許智育、許興旺、陳彥名、陳偉、彭伯平、黃圻文、劉芙美、賴新龍、佚名藝術家(多位)

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 展覽簡介:(文/楊堯珺)


「新浜碼頭」這個名字背後,至今仍伴隨一個有趣的平行事件——就在距離它不遠的西子灣也有一個具有實際功能的港埠叫「新浜碼頭」。當初李俊賢就是在此一背景下依然替空間取名「新浜碼頭」。有趣的是,倘若將「新浜碼頭」視為一個符號,相較於原符號所指的實際碼頭,後者在意義上:無論是就二十年前成立時的「尚待…」,或者二十年後放置於台灣替代空間、視覺藝術發展面貌時所飽含的「在運動中…」,「新浜碼頭」這個符號在發展能指(signifier)到所指(signified)之間意義的對位關係上,始終呈現雖有連結但未完成編碼的狀態(1)。依據Julia Kristeva的觀點,這近似一種「意義的醞義」(signifiance)狀態(2)——可以說它隱含著意義的能量、潛在性與浮動性,它尚未僵化、尚未被閉鎖。除此之外,對於任何一個來到、看著「新浜碼頭」的閱聽人而言,則無疑是一個「互文性」(intertextuality)空間的開敞——在讀者/觀者與文本之間所構成的一個意義無止盡增生的空間(space),意義沒有穩定的原點,也沒有終結。(3)


以「意義的醞義」(signifiance)與「互文性」(intertextuality)兩字來形象「新浜碼頭」二十年的發展過程以及持續進行的未來:無論是就空間自身不斷變動發展的醞義特性來說,或者就觀者/讀者面對此文本產生的「之間」狀態而言,都相當地貼切。為了使「新浜碼頭」二十週年的展覽《新浜貳拾x南方游擊》能呈現出這種運動狀態,特別將展場劃分為【會客室】與【曬檔案】兩展區。並且在展覽中串連同樣邁入二十年的新樂園藝術空間,企圖以多聲部(polyphony)的方式呈現台灣另類空間(Alternative space)的發展——不再著眼於對某個中心的「替代」,而是各有其特殊的運動趨力。


l  展區A【會客室】/ 新浜碼頭藝術空間 / 2017.10.7~10.29
      展區將分成三部分:「新浜工頭、Guli祝福區」、「各路英雄好漢交陪區」、「新樂園藝術空間來作客」。除了呈現創立時的「交誼精神」外,亦著眼於「新浜碼頭」空間在這二十年裡,由各類型的暫時性構成所形成的短暫分佈鏈接,並且不斷重新開始的過程。其中,「新樂園藝術空間來作客」可視為多聲部的一個維度。


l  展區B【曬檔案】/ 駁二C7-1倉庫 / 2017.10.22~11.26
      展場將分為五區:「新浜碼頭關鍵人物」、「新浜藝術檔案」、「新浜庫房典藏」、「新浜藝術頻道」以及「新浜長期合作夥伴」。除了展出二十年間「新浜碼頭」珍貴的歷史物件、資料、照片、典藏作品、1999年拍攝的新浜介紹影片外,亦將首次展出「新浜碼頭」與「哲學星期五@高雄」合辦的各場海報、議題簡介文案。所有「新浜碼頭」的展出元素都將著眼於如何促成互文性空間的最大開展。
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註1:這種未完成編碼的狀態,可見於「新浜碼頭」日常頻繁接到民眾致電詢問船班或者詢問可否參觀軍艦,以及觀者/讀者對空間內經常同時發生活動、展演、講座、工作坊的多元複合狀態,產生「這是什麼樣的空間?」的疑惑。
註2:國內亦有學者譯為「意義的生成性」。在意義的成形中,能指(signifier)加上「所指」(signified)才會產生「意義」(signification)。但「意義」(signification)已進入一種編碼狀態,所以Julia Kristeva提出「意義的醞義」(signifiance),可以說這個字隱含著意義的能量、意義的潛在性、意義的浮動性,是意義生成過程的獨特狀態,它本身是具有生產性的,而不是被僵化被閉鎖的。參見:Victor Burgin, “Re-reading Camera Lucida”, The End of Art Theory, Macmillan, 1986, p.78.
註3:Victor Burgin, “Re-reading Camera Lucida”, The End of Art Theory, Macmillan, 1986, p.73.    





 l   Introduction: Curator / Yao-Chun YANG


Behind the name, “Sin Pin Pier,” there is still along with a fun parallel event. —in a short distance from it the Sizihwan also has a functional harbor called “Sin Pin Pier.” As  Jiun-Shyan LEE  named this space, it was under this background and named “Sin Pin Pier”. Interestingly, if “Sin Pin Pier” is taken as a symbol, then it rather be the original symbol which indicates the real harbor, the other meaning in the sense: no matter it is “yet to be…” built up before twenty years; or after twenty years it is placed in the alternative space of Taiwan, the development of visual art full of “in motion”. “Sin Pin Pier” this symbol, which is in the development of relationship of counterpoint between the meanings of signifier and signified, displays a connecting but incomplete coding state.(1) According to the viewpoint by Julia Kristeva, this is close to a kind condition of “signifiance”(2)—— it can be said that it implies the meaningful energy, potential and fluctuation, it has not yet been rigid and locked. Besides, for every reader and listener who is coming and seeing the ”Sin Pin Pier,” there is certainly an opening space of intertextuality——a space with the endless proliferation of meanings is structured between reader/viewer and text, meaning has neither a steady origin nor an ending.(3)


By the “signifiance” and “intertextuality” to image the developmental process during twenty years and the constant future: it is a pertinent reply, no matter whether it is the evolving character of the self-continuous changing space; or it is the state of “both” which happened when the viewer/reader is in response to the text. In order to present the motion of the ”Sin Pin Pier” twentieth anniversary exhibition 《Sin Pin TWENTY x Southern Guerilla》, the exhibition venue will be divided into two areas,  【Reception Room】and【S.P.P. Document】. Furthermore, the exhibition will connect with Shin Len Yuan Art Space, which also enters its twentieth year, and present the development of Alternative space by way of “polyphony.” This has not been focused on the “substitution” of a certain center, but its own special movement.


l  Exhibition A【Reception Room】/ Sin Pin Pier—Absolutely Art Space/2017.10.7-10.29


This exhibition area will be divided into three parts: “Sin Pin Foreman, Blessing area of Coolie”, “Fellowship of Heroes”,”Have Shin Len Yuan Art Space Down.” In addition to show the “spirit of friendship” at the time of its creation, we have also focused on the space of “Sin Pin Pier” in twenty years, within there was various composition of temporariness which made transient distributed link and the continuously restarting process. Among them, the “Have Shin Len Yuan Art Space Down” can be regarded as a dimension of “polyphony.”


【Reception Room】Artists : I-Chih FANG,Gao-Shyan WANG、Mei-Song WU、Ching-Tien SUNG、Yu-Cheng LEE、Jiun-Yang LI、Jiun-Shyan LEE、Chia-chen HO、Yao-Tung CHOU、Yu-Cheng LIN、Yi-Chun LIN、Yi-Hsuan LIN、Chien-Chung LIN、Chun-Yung LIN、Chien-Jen CHIU、Kuo-Chun CHIU、Euglena Program of Art(Sheng-Wei CHIAO、Mu-Jen LU)、Jian-You CHUANG、Shui-Tsai CHEN、Kuang-Lao CHEN、Hung-Chun CHEN、Chun-Hsiung CHEN、Yi-Chang CHEN、Meei-Jai CHEN、Hui-Yu CHEN、Yu-Bing TSENG、Shi-Lun HUANG、Wen-Yung HUANG、Wen-Lin HUANG、Tzu-Ying HUANG、Chih-Wei HUANG、Chun-Chieh HUANG、Hang-Ping CHIANG、Meng-chang TSAI、Ming-Chuan CHENG、Hsin-Lung LAI、Qiao-Han QUE、Ya-Xin LUO、SLY art space(Wen-Tsao LIN、Ya-Ping CHANG、Wen-Hsiang CHEN、Yu-Chuan TSENG、Yu-Jen CHIEN)




l  Exhibition B【S.P.P. Document】/ The Pier-2 Art Center C7-1 /2017.10.22-11.26


This exhibition area will be divided into five parts: “Sin Pin Pier Pivot”, ”Sin Pin Art Archive”, ”Sin Pin Collection”, ”Sin Pin Art Channel” and ”Sin Pin Long - Term Partnership”. Except for the display of “Sin Pin Pier” precious historical objects, materials, photos, collections and 1990 introduction video to Sin Pin during the past twenty years, the posters and theme copies which were co-organized and made by ”Sin Pin Pier” and ”Café philo@ Kaohsiung” will also be exhibited for the first time. All of these exhibited elements of “Sin Pin Pier” will focus on how to promote the intertextual space.


【S.P.P. Document】Artists  : Wu-Sen WANG、Cing-Ke WANG、Guang-Yu WU、Mei-Sung WU、Chuan LEE、Yi-Hsun LEE、Yi-Hung CHOU、His-Chun LIN、Ken-Shen HUNG、Tsai-Chin CHUANG、Chin-Yu HSU、Hsing-Wang HSU、Yen-Ming CHEN、Wei CHEN、Po-Ping PEN、Chyi-Wen HUANG、Fu-Mei LIU、Hsin-Lung LAI、Anonymous artists







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(1) The incomplete coding state: In “Sin Pin Pier” there are frequent calls from people for asking the sailing schedule or whether they can visit the warships. The viewer/ reader has the question about ”what is this space,” when they meet the diverse condition in which activities, performances, lectures, workshops often take place in a place at the same time.
(2) Scholars also translated “the generation of meaning”. In the forming of meaning “ signifier“ plus “signified“ will have “Signification“. But “signification“ has entered a coding state, so Julia Kristeva brought up “signifiance“, which can be said that this word implies the meaningful energy, the potential of meaning, the meaning of the fluctuation, and it is the unique state of the process of meaning generation and itself is productive not being rigid and locked. See: Victor Burgin, “Re-reading Camera Lucida,” The End of Art Theory, Macmillan, 1986, p.78.
(3) Victor Burgin, “Re-reading Camera Lucida”, The End of Art Theory, Macmillan, 1986, p.73.