《地景改造計畫-如何獻給你一根草?》

Landscape Transformation：How to present a grass to you?, 2010

近身潛獵
台南 ，大琦村

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高俊宏同樣透過「身份」的挪用，在《地景改造計畫／如何獻給你一根草？》成為未來（2014年）大崎村村長選舉的「候選人」。選舉這種非日常但具週期性的生活經驗，會在某一段特定時空中搭建一種臨時性的公共空間，進行宣傳、造勢、政見發表等活動，也凝聚出一個區域／地方的關注。高俊宏以一個存在於未來的提案，提供觀者反思藝術家與藝術介入地方的問題：如果村長是一為藝術家，他所呈現的選舉活動形式與公共空間的意義生產會是如何？或只是「獻出一株草」來對地方提供一種非生產性的生產、打開非凝聚性之凝聚──一種無邊界也無時效性的公共空間？透過藝術行動的方式，高俊宏高度呈現對藝術介入與地方倫理之間緊張關係的反思。
 

In the concept of “「Landscape Design：How to present a grass to you?(White paper manifesto of village head election in Da Ci 2014 )」, I reflected on the question concerning the way of how contemporary art blends into the space. For art, the path leading to the community contains “possibility” and “construction”. They both involve in essence some ethical questions and play a balancing role between the overuse of the arts and the negligence of the local reality, or vice versa. Art activities and art workers have problems of positions and the location where art happens begins to get named. It is no longer just the ethics of art in a white space in the gallery, art museum or art center.

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I went into a valley in Daci trying to plant one more blade of grasses, just like many other grasses that have already existed. I wonder what else I can do. Art can do nothing to a seemly developed place yet never stops reconstructing unless art can provide the space a naming rule that can exclude the space itself. This rule cannot coexist with the reality, the utilitarian aesthetics. The relation of art and space should be looked at from the angle of uselessness

 

For me, naming a space is very important. Art activity is not a reverse packaging but is to name some absent objects in the space through manifesto. The naming process excludes all traditional naming rules of regionalism; instead, it presents the space with a nonrealistic attitude: “If one space has one more grasses, in fact there is no any effect but the concept is never going to be the same.” Under this circumstance, if art has its own name, it will reveal a superficial question: there is no way for creation activity to detach from the environment. It also reveals an ultimate question and that is how an artist evaluates the active and passive roles between “self” and “external matters”.