高俊宏 Kao JunHonn
《社會化無聊》
Nonsense of Socialization, 1997-98
台北 Taipei
1997到98年，我進行了一系列的行動性藝術創作，名為《社會化無聊》，主要是以行為（行動）藝術的方式，探討藝術創作相對於社會的「無聊」特質。這一系列包含了〈丟蛋〉（1997）、〈追火車〉（1997）、〈放逐的話〉(1997)、〈跑河堤〉（1997）、〈三芝行動〉（1997）、〈跳〉（1998）、〈美玩美〉（1998）等。「社會化無聊」系列的背景，一方面是感受到當時的台灣，逐漸從威權體制走出來以後，慢慢轉向以中產階級為主的穩定結構。社會上的「穩定」反而給人一種不安的氣息。因此，希望探究藝術究竟在這樣的社會空間裡的意義為何？或者反過來說，如果藝術是沒有社會意義的（無聊的），那麼它又該如何自證？在這個系列裡，大部分的「作品」都是在短時間，以沒有預演的方式即時完成，用當時流行的話來說，叫做「觀念素描」，而「反覆」、「重複」是很主要的方式，也是「自證」的方式之一。
From 1997 to 1998, I did a series of action art creations. It is called "Nonsense of Socialization", mainly based on behavioral (action) art to explore the "boring" characteristics of artistic creation relative to society. This series includes 'Throwing Eggs' (1997), 'Chasing the Train' (1997),'Words of Exile' (1997), 'Running at Riverbank' (1997), 'Sanzhi Action' (1997), 'Jumping' (1998), 'Mei Wan Mei' (1998), etc.The creation background of the "Socialization Boring" series, on the one hand, is that Taiwan at that time gradually walked out from the authoritarian system and turned to a stable structure dominated by the middle class. The "stability" in society gives people a sense of anxiety. Therefore, I hope to explore the meaning of art in such a society. Or conversely, if art has no social meaning (boring), how can it prove itself? In this series, most of the "works" were completed deliberately without rehearsal in a short period of time, and only a few lasted for a week. To put it in buzzwords at that time, it was called "concept action" or "concept sketch". Among them, constant "repetition" is the main concept, and it is also one of the ways that creators (boring people) can "self-justify".
〈跳〉（1998）
在許多不同的地點，原地不斷跳躍。包含了軍營廢棄空間、海邊、大馬路邊、河堤、淡水鬧區......等等。我的想法很簡單，當人們的生活總是水平移動的時候，創作者的工作，實際上只是在一個原點上，不斷地原地跳躍。其次，則是印象中看過某一部香港電影裡的瘋人院，裡面有些精神異常者會抱著枕頭原地跳躍，我覺得這個畫面很像創作者。
'Jump' (1998)
'Jump' was carried out by constantly jumping in place in many different locations, including abandoned space of the barracks, beaches, the wayside, riverbanks, the downtown area of Tamsui, etc. My idea was very simple. When people's life is always moving horizontally, the work of creators is actually just jumping in place repeatedly. Secondly, I have seen a madhouse in a Hong Kong movie that some mentally abnormal people would jump in place with their pillows. I think this image is very similar to artist.
〈丟蛋〉(1997)
在當時的國立藝術學院所進行的一個即時行動，不斷地朝著同一面牆奮力丟擲雞蛋，用以表達一種無以名狀的沉悶，以及無法有目標的憤怒。
'Throwing Eggs' (1997)
'Throwing Eggs' was an instant action carried out at the Taipei National University of the Arts at the time. It expressed an indescribable dullness and untargeted anger by constantly and repeatedly throwing eggs towards the same wall.
〈三芝行動〉(1997)
在三芝淺水灣一帶的海灘所進行的行動。我往前進，走入海裡。然後往後退，擦拭自己的腳印......如此反覆。
'Sanzhi Action' (1997)
'Sanzhi Action' was performed on the beach of Sanzhi QianShui Bay. I moved forward, left my footprints on the beach, and walked into the sea. Then I repetitively crawled backwards and wiped my footprints away.
〈美玩美〉(1998)
在離開學院的保護傘以後，等待當兵前的一段時期，在板橋的老家房間裡所做的作品。當時，整個狀態仍是焦慮而不安，覺得自己無法融入「社會」，特別是回家與父母居住。後來，在某一天下午前往麵包店買麵包時，看到一對母子一起逛麵包店的畫面，不知為何深為所動，回去以後就開始進行為期約一週的「咀嚼」的計畫。我開始搜集每一天資訊社會所生產的報紙，加上每一天土地所長出的水果，將兩者混攪之後，像檳榔一般地咀嚼以後，吐出。
'Mei Wan Mei（Beauty Playing Beauty）' (1998)
'Mei Wan Mei' is a work made in my Banqiao's room after leaving the college and waiting for serving in the Navy. At that time, I was so anxious and felt that I couldn't integrate into the "society". This kind of conflict was especially serious when I went home living with my parents. In one afternoon, when I went to a bakery to buy breads, I saw a mother and child visiting the bakery together. For some unknown reasons, I was deeply touched. After I went back, I started a "chewing" project for about a week, which was an alternative "breakfast." I began to collect the newspapers produced by the information society every day with the fruits grown on the ground every day. After mixing the two, I chewed them like betel nuts and spat them out.
