末日遺民
黃琬瑄
《末日遺民》展覽構想及內容敘述
策展人：黃琬瑄
參展藝術家：丘智華、陳國在、鄭宇翔、Dávid Likavčan、Karel van Laere、鄧倢伃、蔡坤霖、田季全
「遺民」身心需與前朝剝離，但不可逆的豈止政權遞嬗所帶來的傷逝？張愛玲的名言「回不去了」，成為犀利人妻謝安真的台詞後更廣為流傳。在數位時代，事物汰換速度激增，當人們始終處在時間、空間都回不去的狀態，時間所形塑的失落感與流逝感，成為當代人們的共同體驗。身陷在時間洪流的我們，絕對不是單純的過客，而是悼亡傷逝且不合時宜的「遺民」。
若2012世界末日預言成真，那麼這場展覽將齎志而歿。當真末日到來，歷史將會亡佚、文明將會崩解。但於末日倖存，或破除了末日謠言之後，末日必然成為某種程度的時代分水嶺或標記。展期訂在傳說中馬雅預言的末日時刻之後，讓末日的時間標記更加鮮明。末日給了我們一了百了的銷亡想像，但也挑動了人類對時間的思歸。末日傳說將時間的傷逝感推向極致，「末日遺民」們共有的只是每一秒的傷逝之感不斷綿延、永劫回歸。
此次聯展中，藝術家們創作核心雖異，作品卻同樣有著「末日遺民」的徵候，並異想淋漓地體現時間流逝之感。更有藝術家顯現末日前的時代氛圍，以作品操弄媒體符碼，或彰顯當代生活的疲軟姿態，隱隱能察覺出藝術家對於末日前數位時代既褒又貶的曲折詭妙。
《Post-Loyalist of Doomsdayism》
The "loyalists" swing the saber to separate their body and soul from past glory, but the pain remains…It is the pain from the irreversible lost of the kingdom. Eilleen Chang's famous line, "I can't go back anymore", has become a popular quote for the digital generation, ever since the heroin (Hsie An-Chen) in the TV drama, The Fierce Wife, made a powerful declaration as to her stance on the intertwining love-hate relationship. In the digital world, "newer things" continue to replace the "older things" in the wink of an eye and people stay in the constant state of time-space irreversibility. Thus, feelings lost and fast time-object dissipation become a shared experience in these modern-days. In the torrent of time, we are not just the passersby, but the "loyalists" of the past who mourn for the irreversible.
If the 2012 doomsday prophecy comes true, this exhibition will fall into the torrent of time before its existence ever takes place. When the day comes, history will be rewritten and civilizations disintegrated. What if we survive the doomsday scenario or if it never comes? This point in time will indubitably become a breaking point or a landmark in history. Set after the doomsday of the Mayan prophecy, this exhibition accentuates the time mark that denotes the end of the world, which arouses the imagination "once and for all" and makes people rethink the concept of "time". The "Doomsday Legend" pushes the mourning for lost time into the ultimate. The "post loyalists" share only one thing, that is, the endless extension of the sorrow for the lost era.
In this joint exhibition, the artists may show great divergence in style and creative concepts, but they all carry certain elements of "post-loyalties" and present the feel of dissipating time to the ultimate. Some artists tackled the "doomsday" feeling or addresses the feeling of lethargy in apparent presentations through the manipulation of media and symbols. From their works, we can see the implicit interplay of praises and criticisms in the digital world hovering over the time before doomsday.
黃琬瑄策劃「末日遺民」作品：Dávid Likavčan，《Early study》
黃琬瑄策劃「末日遺民」作品：Karel van Laere，《IMPACT》
黃琬瑄策劃「末日遺民」作品：丘智華，《離去之前》系列
黃琬瑄策劃「末日遺民」作品：田季全，《英雄我愛你》系列
黃琬瑄策劃「末日遺民」作品：陳國在，《黑盒子》、《泳者》
黃琬瑄策劃「末日遺民」作品：蔡坤霖，《海景》
黃琬瑄策劃「末日遺民」作品：鄧倢伃，《身體的微動》
黃琬瑄策劃「末日遺民」作品：鄭宇翔，《01-05-0001+01-05-0002》
黃琬瑄策劃「末日遺民」展場圖片
黃琬瑄策劃「末日遺民」展場圖片
黃琬瑄策劃「末日遺民」展場圖片
黃琬瑄策劃「末日遺民」展場圖片
黃琬瑄策劃「末日遺民」文宣品