謝幕 Afterword

《謝幕》

Afterword

2023｜秋｜Paper, text, words, subtitles, images, video, exhibition info, artwork info ｜Dimensions variable｜80A Gallery

11.19 – 2024.01.07

「我想假設一個展，它帶著謝幕的性質，要怎麼做？」

「而基礎條件是它恰巧排斥視覺。」

我在想著這樣的東西，要怎麼展示「挪移兩個相反的東西，然而它們本身彼此其實接在一起。」就像假日，跟平日。ＡＢ是前後關係，甚至可以交替循環，但你想在時間上，先描述Ｂ再描述Ａ，如同一個展覽的開場就叫做謝幕。

“How would I imagine a show carrying the quality of an afterword?”

“Plus, a fundamental condition is that it excludes all visuals.”

I have been thinking about this – how to show ‘the positioning of two opposing things which are, in fact, inherently connected,’ like weekends and weekdays. A and B follow a sequence, yet they can, too, take one another’s position. However, concerning the order of time, as one may present B before A, a show may open with an afterword.

「一張影像的投影的反光的影像的輸出的摺紙的影像的輸出的摺紙」
「一張影像的投影的反光的投影的反光的投影」

這是我的兩件作品。

"A projection of an image, a reflection of an image, an output of an image, an output of an image, an output of an image, an output of an image, an output of an image, an output of an image, an output of an image, an output of an image, an output of an image, an output of an origami paper". 

These are two of my works.

< 水洗文件 > Laundered documents 2023｜Print on paper｜59.4 × 84.1cm

< 水洗文件 > Laundered documents 2023｜Print on paper｜42 × 59.4.cm

(Second room, the back balcony)

< 貓咪的城堡沒有牆壁 > Cat's castle without walls 2023｜Mp3, subtitle on paper｜1'53"

< 朗讀我要（Ａ）> Reading “I want (A)” 2023｜Vedio｜6'09"

< 明天的東西 > Something for tomorrow 2023｜Words on paper｜25.7×18.2cm

< 轉過身去 >

Go back! 2023｜Words on paper｜25.7×18.2cm

< named : 私人video ① > as like as

2023｜Words on paper｜25.7×18.2cm

< 12:00, 12:00 > 2023｜Print on paper｜42 × 59.4.cm*2

< 繞行一圈，開始等於結束 > Go in a circle: the beginning is the end

2023｜Words on paper｜25.7×18.2cm*5

(room 1 in sunlight)

< 安芃單品 > A work by An-Peng Lin

2023｜Projector, artwork info｜Dimensions variable

< 安芃單品 >在夜晚

'A work by An-Peng Lin' in the night

< 安芃單品 >的作品卡 Artwork info of 'A work by An-Peng Lin'

Lee Kit 在鳳甲美術館展覽我要(A)的展覽文字

Lee Kit's Exhibition at Hong-gah Museum 'I Want (A)' Exhibition Texts

< ⼀件作品不會有兩個名字 >（左）

A work doesn’t get two names

2023｜Words on paper｜25.7×18.2cm

< 互為作品卡與作品 >

Both artwork info and the artwork

2023｜Words on paper, artwork info｜25.7×18.2cm*2

兩張文字作品，互相為對方的標題同時是自己的內文：（左）「安芃單品」與（右）「一張影像的投影的反光的投影的反光的投影」

它們同為一張影像的（左）命名（右）操作型定義描述。
（最右）為「互為作品卡與作品」的作品卡。

< 你想得到的，你想得到的 >

What you can get

2023｜Words on paper｜25.7×18.2cm

（照片最右邊那張）

< 拍上一個藝術家撤展 >

Ru-Xuan removed

2023｜Words on paper｜25.7×18.2cm

< 如何挪移昨天 >（左）

How to relocate yesterday?

2023｜Words on paper｜25.7×18.2cm

< 數字 >（右） 12:00, 12:00 2023｜Words on paper｜25.7×18.2cm

< 粗枝濫造 >
Nice rubble

2023｜Words on paper｜25.7×18.2cm*2

（無名的展場文件）

Unnamed objects

< 水洗文件 > Laundered documents 2023｜Print on paper｜42 × 59.4.cm

< 水洗文件 >在夜間。

< 信 >

Paper

2023｜Print on paper｜29.4×42cm
（左邊那張像禮物的東西）

< 回答是問題的不幸 >

The answer is the misery of the question

2023｜Words on paper｜25.7×18.2cm

（右邊貼在門框裡的紙）

< 如果是感謝名單 > If this was a thank list

2023｜Projector｜Dimensions variable

< 書冊 >

Booklet 2023｜Print on paper｜9×15cm｜50+30本

整個東西（這個展）其實很奇怪，它們是差一點點的時間模型。每一件的狀況都不太一樣，我將這個展在思考的東西（point）分配到（into）每一件作品。不使用視覺到底是個什麼想法，或者是不作品化的使用視覺，有可能嗎？使其內容與展覽無關嗎？你如何在一個都是文字與紙張的空間仍做出讓觀眾凝視的部位，我在想，這點對於眼睛的需求還是必要的。

因此，我覺得我在想的，就是展覽的殼，它的重要形式外殼，這個殼的結構創造，就是整個展想做的東西了。

The whole thing (this exhibition) is actually very strange, they are almost a model of time. The state of each piece is different, and I assign the point of thinking in this exhibition to each work. What is the idea of not using visuals, or is it possible to use visuals without making complet piece? Making its content irrelevant to the exhibition? In a space filled with words and paper, how can you create a piece that attracts the audience's attention? I think it's still necessary for the eyes.

So I think what I am thinking about is the shell of the exhibition, its important form shell. The structural creation of this shell is what the whole exhibition wants to do.