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《失竊畫作的假設》放映以及影子喜劇: 喬治‧克拉克 & 拉烏‧盧伊茲
時間： 2018.08.17(五) 18:30
地點： 台北當代藝術中心 （台北市大同區保安街49巷11號1F）
當一個事物被看見的時候，它便不再奇異。鬼魂被看見時便不再是鬼魂: 只有看不見的才是鬼魂。
– 拉烏‧盧伊茲
1995年，智利導演拉烏‧盧伊茲（Raúl Ruiz）到台灣拍攝《影子喜劇》（The Comedy of Shadows） 。他從未完成拍攝該電影，而這部未完成的電影，讓英國藝術家及策展人喬治‧克拉克（George Clark）開始了他的全新計畫《雙影》（Double Ghosts）。《雙影》聚焦於這部未完成電影所留下的迴響，探索其影像與政治的鬼魂，內容從其未完成歷史片段的狀態及潛能，到智利導演拉烏‧盧伊茲(1941-2011)所留下的影響和台灣的泛靈論電影傳統。在製作這項計畫的期間，喬治‧克拉克將與TCAC合作，藉由一連串的活動來賦予這些片段生命，思考文化置換、放逐及電影介於真實與虛假之間正在改變的本質。
在製作的最後階段，喬治‧克拉克將在台灣展示《雙影》，預計於「野根莖─2018台灣美術雙年展」展出該計畫的裝置。這項計畫2017年12月在智利聖地牙哥的視覺藝術美術館展出，接著2018年3月在英國的AV藝術節展出。第一個活動將於TCAC舉辦，第二個活動則是在金寶山墓園的特定場所放映，將會有免費接駁車從TCAC接送觀眾。
8月17日當晚在TCAC，喬治‧克拉克將會介紹他的《雙影》計畫，分享他在智利、台灣及歐洲，針對拉烏‧盧伊茲的未完成電影《影子喜劇》所進行的研究。針對遺失作品的潛力及影響，當晚的座談將探討如何用鬼魂及片段建造歷史，並放映Raúl Ruiz的標誌性電影作品，《失竊畫作的假設》（The Hypothesis of the Stolen Paintings, 1979）。該片原是應法國電視台委託所製作的紀錄片，以哲學家及小說家Pierre Klossowski為主題，後來演變成一場對圖像謎樣力量的獨特推理。盧伊茲極具技巧地融合了紀錄片及虛構故事，創造了一個精巧的迷宮，通往19世紀藝術家充滿神秘及情色色彩的作品。融合了藝術理論、神秘力量的推理及電影遊戲，這部精采的電影充滿了各種線索，讓人得以理解盧伊茲作品整體。
The Hypothesis of the Stolen Painting / L’Hypothese du tableau volé / 《失竊畫作的假設》
導演：拉烏‧盧伊茲, 法國, 1978, 66分鐘
這部迷人的藝術歷史謎團造就了盧伊茲的名聲，這是一場調查行動，同時具備學術研究及推理，探索十九世紀默默無名的法國畫家Frédéric Tonnerre 一系列畫作間的關聯，以及巴風特邪教徒所進行的人體獻祭。一位藝術收藏家與他未現身的訪問者致力於解開畫作與歷史事件間愈顯奇異及骯髒的關聯，他們辛苦演示靜止畫面以重現其中的神秘、危險及情色能量。然而，其中一幅畫作在多年前就遺失了…這部電影由Pierre Klossowski共同創作，表達了Ruiz的重要憂慮之一: 人類想像力與不可知力量的駭人相遇。
– 林肯中心電影協會, 紐約, 2017
關於藝術家
喬治‧克拉克 （George Clark）是一名藝術家、策展人與作家，作品散見於世界各地影展與博物館。近作包括劇情片《遙遠的回響》（A Distant Echo，2016）、短片《雲海》（Sea of Clouds，2016）與進行中的計畫《Eyemo攝影機膠卷》（Eyemo Rolls，2011-2018），由目前已超過兩百件，並陸續增加中的35毫米影片組成。近期參與的展覽有英國焦點藝廊的《逃出且推！》（Get Out and Push!，Focal Point Gallery，2018）、印尼賈蒂旺宜藝術工廠和韓國陽首美術館的《活檔案》（Living Archive，Jatiwangi Art Factory， 2017 ; Yunseul Museum，2018）與蕭壠文化園區的《種植者的藝術》（A Planter’s Art，Soulangh Cultural Park，2016）。他透過在英國泰德美術館的工作（2013-2015）及各種獨立策展計畫，曾策劃Ute Aurand、Julian Dashper、Lav Diaz、Camille Henrot、Vlado Kristl、Luis Ospina與Chick Strand等導演與藝術家的回顧展，以及關於日本擴延電影、洛城叛逆（L.A.Rebellion）、第一本關於錄影帶的雜誌《Infermental》等各種主題的展覽。他曾為數檔展覽目錄撰寫文章，同時任教於英國皇家藝術學院。
圖片版權：Raúl Ruiz, The Hypothesis of the Stolen Painting / L’Hypothese du tableau volé, 1978, film still.
Screening of The Hypothesis of the Stolen Painting & Searching for The Comedy of Shadows
Time: 2018.08.17 Fri. 18:30
Venue: Taipei Contemporary Art Center (TCAC 1 Fl, No.11, Lane 49, Baoan Street, Datong District, 10346 Taipei)
As soon as something becomes visual it ceases to be fantastic. The moment we see a ghost it stops being a ghost: a ghost is only a ghost if it is barely visible. – Raúl Ruiz
In 1995, Chilean filmmaker Raúl Ruiz flew to Taiwan to film The Comedy of Shadows / 影子喜劇. The film was shot but never finished. The incompleteness of Ruiz’s film is the starting point for Double Ghosts, an new multi-part project by artist and curator George Clark (UK). Double Ghosts considers the echoes of this unrealised project to explore cinematic and political phantoms, from the status and potential of unrealised and fragmented histories to the legacy of Chilean filmmaker Raúl Ruiz (1941-2011) and animist cinematic traditions in Taiwan. While working on his new project George Clark will collaborate with TCAC on series of events that seek to activate these fragments and consider questions of cultural displacement, exile and the changing nature of cinema as the hiatus between the real and the unreal.
George Clark will present Double Ghosts in Taiwan during the final stages of its production as he prepares installation of the project for the 2018 Taiwan Biennale. The project has previously been presented at the Museum of Visual Arts in Santiago Chile in December 2017 and the AV Festival in UK in March 2018. The first event will take place at TCAC and the second will be a site specific screening at the Chin Pao San cemetery, with free transport provided from and returning to TCAC office.
For the first event at TCAC on 8.17, George Clark will give an illustrated talk introducing his project Double Ghosts sharing his research in Chile, Taiwan and Europe exploring Raúl Ruiz’s unfinished film The Comedy of Shadows/ 影子喜劇. Dedicated to the potential and legacy of lost works, the evening will look at how history can be constructed through phantoms and fragments with a rare screening of Raúl Ruiz’s landmark film The Hypothesis of the Stolen Painting (1979). Originally commissioned for French television as a documentary on philosopher and novelist Pierre Klossowski, Ruiz’s legendary film evolved into a unique speculation on the enigmatic power of images. Deftly blending genres between documentary and fiction, Ruiz’s film creates an elaborate labyrinth in order to trace a lost work by an 19th Century artist whose work is shrouded in mystery and erotic intrigue. Mixing art theory, occult speculation and cinematic games, the brilliant film is filled with clues through which to understand Ruiz’s broader body of work.
The Hypothesis of the Stolen Painting / L’Hypothese du tableau volé, Dir. Raúl Ruiz, France, 1978, 66min.
“The film that arguably put Ruiz on the map was this beguiling art-historical whatsit—an investigation, informed equally by scholarship and speculation, into the connections between a series of paintings by the unheralded 19th-century French painter Frédéric Tonnerre and human sacrifices carried out by a Baphometic cult. An art collector and his unseen interviewer seek to unravel the increasingly bizarre and sordid links between the paintings and their historical moment by staging painstakingly crafted tableaux vivants to conjure their mystery, menace, and erotic energy. However, one of the paintings went missing many years ago… Co-written by Pierre Klossowski, The Hypothesis of the Stolen Painting announces one of Ruiz’s key concerns: the terrifying encounter between human imagination and the unknowable.” – Film Society of the Lincoln Centre, NY, 2017
Artist Biography
George Clark is an artist, curator and writer. His films have shown at festivals and museums internationally. Recent work includes feature film A Distant Echo (2016), short film Sea of Clouds / 雲海 (2016) and the ongoing project Eyemo Rolls (2011-2018), a growing body of over a two hundred 35mm film rolls. Recent exhibitions include Get Out and Push! (Focal Point Gallery, 2018); Living Archive (Jatiwangi Art Factory, 2017; Yunseul Museum, 2018) and A Planter’s Art (Soulangh Cultural Park, 2016). Through his work at Tate Modern (2013-2015) and in independent projects, he has curated retrospectives of Ute Aurand, Julian Dashper, Lav Diaz, Camille Henrot, Vlado Kristl, Luis Ospina and Chick Strand, as well as thematic exhibitions on Japanese expanded cinema, the L.A. Rebellion, and Infermental, the first magazine on videocassette. His has written for numerous exhibition catalogues and publications and is a visiting lecturer at the Royal College of Art.
Image Credit: Raúl Ruiz, The Hypothesis of the Stolen Painting / L’Hypothese du tableau volé, 1978, film still.
