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地點：台北當代藝術中心（原金滿堂、前如意園），台北市保安街49巷11號（捷運大橋頭站）
開幕：4月18日，下午3點
展期：4月19日－5月31日，週三－週日 1-7 PM
藝術家：黃大旺、黃博志、鄧兆旻、劉和讓
活動：5月23日 1-5PM 老屁股聯誼會
Venue: Taipei Contemporary Art Center (Former karaoke: Golden House and Lucky Garden),
No. 11, Lane 49, Baoan Street, Taipei City (MRT: Daqiaotou Station)
Opening: 18th Apr, 3pm
Date: 19th April – 31st May, Wed-Sun 1-7pm
Artists: Dawang HUANG, Po-Chih HUANG, Hojang LIU, TENG Chao-Ming
Event: 23rd May, 1-5pm Fellas’ Karaoke Bar
台北當代藝術中心的第三個落腳據點來到台北城早期開發的聚落大稻埕，而在面對在地豐沛交置的城市人文風景之際，我們不禁展開邀請和一份自我提問：今日藝術創作者和機構是如何面對「在地性」這樣一個看似日常、甚至幾乎被過度操作的題目？我們究竟如何展開一份在地的想像？如何進入一個街區的歷史脈絡肌理中？在南北貨巷弄裡、廟宇教堂間與早期和近來林林總總的文化商家中，我們如何尋求與觀看藝術連結城市、市井生活與文化生產間的活力與關係？
在保安街新址的首檔展覽，以如此自我檢視和批判之姿，邀請大家一起進入這個思考裡去回應當代藝術進行田野調查、社群對話、展開文化想像、與有機文本間產生再脈絡化的方法學。一個藝術機構可以展開什麼樣的文化再製工程？此次展出藝術工作方法學的嘗試，同時也是一份透明的自我介紹，我們邀請藝術家合作將藝術生產中「成為作品前」的工作狀態轉譯成新的開放介質，進一步理解藝術工作者如何進行感性的編碼工程，並將此放在傳統的公共空間（榕樹下）和在地歷史紋理（所在地為日據時期的太平町）中去聯繫新的對應關係，在各種新舊的文化生產系統間，重新理解自身的創作位置。展覽中的策展筆記也將機構的內部工作進行了表演性的詮釋，平行於此，台北當代藝術中心作為一個大稻埕新進駐的微型藝術機構也將揭開新的方向——在前金滿堂、原如意園的卡拉OK店裏繼往開來翻唱出新的文化想像；並在榕樹下，一個無確實邊界的公共領域裡，尋求在地新的公共性意義與對話生產，作為台北當代藝術中心3.0版將於未來建立的公共開放平台之起點。
Launching the current iteration of Taipei Contemporary Art Center (TCAC) at its new premises, the Remastering under the Banyan Tree exhibition is TCAC’s companion in the role of newcomer to Dadaocheng. Given Dadaocheng’s rich history as one of Taipei’s earliest settlements and the new space’s earlier existence as a Karaoke bar, TCAC asks how it can converge with the area to create new cover versions, compose new imaginings for culture, and seek fresh interpretations of public production and engagement. This exhibition accompanies TCAC 3.0’s approach to engage with its surroundings and propose a new open platform that can potentially become the area’s new public plaza.
This most recent relocation immerses TCAC in a neighborhood with rich layers of histories, cultural landscapes and social fabrics. Bringing itself to such an environment TCAC 3.0 embarks on a quest that also extends to itself and its audiences an invitation to ask: Given what can at times be such an ordinary or over manipulated subject, how do contemporary artists and institutions deal with the local context and interpret locality? What is our imagination for the local, and how do we establish conversations with the neighborhood and its context? Among the traditional shopping districts, temples, churches, the old and the new creative businesses, how do we seek the energy that connects art, urban life and culture production? In other words, how do we transcribe our production in relation with them?
By re-opening at the space in Baoan Street, TCAC adopts an attitude of criticality and self-examination towards itself and the methodologies employed by contemporary artists for field research, community participation, culture imagination and organic re-contextualization. By launching the new space with this exhibition, we challenge ourselves to confront the question of what remastering work can be carried out by an art institution. The attempt to expose the methodologies also serves as as a means of presenting ourselves, and the curatorial notes exhibited on site further provide a performative footnote to the institutional work. This proposal to transform the work-in-process and the becoming of art into an open mediation that introduces the sensible coding language of artists and our search for new correspondences under the banyan tree – reclaiming traditional senses of public space in the neighborhood as well as within local legacies to perceive our parts within the old and the new cultural productions.
