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第 30  期


Art Documentation and the (Un)accelerable Life: Reviewing Teching Hsieh’s Body-Machine, Temporality, and Potentiality of Resistance
作者 王聖閎
Author WANG Sheng-Hung
關鍵詞 身體—機器加速度政治生命機器文件化機器時間性不可加速之物
Keywords Body-Machine, Politics of Acceleration, Life Machine, Machine of Documentation, Temporality, The Unaccelerable
摘要 本文是對謝德慶(1950-)行為藝術作品的重新探討,特別是《打卡》(1980-1981)及日後衍生的影像文件、裝置(譬如2017年威尼斯雙年展臺灣館的版本),進一步將其所蘊含的批判性意義從上世紀80年代,更新至資本主義加速狀態無所不在的今日。寫作策略上,首先是為了遠離以往相關評介中,過於英雄化、崇高化的舊有論述。其次是為了針對「時延美學」(durational aesthetics)的詮釋觀點提出批判,指出其理論空缺。最後,藉由重返謝德慶作品的直接討論,從中挖掘出值得開發、擴充的評論關鍵字。

Abstract This paper is a re-exploration of Teching Hsieh’s artworks, particularly One Year Performance 1980-81 (‘Time Clock Piece’) and subsequent visual documents and installations (including the 2017 version at the Taiwan Pavilion in Venice), to further update the implied critical meanings from the 1980s to the present day, when capitalism is everywhere accelerating. In terms of writing strategy, the first objective is to maintain distance from those too often heroized, or from sublimed arguments posited in previous reviews; the second objective is to criticize ‘durational aesthetics’ and point out its theoretical flaws. Finally, by returning to the direct discussions of Hsieh's work, we will uncover crucial keywords worth developing and expanding.

This paper aims to point out that although, at first glance, ‘Time Clock Piece’ presents a certain kind of standardized physical strategy that must be executed without fail. But the body-machine created by Hsieh does not target the labor situation and temporality of classical capitalism. In fact, its significance lies in opening up a whole new field of questions: the hidden constitution of contemporary politics of acceleration. That is, everything that was dependent on a fixed order, continuity, and slow contemplation and meditation, must now give way to a cultural logic driven by rapid skipping, fast re-editing, and an immediate experience of wholeness. ‘Time Clock Piece’ not only reveals its inherent violence, but also provides a path of resistance that can lead to the politics of speed discrepancy. In this way, in reviewing Hsieh's works, we reflect on what induces people to embrace the pleasure and passion of acceleration. At the same time, we further point out what is the “unaccelerable” thing that cannot be forgotten in artistic practice. That will be the cornerstone of our response to the capitalist acceleration machine.
從沈銓到南蘋風: 以沈銓《老圃秋容圖》(靜嘉堂文庫美術館)為例
/ 黃立芸    Li-Yun Huang
/ 王瑞婷    Juei-Ting Wang
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