Above The Wall 邊緣之上

飄浮身體 – 邊緣之上
Floating Body – Above The Wall

國立臺北藝術大學美術系99級畢業展。
1小時，為期一個月，共四場。現場行為，依場地而定。
國立臺北藝術大學地下美術館，臺北，臺灣，2015。

Bachelor of Fine Arts Graduation art Exhibition of Ninety-nine.
1 hour, 4 performances in 1 month.
Performance, dimensions variable.
TNUA Fine Art Museum, Taipei, Taiwan, 2015.

「我總是夢見我在飛，飄浮於朋友、家人、社會之上，每當我飛越高，我越害怕墜落，似乎所有地面上的人都要抓我，因此恐懼著。我很喜歡高飛時可以清楚地看見人們在做什麼，或者發生什麼事了。」這些不斷飛翔的夢境啟發我開始規劃這件作品。

“I have dream everyday, most of time I dream I am flying above my friends, family, and whole society. Whenever I fly higher, I am afraid of falling, it seems all the people on the ground will catch me. Sometimes I am happy to be higher that can see things clearly, I can see what human doing, what’s wrong with the world. ” The feeling of being higher inspire me to did this performance.

《邊緣之上》發生於國立臺北藝術大學地下美術館的畢業展覽中，順應空間形式發展現地製作，運用白盒子、挑高、兩層樓、俯瞰等條件，安排行為者行走於展牆之上，試圖透過身體挑戰藝術展覽觀看的權力關係，並提出何謂作品與作品形式的問題。

地下美術館是一個巨大的白色空間，展場有兩層樓，一樓是挑高兩層樓的白色空間。寬闊的展間中央，有長寬8公尺的ㄇ字型展區，《邊緣之上》行為路徑發生於數面高2.5公尺的白色展牆上，以及橫跨展牆間長6公尺的白色C型鋼橋上。

《邊緣之上》把一個安靜的身體放置於曖昧、不被處理、難界定的展覽空間活動，一樓漸層至二樓的中空場域，讓一個中性的存在狀態混淆進入展場的觀眾，行為者以短裙位處高處，讓觀者不時呈現既想看又不好意思看的狀態。觀眾的目的與身份隨著行為者的干擾有了轉換，或專心或分心，在被觀望與觀

望以及觀望被觀望的關係中，身份迴盪出更多可能性，觀眾、藝術家、藝術品的角色被模糊化且不斷轉移。

“Above the Wall” is a site-specific work took place in the graduation exhibition of the Art Museum of the National Taipei University of the Arts, developing through the spatial form of the museum, conforming with white cube, high ceiling, two floors, and overlooking condition to arrange performer to walk on the exhibition wall. Trying to use the body to challenge the power of viewing between audience and the performer in an art exhibition. Moreover, question what can be art work and art form.

The Art Museum is a huge white space with two floors, the first floor is two-story high. In the center of the wide exhibition space, there is a ㄇ-shaped exhibition area 8 meters length and width. “Above the Wall” took place on several white exhibition wall 2.5 meters high, and on the C-shaped white steel bridge 6 meters long crossing exhibition walls.

“Above the Wall” placed a quiet body in an ambiguous, abandoned, and undefined exhibition space. The hollow space from the first floor to the second floor allows a neutral state of existence to confuse the audience entering the exhibition hall. The performer with short skirts standing high, making viewers below feel embarrassed to stare at performer. The audience’s purpose and identity were changed through the interference of performer, should they concentrate or distracted, being gazed or gazing. In the relationship between gazing side and those being gazed, the identity of performer reverberates more possibilities, no matter viewers, artists, or works of art is shifting and blurring.