We Are Here 我們在這裡

我們在這裡
We Are Here

為期五天每天一小時，現場行為，現成物，依場地而定。
國立臺北藝術大學八又二分之一展覽空間，臺北，臺灣，2014。

1 hour in each 5 days.
Performance, readymade, dimensions variable.
TNUA Fine Art Space, Taipei, Taiwan, 2014.

人在活著的過程面對未知不斷地發出些什麼，由內而外以一應全，由外而內浩蕩包容，群體如海浪的聲響，波動著彼此。

Human existence is a process in which man reacts toward the unknown with his own disposition, and the unknown includes him in return as an embracing totality, like that of humming waves.

展覽空間被抽象化為宇宙，不論我們吶喊、倚靠、訴說 ，它皆靜靜地在那。為期五天的展覽，每天設定不同的生命狀態以一小時呈現，像是船艙漫遊於宇宙的旅程。

這件行為表演作品的構想從空間出發，行為者的身體成為作品被觀看著。一踏進展覽空間，狹長的走道通向一個高挑的扇形空間，行走過程像是進入隧道，抵達扇形空間徘徊其中，面對高挑的白牆思考有如冥想；三面環形有如置身井底，讓身體有種被往上擠的漂浮感。

《我們在這裡》選擇在三面白牆上，架設不同高低的平台進行行為表演。其中，有兩個平台高一層樓，與觀者拉出遠距離，呈現高挑的漂浮感，在觀眾仰望的同時，隨著身體放鬆視線開展，行為者的生命狀態得以被肅靜獨立地關注；第三個平台高於胸，平行觀者的視線，得以端倪行為者的表演狀態，得到更親近的震撼。

隨著不同的高度安排不同的身體姿態，坐、站、躺呈現預定的行為內容，五天的表演分別呈現叫、說、默、哭、笑，五種生命狀態。

The exhibition space undergoes an abstraction that turns the space into an universe. No matter we call, cling to one another, or tell stories, it is there. Within the span of five days, different themes about human existence are designated to each day for a one-hour presentation. Each presentation takes the viewers on board for an outer space adventure.

This behavioral pattern is based on the space, The body of the performer becomes the work being watched. The exhibition space greets the viewer with a narrow corridor which leads to a fan-shaped hall. The experience of walking through the corridor is like entering a tunnel, and when the tunnel ends with the hall with tall, white walls, the enclosure is to turn the experience into a meditative process. The circle sector of the enclosure surrounds the viewer like the bottom of a well, which destabilizes their sense of certitude by pushing the viewer to aspire upward.

Three platforms of different height are installed on each side of the hall, on which performers perform. Two of the platforms are one story away from the ground level, creating a distance from the viewers. As they look upward, the height stretches their body by altering their habitual perspective. The placement also enshrines the existence of the performing artists, inviting serious attention. The other platform is set parallel to the viewing level. Aiming at intimacy, the parallelism offers a close-up to the performance.

The different height of the placement determines the program of the performance, composed of different body postures, which can be sedentary, stance, or prostrate etc.

第一天「黑洞」行為者們盤坐面對白牆「叫」，極盡所能將能量投往牆面。

On Day 1 performers sit crossed-leg, facing the white walls, and performers shout at the wall, projecting as much energy as possible toward the wall.

第二天「航行中」行為者們嘗試捕捉當下的思緒。以句子、文字等表達，出現許多顏色與食物，像是芋頭、地瓜、柿子、紫色、三角形等，陳述過去與未來，時而咒罵顫抖、相互爭執、嘲笑對方、描述現場。

On Day 2 “En route” performers sally to hunt for instant thoughts, which performers express through words and images. Performers recap the vision of colors (e.g. purple), food such as toro, sweet potato, persimmon, and triangular shape. Through words we relate to the past and to the future. Performers curse, tremble, fight with each other, jeer at one another, and report the present scene.

第三天「星雲」純粹倚靠著牆靜默。

Day 3 “Nebula” features silence, wherein performers lean at the walls wordlessly.

第四天「進廠維修」回到內心探索悲傷。當這些複雜的淚水從體內湧出後，發現一切都是因愛而起。

Day 4 “Repair” explores the sorrows in inside hearts. We find love is the fountain of the myriad tears shed from our countenance.

第五天「修錯地方」行為者們努力讓自己歡笑。坐著、不說話是唯一的限制，從開懷大笑到靜靜的微笑，看著彼此，聯繫起共同的過去，靜靜地欣賞眼中那一個生命，說不上來的喜悅。然而，比較起第四天的努力難過，開心的情緒變得複雜許多。

On Day 5 “Repair in the wrong place” performers limit themselves to sedentary pose and no use of language. Performers can only “laugh.”
From bursts of laughter to beams of smile, performers put on different gradations of laughter, gazing at each other. Throughout the process performers connect the courses of their past and admire the aspects of life with their own eyes, gaining ineffable joy. However the joy takes on a complicated character in relation to the sorrows explored on the previous day, Repair.