Picnic 野餐

野餐
Picnic

淨土國際行為藝術節／酸屋

一場 30 分鐘，現場行為、物件，依場地而定。永福公園，臺北，臺灣，2021。

2021 Pure Land – Performance Art Festival / ACID House
30 minutes for one piece. Performances, readymade, dimensions variable.
Yongfu Park, Taipei, Taiwan, 2021.

《野餐》發生於寶藏巖下方的「永福公園」，透過借電與接電的行為，嘗試串聯城市與河濱空間；經由錯放物件與大費周章的行徑安排一場荒謬而緊張的野餐。創作者將臺灣具代表性的居家烹煮物件–大同電鍋搬移至河岸煮蛋，使用延長線從建築物延長45公尺至河濱草皮，同其他路人在河濱草皮野餐，行為過程，經歷被斷電、被接電的介入，被迫延長等待，電鍋的簡易運作被複雜化，煮蛋這件小事似乎成為巨大災難。其中，物件轉移成被觀看的主體，而創作者加入眾人一同經歷空白，等待狀態不明的蛋，期待電鍋跳起的那刻，究竟蛋熟了還是沒熟？《野餐》在等待、危機、期待、延遲的過程，將個人行為擴展至集體事件，表述人性的普遍質地。

“Picnic” took place in the Yongfu Park down the Treasure Hill Artist Village in Taipei riverside, through the action of borrowing electricity, connecting the city and the riverside space. The performer went to extraordinary lengths to arrange a preposterous picnic with misplacing the objects; bring the Datong electric cooker, a characteristic cooking utensil in Taiwan, to steamed eggs.

Performer plugged the extension line one by one which long 45 meters in total from the building to the riverside, had a picnic with passers-by on the lawn. During the performance, the easy thing become complicated with the intervention of power outage and back by others, cooking time was prolonged from 10 minutes to 25 minutes, in the end, the petty things-steam eggs became a huge disaster.

During the prolonged waiting, the subject of looking transfer from performer to the object, the performer joined the waiting, meanwhile, the identity of performer become a viewer just like the others around, waiting for the unknow status, the eggs may well cooked or may not cooked. “Picnic” work through the state of the waiting, crisis, expecting, delay, expanded the personal behavior to the collective event, based on caring showing the universality of humanity.