Beside the Wall 牆邊

牆邊
Bside the Wall

一場60分鐘，共四場，為期一個月。
現場行為、文件、行為影像紀錄，依場地而定，
伊日藝術計畫，臺灣，臺北，2022。

60 minutes for one piece, 4 performances in 1 month.
Performances, documents, video, dimensions variable.
Yiri Arts, Taipei, Taiwan, 2022.

「一邊腳踏實地，一邊如履巉巖。瘦弱的身體拖著卡車，嬌小的身體叼著巨木，把自己當超人。牙齒斷了，才發現自己撐不下去。」

《牆邊》行為長60分鐘，結構長約50公尺。《牆邊》將空間作為隱喻，透過相對高度、內外邊界、牆面阻隔，以『個體的危機』描述人類身處資本主義結構中，生存現實面臨物化展示、資訊超載、焦慮加速與透明監控的無助與脆弱。

矮牆作為彼此『會面』的平台，如同螢幕、傳染病、面罩建築起的界外與界內，引發觀者選擇遠觀、旁觀或介入。當中，行為者身處『危機』卻依然持續『分享』的動作，沿著牆面擺放花生，以『餵食動物』的概念，給予觀眾選擇被行為者餵食、餵食行為者、分享給他人，甚至是分享身上的物件給行為者。藉由牆面平台的會面，討論當代社會當中人類入群與自處的生存問題。

《牆邊》行為，別於過往『飄浮身體』系列瀰漫顯而易見的危機，《牆邊》行為將危機隱藏在身體尺寸與數值細節中，包含：手臂與手掌分別以90度彎曲扶牆、腳跟懸空10公分並以墊腳狀態移動、走扶的金屬走道與水泥牆溫度可升至50°C，在手腕、手臂、前腳掌、皮膚的賣力支撐下，行為者才得以看似輕鬆、輕盈、輕柔。

《牆邊》為基於『行為者身體尺寸』與『空間結構尺寸』的現地製作作品，在二樓工廠牆面之外，透過『尺寸不合』製造出隱性的『個體的危機』。行為結構配合創作者的身體尺寸諸如身高與腳掌長，在約50公尺的頂樓矮牆外搭建一條寬15公分的金屬走道。行為期間，行為者沿著牆面行走，總長約55分鐘。

觀眾作為俯瞰者，在腳踏實地的位置自主選擇與行為者的互動。行為者在牆邊移動的過程隨機地在矮牆上放置花生，凝視著觀眾並等待事件觸發，觀眾介入的形式包括：保持距離、遠觀、取走花生吃掉、餵行為者喝水、餵食花生、替金屬走道倒水、將花生剝好放在牆上、放回花生殼、放置冰咖啡、放置菸盒與菸、把花生剝好放在手上遞給行為者、將前面放的花生拿起來往後放等。

“Beside the Wall” was made on site according to the low wall on the top floor, which is about 50 meters long. The total height of the wall is 171 cm. The height of the top floor from the wall is 70 cm, and the wall thickness is 7 cm. The artist built a metal walkway with a width of 15 cm outside the top wall of the building. The performer walked along the entire wall on the unshaded roof of the top floor, which took about 55 minutes.

The performance structure matches the artist’s body size: 166 cm in height and 25 cm in length of the feet, designed to make the audience “condescending”. The height difference of 100 cm in the foothold level makes the performer a lot shorter than the audience and can be precisely showing 10 cm of the top of the head, peeking the audience on the inside of the wall from the outside of the wall. At the same time, the performer stands on a foothold, and the heels are suspended for 10 cm. During the movement, only the front half of the feet support the body weight.

“Beside the Wall” is different from the obvious crisis that pervaded the previous “Floating Body” series. “Beside the Wall” hides the crisis in the details of body size and numerical value, including: the arms and palms are bent at 90 degrees to support the wall, and the heels are suspended in the air. The temperature of the 10-centimeter metal walkway and concrete wall that moves and supports in the state of stepping feet can rise to 50°C. With the hard and exhausting support of the wrist, arm, forefoot, and skin, the actor can appear relaxed, light and gentle.

In addition, the performer changes from the overhead viewing angle to the upward viewing angle lower than the audience. The audience, as the overlooker, chooses to interact with the performer in a down-to-earth position. During the process of moving among the wall, the performer randomly places peanuts on the wall, staring at the audience and waiting for the event to be triggered. The forms of audience intervention include: keeping a distance, watching from a distance, taking and eating peanuts, feeding the performer water, feeding peanuts, pouring water on the wall and metal walkways, peeling peanuts and placing the nuts on the wall, returning peanut shells, placing iced coffee, placing cigarette packs and cigarettes, peeling peanuts and hand to the performer, pick up the peanuts and move them to the back.

The wall becomes a meeting medium. The performer create a coexistence relationship between the audience and performer through the event, and promote an organic multi-directional participation relationship. Faced with the body in danger, how will the audience interact with the performer based on their existing experience?