書之參贊與超越: 「藝術家的書」展覧
Artists’ Books: Mediating Heterogeneity
展覽日期：2021/12/2（四）—2021/12/24（五）
展覽地點：陽明交通大學 陽明校區藝文中心 （知行樓一樓藝空間）
交通資訊：陽明交通大學 陽明校區藝空間、陽明校區接駁車時間表
開放時間（含周末）：9:00—17:00
文／賴雯淑・勞維俊
「藝術家的書」（Artists’ Books）乃由多種不同專業領域丶學術門類丶哲學概念所交會的當代藝術創作形式，其樣態隨時代背景之轉折而變化，其著眼點與意涵也各異。源起於1960至70年代之間，「藝術家的書」最初是為了記錄難以保存及典藏的觀念藝術、藝術計劃、表演藝術，而以文件檔案或展覽目錄的形式首度現身歐美。展冊目錄除了紀錄作品本身，也記載著作品展呈的時間和空間，豐富了瞭解作品的向度，成為新的書籍類型。直至80年代後，「藝術家的書」逐漸分支出Clive Phillpot所說的可看、可閱讀、可觀賞或觸摸的藝術創作書。有些「藝術家的書」是獨一的原作，有些則透過網路或印刷進行複本傳播。它可能是書物件（book objects）、文學書 (literary books)、書藝術／書作品 (book art / bookworks)，或是難以歸類，充滿異質性的書藝術實驗。若借用德勒茲(Deleuze)的話，在「書」和「藝術家」兩個原本不見得相干的點，透過穿越兩點間所展開的「抽象之線」，滋生出思想與創作動能。「書」與「藝術家」跨過物件與人的區辨，相互動員、鬆動、逃逸、越界、流變，與異質共存，成為自我解疆域化的行動。因此，「書」跨出傳統的定義，不再停留在資訊或內容的載體；藝術家以創作為路徑，對「藝術」與「書」進行思想實驗，形成皺褶，交疊互滲，朝變異的概念前進，進行藝術的叛逃與生產。
本次由國立陽明交通大學應用藝術研究所丶視覺文化研究所丶藝文中心 (陽明校區) 聯合策劃的「藝術家的書」聯展，邀請了應藝所師生、陽明交大校友與國內外多名藝術家參展。四十餘件作品，包括馬塞爾·杜象的作品〈給予〉(Étant donnés)手稿資料夾之複製品，展現各種材料、技法、形式、品味與想法，是物質、概念、身體感官的交纏物件。在眾聲喧嘩的藝術現場，藝術家經由媒材丶藝術手段丶哲學思辨，意圖挑戰對書慣有的想法。從傳統到實驗，「書」的觀念和物質被切碎、混生、重構，凝縮各種異質元素於一處，在撞擊後迸發出擾動的潛能，以擁抱他者的觀點與實驗性手法來顛覆叛離既有的規範，展開藝術與思想的再生產與對話，給出多重樣態的「藝術家的書」。
Artists’ Books: Mediating Heterogeneity
The “Artist’s Book” is a zone of activity made up of the intersection of various disciplines, fields, and ideas of the contemporary art. Not only has this unique form of art changed significantly over the course of history, but its meanings and its emphasis have also altered. Coming into practice in 1960s and 1970s, “artists’ books” were first conceived as in the format of archives or exhibition catalogue in Europe and the United States, against a background in which conceptual art, artistic projects and performing arts were still difficult to be preserved and contextualized. In addition to the artwork documented, exhibition catalogue nonetheless encapsulated also their temporal and spatial particularities, thereby nuancing each other and forming as a new genre in itself. In fact, since the 1980s, the “artist’s book” has gradually branched out into what Clive Phillpot calls an artistic creation that is visible, readable, approachable, and haptic—it could be book objects, literary books, book art or bookworks, or, a heterogeneous form of art which is experimental in nature whose boundaries are too amorphous to be pinned down. Some of the “artists’ books” are original, while others are disseminated through the Internet or printed copies. To use a Deleuzian term, there is a “line of flight” that traverses the two seemingly unrelated categories, i.e. “book” and “artist,” and, between them, coagulates a “ligne abstraite” that breeds new ideas and envelops all sorts of creative impulses. Here, “book” and “artist” both transcend the established demarcation set between object and person, now mutually mobilizing, slackening, taking flight, transgressing, mutating, coexisting with heterogeneity, and becoming an act of deterritorialization. That is to say, “book” transcends the traditional definition and no longer remains a mere carrier of information; the artist, by engaging in artistic defection and production, instead creates, experiments, and teases with the notion of “art” and “book,” forming “folds” in the original thought that would eventually inflect, overlap, interpenetrate our perception.
The Institute of Applied Arts, the Institute of Visual Culture and the Arts Centre (Yang Ming Campus) of the National Yang Ming Chiao Tung University (NYCU) invited students, faculty members, alumni of NYCU and artists to participate in this joint exhibition. More than 30 pieces of artworks are showcased. All of them are produced by means of a diverse range of materials, techniques, forms, distinction and creativity—they are, as it were, the entwined objects that embody the material, the conceptual, and the physical. In this “live scene” of art, the artist makes use of different media, methods and philosophical reasoning to challenge the conventional ideas of the book. From the traditional to the experimental one, the concept and material of the book are segmented, mixed and reconstructed, condensing a series of heterogeneous elements along its course. “The book” thus evinces an air of restlessness while at the same time bursting with new possibilities. It takes in alterity, embraces experimental methods and thereby subverts the norms and traces new paths. The very idea of the book galvanizes re-production and broach a meaningful dialogue between art and thought, rendering the manifold forms of “artists’ books.”
設計插畫誌報導
「書」跨出傳統的定義，不再停留在資訊或內容的載體 : 書之參贊與超越 -「藝術家的書」展覧
Duplicate copy of Manual of Instructions
for the assembly of Étant donnés: 1° la chute d’eau, 2° le gaz d’éclairage
藝術家 Artist name | Marcel Duchamp (馬塞爾·杜象)
杜象(1887－1968）美籍法國藝術家、西洋棋高手與作家，為二十世紀實驗藝術先驅，開啓了現代藝術之河，其作品特質為反戰、反傳統、反美學。
尺寸 Size | 27x4x30(本次展出為複製品)
媒材 Media | 平面印刷與精裝裝訂
這是一本裝有杜象《給予》(Étant donnés)裝置作品原始手稿的黑色資料夾之複製品，為杜象生前為裝置作品Étant donnés的設計手稿，
是以平面印刷的方式，採用精美的紙張與材料來再現杜象的三環資料夾內容，包含手寫文字、規劃細節、模型照片與製作步驟註解等細節。
是以印刷再現手稿的精裝複本。該裝置作品由美國費城藝術博物館典藏。
