idatateh60的部落格

Berlin/Shift- Desire, Power and the other
柏林/轉變．移動－慾望、權力與他者

「在《cacao》01 之後，似乎更清楚地知道，我到底要什麼。想編一本精緻的、美好的、言之有物的讀本，當中放入所有我喜歡的主題，比方：旅行、設計、文學、舞蹈與電影；想編一本讓大家都能說說自己故事的圖文小集，讓平凡人放出光，傾吐類似平凡的挫折與感傷。

《cacao》02成形。同時我們也加了幾個單元，比方「Business mind」一個從不同立場與觀點，探討商業現象與趨勢的論述；也比方「cacaoist」代表一個新世代之臉孔與獨白集結的專區 。你說，《cacao》02還正在嘗試新的可能性，對吧！我說，就算到了099，《cacao》還是不會停止嘗試新的可能性。我們不會停止改變的。」—總編輯/Max Wang

「思緒拉回第一期「波西米亞」談拾回夢想，從去年九月發行至今，我們徹底體現夢想與挫折的心情轉折。這期「轉變/移動」之下，談“慾望、權力與他者”，從開始否決這現實生活的資本心結，到編製中期卻領悟了，這是萬物天性、生存力量，與引發行動力的潛能。每一期從這城市往下一個城市旅行，路途上結伴更多同行者一起欣賞風景；每一期如哲學家在辨證些道理，歧路的抉擇總是要些冒險與勇氣。如果你問我：想從《cacao》這裡明白些什麼，你必須先清楚你正在尋找什麼。因為這裡沒有天真浪漫、恆古不變或慰藉保證，這裡有的是以熱情的無限想像去承認無常。」─主編/Sin Sin Kuo

發刊文

我們不講風格，我們講感情
「我們需要的書，應該是一把能擊破我們心中冰海的利斧。」
我們一直在找尋卡夫卡所說的。尋尋覓覓…不如，我們就革命行動吧！

牠們永遠不需作決定，動物們只關心食物和水，他們日子一成不變，在日升日落之間無止盡地延續著…看看當下的我們是否也度日索然乏味？「勇氣與夢想」就是 創辦這本刊物的精神，藉著閱讀的力量，打破麻木生活的無能為力感。機械時代下，巨大的經濟與消費能量快速增長，本質卻和人的情感無關，什麼時候我們變成一 群侷促的存在者？還是這就是現代的精神蕭條？我們想要說說故事，一些人的故事，這種語言訴說著熱忱、訴說著愛與堅持能夠成就許多事，這些故事的背後，同時 也是你我在追尋深信並可望的其中一部份。

每一期一個主題城市與創意人物的故事，他們是現代的煉金術士。煉金術（夢想）其實可以從每天 的 生活中學習得來，甚至一個簡單的念頭也有，他們全神貫注追求一種夢想時，過程中永遠有一股正向的力量，最後也淨化了自己。我們想傳達人們只有一種方式可以 學會煉金術（得到夢想），就是不怕挫折、擁有勇氣，然後必須通過行動堅持下去！每一期有一個主題，針對主題邀請台灣學術與思維傾向的人物，在各其領域當中 論述概念。初刊號「波西米亞」的主題傳達了《cacao》的中心思維，波西米亞不是披披掛掛的時尚專名詞，他代表的不是一個地點、一個時間，而是一種心態。我們要你相 信，一個人存在的形式都有他獨一無二的使命感。另外，刊物建構在世界共同觀點「互動、分享、關係」的概念，讓我們享受無國界的妙談，別吝嗇生活中可增加創 意與趣味的幽默感。

當我們開始這本刊物的編製過程時，因為這些人的故事反而獲得更多更大的勇氣。相信每一個人都能夠去追尋他自己的寶藏，發現它，然後願意變的比自己從前的生命更美好

本書特色

這是一本關於夢想與挫敗、絕望與勇氣的革命通訊。
這是一本談論人、知識以及趨勢的紮實讀本。
這是一本提供未來世代創意養份的超效食譜。
每一期，我們介紹一個主題、一座城市，以及十二位創意人物。
每一期，我們針對主題邀請台灣學術與思維傾向的人物，探討核心概念。
每一期，我們直送無國界創意產業人士的熱燙觀點，獨家呈現 。
中英對照。
台灣、上海、香港、斯德哥爾摩發行。

cacao NO.02試閱
■Culture

陳界仁：溫馴，最不必要
Chen Chieh-Jen, “Tameness, the Least Necessary”

台灣當代藝術家陳界仁，他在作品展露國際之前，曾有8年時光停止創作。我問：「你這段沈潛時期都在做些什麼？」他笑答：「不是沈潛，是在發呆」。他用這8年讓自己閒下來，重新審視過往的成長經驗，思考因為問題“太簡單”而忘記的答案。他拾起身邊有限的媒材當創作武器，透過沈默的黑白影像、考驗耐性的緩移鏡頭，突破現代藝術路數，讓作品回歸生命價值，帶領觀者超越想像地，直視人的本質。

Chen Chieh-Jen, a contemporary Taiwanese artist, once stopped creating for eight years before his works were presented internationally. I asked him, “What were you doing during this period of latency?” He smiled and answered, “Not being latent, I was in a trance.” During these eight years, he allowed himself to do nothing but re-examine his past experiences of growing up. He thought of the answers which were forgotten because the questions were “too simple.” He picked up the limited media-materials around him as the weapons of creation. Through the silent black and white images and the slow moving shots that tested one’s patience, he broke the traditional ways of modern arts so that his works returned to the value of life and led the viewers to look right into the human nature, beyond their imagination.

冬天陽光曬暖了台北，走進陳界仁位於溫州街上的工作室，本以為將展開一場充滿社會學名詞的對話，親切的藝術家卻劈頭就說：「其實很簡單，我的作品就是關注人的狀態。」

一身黑衣，菸不離手，話語不停，陳界仁說自己是個焦慮的人。打從學生時代，他就不解為什麼學藝術需要反覆畫著西洋石膏像，被學校否定，他帶著困惑去圖書館透過閱讀尋求答案，他相信美感在自己心中，單一化只會讓創作力萎縮。畢業後，陳界仁曾在工廠工作，因此能體會工人、上班族鎮日消磨的疲累，他也曾與友人做過游擊行為藝術、舉辦地下展覽，衝撞當時的戒嚴體制。而8年的「發呆」時光則是在解嚴後開始，這段時期陳界仁回到成長的地方，重新認識成長環境中的眷村生活、加工廠、軍法局等空間意義，進而連結整個台灣社會的脈絡，回到根源思考未來。從經驗中尋找想法，便開啟了創作的能動性，恰巧朋友又熱心地出借電腦，陳界仁重拾創作，試圖建立另一套邏輯，就像他說：「改變現有思維模式，才能開創新的思想資源……而溫馴是最不必要的。」

從第一次看見錄像作品《淩遲考：一張歷史照片的迴音》，陳界仁即成為台灣藝術圈值得關注的名字。緩慢的黑白畫面，凌遲場景的再詮釋，藝術家翻轉視角帶我們主動回望殖民歷史，思考當代仍未結束的剝削狀態。其後作品《加工廠》、《八德》……到近年因申辦美簽遭無理拒絕的衍生作品《帝國邊界Ⅰ》，以及從父親遺物反思台灣長期遭受霸權支配的《帝國邊界Ⅱ—西方公司》，陳界仁持續以自己的詩學美感，適時適地運用身旁所能集結的資源，拍出那些曾經存在但視而不見，被追求進步論的人們所擱置、遺忘的切身問題，領著觀者穿越絕望、凝視現實。問他在不在意批評、不被接受？陳界仁說就算如此也是有意義的失敗，他只在乎連結的可能性，爭取那千分之一的觀眾，12年展覽舉辦至今，從不覺得能生存下去。

笑稱自我感覺良好的陳界仁，實則是個自我鞭策的藝術家，到現在仍會不斷修改作品，「這是對自己負責，把東西做到可能的極限……我們也是受別人啟蒙，自我積累，希望有一天換別人拿你過橋。」身為邊緣區域的藝術家，陳界仁說台灣從來就是在邊緣，但不管在哪裡都能有創造性。沒有架設網站，卻能讓作品在世界各地展出，就算不去美國了，也還是可以讓代理人為他發聲。

改變的那刻到來之前，從來就是需要點滴累積能量，與陳界仁對談的下午，心中像是立定了一把尺，也像曬了冬陽十分溫暖。他的作品看似緩慢陰鬱其實充滿希望，如同《淩遲考》最後那抹微笑，它困惑人們，卻激發想像。

The sun in winter warmed up the city, Taipei. When walking into Chen Chieh-Jen’s studio in Wenzhou Street, I thought it would be a dialogue full of sociological terms. However, this friendly artist began, “In fact, it is very simple. My works are mainly concerned about the states of human beings.”

Wearing black attire with a cigarette in hands and non-stop talking, Chen Chieh-Jen described himself as an anxious person. Since he was a student, he kept wondering why you ought to paint the Western plaster sculptures over and over again if you are learning about arts. He was denied by the school. With confusion, he went to the library to search for answers through reading. He believed that beauty is in one’s heart and singularizing will only shrink creativity. After graduation, Chen Chieh-Jen had once worked in the factory, so he could understand and feel how laborers and workers were worn out from daily tiredness. He had also done guerrilla performance art with his friends and organized the underground exhibitions, which were confronting with the martial law at that time. The eight years’ trance started after the lifting of the martial law. During this period, Chen Chieh-Jen went back to the place where he grew up. He re-encountered the meaning of space such as the villages of the military dependents, processing factories, and Military Court and Prison. Furthermore, he linked this to the entire Taiwan society as a context and then traced back to think of the future. He tried to find ideas from his experiences. This opened the initiative of creation. Coincidentally, his friend kindly lent him the computer so that Chen Chieh-Jen could restore his creation, trying to build another set of logics, just like he said, “To change the existing mode of thinking is the only way to explore resources of new ideas. Thus, tameness is the least necessary.”

As soon as his video work “Lingchi - Echoes of a Historical Photograph” was shown for the first time, Chen Chieh-Jen has become widely known in the art circles of Taiwan. Through the slow motion of black and white images, and the re-interpretation of the lingering death scenes, the artist flipped different angles of vision in order to take us to initiatively look back the colonial history, and to think of the contemporary not-yet-ended exploitation. Later on, his subsequent works are “Factory” and “Bade Area.” “Empire’s Borders I”was derived from the incident that he was unreasonably refused while applying for the U.S. visa in recent years. As for ”Empire’s Borders Ⅱ - Western Enterprises, Inc,” he produced this creation from reflecting Taiwans long-suffering hegemony when he came across his deceased father’s belongings. With his own poetic aesthetics, Chen Chieh-Jen continued to timely and appropriately use the resources gathered around him to shoot the forgotten yet vital issues, which once existed and were ignored and put aside by those who pursued nothing but progress. He led the audience, through despair, to stare at reality. When he was asked if he cared about being criticized or refused, Chen Chieh-Jen replied that even so it was still a significant failure. He only cared about the possibility of linking and strived for the recognition from that one-thousandth of the audience. 12 years of his exhibiting, he has never thought of being able to survive.

Chen Chieh-Jen, who often laughs at feeling good about himself, in reality, is an artist of self-encouragement. Until now, he still constantly modifies his works. “This is to be responsible for myself and push everything to its possible limits. We are also enlightened by other people and self-accumulated. Hopefully, one day someone will cross the bridge through my example.” As the artist of the edge area, Chen Chieh-Jen said that Taiwan has always been on the edge, but it has creativity no matter where it is located. Without setting up websites, his works are displayed around the world. Even if he does not go to the United States, he can still have his agent speak up for him.

Before the moment of change arrives, there is always the need for accumulation of energy little by little. That afternoon when talking to Chen Chieh-Jen, it seemed there was a ruler being set up, and it was also warm like being under the winter sun. Although his work seems slow and gloomy, it is actually full of hope. Like the last smile in “Lingchi,” it confuses people but stimulates the imagination.