人之境況-混種與回返丨6.6-6.30丨郭木生文教基金會

人之境況-混種與回返丨6.6-6.30丨郭木生文教基金會

人之境況-混種與回返

展 期|6.6 ~ 6.30
地點丨郭木生文教基金會
開幕式|6.9 (六) pm3:00
座談會|6.16 (六) pm3:00
特 邀|徐婉禎、黃智陽
更多資訊丨http://www.kmsfund.org.tw/


本展覽之創作者均為35歲以下之年輕人。社會上對這些80年代以後出生的人有很多指稱,包括Y世代、千禧世代,以及經常被提到的厭世代。

事實上,厭世代是台灣教育程度最高的世代,然而,當他們表述自我時,工具人、魯蛇、廢、厭世、暗黑、負能量……等詞彙再三的被引用,這種特殊的自我認同,與傳統的年輕人形象–自信熱情相去甚遠

為什麼會有這樣的差異?本次的展出擬從「混種之人」、「回返之境」兩面向來審視年輕創作者對當前社會的觀察。「混種之人」指的是為因應外在現實,或身處沒有公平正義可言的荒謬體系下,人以變身或雜化的策略謀取戰鬥位置,然而也讓自身陷入支離破碎的境況;「回返之境」指的是一種回溯、復古、另闢出路的價值取向,他們不以世俗的進步觀為目標,相反的,卻嚮往懷舊復古,樂於自娛娛人。不過,這種取向卻經常招致社會指責,被長輩視為態度消極、不求上進

六位年輕創作者將切身體會轉化為創作,以藝術的形式傳達了第一手的體驗報告,在創作中勾勒出厭世代的生存景象,也抒發了人的苦悶與厭棄心理。他們在展場內相互對話,同時也藉由展覽與社會展開感性交流。期望借此展覽的梳理,年輕世代的困境能被理解,而世代之爭所造成的困窘或許有機會被化解

The Human Condition – Hybrid and Revival
Cheng, Hui-Wen

The artists in this exhibition are youngsters with an average age under 35 years. In the society, those who were born in the 1980s have many nicknames, such as Generation Y, Millennials, and the often-mentioned “World-weary Generation”.

In fact, the “World-weary Generation” in Taiwan are those who have received the highest level of education. However, when they describe themselves, the terms of errand-guy, loser, world-wearying,dark, negative energy and so on are used again and again. Such special self-identity is largely different from what we used to think about the youngsters, which is that they are supposed to be confidence and enthusiastic.

What makes such differences? The curation attempts to display what these young creators have seen from the current society from the two aspects of “Hybrid” and “The Revival”. “Hybrid” refers to the condition which people change or hybridize their position in order to comply with the reality in a ridiculous and justice-less system. “The Revival” means a value orientation of rejuvenation, retrospect, and finding another way. Instead of stepping toward the worldly progressivism, they long for a sense of nostalgia, pleased with being a self-entertaining figure. Yet, such orientation usually receives blames from the society, seen as passiveness and not striving for progress by the elders.

Six young creators transform their actual experiences into the creations, delivering the first-hand experiences in the form of art. The creations describe the living scenes of the world-weary generation and express people’s anguish and weariness. They communicate with each other in the curation, as well as interchange with the society. They expect that, through this curation, the challenges for the younger generation can be understood, and the conflict of generations may have a chance to be solved.