太平洋海盜

Pacific Pirate

2019-04-19 ~ 2019-06-30

Kuandu Museum of Fine Arts and

RRD's kiosk in Mexico City

Mixed media installation, workshop

Dimensions variable

書寫公廠 X RRD

Writing FACTory X RRD

「那我們就把計畫叫『太平洋海盜』好了。」

 

「酷,如果從16世紀的海盜跟20世紀的盜版來找資料,應該可以找到兩種以台灣和墨西哥為節點、環繞著太平洋的路徑。」

(幾週後)「痾⋯⋯怎麼連要找以太平洋為中心的地圖都這麼難啊,更別說是基於這種地圖的研究了⋯⋯」

書寫公廠Writing FACTory(TW)和RRD(MX)在2018年下旬開啟了「太平洋海盜」這個包含六個子計畫的合作項目,本展展出的是其中兩個子計畫:Re大補帖(Re-DBT),以及#盜海盜宣言(#PiratePirateManifesto)。我們都相信只有讓知識及資訊在自由的前提下流通、再製,具有能動性的述說才能「有可能」,尤其在YouTube與P2P檔案分享成為尋常手勢的前提下,二十世紀下半葉發展出來的「有限流通」商業模型真的適用在所有人身上嗎?我們以過去的海盜作為方法參照、當下的海盜作為現象分析,試圖回應這個關於所有權的提問。

台灣及墨西哥儘管在民情上不同,但殖民經驗及強鄰在伺的處境卻讓二者的組成成分比想像中更相似,混亂的歷史及現實讓創作者在出手前都必須審慎度量實踐的立足點及方式。為了對抗陸地中心史觀造成的「找不到合適地圖」,我們似乎必須以海洋為單位想像另一種集結的可能:假設太平洋取代亞洲及美洲作為敘事中心,那麼以海洋作為疆域的版圖上,台灣與墨西哥就成為在同一平面上對望的兩個基地,在另一種脈拼(mapping)的前提下,雷同的人們終於可以交換我們真正需要的生產手段。

Su Beng is one of the classic example in Taiwan’s modern history in terms of employing reading and writing as means of one’s political practice. In many speeches, he always emphasized on humanity and revolution in two strong and memorable passages—“one should first be a good person so that one can be a good Taiwanese”; “regarding social issues, artists first turn them into works after making observations; theorists then develop theories; and finally revolutionaries take actions accordingly.” Therefore, one learns to be a decent human being, then a revolutionary before becoming a writer of history. The two passages reveal Su Beng’s stance as an activist and the transitions in his practice. Such a fundamental and radical methodology can only be understood within the context of his life history. On the other hand, observing the literary genre of his writing, the chosen communication vehicle and means of circulation provide a channel for us to understand the dynamic relations between the writer’s arrangement, imagination, thinking and practice.

The Act of Revolt and A Pen 103 Years Old comprised of two parts: the light box section displays four types of writing – books, underground magazines, writing on the move and his memoir – that Su Beng has consistently continued throughout his life. Apart from writing, the audience can also see hints from objects related to other forms of his political practice.

The bookshelf in this “den” displays Su Beng’s books. The computer on the desk shows his writing, which the audience can print out at will. Displayed on the walls are the prefaces to the four versions of History of Taiwanese in 400 Years (1962, 1979, 1997 and 2012), which epitomize his thinking about history writing. In short, the gallery does not picture Su Beng as a teacher of Taiwan history but rather a student that has diligently studied for 103 years, during which he has found his own position in relation to Taiwan and the world through steadfast reading and practice while consistently writing and producing.