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我是誰？
－《娜嘉》（Nadja）
遊記體的主觀性很可能會引致「誤讀」，但毋寧也是一種誘惑與勾引……
－「遊記導覽－阿川行為藝術群2003-2019」策展論述
娜嘉，一位超現實主義詩人布賀東（Andre Breton）於巴黎街頭偶遇的女子，向他訴說著關於這個城市的種種幻想，並一同遊走於幽密翳鬱的巴黎城郊……布賀東在《娜嘉》中記下這段遭逢，以文字和影像鑄起一座介於迷走、失調與和諧之間的巴黎城市的同時，也揭示著一種重新調動「身體－媒介－現場」的場所閱讀/介入/書寫的工作。
2020阿川國際行為藝術節以「迷走和諧」作為主題，意圖通過「行為表演藝術」（Performance Art）所特有的「身體－媒介－現場」的迴旋狀態，來牽引一種娜嘉式的城市探索、演繹與書寫的實踐。此外，本屆原擬以「全球南方」（global south）作為方法，結合「時差/勢差」（jetlag）的概念，邀請多位來自拉丁美洲的藝術家/策展人/研究者，以多歧異行的行為方法來發展展演、工作坊與講座活動，藉此牽引出南向、南島、南方等議題的多樣性關注與思考。然而，受到COVID-19疫情影響，強調「現場」的行為藝術不僅必須重新思考此一本質的意義，我們也進一步將「時差/勢差」（jetlag）的觀念延伸出作為後疫情與新常態（new normal）下重新演化的「緩衝帶」（buffering）思考。在「時差」與「勢差」之中，世界既「不是」平的，也不是單純不可ˋ逆的M型化，而是通過在時差中漂浮、在緩衝中聚「勢[力]」，來重新反省霸權式的文化生產，進而探索更多樣的生產關係和生產模式。
「Disorientation」意指「失去方向」，同時也隱含著超脫種種限制與束縛的「無限向」。當代行為藝術的精神理念，便在於這種突破限制、尋找嶄新可能性的實驗與堅持。這是「迷走和諧」意欲從「失向」出發，來展開對「和諧」之種種樣態的探索和描繪。一般來說，致使人們失向的主要原因，肇因於「參照點」（reference point）的無法辨識。這種「空間定向障礙」在醫學上的診斷，好發於高空航行或深海潛入的時刻，特別是在訓練不足或者設備操作失當之下，致使當事人陷入困惑、譫妄甚至發生意外事故。然而，在生理學上，此一時刻卻也是人類開始調動、擴張自身的感知機能以重新「識向」、辨識與確認環境中關係狀態，乃至通過介入來重鑄現場的創造性行動。這種「迷走」之後的「和諧」，既是暫時性與事件性地，也是交流性與創造性地將自身的文化、知識背景構連起場域紋理、脈絡、事物關係的組裝技藝，或是發展出某種和諧共處的樣態，或是逼顯種種失調、不穩定的邊界…不論是朝向光譜的哪一端，這都對應著「當代行為」所關注之「身體－媒介－現場」之偶和連通的動態關係形塑，以此開展與場域、儀式、社會以及文化議題進行更廣泛的對話。
基於上述思考，本屆選以「臺北當代藝術中心」（臺北）與「么八二藝術空間」（臺南）兩個歷史性、文化性與議題性豐富的場域作為藝術文化交流的基礎，通過為期六天的展演與對談活動，引介拉美文化和其行為藝術生態的同時，也在對場所的不斷複寫中持續探問「我是誰？」。
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Who Am I?
- Nadja
The subjectivity in travel writing can lead to “misreading”, which, too, is alluring and appealing... - curatorial statement of “Journey and Guide- ArTrend Performance Group 2003-2019”
Nadja, a woman who surrealist poet Andre Breton met on the streets of Paris, narrated all kinds of fantasies about the city to him. Together they wandered around the gloomy outskirts of Paris... The novel Nadja documented the two’s encounter, using words and images to depict a Paris city between lost, imbalance and harmony, which also reveals the place reading, intervention and writing through the re-arrangement of “body-media-sit”.
The theme of 2020 ArTrend International Performance Art Festival “Disorientation Harmony” aims to initiate a Nadja-style of urban exploration, interpretation and writing through the unique whirl of “body-media-site” in performance art. The original idea was to promote “global south”, combined with the concept of “jetlag”, and invite artists/curators/researchers from Latin America to develop and hold performances, workshops, and lectures, implementing multiversity as the method. Therefore, attention can be drawn to the diversity of issues about Southbound, South, and Islands in the South, to encourage reflection of these issues. However, due to the impact of the COVID-19 pandemic, performance art that emphasizes “live on site” must reconsider the essential meaning of it. We further extend the concept “jetlag” to a post-epidemic and the re-evolving “buffering” thinking in the new normal. The world in “jetlag” is neither “flat” nor simply irreversible M-shaped, rather, by floating within and gathering “power [force]” during buffering, we re-examine the hegemonic cultural production, and explore other more production relations and production modes.
The meaning of “Disorientation” is one losing sense of direction, which also implies the existence of “infinite direction” that transcends restrictions and constraints. The spirit of contemporary performance art lies in this very kind of experimentation and persistence – to break restrictions and discover new possibilities. It is the intention of “Disorientation Harmony” to explore and portray the various aspects of “harmony” starting from “disorientation”. In general, the main cause of disorientation is the inability to recognize the “reference point”. The medical diagnosis of this kind of “spatial disorientation” occurs during high-altitude flying or deep-sea diving, especially in the cases of insufficient training or improper operation of equipment, resulting in confusion, delirium, or worst, accidents. However, in physiology, that moment is also when human beings’ sensory functions begin to adjust and expand for orientational recognition, identifying and verifying the state of environment, or even help the body make creative moves to reprocess on the spot through intervention. The harmony after this disorientation is not only a temporary and simple assembly technique, but communicatively and creatively connects one's own culture and knowledge background to the field texture, context, and relations between things. A certain kind of harmonious coexistence may develop, even all sorts of imbalance and unstable boundaries may appear... Yet, regardless of which end of the spectrum it is leaning towards, it corresponds to contemporary performance’s focuses - “body, media, and site” and contributes to shaping biconnected dynamic relations for opening up a broader dialogue with venues, rituals, social and cultural issues.
Given the above statement, 2020 ArTrend International Performance Art Festival chose to hold at “Taipei Contemporary Art Center” (Taipei) and “182artspace” (Tainan), two historic, cultural, and issue-rich venues as the foundation for cultural and artistic exchange. Besides introducing Latin American culture and its performance art ecology, the six-day performances and dialogues also inquire “Who am I?” during/towards constant site rewriting.
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