Biopolitics
Michel FOUCAULT (1926-1984), Giorgio AGAMBEN (1942-), Antonio NEGRI(1933-) and Michael HARDT (1960-) have all mentioned the concept of biopolitics in their works. In issue no. 37 of Artitude, the translated version of the article, “Art in the Age of Biopolitics: From Artworks to Art Documentation” by Boris GROYS (1947-) was included. Regarding the shift from artworks to art documentation, the article stated that when art documentation was only used to record art rather than present art, art was no longer present and rendered absent and hidden instead. When art longed to become life rather than only depicting life or ending as a product, it then faced a question of how to deal with the relationship of art and life. In “Installation as the Design of Life Energy Circuits : On the Aesthetics of Boris GROYS,” CHEN Tai-Sung explored the aesthetic discussion about art activists and expanded the discussion about art documentation/action/event in GROYS’ article. According to CHEN, “the aura is undoubtedly manifested through installation, and therein lies a power to fight against biopolitics, which takes the form of de-territorialization and re-territorialization.”
Due to the natural tendency of art actions/events, they are usually equipped with the power to rival with mechanism and can develop a complicated relationship with the multitude. In the forum “Curatorial Apparatus and Biopolitics” of 2010, artist TANG Huang-Chen mentioned that I Go Traveling: The Sojourner was her first art project related to a cultural movement: In April 2009, she started campaigning for the establishment of the TAIPEI ArtCreator Trade Union, which was about the circumstance of the disadvantaged art creators in the global financial tsunami. Through a dialectic between “artist” and “work,” the art project started with the artist’s action to look for “art”; and it was hoped that the realization of the art project could also drive the establishment of the union. However, TANG also voiced her doubts over the combination of art projects/actions and social movements, stating that the collaboration between the two might simply be pro forma. One of the discussants in the talk, KAO Jun-Honn, also agreed with TANG and used the experience of other art creations in the Wild Strawberry Student Movement as an example. After the Sunflower Student Movement in 2014, this concern has led to the controversy regarding the nomination of the Sunflower Student Movement in the Taishin Arts Award in related discussions about the democratization of aesthetics.
Biopolitics is also a frequent topic explored by exhibitions, for instance, “Naked Life” co-curated by Manray HSU and Maren Richter in 2006; “Live Ammo” collectively curated by CHEN Hao-Yi, CHEN Zi-An, LIN Hong-John, TSAI Jia-Zhen and YANG Ya-Lin in 2011; and “When Spaces Became Events… Dispositif of Modernity in the 1980s, Taiwan” curated by WANG Pin-Hua in 2012, etc. Through the events triggered and documents presented by artists in exhibitions and social sites, these curatorial projects intended to initiate dialogues with the society and the public discourse on this subject. (Text/Li Kuei-Pi/2021)
References
Due to the natural tendency of art actions/events, they are usually equipped with the power to rival with mechanism and can develop a complicated relationship with the multitude. In the forum “Curatorial Apparatus and Biopolitics” of 2010, artist TANG Huang-Chen mentioned that I Go Traveling: The Sojourner was her first art project related to a cultural movement: In April 2009, she started campaigning for the establishment of the TAIPEI ArtCreator Trade Union, which was about the circumstance of the disadvantaged art creators in the global financial tsunami. Through a dialectic between “artist” and “work,” the art project started with the artist’s action to look for “art”; and it was hoped that the realization of the art project could also drive the establishment of the union. However, TANG also voiced her doubts over the combination of art projects/actions and social movements, stating that the collaboration between the two might simply be pro forma. One of the discussants in the talk, KAO Jun-Honn, also agreed with TANG and used the experience of other art creations in the Wild Strawberry Student Movement as an example. After the Sunflower Student Movement in 2014, this concern has led to the controversy regarding the nomination of the Sunflower Student Movement in the Taishin Arts Award in related discussions about the democratization of aesthetics.
Biopolitics is also a frequent topic explored by exhibitions, for instance, “Naked Life” co-curated by Manray HSU and Maren Richter in 2006; “Live Ammo” collectively curated by CHEN Hao-Yi, CHEN Zi-An, LIN Hong-John, TSAI Jia-Zhen and YANG Ya-Lin in 2011; and “When Spaces Became Events… Dispositif of Modernity in the 1980s, Taiwan” curated by WANG Pin-Hua in 2012, etc. Through the events triggered and documents presented by artists in exhibitions and social sites, these curatorial projects intended to initiate dialogues with the society and the public discourse on this subject. (Text/Li Kuei-Pi/2021)
References
- GROYS, Boris. “Art in the Age of Biopolitics: From Artworks to Art Documentation.” Artitude, no. 37, October 2012, pp. 44-53.
- CHEN, Tai-Sung. “Installation as the Design of Life Energy Circuits : On the Aesthetics of Boris Groys.” Artitude, no. 37, October 2012, pp. 54-9.
- LEE, Hong-Chung. “Biopolitics, Naked Life and Monster: Life and Resistance in the Era of Globalization.” Artitude, no. 43, July 2010, pp. 36-46. (https://mypaper.pchome.com.tw/chaiing/post/1323293232)
- TANG, Huang-Chen. “Curatorial Apparatus and Biopolitics Forum.” Artitude, no. 43, July 2010, pp. 15-25.
- HSU, Manray. “Naked Life: An Art Exhibition about Contemporary Biopolitics.” Artist, no. 63, December 2006, pp. 238-41
生命政治（Biopolitics）
在傅柯（Michel Foucault，1926-1984）、阿岡本（Giorgio Agamben，1942-）、奈格里（Antonio Negri，1933-）、哈特（Michael Hardt，1960-）著作中都曾經提到此一概念。《藝外雜誌》37期翻譯了葛羅伊斯（Boris Groys，1947-）的〈生命政治學時代的藝術：從藝術作品到藝術文獻〉，文章從藝術作品到藝術文獻的移轉，談及當藝術文獻僅用來記錄藝術，而非呈現藝術時，藝術不再立即出現於當下且具備不在場與隱密的特性。當藝術渴望成為生命，而非僅只描繪生命或以藝術產品終結，便面臨了如何處理藝術與生命間關係的問題。在陳泰松的〈裝置，拉出一種生命動線--試讀葛羅伊斯的美學思想〉一文中，從藝術行動主義者的美學討論擴延了該文對於藝術文獻／行動／事件的討論案例，認為「[……]靈光無非是藉由裝置而顯現，在此當中，有一種反抗生命政治的力量，展現為解域化與再域化的操作。」。
也因為藝術行動／事件天生的傾向，發生時往往具備了與機制抗衡的動力，並與諸眾發展出複雜的關係。在2010年「策展機器與生命政治」的座談會當中，藝術家湯皇珍提及《旅行九：遠行的人》是其第一件與文化運動相關的藝術計畫。2009年4月開始爭取成立的「藝術創作者職業工會」，與當時在全球性金融海嘯下處於弱勢的藝術創作者處境相關，計畫透過對於「藝術家」與「工作」間交互的提問，以藝術家尋找「藝術」的行動開始，希冀藉由計畫帶動工會成立的執行。但湯皇珍也對藝術計畫／行動與社會運動的結合提出疑慮，認為兩者間的合作或許僅存在於形式上，與談人之一的高俊宏以其他藝術創作者在野草莓運動中的的經驗認同此一疑慮。在2014年太陽花運動時，此問題在美學民主化的相關討論下，形成太陽花學運台新藝術獎提名爭議。
生命政治也經常成為展覽討論的主題，如2006年由徐文瑞與瑪蘭‧李希特（Maren Richter）共同策畫的「赤裸人」、2011年由陳豪毅、陳璽安、林宏璋、楊雅苓、蔡家榛共同策畫的「活彈藥」、2012年由王品驊策畫的「當空間成為事件－台灣，1980年代現代性部署」等，透過藝術家在展覽與社會場域中誘發的事件與展場的文件，試圖引起與社會的對話及大眾間的討論。
參考文獻
也因為藝術行動／事件天生的傾向，發生時往往具備了與機制抗衡的動力，並與諸眾發展出複雜的關係。在2010年「策展機器與生命政治」的座談會當中，藝術家湯皇珍提及《旅行九：遠行的人》是其第一件與文化運動相關的藝術計畫。2009年4月開始爭取成立的「藝術創作者職業工會」，與當時在全球性金融海嘯下處於弱勢的藝術創作者處境相關，計畫透過對於「藝術家」與「工作」間交互的提問，以藝術家尋找「藝術」的行動開始，希冀藉由計畫帶動工會成立的執行。但湯皇珍也對藝術計畫／行動與社會運動的結合提出疑慮，認為兩者間的合作或許僅存在於形式上，與談人之一的高俊宏以其他藝術創作者在野草莓運動中的的經驗認同此一疑慮。在2014年太陽花運動時，此問題在美學民主化的相關討論下，形成太陽花學運台新藝術獎提名爭議。
生命政治也經常成為展覽討論的主題，如2006年由徐文瑞與瑪蘭‧李希特（Maren Richter）共同策畫的「赤裸人」、2011年由陳豪毅、陳璽安、林宏璋、楊雅苓、蔡家榛共同策畫的「活彈藥」、2012年由王品驊策畫的「當空間成為事件－台灣，1980年代現代性部署」等，透過藝術家在展覽與社會場域中誘發的事件與展場的文件，試圖引起與社會的對話及大眾間的討論。
參考文獻
- 葛羅伊斯，〈生命政治學時代的藝術：從藝術作品到藝術文獻〉，藝外，37期，頁44-53，2012.10。
- 陳泰松，〈裝置，拉出一種生命動線--試讀葛羅伊斯的美學思想〉，藝外，37期，頁54-59，2012.10。
- 李鴻瓊，〈生命政治、裸命、怪物：全球化時代的生命與抵抗 〉，藝術觀點，43期，頁36-46，2010.7。
- 湯皇珍等，〈「策展機器與生命政治」座談會 〉，藝術觀點，43期，頁15-25，2010.7。
- 徐文瑞，〈赤裸人：一個關於當代生命政治的藝術展覽〉，藝術家，63期，頁238-241，2006.12。