Solar Flare Economics: Rentopia
閃焰經濟學：租借烏托邦
2018
Read-made,papers
現成物，紙張
Dimensions variable
尺寸依場域而定
現成物，紙張
Dimensions variable
尺寸依場域而定
After exiting Indira Gandhi International Airport, and taking an intercity bus from Majun-Ka-Tilla for 14 hours, one arrives at Manali, an agricultural village located in The Himalayas colonized by British in the past time.
Since the beginning of the 20th century, Manali has not only supplied apples with the highest quality across all India, but has also served as an important place of marijuana production. The marijuana produced here not merely circulates among villages in Himachal Pradesh that are known as religious holy places, also delivered to foreign tourists 2,500 km away, on the beach of Goa, a place famous for EDM parties.
Away from the only highway here, you will see the signboard of restaurants written in Hebrew. Since 1970s, Israeli young people dodging military service have gathered here with cash, hanging out with hippies from all over the world, enjoying the relaxed feelings from smoking marijuana. With these special visitors, the village started to develop the “natural” industry: such as alternative therapies and spiritual lessons, which are mostly traded in cash. In the village there is also a currency exchange out of the international bank system.
The marijuana-centered alternative economy not only supports Manali’s higher living standard compared to the agricultural province with relatively lower income, but it also facilitates a new utopia: where foreign visitors could become a member very easily by renting a lodging-room, where love and peace are also easily available in the well-developed trading system.
In 2017, in a corner at the Ocean Home Wild Market hosted by Neng Sheng Xing Factory, several elder participants were discussing about a blog post. A young female participant described her experience that she felt like a fish out of water, an incompatibility with other passengers, as she kept her outfit for the Ocean Home on her train ride from Hualien back to Taipei. Out of a sense of embarrassment, she finally changed her dress back to a “normally” wear. It seems that Ocean Home is, after all, a temporary shelter from one’s real life, a week-long annual carnival created on provincial highway 11. Once the carnival ended, the entire body liberation and alternative economy system vanished.
Let’s look back to the predecessor of Ocean Home Wild Market, the Lantan Art Market in Chiayi based on a sugar cane plantation from 2002 to 2004. On the last Sunday of each month, artists and crafts vendors gathered there for exhibitions and communication. In some old photos, can still see a several tents and handmade venders similar to Ocean Home Wild Market.
In the first year of the Lantan Art Market, at Huashan Arts and Culture District the “bonfire drum jam” incident just occurred, in which some city councilors falsely accused the bonfire drum jam of falling into a paradise for ecstasy sex party, in the meantime, called the child of the artist, Wu Chung-Wei, an abandoned children, and questioned if the police had neglected their duty. After this incident, at the press conference held by artist Wu Chung-Wei himself, he protested by writing on the naked body of his one-year-old son: “suffering child”, “abandoned infant”, and “the son of revolution”. In the same year, he was also attracted by the atmosphere of the Lantan Art Market, and joined the parties there.
Sixteen years later, on Huashan Grassland gathered together a crowd of “unregulated” masses, advocating the spirits of freedom, creativity, and openness. They collected waste planks and old furniture from different places to build a temporary settlement. At that time Huashan Arts and Culture District already changed its name to Huashan 1914 Creative Park, where was highly commercialized and gentrified and was progressively conservative. So-called Huashan Grassland, actually, was an idle space beside Huashan Arts and Culture District released by the government.
From Manali to Taipei, and from 2002 to 2018, all these utopias created in the name of freedom have always tried to sustain their own existence with an alternative economic pattern, seeking the possibility of surviving within the reality. For example, the unregulated masses once tried to turn the ownership of their property and frame into resource by renting them out, as an approach to support their community. Some of them also suggested to turn unregulated masses into a brand as a unit of tender project.
In the project Rentopia, I invited those who had participated in the unregulated masses to evaluate a price of their most frequently used, eight pieces of equipment (or possibly, property). They were asked to set a price of renting their equipment (or property) out for one month, in normal use without damage. The price was divided by the number of the participants in Rentopia, and updated once a week during the exhibition, thus creating a floating price of the eight pieces for renting.
That price coincides with the value of the survival of this group of people attracted by freedom: is it the reality faced by a member of utopia, or an utopia for realists?
(This is a rough translation of the original in Chinese)
Since the beginning of the 20th century, Manali has not only supplied apples with the highest quality across all India, but has also served as an important place of marijuana production. The marijuana produced here not merely circulates among villages in Himachal Pradesh that are known as religious holy places, also delivered to foreign tourists 2,500 km away, on the beach of Goa, a place famous for EDM parties.
Away from the only highway here, you will see the signboard of restaurants written in Hebrew. Since 1970s, Israeli young people dodging military service have gathered here with cash, hanging out with hippies from all over the world, enjoying the relaxed feelings from smoking marijuana. With these special visitors, the village started to develop the “natural” industry: such as alternative therapies and spiritual lessons, which are mostly traded in cash. In the village there is also a currency exchange out of the international bank system.
The marijuana-centered alternative economy not only supports Manali’s higher living standard compared to the agricultural province with relatively lower income, but it also facilitates a new utopia: where foreign visitors could become a member very easily by renting a lodging-room, where love and peace are also easily available in the well-developed trading system.
In 2017, in a corner at the Ocean Home Wild Market hosted by Neng Sheng Xing Factory, several elder participants were discussing about a blog post. A young female participant described her experience that she felt like a fish out of water, an incompatibility with other passengers, as she kept her outfit for the Ocean Home on her train ride from Hualien back to Taipei. Out of a sense of embarrassment, she finally changed her dress back to a “normally” wear. It seems that Ocean Home is, after all, a temporary shelter from one’s real life, a week-long annual carnival created on provincial highway 11. Once the carnival ended, the entire body liberation and alternative economy system vanished.
Let’s look back to the predecessor of Ocean Home Wild Market, the Lantan Art Market in Chiayi based on a sugar cane plantation from 2002 to 2004. On the last Sunday of each month, artists and crafts vendors gathered there for exhibitions and communication. In some old photos, can still see a several tents and handmade venders similar to Ocean Home Wild Market.
In the first year of the Lantan Art Market, at Huashan Arts and Culture District the “bonfire drum jam” incident just occurred, in which some city councilors falsely accused the bonfire drum jam of falling into a paradise for ecstasy sex party, in the meantime, called the child of the artist, Wu Chung-Wei, an abandoned children, and questioned if the police had neglected their duty. After this incident, at the press conference held by artist Wu Chung-Wei himself, he protested by writing on the naked body of his one-year-old son: “suffering child”, “abandoned infant”, and “the son of revolution”. In the same year, he was also attracted by the atmosphere of the Lantan Art Market, and joined the parties there.
Sixteen years later, on Huashan Grassland gathered together a crowd of “unregulated” masses, advocating the spirits of freedom, creativity, and openness. They collected waste planks and old furniture from different places to build a temporary settlement. At that time Huashan Arts and Culture District already changed its name to Huashan 1914 Creative Park, where was highly commercialized and gentrified and was progressively conservative. So-called Huashan Grassland, actually, was an idle space beside Huashan Arts and Culture District released by the government.
From Manali to Taipei, and from 2002 to 2018, all these utopias created in the name of freedom have always tried to sustain their own existence with an alternative economic pattern, seeking the possibility of surviving within the reality. For example, the unregulated masses once tried to turn the ownership of their property and frame into resource by renting them out, as an approach to support their community. Some of them also suggested to turn unregulated masses into a brand as a unit of tender project.
In the project Rentopia, I invited those who had participated in the unregulated masses to evaluate a price of their most frequently used, eight pieces of equipment (or possibly, property). They were asked to set a price of renting their equipment (or property) out for one month, in normal use without damage. The price was divided by the number of the participants in Rentopia, and updated once a week during the exhibition, thus creating a floating price of the eight pieces for renting.
That price coincides with the value of the survival of this group of people attracted by freedom: is it the reality faced by a member of utopia, or an utopia for realists?
(This is a rough translation of the original in Chinese)
出了印度甘地國際機場後，從MT（Majun-Ka-Tilla）搭乘十四小時的長途巴士，即可到達馬拉力（Manali），一座位於喜馬拉雅山系裡、英國殖民時期遺留下來的農業小鎮。
二十世紀以來，這裡不但供應了全印度品質最為優良的蘋果，也是大麻的重要生產地，其所生產的大麻不僅流通在喜馬偕爾邦內數個以宗教聖地著稱的觀光小鎮，同時也被運送到兩千五百公里外以電音派對聞名的果阿（Goa）海灘，販售給外國遊客。
離開鎮上唯一一條公路，巷弄裡可見懸掛著希伯來文招牌的餐廳。早在70年代，逃避兵役的以色列年輕人就帶著現金，與來自世界各地的嬉皮群居於此，享受吸食大麻所帶來的放鬆感。因為這批特殊訪客的到來，這座小鎮也致力於開發各式講求「自然」的商品：另類療法、靈性課程，這些商品多採用現金交易，鎮上也有外於銀行系統的外幣兌換所。
環繞大麻所產生的另類經濟不但支撐起馬拉力在收入偏低的農業邦之中相對良好的生活水平，同時也催生出新的烏托邦：愛與和平在完善的交易系統裡唾手可得，僅需租借房間落腳，便能成為烏托邦的新成員。
2017年，由能盛興主辦的「海或瘋市集」一隅，幾名年長的參與者討論起一篇網誌：年輕的女性參與者描寫了自己因為保留了「海或」時的穿著，而在花蓮回返台北的火車上感受到與其他乘客格格不入的尷尬感，最終仍然選擇換回在台北時的衣物的過程。似乎，「海或」終只是現實生活中的臨時避難所，在每年的台11線上創造了為期一週的嘉年華，甫一結束，所有發生在嘉年華裡的身體解放與種種非正規經濟即刻煙消雲散。
回到海或的前身，2002年到2004年間以甘蔗園作為基地的「嘉義蘭潭藝術市集」，每個月的最後一個星期日，不同藝術家與手工藝攤販聚集於此進行展演與交流。在一些舊照之中，仍然可以看見與海或極為相似的帳篷區與手作感強烈的攤商建築。
而在蘭潭藝術市集舉辦的第一年，華山藝文特區剛發生「火鼓會」事件，市議員誣指火鼓會淪為搖頭丸與性愛天堂，並稱藝術家吳中煒的孩子為棄嬰，質疑警察怠忽職守。事件發生後一天，吳中煒在剛滿一歲的兒子身上寫上「苦兒」、「棄嬰」、「革命之子」，在華山自辦的記者會上抗議，同年，吳中煒也被蘭潭藝術市集的自由氛圍所吸引，到訪嘉義。
十六年後，華山大草原再次聚集起一群名為「野青」之眾，同樣標榜了自由與對創意包容開放的態度，以撿拾自各地的廢棄木板、舊家具建起了暫時性的聚落。此時華山藝文特區已經改名為「華山1914文化創意產業園區」，高度商業化與仕紳化的空間愈趨保守，所謂的華山大草原其實是過去華山藝文特區旁邊被政府釋出的閒置空地。
從馬拉力到台北，從2002到2018，這些以自由之名創造出來的烏托邦總試圖著以另類經濟模式維持自身存續，向現實圖謀共存的可能性，例如，野青眾曾經嘗試以出租資產的方法，將資源回饋與社群經營使用；也曾經有成員提議，將沒有明確核心理念的野青眾轉變成一個品牌，以標案的方式尋找成員間共同生存的方法。
在「租借烏托邦」裡，我邀請曾經參與過野青眾活動的人們就野青眾最常使用的八件器材（或者可以稱之為：資產）評估價格，以一個月為租借期限，在承租人正常使用且不毀損之的狀況底下，評估該器材出租一個月可被接受的租借價格，最後將這個價格平均除以參與「租借烏托邦」計畫的人數，在展期中每週更新，創造出這八件器材的浮動租借價格。
這個價格，恰好也是這群為自由所吸引的人們的生存價格：這是理想國一員所面臨的現實，或現實主義者的烏托邦？
二十世紀以來，這裡不但供應了全印度品質最為優良的蘋果，也是大麻的重要生產地，其所生產的大麻不僅流通在喜馬偕爾邦內數個以宗教聖地著稱的觀光小鎮，同時也被運送到兩千五百公里外以電音派對聞名的果阿（Goa）海灘，販售給外國遊客。
離開鎮上唯一一條公路，巷弄裡可見懸掛著希伯來文招牌的餐廳。早在70年代，逃避兵役的以色列年輕人就帶著現金，與來自世界各地的嬉皮群居於此，享受吸食大麻所帶來的放鬆感。因為這批特殊訪客的到來，這座小鎮也致力於開發各式講求「自然」的商品：另類療法、靈性課程，這些商品多採用現金交易，鎮上也有外於銀行系統的外幣兌換所。
環繞大麻所產生的另類經濟不但支撐起馬拉力在收入偏低的農業邦之中相對良好的生活水平，同時也催生出新的烏托邦：愛與和平在完善的交易系統裡唾手可得，僅需租借房間落腳，便能成為烏托邦的新成員。
2017年，由能盛興主辦的「海或瘋市集」一隅，幾名年長的參與者討論起一篇網誌：年輕的女性參與者描寫了自己因為保留了「海或」時的穿著，而在花蓮回返台北的火車上感受到與其他乘客格格不入的尷尬感，最終仍然選擇換回在台北時的衣物的過程。似乎，「海或」終只是現實生活中的臨時避難所，在每年的台11線上創造了為期一週的嘉年華，甫一結束，所有發生在嘉年華裡的身體解放與種種非正規經濟即刻煙消雲散。
回到海或的前身，2002年到2004年間以甘蔗園作為基地的「嘉義蘭潭藝術市集」，每個月的最後一個星期日，不同藝術家與手工藝攤販聚集於此進行展演與交流。在一些舊照之中，仍然可以看見與海或極為相似的帳篷區與手作感強烈的攤商建築。
而在蘭潭藝術市集舉辦的第一年，華山藝文特區剛發生「火鼓會」事件，市議員誣指火鼓會淪為搖頭丸與性愛天堂，並稱藝術家吳中煒的孩子為棄嬰，質疑警察怠忽職守。事件發生後一天，吳中煒在剛滿一歲的兒子身上寫上「苦兒」、「棄嬰」、「革命之子」，在華山自辦的記者會上抗議，同年，吳中煒也被蘭潭藝術市集的自由氛圍所吸引，到訪嘉義。
十六年後，華山大草原再次聚集起一群名為「野青」之眾，同樣標榜了自由與對創意包容開放的態度，以撿拾自各地的廢棄木板、舊家具建起了暫時性的聚落。此時華山藝文特區已經改名為「華山1914文化創意產業園區」，高度商業化與仕紳化的空間愈趨保守，所謂的華山大草原其實是過去華山藝文特區旁邊被政府釋出的閒置空地。
從馬拉力到台北，從2002到2018，這些以自由之名創造出來的烏托邦總試圖著以另類經濟模式維持自身存續，向現實圖謀共存的可能性，例如，野青眾曾經嘗試以出租資產的方法，將資源回饋與社群經營使用；也曾經有成員提議，將沒有明確核心理念的野青眾轉變成一個品牌，以標案的方式尋找成員間共同生存的方法。
在「租借烏托邦」裡，我邀請曾經參與過野青眾活動的人們就野青眾最常使用的八件器材（或者可以稱之為：資產）評估價格，以一個月為租借期限，在承租人正常使用且不毀損之的狀況底下，評估該器材出租一個月可被接受的租借價格，最後將這個價格平均除以參與「租借烏托邦」計畫的人數，在展期中每週更新，創造出這八件器材的浮動租借價格。
這個價格，恰好也是這群為自由所吸引的人們的生存價格：這是理想國一員所面臨的現實，或現實主義者的烏托邦？
Sketch, 2018
Waiter! I’ll take an Utopia! - A Report of Interdependency by artist
「老闆，借個烏托邦！」- 一份創作者對於「共存」的調查報告
Website of Arts Observer Field Archive, Write in Chinese, Author LI Kuei-Pi Nov, 2018
觀察者藝文田野檔案庫 李奎壁
觀察者藝文田野檔案庫 李奎壁
Based on “Empathy”and “Imagination”- Cuator SUN Yi-Cheng Talking about Exhibition “Unit of Interdependency"
以共感與想像為基礎－策展人孫以臻談《最小共存單位》
On-line Magazine of National Culture and Art Foundation, Write in Chinese, Author LIN Yi-Hsiu Oct, 2018
國藝會線上誌 林怡秀
國藝會線上誌 林怡秀
Looking for alternatives- A Multiple Choice Questions of Survival of “Unit of Interdependency”
專題－找尋替代方案，「最小共存單位」的生存選擇題
Website of Art Touch, Write in Chinese, Author WANG Hsuan Sep. 21, 2018
典藏藝術網 王萱
典藏藝術網 王萱
Art Relativity- Cuator SUN Yi-Cheng and Artsit LI Kuei-pi Talking about Exhibition “Unit of Interdependency”
藝術相對論－策展人孫以臻與藝術家李奎壁談展覽《最小共存單位》
Philharmonic Radio, Broadcast in Chinese, Host GAO Shao-Yi Sep. 14, 2018
愛樂電台 高紹宜 主持
愛樂電台 高紹宜 主持
The City of Gray Scale- Let’s Meet at Out Skirts
【灰階之邦】我們在城市的邊緣聚首
Website of Art Touch, Write in Chinese, Planner JHANG Yu-Yin Sep. 2, 2018
典藏藝術網 張玉音 企劃
典藏藝術網 張玉音 企劃