作品，展覽，表演，事件，座談，評論，宣傳，迴響，這一切的一切，反覆地在每個月、每一週、每一天不斷地上演。藝術家的作品，停留或消逝在你生命記憶的哪一刻？對作者而言，作品又停留在其生命中哪一個瞬間？它何曾再被拾起，可有機會讓作品生命再被延續？

文本、本事，兩個藝術文化工作者再熟悉習用的日常思考辭彙，近於不遺解釋的認知。若設想視覺展覽的通常狀態，在展覽當中所陳列的可見與敘事相對於觀者形成一種近似懸置但迫待解釋（彷彿是觀者最重要任務）的一種文本，兩種詮釋位置所造成的落差形成藝術場景相當耐人尋味的特色，某種程度上，作者的「靈光」（aura）亦藉由這種詮釋的落差與共謀理解的企圖所發生。

藉由此次展覽計畫，我們想透過展覽與作品設置的一些規則性手段，提出一些假設性的提問︰（1）文本和本事在展覽機制中代換為「動詞」呈現的可能；（2）    對舊文本透過作品「臨摹」事件或歷史現場的機會︰（3）重回作者詮釋再現的權力場域；（4）超越性的文本和超文本的展開與討論空間。在展覽的現場，將有參展藝術家的駐地創作空間，輪番在有如希區考克電影的「後窗」設置的場域中發生，他們的駐地創作也將彼此交織在一個小房間進行馬賽克鑲嵌壁畫室的組構，我們給它起了一個名字叫「後堂」，作為一種當代藝術行為模式有如迴返「破壞聖像運動」的參照。

參展藝術家包含了各式媒材的視覺藝術家、動漫創作者、唱作人、另類詩人與沙龍經營者、次文化實踐社群團體，透過這次有機實驗的策展機制，讓我們一同迴返作者們的作品文本，也同時觀察當代作者們的本事再生方法。

新樂園藝術空間、中華民國視覺藝術協會(視盟)

忠泰建築文化藝術基金會
荷蘭商海尼根台灣分公司

Artworks, exhibitions, performances, events, discussions, reviews, publicity, and responses; these are all things conducted repeatedly every month, week, and day. At which moment does the work of an artist either remain or fade away in your memory? For the artist, at what fleeting moment of life does the artwork reside? When does it get picked up again, and become an opportunity for the life of a work to continue?

Text and skill, which are two words that practitioners of art and culture are vastly familiar with in everyday thought. They are not easily forgotten. If we were to conceive of a normal condition in a visual exhibition, this exhibition would display a narrative relative to the viewer, like a kind of text that’s suspended and awaiting explanation (as if it is the viewer’s most important mission). This gap in the two types of annotations has resulted in the birth of a relatively intriguing artistic scene. To some extent, the author’s aura also uses the gap and conspiracy hidden within these annotations as an attempt at comprehension.

With this exhibition plan, we would like to set up some rules for the exhibition and artworks, while raising a few hypothetical proposals: (1) The text and skill within the mechanisms of this exhibition may be presented as “verbs” (2) An opportunity for old text to “imitate” events or historical settings through an artwork (3) The power of an artist to return to the representation of an annotation (4) A space for discussion and expansion of a transcendent text and hypertext. There will be a creative space for participating resident artists in this exhibition. The setting is similar to that seen in Alfred Hitchcock's film, Rear Window. These works by resident artist will be intertwined to compose a mosaic and mural in a small room. We call this the “post-hall”, which serves as a mode of contemporary art, much like a revisiting of "iconoclasm".

Participating artists include visual and anime artists, songwriters, alternative poets, salon operators, and subculture community practice groups. The curatorial mechanism behind these organic experiments lets us return to the texts of their artworks as we observe the skills and revival methods of contemporary artists.

Shin Leh Yuan Art Space
Association of the Visual Arts in Taiwan

JUT Foundation for Arts and Architecture
Heineken│Taiwna