TKG+ :【良瑞流亡办公室

2020-05-24    收藏205
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TKG+ 【良瑞流亡办公室|国家博物馆绝对反叛】萨望翁.雍维个展TKG+ :【良瑞流亡办公室

    展期

    日期:2019-05-11 ~ 2019-07-07

    地点

    114 台北市内湖区瑞光路548巷15号B1

      唯有凶器能治癒伤口— 华格纳歌剧《帕西法尔》

      「良瑞流亡办公室」是萨望翁.雍维所成立的虚构办公室,作为他发表创作的单位。雍维在TKG+的首次个展中所建构出的「国家博物馆」,试图探讨掸族流亡者叙事的可能性範围。像这样的博物馆,即便现今仍是无法在缅甸呈现的。表面上民主化的缅甸,在政治结构上依旧有着严重的军方干政问题,这同时也宣称了这种作为认知的想像在本体论上的不可能。德国哲学家黑格尔曾使用「Absoluter Gegenstoss」这个词,而后斯洛维尼亚哲学家纪杰克亦在其着作《Absolute Recoil》(2014)中阐述;然而,看似同义的这两个词,在「国家博物馆」的副标题之下,却又未必互为翻译。Absoluter Gegenstoss是一种主动反击的力量,Absolute Recoil则是一种反作用力,而两者的共通点在于,皆为一股相对于原有力量的反向力量。

      在黑格尔意义上的抽象是比影像更加真实的,透过具象与抽象的相互抹去,雍维的绘画便从一种抹灭中浮现,正如同纪杰克所言:「标示出相反运动的可能巧合,让事物从抹灭中浮现。」雍维认为,无根据的象徵秩序即成梦魇,掸族的历史因受缅甸军方压制,现实并不透明。他的画作作为一种历史文本,试图呈现照片本身所无法表达的「真实」,亦让历史的伤口显得无比真切。在此,「良瑞流亡办公室」为其流亡的国家建立了博物馆。雍维绘画作品中所出现的人物,包括祖父、祖母、父亲与叔叔等家人,在缅甸近代史中参与政治与军事组织时的肖像照片,掸族王室、缅甸联邦、掸邦军,交织成雍维家族史的一方。而缅甸军政权对掸族及其他少数民族的强势文化同化政策、族群清洗,亦深沉地透过根据历史场景照所绘製的作品流露出来,彷彿仍能闻到烟硝味。

      矛盾是世界的本质,矛盾的双方可以共存,但也处在互为差异、甚至冲突的动态之中,直至「扬弃」再进入下一个循环。此核心思想贯穿了雍维的艺术实践。历史可以形成力量、奉为信仰,同时也能绑架思想、成为暴力,然而历史是有真相的吗?那些被人们视为理所当然的「史实」是否为「事实」,甚至「真实」?历史作为一个知识系统,儘管当权者拥有官方历史的书写权,人民已不再只是被动地被灌输历史。我们能够透过阅读历史文本理解到不同的史观,进一步思考形成自我立场,避免非黑即白的走向极端,这便是一种良善的知识运作状态。

      关于萨望翁.雍维

      萨望翁.雍维于1971年出生于缅甸掸邦,为掸族良瑞王室后裔。其祖父苏瑞泰,是缅甸在1948年从英国殖民独立后,缅甸联邦(1948–1962年)的第一任总统,并于1962年奈温将军发动军事政变后死于监狱。雍维与家人被驱逐出境后流亡至泰国,而后再度逃往加拿大并于当地接受教育,现居、创作于荷兰。雍维的绘画和装置作品,与其家族史、缅甸近代史及政治事件高度相关。家族照片为其作品提供了图像语言之基础,通过对国家事件的探索,其创作揭示出现有的档案并非是一个国家的全部真相。雍维亦透过地图网络的方式,呈现出海洛因与安非他命等毒品、革命军、少数族裔、矿业与石油、军事武装与政府屠杀等各种冲突,试图从複杂政治局势中梳理出秩序。

      雍维获邀参与过诸多大型国际展览,包括第九届亚太当代艺术三年展(澳洲,2018)、第12届光州双年展(韩国,2018)、达卡艺术高峰会(孟加拉,2018)、巴勒斯坦双年展(耶路撒冷,2016)、施泰尔马克之秋艺术节(奥地利,2016)、第12届非洲当代艺术双年展(塞内加尔,2016)、印度艺术博览会(印度,2016);并联展于华沙现代美术馆(波兰,2018)、凡艾伯当代美术馆(荷兰,2018)、清迈当代美术馆(泰国,2018)、爱尔兰现代艺术博物馆(爱尔兰,2016)、阿姆斯特丹市立博物馆(荷兰,2016)等。其作品亦获泰国清迈当代美术馆所典藏。

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      Die Wunde schliesst der speer nur, der sie schlug.The wound can be healed only by the spear that smote it. — Parsifal, Richard Wagner

      “Yawnghwe Office in Exile” is a fictional office created by Sawangwongse Yawnghwe in his practice. For his first solo exhibition at TKG+, he fabricates a “State Museum” to explore possible narratives for Shan exiles. This museum is impossible to exist even in today’s Burma. Democratized on the surface, Burma’s political structure is still heavily influenced by military intervention. It signifies the impossibility of such imagination existing as knowledge. The term “absoluter gegenstoss” has been used by German philosopher Hegel, and later elaborated by Slovenian philosopher Slavoj Zizek in his book Absolute Recoil (2014). Seemingly synonymous, these two terms do not necessarily translate into each other under the title “State Museum.” While absoluter gegenstoss refers to counterattack, absolute recoil is a force of counteraction. They resonate with each other in that they both embody a counterthrust to the original force.

      In Hegel’s discourse, abstraction is more realistic than imagery. Yawnghwe’s painting emerges out of its own loss through the figurative and the abstract, one effacing the other. As Zizek writes, “To designate the speculative coincidence of opposites in the movement by which a thing emerges out of its own loss.” Yawnghwe reckons that the groundlessness of the symbolic order is a nightmare. As Shan’s history is suppressed by Burmese military forces, reality loses its transparency. His paintings attempt to present a reality that is elusive in photography, attesting ontological wounds that have become exquisitely harrowing. Yawnghwe Office in Exile has established a museum for a country in exile. The people in his paintings, from his grandparents to his father and uncle, their portraits taken when they were part of the military and political organizations in Burma’s recent history, Shan royalty, Union of Burma , and Shan State Army , together intertwine to form an indispensable part of his family history. Based on historical scenes, these works, reeking of warfare, reveal assimilation policies and ethnic cleansing enforced by military regimes on Shan and other minorities.

      Contradiction is the nature of the world. Both sides of contradiction coexist in a dynamic state of difference, even conflict, until they aufheben into the next cycle. This concept is the core of Yawnghwe’s art practice. History shapes power and faith, but it also hijacks thoughts and transmogrifies into violence. Is there truth in history? Do the historical facts that are taken for granted equal to reality, even truth? History is a knowledge system. Even though those in power have the right to dictate history, people are no long indoctrinated in the state’s version of history. Through historical texts, we can understand different perspectives, and form our own stances without being radicalized. And that is a healthy knowledge mechanism.
      About Sawangwongse Yawnghwe

      Sawangwongse Yawnghwe was born in Shan State of Burma in 1971. He comes from the Yawnghwe royal family of Shan. His grandfather, Sao Shwe Thaik, was the first president of the Union of Burma (1948–1962) after the country gained independence from Britain in 1948. Shwe Thaik died in prison following the 1962 military coup by General Ne Win. Since then, Yawnghwe’s family was driven into exile. They stayed in Thailand, then escaped to Canada, where Yawnghwe grew up and received education. He now lives and works in the Netherlands.
      Yawnghwe’s painting and installation practice engages politics with reference to his family history as well as current and historical events in his country. Family photographs also provide the basis for a pictorial language through which he explores events in the country, suggesting that existing and available archives cannot reveal a nation’s entire truth. In addition, Yawnghwe’s work of maps charts the conflicts between drugs such as heroin and amphetamines, revolutionary armies, minority ethnicities, mining and gas pipelines, the armament of generals, and state genocide against its minorities. He intends to bring discernible order to a complex political situation.
      Yawnghwe has exhibited internationally. Among these include: The 9th Asia Pacific Triennial of Contemporary Art (Australia, 2018), The 12th Gwangju Biennale Exhibition (Korea, 2018), Dhaka Art Summit (Bangladesh, 2018), Qalandiya International — Jerusalem Show VIII (Jerusalem, 2016), Steirischer Herbst (Austria, 2016), Dak'Art 2016/The 12th Biennale of Contemporary African Art (Senegal, 2016), Indian Art Fair (India, 2016). He has also exhibited in numerous museums, including: Museum of Modern Art in Warsaw (Poland, 2018), Van Abbemuseum (Netherlands, 2018), MAIIAM Contemporary Art Museum (Thailand, 2018), IMMA Irish Museum of Modern Art (Ireland, 2016), and Stedelijk Museum Bureau Amsterdam (Netherlands, 2015). His work is housed in the collections of MAIIAM Contemporary Art Museum in Thailand.

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