Next Scene
換景
2020, performance installation, dimensions variable
2020, 空間表演裝置, 尺寸依場地而定
《換景》為何采柔與黃思農共創的第三個作品，延續之前作品脈絡，兩人持續以「痕跡」作為索引，探詢「空間」與「記憶」的關係。《換景》以支撐空軍總司令部建築本體之「柱」的形貌為樣本，於「通信分隊」空間中再製多根移動式支柱。「柱」在樑下時作為一種建築結構，為生者撐開生存的空間與庇護之所；而當它們離開樑下，一個個矗立在空的空間時則以紀念碑的型態承載逝者記憶。
在生與死之間，這些柱子所創造的不同「場景」，將人類歷史中各種「緊急狀態」的公共記憶，轉譯為不同的空間佈局，以「可被移動的紀念碑」的形式，創造不同的記憶場景，並以「換景」作為悼亡的儀式。此刻人類在瘟疫下面對著一種不斷被延續的「緊急狀態」，但「被壓迫者的傳統告訴我們，我們所身處的『緊急狀態』（Ausnahmezustand）是常態，而且我們還必須擁有符合這種緊急狀態的史觀。這麼一來，我們便能清楚記得，促成這種『緊急狀態』的出現是我們的使命，而且還可以因此改善我們在反法西斯鬥爭的處境。」
展覽期間觀眾可自行移動與創造不同的空間樣貌外，表演將以每週換景的方式進行，每一次的「移動」都是一種「再造」記憶的敘事，場景不再是表演與敘事的背景，而是將「換景」所改變的空間佈局轉化為「敘事」本體。
Next Scene is the third collaboration between Joyce HO and Snow HUANG. With the work, the artists continue their exploration of the relations between “places” and “memories” with “traces” as indicators. In Next Scene, detachable pillars are created—based on the shape of the “pillars” that support the main building of Air Force Command Headquarters—and installed in “Art Space III.” A “pillar” as an architectural element that structurally supports beams and the building as a whole often helps create the space for those who remain alive to shelter and to survive. However, when pillars are removed from the beams and the building they support, standing one next to another in an empty space, they are turned into monuments to bear memories of the deceased.
Insinuating moments between life and death, these pillars create “scenes” and translate the public’s shared memories of “states of emergency” in human history into different spatial arrangements. Various models of memories are therefore possible with these “movable and detachable monuments.” And the “scene change” now serves as a memorial ceremony. At the moment, humanity is facing a continuous “state of emergency” under the threat of the pandemic. However, “the tradition of the oppressed teaches us that the‘state of emergency [Ausnahmezustand]’ in which we live is not the exception but the rule. We must attain a conception of history that is in keeping with this insight. Then we shall clearly realize that it is our task to bring about a real state of emergency, and this will improve our position in the struggle against Fascism.”
During the exhibition, the audience can move the pillars around and make different arrangements in the space. In addition, performances in the form of “scene changes” are conducted every week. Every“rearrangement” is a “remake” of narratives of memories. The scenes no longer serve as mere stage backgrounds for performances and narratives to happen. Instead, rearrangements happening during the “scene changes” are turned into the “narrative” itself.
Scene I
Scene II
Scene III
