text by Chen Hui-Chiao
If the gun could “replace” the pen and destroy the written violence manipulated by superficial self-instruction or presupposed rights it would sweep away the anxiety, apprehension, foment, emptiness, slavishness, fissures and struggle. In the same way, if one could replace oneself with the self awareness ever present in the mirror and have all one’s desires met, an inability to focus would ultimately lead to their loss. If the establishment of a system is intended to “replace” an existing system to return to a mainstream position, that is akin to placing a chain, but those opposed would willfully ignore it, creating boundless joy and pain in the process. However, none of these actions touch on the essential subtleties of the existing system. Everything flows from the self; that which is everlasting is boundless and those things with limits certain to end. When one is unable to see, hear or experience “other things” that is boundlessness even though one’s lack of awareness does not negate their ever presence. Some people call out in “space,” others watch through “space.” Those who call out receive an answer. All things are born and grow in space and over “time” come to self-knowledge; an un-ignorable and irreplaceable facet in promoting infinite free will and power around the world.
In the same way, existing art exhibition/performance space has taken shape as a result of substantive demand within the parameters of current social reality and the existence of such space has an interactive subtle and congenial relationship with local culture. It also plays a participatory role between space, distance and choice, within which the space promotes itself and seeks to overcome the heterogeneity of commercialized display/performance space. Such participation in life is an important starting point in the establishment of an “alternative space” identity. It is precisely the spontaneous, personal involvement and focused discussions of artists that create this type of exhibition/performance space or IT Park Gallery. This shapes a simple and unadorned creative space that is an integral part of life, dedicated to initiating and revealing perfection, while transcending the narrow scope of existing systems and localism. However, given the easily changeability of daily life and social structure how is consciousness to retain its fluent vitality and push for spiritual freedom? Specific release and flows possess their own special language and necessity. Moreover, in terms of the affiliation and awareness of venues – “the ultimate significance of the unknown” and “overcoming real world difficulties” inform the actions of artists in daily life. This is also the foundation on which the constant summoning and recollections of the subjective memory are made and the source of the poetry and wisdom that imbue living space. However, understanding alone insufficient to make people take risks with their own souls, that can only be engendered by the inspirational life force that binds things together from within. This calls forth the poetic quality of life space, allowing artists to construct their own subjective works rooted in the world of local history and impossible to copy.
Since 1986, the interchangeable designations for artistic forms and non-profit making space, ranging from experimental to non-mainstream, mobile, peripheral, replacement, Avant-garde, alternative art and the differences between these suddenly occurring “alternative things” have seemed irreproachable. Moreover, although such spaces can collapse at any time, like claws ripping through fabric they have changed the internal mechanisms and structure of contemporary art. They have also forced aberrant existing systems to reflect, showcasing the power of such an “externality,” which by forcing its way into existing things and ideas has become an arena for the interplay of current and alternative forces. In this context, all perceptible space viewed with special respect is not “alternative” but rather “different from,” which is to say it diverges from a specific approach to viewing and discussing, and is replaced by a different methodology, one that points toward other areas and considerations, thereby enhancing its relevance and impact on contemporary art.
In other words, “alternative space” is not merely a real world place or the local activities of certain people. It also includes the belief that anyone entering and experiencing a space is a participant and witness, someone who experiences, feels and consciously expands the threshold of said space. These people have done much to promote contemporary art, cross discipline exchange and facilitate the imperceptible influence of contemporary art on the pubic. At a time when the Internet and digital video are rapidly developing, computer simulated or real images can be edited to resemble a concrete world of images. In a new era in which talented individuals create using technology, local culture differences or identity have become part of a vision or realm of artistic development. In the space between old and new there are countless incidental and opportunistic fissures, with countless spots of brilliance. As Taiwan’s engagement in international art exchange becomes ever more vital, art museums and foundations, but even more so “alternative spaces” are a crucial and far-sighted display window. Moreover, when it comes to the operation of any exhibition arena or “alternative space” what we are really concerned about is their ability to analyze and craft a shared reality, to create a harmonious environment that provides an alternative route to viewing and ideals but also allows viewers to take strength and information from the past. We wait with bated breath to see how those involved in the field cultivate and support the existence and balance of this type of art space.
I find myself asking: “Have we really not done enough? Perhaps we need to look in the mirror again.”
(Artist Magazine No. 311, April 2001. pp142-143)
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