檔案室復原計畫 | Archive Room Retrieval Project
2024
文件、檔案、現地製作 Documents,Archives,Site-specific Installation
依場地而定 Varies depending on the venue
台南文化中心地下一樓有一間從不對外開放的「儲藏室」。存放了40年來從各處室移放的檔案文件、書籍、器具，內容廣泛，除了中心的展覽與活動成果、其他館舍的出版物，還有許多涵蓋各種面向、無法追溯其來源的書籍。它們呈現了各時期館舍的運作方式，也留下了可追溯的文化活動樣貌。並且不同擺放與堆疊的方式建立起儲藏室複雜的景觀，隨機的置放方式也產生許多巧妙關係。藝術家期待儲藏內容可以成為被搜尋與提取的訊息，但整理與建檔往往是一件繁瑣、耗時且需要人力的事情。
《檔案室復原計劃》借用了展期時間，持續產生瀏覽儲藏室的機會。
在展覽中成立了一個展期限定的單位，運作了一套調閱儲藏室內容物的方法。將儲藏室的空間模樣（透過與 木直牛勿 / plant practice 合作，hsin 提供了地理觀點與畫作）與物件被收納的形式（例如：純粹堆疊、綑綁、封箱、堆積於架上等）建立出一套「索引與分類規則」。
觀眾參與申請調閱，將收到一份我代為探尋的過程紀錄，並也可以前往展場調閱室現場翻閱。但其實，這套規則也只是讓我們片段經歷空間中任意擺放的隨機性。在生活充滿無數資料庫、各種索引與搜尋規則，甚至政府鼓勵與推廣下，這時候儲藏室裡隨機擺放、堆疊下產生的巧妙遭遇與連結，
一種不建制的創造性？
地景繪製：木直牛勿hsin
The method of randomly placing documents within the storage room and the appearance of the space are classified and named to establish an index. The public is not retrieving the books themselves, but rather "the form in which they are stored."
On the basement floor of the Tainan Cultural Center, there is a "storage room" that has never been open to the public. It houses a wide range of archived documents, books, and tools that have been relocated from various offices over the past 40 years. The contents are extensive, including not only the results of exhibitions and activities held at the center but also publications from other venues and many books covering various aspects that cannot be traced back to their origins. These items reflect the operational methods of the venues in different periods and provide a traceable glimpse into the cultural activities of the past. The different placement and stacking methods create a complex landscape within the storage room, and the random arrangement also generates many clever relationships. The artist hopes that the contents of the storage can become searchable and retrievable information, but organizing and cataloging is often a tedious, time-consuming, and labor-intensive task.
The "Archive Room Retrieval Project" utilizes the exhibition period to continuously create opportunities to browse the storage room. A temporary unit is established during the exhibition to operate a method for accessing the contents of the storage room. The spatial appearance of the storage room (through collaboration with plant practice, hsin provided geographical perspectives and paintings) and the forms in which objects are stored (e.g., pure stacking - Pile, bundling - Bundle, sealing - Sealed, stacking on shelves - Stacked) are used to establish a set of "indexing and classification rules."
Visitors participate by applying for retrieval and will receive a record of the exploration process on their behalf. They can also visit the on-site retrieval room in the exhibition venue to browse the materials. However, in reality, these rules only allow us to experience fragments of the randomness of arbitrary placement within the space. In a life filled with countless databases, various indexing and search rules, and even government encouragement and promotion, the clever encounters and connections that arise from the random placement and stacking in the storage room at this time -
a kind of creativity born from the lack of structure?
Landscape Illustration: 木直牛勿 hsin
The project also simultaneously organized two storage spaces behind the exhibition venue, establishing a "Retrieval Room" and a "Reading Room." In the Retrieval Room, visitors can read the content they have requested, while in the Reading Room, staff members are invited to find and share documents from the storage room that they would like to recommend to the public.
《展場誌》觀看者-維護者-空間的對話術 𝐄𝐱𝐡𝐢𝐛𝐢𝐭𝐢𝐨𝐧 𝐒𝐩𝐚𝐜𝐞 𝐃𝐢𝐚𝐫𝐲: 𝐓𝐡𝐞 𝐃𝐢𝐚𝐥𝐨𝐠𝐮𝐞 𝐀𝐦𝐨𝐧𝐠 𝐕𝐢𝐞𝐰𝐞𝐫, 𝐂𝐚𝐫𝐞𝐭𝐚𝐤𝐞𝐫, 𝐚𝐧𝐝 𝐒𝐩𝐚𝐜𝐞》2024 12／21（六）- 2025 1／19（日）
臺南文化中心 文物陳列館一、二樓
策展人 楊佳璇
藝術家 林玉婷、蔡明岳、劉紀彤、陳為榛、黃奕翔