台北當代藝術館 官方網站 Museum of Contemporary Art, Taipei

史金淞的「個人設計博」，包含三個意旨，一、這是以個人為主角的「設計博覽會」；二、這是一個關注於個人生活範疇的「設計博物館」；三、這裡呈現了一個以「設計」來和「被設計」進行博弈的個人奮鬥史。概言之，史金淞所理解的設計，就是依據不同時期/利益主體的價值訴求，各自設計出一套權力系統以及合法性依據，並形成知識以指導日常生活，規範社會大眾的意識與常識，包括道德倫理、政治制度、宗教信仰等。而他的個人設計博，就是著眼於對應乃至於對抗歷來如此的一套制度或系統。 Shi Jin-Song ‘s A Personal Design Show includes three messages: first, this is a design show focusing on one person, second, this is a design museum regarding personal daily life, and third, it presents an autobiography showing a resistance of “designing” and “being designed”. In general, the so-called "design," in Shi Jin-Song's opinion, symbolizes the values of different power systems and the legitimatization from different parties of interest in various historic periods. These values have become knowledge and guidance of the everyday life that informed people's consciousness and common sense, including moral ethics, political system, religions, etc. And his personal design show is to against this power system or a set of rules throughout the history. 「設計」與「被設計」的博弈 A Game of "Designing" and "Being Designed" 史金淞認為，整個人類的演化史，幾乎貫穿了「設計」與「被設計」的博弈，這種博弈存在於每個族群競爭與文明衝突的第一現場，而所謂的文化和文明，即是來自一系列設計體制化的成果。但也因此，歷來總不乏個體的行動者，前仆後繼極力掙脫、對抗「被設計」的宿命，然而，其中也有不少人不自覺地淪為體制化設計的共謀者―他們深陷於「被設計」的自我設計之中，史金淞自承即是其中的一員。本展呈現了史金淞在面對設計/被設計的博弈處境下，作為一個生命個體或抵抗或回應的三種心理辯證模式： For Shi, the history of human evolution is a game of "designing " and "being designed." It has appeared at the first moment when competitions and conflicts between ethnic groups and civilizations happened. The so-called culture and civilization are the results of a series of systematic designs. To counter these designs, there have been active individuals trying to escape and fight against the destiny of "being designed." However, some of them have also become part of the system and are trapped in a trick of "being designed" devised by themselves. Shi admits to being a member of this group as well. This exhibition reveals three dialectic modes of psychology, with which Shi has fought against or responded to the situation of designing and being designed. 【解剖與自我解剖】"Anatomization and Self-Anatomization" 藝術家以自我的日常經驗為線索，藉由類似的語彙與邏輯，來凸顯我們生活中充斥著設計/被設計的機制，透過解剖和自我解剖我們的工作、生活、情感、趣味、以及相關聯的價值、倫理和夢想，在設計/被設計的權力結構下，營造出一種冷酷而暴力的新審美體驗。本展與觀眾率先遇合的一批作品，包括：〈鐮刀版嬰兒車〉、〈炫彩版襁褓甲〉、《奶瓶》系列、〈金蟬脫殼〉、〈聖誕快樂200轉/分〉、〈名兵利刃〉和〈設計―基因〉等，即是這個辯證模式的作品樣例。 Following the everyday experience and a similar language and logic, the artist makes explicit the mechanisms of designing and being designed in our daily life. Through anatomizing our work, life, relationship, leisure, and other related values, ethics, and dreams, Shi creates a refreshing aesthetics of coldness and violence as he plays with the power structure of designing and being designed. The first group of artworks in the exhibition are examples of shi's refreshing aesthetics, including Sickle Baby Carriage, Exotic Fantasy Swadding Armor, Feeder Series, A Quick Change, Merry Christmas 200 rev./min., Name Brand Weaponry, and Dior Design•Gene. 【行動與自我切割】"Action and Self-Severance" 藝術家以直接行動的方式，介入藝術生態及其生產力關係的改造，身體力行地自我下刀和切割，透過分享藝術產業裡相關的傳統權利，例如版權等，藉以抵抗現有僵化的權力系統對獨立人格的粗暴設計，並試圖達成一種沒有象徵與隱喻，別開生面而純粹的藝術存在方式。本展第二批作品，如〈前進一號泡泡車〉、〈此刻〉、〈同行者〉、〈哈克龍―環鐵大悲咒〉、〈拍賣雙年展〉、〈我的館！〉等，即是這種藝術意圖的呈現。 The artist takes direct actions to reform the relation between artistic ecology and its productivity. He acts from his stance and severs his rights by sharing traditional rights in the art industry, such as copyright, to fight against the imposing designs of the rigid power system on individuals. With this attempt, he hopes to achieve a unique, pure art form without any symbols and metaphors. The second group of artworks is an embodiment of this artistic attempt, including Go Ahead NO.1 Bubble Motor Vehicle, At the Moment, Let's Go, Halong Kellong of HT‧Dabeizhu, Auction Biennial,and My Biennial Pavilion!. 【內觀與自我重構】"Introspection and Self-Reconstruction" 藝術家在知識和權力的縫隙中研磨平庸的日常，把自我消磨成一把變形鈍化的刀子，藉以刺穿和削解各種「被設計」成非黑即白的現實桎梏，同時，借用這些回收的純物質重新「設計」營造出一方獨立的精神家園。歷史從未像今天這樣，給予每個獨立的個人如此寬闊的可能性，甚至直接把商業做為一種新的公共藝術概念，讓市場成為美術館。【史金淞：個人設計博】展第三批作品，如〈144.58牛.米〉、《華山計畫》、〈脫胎換骨―雙松圖〉、〈客廳裡的園林〉、〈灰度360〉和〈三十年河東〉等，明顯即是此一藝術觀念的體現和成果。 Through studying the everyday life structured by knowledge and power, Shi transforms himself into a metamorphosed, blunt knife to pierce and deconstruct all kinds of black-or-white fallacies designed in reality. In the meantime, he recycles these materials and re-designs an independent and spiritual home. Throughout the history, there has not been a moment when an individual can possess such a wide range of possibility. Shi even equals commercial art deals with public art projects and treats the commercial market as a type of museum. The third group of artworks exemplifies such an artistic concept, including 144.58 N.m, Huashan Project, Double Pine Garden- Thorough Transformation, Garden In The Living Room, Grey Degree 360, and Thirty Years on the East of the River. 藝術家從「設計」與「被設計」博弈的外在生活文化處境中，發展出了互為因果又獨立運作的不同創作系列，貫穿於其中的核心精神，則是有關於自我的反覆挖掘與變奏式的語言探索。 From daily and cultural circumstances of "designing" and "being designed," Shi has developed multiple artistic series that are mutual referencing yet inherently independent. The core spirit that runs through them all is an introspective journey into the self with a linguistic exploration of variations.