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

還有妳的 傷，羅莎。 妳的羅馬尼亞野牛的 犄角的光 替代了那星星於 沙床之上，在 兀自言說的，紅色 灰燼般強悍的槍托中。 _ <凝結Coagula> 保羅‧策蘭 Your wound too, Rosa And the hornslight of your Romanian buffaloes in star's stead above the sandbed, in the talking red- ember-mighty alembic —"Coagula," Paul Celan 保羅‧策蘭為猶太裔詩人，為納粹集中營的倖存者及流亡者。在〈凝結〉這首詩中，策蘭將羅莎‧盧森堡、卡夫卡短篇小說《鄉村醫生》中的羅莎與他的早年女友羅莎‧萊柏維茲相互連結，讓「羅莎」不再意指單一個體，而是藉由這個名字、水牛與奧斯維辛倖存者間的象徵意義，將所有被迫害的受難者凝聚在一起，形成一個感性團塊，將碎散的與集體的創傷收束其中。用「傷」這個符號，「凝結」遙遠的時間、空間、與記憶，讓個人記憶穿越了時代，有了歷史縱深，不再是「羅莎」的傷口，而是「我們」共同的傷口。 Jewish poet, Paul Celan, was a survivor of concentration camp and an expatriate. In Goagula, Celan connected Rosa Luxemburg, the character Rosa in Kafka's short story, A Country Doctor, and his former girlfriend, Rosa Leibovici Therefore, "Rosa" is no longer just referred to an individual but acquired a symbolic meaning associated with buffalos and the survivors of Auschwitz, uniting all the oppressed victims of unique sensibility in the poem while enveloping all the personal and collective wounds. The poet used "wound" as a symbol to "coagulate" the remote time, space, and memory; and by doing so, personal memory travelled through time and revealed a profound historical dimension. Thus, the wound is not Rosa's anymore, but a shared, common, collective wound of us all. 「羅莎的傷口」展覽借用〈凝結〉這首詩的意象，將「傷口」成為一個連結「時間—空間」和「個體—集體」的裂口，讓我們得以窺見暴力與創傷如何以不同的面貌延續，並揭示脆弱性如何反應人類彼此的共存現實與需求，以喚起承擔他人苦痛的社會責任，思考「我」如何在變動的「時間—空間」與差異的「個體—集體」之間，層層疊套，成為「我們」。此次參展的八位藝術家，著眼於二戰以來關於殖民、冷戰、極權、乃至於新自由主義之下的倖存者及其後代，以不同視角反覆琢磨不可見與無法言說的歷史與記憶，並重探美學的情動效應如何觸發我們重新思考彼此的共存現實，以回應他者創傷與現今層出不窮的暴力事件，不讓漠視和偏見，進一步強化暴力與創傷的結構。 Rosa's Wound adopts the imagery in Goagula, and transforms the "wound" into a Split that connects "time - space" as well as "individual - collective," allowing audience to glimpse into how violence and trauma have transfigured and persisted in our society. The "wound" reveals how human vulnerability has reflected our co-existence and need for one another, invoking our social responsibility to shoulder one another's pain. It invites us to contemplate on the idea of how "I" could become "we" in a changing "time - space" and between the differentiated "individual - collective." The exhibition pays attention to survivors of colonization, the Cold War, authoritarian regimes, and neoliberalism and their offspring, and revisits the invisible and indescribable history and memory from a different perspective, exploring how affective aesthetics triggers our reflection about our co-existence. It allows us to respond to other's traumas and cope with increasing violence today without letting indifference and prejudice reinforce the structure of violence and trauma. 然而，如蘇珊‧桑塔格提醒的，「我們」是一個必須隨時檢驗的指稱。在不同的條件與情況之下，「我們」被召喚成一個想像的共同體，服務於不同的意識形態。如同「人權」這個絕對正義的名詞，在不同的立場主張之下，成為偏見得以再次加深的最堅實難破之後盾。如何避免輕率的憐憫和認同，是本展在思考記憶及情感政治時嘗試探討的另一種面向。 Nevertheless, as Susan Sontag has reminded us, "we" is a pronoun that requires to be constantly examined. Under different conditions and circumstances, "we" is often evoked as an imaginary collective to serve dissimilar ideologies. It is similar that, with different stances and arguments, the term "human rights," which denotes absolute justice, might give strength to strong prejudice and make it even more unbreakable in certain circumstances. How we could sidestep the trap of unmindful sympathy and identification is another aspect that this exhibition intends to explore when thinking about memory and the politics of emotion. 本次展覽「羅莎的傷口」希冀透過藝術之名，在紛雜的亞洲歷史與現況中，以回音捕捉邊界，以想像提供路徑，讓我們從個人主義式的身體，過渡為社會性及歷史性的身體，乘載著彼此的以及歷史的傷痛，同時進而以記憶作為一種抵抗的政治，嘗試超越事件的偶然性，將創傷解構，以美學昇華。 In the name of art, Rosa's Wound expects to discuss the complex Asian historical context and status quo, echolocating its evasive boundary and discovering a path with imagination. It is a way that enables us to transit from an individualistic body to a social and historic one, which carries our shared sorrow and suffering in history. It uses memory as the politics of resistance and transcends the contingency of incidents, deconstructing traumas and sublimating them through aesthetics.