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

若絲．賽拉薇（Rrose Sélavy）是法國觀念藝術家馬塞爾．杜象（Marcel Duchamp, 1887-1968）始於1920年代之變裝嘗試的女性化名。杜象對自我身份改變的意圖，充分顯現在他不羇於傳統教條與主義的規範，他對於當代藝術所產生的巨大影響，除了「現成物」（readymade）觀念之外，最重要的是，超越長久以來藝術之於文明的局限，表現了完全自由的態度境界，質問藝術除了視網膜性（retinal）之外還有什麼可被談論的？始於2009年的《若絲計畫》（Project Rrose）是藝術家王俊傑向杜象致敬的系列之作，如同杜象質疑大部份的藝術創作已被視覺語言所操控，王俊傑也藉此展質問藝術在去除了視覺、形式與技巧之後，它還剩下什麼？

繼【真實的流動】、【愛與死】(註1)，本次展覽【冷漠的賽拉薇】為《若絲計畫》系列的完結篇。回溯1920年代杜象男扮女裝化名為若絲．賽拉薇的源頭：它既是對模糊身份與社會關係的探討，也是對當代文明的戲謔玩笑與嘲諷，更是對藝術美學的棄置。本展展出的〈朵拉之牆〉，結合雷射動力投影裝置和佛洛伊德著名研究案例，隱喻從人心內部掙脫而出的力量，和一種歇斯底里的失控狀態。攝影作品〈冷漠的賽拉薇〉則對杜象男扮女裝的系列名作〈若絲‧賽拉薇〉提出呼應；由十八件複合媒材平面作品組構而成的〈娜嘉之謎〉以電影腳本與分鏡圖的概念，試圖重新解讀布賀東(註2)的同名傳記小說「娜嘉」；最後的錄像作品〈以安魂之名〉描繪了一個氣氛詭譎的空間崩塌的過程，建築的崩毀如同生命的終結，而隱藏在內的愛慾情感也隨之終止。

《冷漠的賽拉薇》試圖創造一個臨界崩毀邊緣的封閉房間，透過「賽拉薇」、「娜嘉」與「朵拉」等幾位曖昧不明憂鬱角色的進出場，呈現壓抑與遊蕩、冷洌與疏離，還有面臨與外在世界相抗衡的瘋狂激情狀態。 Marcel Duchamp (1887-1968) had used the female name Rrose Sélavy as an alias while made a try of travestism since the 1920. Duchamp's disregard of traditional dogma and principle fully shows his intention of changing his identity. Not only his idea of ‘readymade’ has brought enormous influence to the contemporary art, most important of all, he also had made the art transcend the limit of culture over the long past, expressed the free attitude and questioned what else art could be talk about besides the retinal. Project Rrose series is a salute to Marcel Duchamp. It also revisits the outdated question of “what is art?”, ”What else are left after the vision, forms and skills have been removed from art? “

After Real Flux and Love & Death (Note1), Indifferent Sélavy, the final chapter of Project Rrose, takes its cue from the origin of Rrose Sélavy, the pseudonym of Duchamp dressed as a woman in the 1920s: It explores ambiguous identities and social relations, as well as playfully mocks the present civilization. It also dispenses with the aesthetics of art. The exhibited work Dora’s Wall, “Dora” was a crucial case for Freud’s study of hysteria. It revealed multiple clues that brought together the discussions of the complicated relationships between and the psychological state of modern people. Indifferent Sélavy is a series correlating closely with Rrose Sélavy, Duchamp’s famous work in the early 1920s, in which he dressed as a woman. Nadja’s Mystery is comprised of eighteen two-dimensional works. Nadja is André Breton(Note2)’s autobiographical novel; it is more like an interactive movie, in which one could freely reorganize different segments together. Exhibited in the end of the exhibition, In the Name of the Repose describes a collapse of the building that is similar to the end of life, and the desires and emotions hidden within the building cease as the destruction proceeds.

Indifferent Sélavy creates a secluded room that is on the verge of destruction. Through the entrance of ambivalent and melancholic characters, including Sélavy, Nadja and Dora, it depicts feelings of repression, wanderings, indifference and alienation, as well as a crazy passionate state that stands opposed to the outside world. The wanderers in the room truly belong to the contemporary age. They are misfits and incapable of adapting to the times. However, dissent and dark marginal zones actually open up the possibility of escape from the present chaos, just like the way madness opens a way out.