何以「與正本相符」？

在某些特定的情況下，常見以「與正本相符」來說明影本等於原件文本，具備其同等效力。既使本質已不再是原件，卻可因複製機器的再生產，以及蓋上「與正本相符」之印戳，獲得如原件一般實質的證明基礎。就如同人們總是習慣將「真實的檔案」與「真實的記憶」放在某個不可被質疑的等號之上，往往高度關注過去記憶的真實性，深信檔案的存在，能為已逝的記憶提供有效的收納與保存。然而，檔案所呈現的就是過去的全貌？提供「與正本相符」的真相？由於檔案的有限性，使得我們終究只能積極卻徒勞、不可避免的「碰觸」回到真實的行動。檔案「再現」真實的過程，我們獲得了什麼？喪失了什麼？

本次展覽《與正本相符》議題的重返，為藝術家雙人組「太認真」在今年度開啟一連串對於檔案議題的探討，再續《不夠歇斯底里的檔案化》與《不對外開放》中觸及檔案式創作命題所揭示真實的可能，檢視檔案的歸納與書寫狀態。關於第一檔展覽計畫《不夠歇斯底里的檔案化》，「太認真」從反身觀看自己的創作空間轉換與探查開始，進行清點與歸檔，接著在朱銘美術館展開《不對外開放》展覽計畫，將朱銘美術館作為檔案對象，思考藝術家與美術館之間的檔案紀錄與提取，從過程當中發酵藝術的內容，進行檔案的現地製作，探究檔案內容所揭示的時間性。而此次更進一步試圖將創作者的作品作為檔案對象，一同追逐過去真實的「此曾在」。這群對象來自我們自身過往所熟悉的創作道路，並思考在獲得「與正本相符」的認證之前，究竟這些出現在展覽現場的作品，是否能取代原件成為新的真實？作為作品的檔案，是否能成為作品？而作品也將成為檔案？

 

 

How to identify ‘certified copy’?

Certified Copy( Nanhai Gallery) deals with a returning issue from artist duo Working Hard’s previous exhibitions Certified Copy(OCAC) and Not Open to the Public, and opens up a series of discussions in this year about the archive. Through an archival practice Working Hard reveals a possible reality through an examination of the conditions of writing, interpreting and concluding. In their first project Certified Copy(OCAC), Working Hard looked at transforming of the space their practice, through a process of self-examination, checking and cataloguing. In the following exhibition Not Open to the Public, the artists turned the Juming Museum into the archive object itself, through the records generated between artists and the museum. Throughout the process of artistic fermentation, the site-specific installation is illustrated through an archive that looks to revealing the temporality of both collection and archive. In this exhibition further achieve the artists archive their own work tracing a ‘once’ reality to its origins. These objects come from the artists’ own practices that before being granted the stamp of ‘certified copy’ they consider if they can replace the original as a new or becoming reality? Can it become a work as an archive? Or can work become an archive?

In some certain situations, a ‘certified copy’ is often seen as equal to the original and equipped with the same qualification. Even the essence no longer belongs to the original; it can be mechanically reproduced and be stamped as a certified copy thereby obtaining the proof as an original. It is as if people consider ‘a real archive’ and ‘a real memory’ to be indisputably equal, and highly regard the reality of memory from the past. The existence of an archive is strongly believed as an efficient and incontrovertible cultural preservation of failing memory. However, does an archive present the past landscape? Does it provide the reality of a certified copy? Due to the limitations of the archive, people ultimately ‘approach’ the return to reality inevitably, fruitlessly. What do we gain through the process of archiving as ‘representing’ reality? And what do we lose?

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Artist | Working Hard (Kuo Po-Yu, She Wen-Ying)
Date | 2016.05.05~05.15, Wed.–Sun. 14:00–21:30pm(Closed on Mon. and Tue.)
Venue | Nanhai Gallery ( No.3, Lane 19, Sec. 2, Chongcing S. Rd., 
Jhongjheng District, Taipei City 100)