Production of Senses：When Knowledge Becomes Attitude
2012-05-11 ~ 2012-07-08
Curator: Hongjohn Lin
Participant Artists： (*alphabetically)
Chang Cheng-Jen,Chang Chia-Yu, Chang Nai-Wen, Chang Tzu-Lung, Chao Yu-Shiu, Chen Kai-Huang, Chen Shiau-Peng, Chen Shu-Ming, Chen Wen-Chi, Chen Wen-Hsiang, Chu Bai-Jing, Chu Teh-I , Hsu Hsun-Wei, Huang Chien-Hung, Juan I-Jong, Kuo Hung-Kun, Kuo Wei-Kuo, Ku Ho-Chung, Lai Chi-Man, Lai Chiu-Chen, Li Hsiao-Kun, Li Kuan-Yu, Li Yi-Hong, Lin Chang-Hu, Lin Hsing-Yueh, Liu Hsi-Chuan, Mei Dean-E, Pan Hsin-Hua, Pan Ping-Yu, Tsai Ken, Tung Chen Ping, Yang Kai-Ling, Yao Jui-Chung, Ye Chu-Sheng, Wang Chih-Wen, Wu Mali
One of major cultural agencies which plays a significant role in art system is the higher education. In comparison to the normal knowledge production, the artistic knowledge, which has spanned from modernism since the early nineteenth century，carries a different mode and its institutions. The academicization of art and the artistic knowledge, without the rational and empirical aspects commonly found in the normal knowledge, emphasize what the senses can produce and create different disciplines which seek a unique experience from within-- an new epistemology open for discursive space. Since the current flexible economy of post-Fordism flourishes from the late twentieth century, the production of art knowledge, as the founding of MFA and Ph.D. programs in art academies, generates double folded trajectories -- becoming academia and becoming knowledge as well. Artistic knowledge always needs to combine theory and praxis in a paradoxical method and logic, which can be seen as a politic side of knowledge.
As globalization goes, the systematization and capitalization of art knowledge accelerate in an unprecedented speed not only in transgressing what can be defined as disciplines, but that as cultures. Therefore, the shift of the subjectivity of art occurs in the process of cultural translation, and therefore a new deployment of social, economic, and cultural capitals through exchange and accumulation can mark what defines as contemporary art today where new forms of knowledge engenders. Importantly, art practice itself presents an authentic experience, from which the art pedagogical action constructs an interdisciplinary approach begetting an epistemological glides.
If what Herald Szeemann said about “attitudes become form” is true, then it is no less true that artistic knowledge becomes attitude through its sensible production. In relation to the art system today, what is the special trajectory of artistic knowledge? The artists and educators in this exhibition will be asked to realize their ideas in the special realm where knowledge can still be lack of its proper name，a binary production happens in works as well as in actions.