《 #籠罩下的巨大哀愁 》
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A Dark Cloud of Sorrow Looms Over

by Yu-Jun LIN

Late mornings and sleepless nights. Frustration. Anxiety.

They seem to have infiltrated our consciousness and entered our dreams. We recognize the shape of eaves, the folding line of streets, and return to our dwelling coordinates where we hide and live. We see restless men and women in full feather wandering through the brightly-lit city and then sitting shoulder to shoulder with countless strangers, between countless walls.

In the 1970s, urbanism started paving its way into Taiwan. Bidding farewell to the landscape of an agricultural society, life thus became crowded and repressive in cities. The meaning of “urbanism” does not merely lie in towering skyscrapers but in altered landscapes, living conditions, isolation and loneliness as well as increasingly complex social issues. Submerged in the capitalist system, every person has been assumed as a tiny component, whose labor force is needed by the whole mechanism, but not with one’s individuality as well.

However, the construction of liberalism constantly reminds us of our own subjectivity, along with the importance of being viewed as a whole. Such contradictory values leads to extreme unease and confusion that keeps building up and ceaselessly floods our minds with external chaos. As worries that never subside loom over us, we are forced to retreat to our dwellings, where we are perfectly alone, and safe. We can uninhibitedly be ourselves – yet under the lingering dark cloud of sorrows.

Frustrating questions as “Who am I?” seem to return in lonesome nights, invariably. When night falls, myriads of dazzling lights glisten in innumerous windows at the near distance. Gazing into the dreamlike, transient light, we recall things we hope to seal for good in our troubled mind. We question again and again, about what role we should be playing to integrate into the society but still maintain the integrity of our own subjectivity.

A Dark Cloud of Sorrow Looms Over features eight selected pieces and delineates the question of how people, as individuals, should coexist with others, a question deriving from urbanites’ perceptual conflicts experiences.

Zheng Er Qi | People
“People” mirrors the phenomenon of Taiwan’s transition from being an agricultural society to city since 1970. It precisely portrays everyday urbanity that people nowadays are familiar with: Although millions of people reside on one spot, their recognition of one another fails to grow with urbanization, despite the presumable nearness.

Chung Chih Ting｜I Am by Your Side
With the explanation by an offscreen sound and the roleplay image, “I Am by Your Side” depicts how urbanites try to be in company, revealing people’s natural urge for social connection. Yet it ends up to be talking to oneself or pointless mumbles, simply a futility of communication.

Wu Bo Sian | Chimps with Mona Lisa’s Smile
In the video, the chimpanzees form a spectacle, say, abnormality, in a seemingly normal context. “Chimps with Mona Lisa’s Smile” is a response to conflicts between public administration and individual freedom, zooming in on the contradictions or constraints between all the intervenable and the non-intervenable in everyday scenes.

Wang Ding Yeh | One-One
“One-One” depicts how people try to maintain an intact, rational space of survival while sometimes fail to avoid transgressing, under limited resources in a highly competitive society. With much precision, it captures the specific default interpersonal distance, and poses the question: How should each person navigate to find the best living posture at the moment?

Tsai Jie | When the Dust Settles
“When the Dust Settles” shows people restlessly beating on a possible exit to get out. However, does such an exit really exist? Or is it simply a delusion stemming from one’s untamable impetuosity? The work reflects the desolation of men and women, who are rumbustious, but aimless.

Huan Yen Chiao | 1, 2, 3. Are You Already in Hiding, Fish?
Fish in the bowl resembles people trapped in cities: extravagant outfits, splashing neon lights; sensational visual effects indeed. “1, 2, 3. Are You Already in Hiding, Fish?” presents how people escape from their anxiety and weariness for the time being. The work highlights the entire incompatibility and a sense of solitude after one’s subjectivity is highly developed.

Wong Shu Lian | I found myself floating and sinking down once in a while
The work addresses the enduring controversy between liberalism and capitalism that have been engendering people’s inner conflicts. It captures one’s self-doubt and angst in a profound way while, by exploring how to determine one’s best position, raises the ultimate question – Who are we after all?

Chen Chia Jen | SWEETWATER
“SWEETWATER” was born under Chen’s reflections during his artistinresidence experience in Southeast Asia. Between people living in urban and rural areas, there is a grand difference of perspectives, regarding how to survive and live a good life. It implies the fact that the widely-recognized future image, constructed by our society, might not be as clear or real as it seems, or perhaps what people accepted is simply a vague, even somehow out-of-focus, prospect.
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《籠罩下的巨大哀愁》展覽資訊
展覽日期｜2021/08/07(Sat.) ─ 09/12(Sun.)
展覽地點｜台北當代藝術館廣場電視牆 MoCA Plaza LED TV Wall
播映時間｜ Mon. ─ Sun. 16:00-21:00

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美國獨立宣言-開國元勳嘅初心

"We hold these truths to be self-evident, that all men are created equal, that they are endowed by their Creator with certain unalienable Rights, that among these are Life, Liberty and the pursuit of Happiness."
（我們認為下面這些真理是不證自明的：人人生而平等，造物主賦予他們若干不可剝奪的權利，其中包括生命權、自由權和追求幸福的權利。）

"That to secure these rights, Governments are instituted among Men, deriving their just powers from the consent of the governed,—That whenever any Form of Government becomes destructive of these ends, it is the Right of the People to alter or to abolish it, and to institute new Government, laying its foundation on such principles and organizing its powers in such form, as to them shall seem most likely to effect their Safety and Happiness."
（為了保障這些權利，人們才在他們之間建立政府，而政府之正當權力，則來自被統治者的同意。任何形式的政府，只要破壞上述目的，人民就有權利改變或廢除它，並建立新政府；新政府賴以奠基的原則，得以組織權力的方式，都要最大可能地增進民眾的安全和幸福。）

"Prudence, indeed, will dictate that Governments long established should not be changed for light and transient causes; and accordingly all experience hath shewn, that mankind are more disposed to suffer, while evils are sufferable, than to right themselves by abolishing the forms to which they are accustomed."
（的確，從慎重考慮，不應當由於輕微和短暫的原因而改變成立多年的政府。過去的一切經驗也都說明，任何苦難，只要尚能忍受，人類都寧願容忍，而無意廢除他們久已習慣了的政府來恢復自身的權益。）

"But when a long train of abuses and usurpations, pursuing invariably the same Object evinces a design to reduce them under absolute Despotism, it is their right, it is their duty, to throw off such Government, and to provide new Guards for their future security."
（但是，當政府一貫濫用職權、強取豪奪，一成不變地追逐這一目標，足以證明它旨在把人民置於絕對專制統治之下時，那麼，人民就有權利，也有義務推翻這個政府，並為他們未來的安全建立新的保障。）

#4thJuly

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The origins of ‘fool’

Wednesday is April 1, when people in many countries worldwide celebrate the custom ( ) of “April Fool’s Day.” On this day, they play pranks ( ) on each other, the pranksters gleefully ( ) calling those hapless ( ) enough to fall for ( ) the joke an “April Fool.”

Nobody really knows for certain ( ) when, where or why the custom started. We have more certainty over the origins of the word “fool” itself, although some details remain unclear.

The word, which refers to ( ) a silly, stupid, or ignorant ( ) person, is thought to originate ( ) in the early 13th century, deriving ( ) from Old French fol, meaning a madman or insane person. The French word, in turn, comes from the Latin follis, meaning a leather bag or a bellows ( ) and, by extension later on, an empty-headed ( ) person.

Fool also referred to a rogue ( ) or a sinful ( ), wicked ( ) or lecherous ( ) person — around 1300, a “fool woman” meant a prostitute ( ), for example — and also a court ( ) jester ( ), a person whose purpose was to entertain ( ) the king and court, whether because they were pretending to be buffoonish ( ) or whether they actually were like that.

One theory is that the idea of the court jester “fool” derives from folles — the plural form of follis (bellows) — referring to the puffed cheeks of a buffoon.

It is unclear which sense came first, that of the idiot or the jester.

「愚人」的起源

下週三是四月一日，許多國家的人在這天都有過「愚人節」的慣例，互相捉弄，惡作劇的人樂不可支地把那些不幸被騙倒的人稱作「April Fool」（四月的愚人）。

沒有人能確知愚人節這習俗到底是在何時、何地或為何開始的，但我們對「fool」（傻瓜）一字的由來比較能夠掌握多，儘管有些細節仍不甚明瞭。

「fool」這個字，現今指的是傻氣、愚笨或無知的人，通常被認為是源自十三世紀初期的古法語字「fol」，意指瘋子或精神失常的人。而這個字又是源於拉丁文「follis」，意為皮製的袋子或風箱，後來引伸為腦袋空空的人。

「fool」亦指惡棍或有罪、惡毒或淫蕩的人──例如在西元一三○○年左右，「fool woman」指的是妓女，亦指弄臣，也就是在宮廷中負責娛樂國王和朝臣的人，無論這些弄臣是故意裝瘋賣傻，還是本來就如小丑般滑稽。

有一說則是認為，「fool」字的「弄臣」之意，是源於「folles」──即「follis」（風箱的拉丁文複數形）──指的是小丑鼓脹的臉頰。
「fool」一字是先有「傻子」之意，還是先有「弄臣」之意，我們並不清楚。

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