Knowledge Should Be Priceless
知識無價


lowlivesposteraacART.ZIP: How would you describe this project, political activity or art practice?

PS: It’s really a good question. I would say that it is both and both elements are intrinsic in to how the Alternative Art College functions. The AAC attempts to question the dominant power, and then producing a space with a selection of shared experiences that can develop learning practices in a more open and discursive form. At the same time the Alternative Art College is my art practice, so I am constantly combating that relationship you have between making work and producing an open space. My commitment to the concept may not always be represented by the work as commitment is not a category of art. I do feel very protective of the AAC as it is my ‘making’ process but this alongside the values of the AAC to be collective and open produce to opposing positions. To combat this,I have found ways of dealing with that by the making process focus on the production of posters, and publications, and I was able to release that relationship through those, and then keeping the context and ideas open.

I would say the AAC is a politically active art practice, maybe.

ART.ZIP: 你怎麼定義AAC這個項目呢?是一個政治行為還是一次藝術實踐呢?

PS: 這是一個很好的問題。我想說這兩方面都有,而且這兩方面是根植于AAC的功能層面的。AAC是對主流的聲音提出質疑,並且開發出一個共享體驗的區間,來開發更開放更具有交流性的學習和教育實踐。同時,AAC是我個人的藝術實踐,因此我必須協調我自己的藝術創作和AAC這個開放空間之間的關係。我對觀念的信守往往不能通過作品來呈現,因為這種“對觀念的堅守”並不是藝術的範疇。作為我“生產”的一部份,AAC是具有保護性的,同時它的意義在於,在兼容并包的開放性之下對對立的系統產生影響。為了協調這些問題,我不得不找出方法來解決,通過製作海報和出版物我可以同時保持AAC的理念和開放性,同時完成我的個人創作。

或許我可以說AAC是一個政治行為的藝術實踐項目吧。

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ART.ZIP: How does AAC run? What kind of practice is it like?

PS: At present the Alternative Art College does not have a constant physicality and our events and projects happen sporadically. When I started the AAC I wasn’t really aware what was happening. It started as a protest as an undergraduate university project in itself where we turned five students accommodation houses into our ‘university’ campuses. We lifted our practice out of our art college and moved them into students’ houses, and used that as a navigation to relocate a space where we could remove the power relation of higher education. So its the home that creates a different atmosphere, a more personal context , more informal space for learning. At the start, there were talks, common assemblies, art exhibitions in these spaces and all bits of pieces for a period of three months, basically. And then I think there’s a dramatic shift where the AAC went from rather than trying to offer learning classes or whatever they were as the practice in a move onto questioning what is education, treating learning as an experiment. This form is looking into pedagogical approaches, and moving back into questioning those processes and creating work from that. I guess that’s what a lot of our work has been for the last couple of years and now it’s kind of move on to not so much of a physical happening but a series of conversations using the blogs and tweeter feeds as dissemination points.

I think in this way, the AAC bridges digital media with grass root activities and creative platforms, focusing specifically on the development of alternative education discourses.

ART.ZIP: AAC是如何運作的呢,它到底是怎樣的一種實踐?

PS: 現在AAC並沒有一個實體或者物理空間,我們組織的活動和項目都是比較鬆散的。我創立AAC的時候還並沒有意識到到底發生了什麼。開始的時候就是一個大學本科期間的抗議活動,我們將5間學生宿舍改造為我們“大學”的校園。我們把自己的實踐從藝術學院轉移到學生宿舍,通過這種形式,我們解構了高等教育和學校空間之間的關係。在那裡,我們開創了不一樣的氛圍,更個人化的上下文關係和更隨意的學習空間。在開始的時候,我們在這裡舉辦講座、討論、集會以及藝術展覽,基本上在那三個月時間裏就是這樣,各種各樣的事情。後來,AAC項目的發展發生了戲劇性的變化,它從嘗試提供學習空間和課程轉變為探討和質疑什麼是“教育”的本質。“將學習作為一種實驗來對待。” 這種形式開始進入到教育學研究的範疇,而且返回到對過程的反思並且開始就這個問題進行藝術創作。我猜這也是近些年來我們很多工作的重心,而且這也是為什麼我們並沒有舉辦太多實打實的活動而是舉辦了一系列的討論,并很多運用博客和推特等手段的原因。

通過這種方式,我覺得AAC建構了一個根植于基層的創意平臺,來着眼於對可替代性教育問題的討論和發展。

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