AWARENESS-S.A. performance art Q.M 愛為派南方行動藝術季會
愛：喜愛，為：行為。行為藝術家最困難的地方就是發表的機會，2020年由資深藝術家劉寅生發起，與行為藝術家陳怡儒與徐敏思，一起執行這個以“實作”為目標的聚會。
由於2020年全球瘟疫，讓行為藝術的交流變成了以線上即時或者影片的形式來表現，“愛為派”也將以這為目標，藉由每季聚會拍攝行為影片，以網路發表為途徑。
“Ai”~love, “Wei”~ action. The most difficult part of performance artists is the opportunity to introduce their works to the public . In 2020, senior artist Craphone Liu initiated this gathering with performance artists Chen I Ju and Hsu Min Szu to implement this performance gathering.
Due to the global plague in 2020, the exchange of performance art has become expressed in the form of online real-time or video. “Ai Wei” group will also aim at this~Shooting performance videos and using online publication as a way.
2023 Spring edition 春季號
時間：2023年 2月24日
地點：高雄仁大工業區 半屏湖濕地
Date: 24th Febuary, 2023
Venue: Renda Industrial Park, Banping Lake Wetland Park
「愛為派~拜訪藝術家」 no.3
Yeon Jeong原本從事影像創作，但在一次韓國行為藝術回顧展的表演裡，看到資深到年輕藝術家的表演而有震動。於是她開始用自己的身體，投入了行為藝術的創作裡，她形容：好像活了過來！且相對於在電腦前剪輯影片這樣“死板”，行為藝術滿足了她對於事物情感的訴求。走遍亞洲及世界各國行為藝術節，她的行為創作旅行繼續著。
“Aiwei Group~Visiting Artist” no.3
Yeon Jeong was originally engaged in video art creation, but in a performance at a Korean performance art retrospective, she was touched to see the performances of senior to young artists. So she began to use her body to devote herself to the creation of performance art. She described it as if she came alive! And compared to the “rigid” editing of videos in front of the computer, performance art satisfies her emotional appeal for things. Traveling to performance art festivals in Asia and around the world, her performance creation journey continues.
那個下午，我們前往仁大工業區，因為Yeon Jeong看到工廠很有感覺，剛好十字入口有一個天橋，我們決定上天橋去看是某能夠拍攝。雖然忘了帶廣角鏡頭，但在有限的鏡頭區域裡面我們還是決定在這邊做個人的行為作品。
環境的噪音相當的大，加上呼嘯而過的工業車輛，可能是讓這幾個行為變短的原因。在沒有現場觀眾的情況下，我們似乎回應著這個環境帶來的不安全感。
最後一個集體行為，我們去了Yeon Jeong建議的半屏湖濕地公園，這個地方就是高雄半屏山旁的一個人工蓄水池，我們抵達之後發現因缺水而整個乾涸。不過我們都很興奮，感覺好像在都市裡發現了異世界，我們在這邊做了集體行為。
That afternoon, we went to theRenda Industrial Park, because Yeon Jeong felt very impressed when he saw the factory, and there happened to be an overpass at the cross road, so we decided to go up the overpass to see if it was possible. Although I forgot to bring a wide-angle lens, we still decided to do personal performance here in the limited lens area.
The ambient noise is quite loud, coupled with the whizzing industrial vehicles, which may be the reason for the shortening of these performances. In the absence of a live audience, we seemed to be responding to the insecurities that this environment creates.
For the last performance of that day, we went to the Banping Lake Wetland Park suggested by Yeon Jeong. This place is an artificial reservoir next to Banping Mountain in Kaohsiung. When we arrived, we found that it was completely dry due to lack of water. But we were all very excited, it felt like we had discovered a different world in the city, and we did a collective performance here.
2023 Late Spring edition 晚春號
時間：2023年 4月19日
地點：台南新化區,新化體育公園
Date: 19th Aril, 2023
Venue: Xinhua sport park, Xinhua District, Tainan City
在這一天，我（劉寅生）和敏思來到了台南新化區，拜訪了資深行為藝術家葉子啓。一開始，我們聆聽她如何開始從事行為藝術的經歷，然後她給了一些建議給想要投身行為藝術創作的藝術家。中午，我們在新化老城區一個改建自歷史建築的餐廳用餐。吃完後，我們來到附近的“新化體育公園”拍攝本期的行為作品。
我們注意到公園裡吵雜的聲音，以及具有政治象徵的戰車和司令台等元素。當有人在籃球場使用吹葉機時，葉子啓立刻有了靈感，開始了第一個作品。她運用簡單的道具和現場狀況，創造出一個奇特且超現實的畫面。
第二部由我（劉寅生）在戰車前進行。第一部分利用太陽光進行反射動作，最後我在身體上用番茄醬寫下“Free”。然而，由於番茄醬流動性很強，無法形成完整的字樣，看起來更像是“Peace”。在戰車前進行這樣的動作意味深遠。
第三部分由敏思完成，她選擇了一個長椅作為道具。當年輕人在後方打籃球時，她在擦拭著藍色的鐵製長椅，直至結束。
最後，我們在司令台上進行表演。在這個鏡框式舞台結構上，任何動作都具有“表演”的意味。後來，有一群年輕人經過，他們紛紛討論，認為我們在表演默劇，相當有趣。
我們度過了愉快的一天。在拜訪藝術家系列中，我們一直以自然輕鬆的方式交流行為藝術。但我們發現，每位藝術家的生命主題都不同，這也體現在我們當天拍攝的每個行為藝術影片中。通過與不同的藝術家交流，我們可以更深入地了解他們的創作理念和創作歷程，這對於我們自己的藝術成長也是非常有幫助的。
這次的拜訪和探討讓我們對行為藝術有了更多的體悟，我們期待著未來繼續與更多的藝術家建立聯繫，共同探索藝術的無限可能。
透過這樣的經歷，我們希望能夠將更多的藝術家和他們的作品介紹給更廣泛的觀眾，讓更多的人了解和欣賞行為藝術這個獨特的藝術形式，並激發更多的創意和想法。
On this day, I (Craphone Liu) and Hsu Min-Szu visited the senior performance artist Yeh Tzu-Chi in Xinhua District, Tainan. At first, we listened to her experience of how she started to engage in performance art, and then she gave some advice to artists who want to devote themselves to performance art creation. At noon, we had a meal at a restaurant converted from a historical building in the old town of Xinhua. After the meal, we went to the nearby “Xinhua Sports Park” to shoot this episode’s performance piece.
We noticed the noisy sounds in the park and the politically symbolic elements such as tanks and command platforms. When someone used a leaf blower on the basketball court, Yeh Tzu-Chi immediately got inspired and started the first piece. She used simple props and the on-site situation to create a peculiar and surreal scene.
The second part was performed by me in front of the tank. The first part involved using sunlight to create a reflection, and the last part involved writing “Free” with ketchup on my body. However, due to the fluidity of the ketchup, it could not form a complete character and looked more like “Peace”. Performing such actions in front of the tank carried a profound meaning.
The third part was completed by Hsu Min-Szu who chose a bench as her prop. While the young people were playing basketball in the background, she wiped the blue iron bench until the end.
Lastly, we performed on the command platform. On this mirror-framed stage structure, any action carries the meaning of “performance.” Later, a group of young people passed by and discussed among themselves, thinking that we were performing a mime, which was quite interesting.
We had a delightful day. In the visiting artist series, we have always communicated about performance art in a natural and relaxed way. However, we found that each artist’s life theme is different, and this is also reflected in every performance art video we shot that day. By interacting with different artists, we can better understand their creative concepts and the creative process, which is very helpful for our artistic growth.
This visit and discussion gave us a deeper understanding of performance art, and we look forward to continuing to connect with more artists in the future to explore the infinite possibilities of art together. Through these experiences, we hope to introduce more artists and their works to a broader audience, allowing more people to understand and appreciate the unique art form of performance art, and to inspire more creativity and ideas.
2023 Summer edition 夏季號
時間：2023年 7月17日
地點：台南 漁光島
Date: 17th July, 2023
Yuguang Island, Tainan City
2023年真是豐富的一年，七月由韓國藝術家Yeon Jeong所策劃的“無人島～<무인도- 신체와 전쟁 /無人島—戰爭與身體/ 無人島ー戦争と身体 Uninhabited island- War and Body>，台灣場即在台南進行，而武谷大介則是這次被邀請的行為藝術家。
武谷大介來自日本石卷市，相信如果你有注意日本311大地震，石卷市受到的破壞是相當驚人。而這一次，我們決定一起到台南的漁光島，在颱風的影響下，海浪相當大，且風也不小。我們可以看到武谷大介的每個動作，都似乎有著某種細緻與”儀式”性。每個行為藝術家總是必須製造他們自己個人的宇宙，而武谷大介則是製造出一種安靜但卻張力十足的宇宙。
2023 was indeed a fruitful year. In July, the event titled “Uninhabited Island – War and Body” (Korean: 무인도- 신체와 전쟁; Traditional Chinese: 無人島—戰爭與身體; Japanese: 無人島ー戦争と身体) was curated by the South Korean artist Yeon Jeong. The Taiwan event took place in Tainan, and one of the performance artists invited for this occasion was Daisuke Takeya.
Daisuke Takeya hails from Ishinomaki City in Japan. If you’re familiar with the devastating earthquake of March 11, 2011 in Japan, you’d know the substantial damage Ishinomaki City endured. For this occasion, we decided to visit Yuguang Island in Tainan. Under the influence of a typhoon, the sea waves were massive, and the wind was not mild. We could observe that every movement of Daisuke Takeya seemed to possess a certain delicacy and a “ritualistic” nature. Every performance artist always needs to create their personal universe, and Daisuke Takeya has crafted one that’s quiet yet brimming with tension.”
Note: The translation provided tries to maintain the essence and tone of the original content, but some nuances may differ.