展覽／《 紙的第四人稱 》
Exhibition: The Fourth Person of Paper
《 紙的第四人稱 》是呼應本次駐校藝術家計畫所推出的展覽。透過吳耿禎、Tim Budden兩位駐校藝術家在政大的校園空間：四維堂、圖書館、電算中心藝廊、藝文中心大廳以及藝文空間所進行的創作與作品展演，形塑包含「第一人稱：創作」、「第二人稱：觀看」、「第三人稱：傳承」等三組展區、一個整體的展覽脈絡。本展覽揭示藝術家們如何透過剪紙作品，回應並回望自己身為創作者的內心記憶、如何設想觀者的觀看方式、以及在紙藝教育上所關注的重點等三面向的創作脈絡。讓人稱的視角在不同展場與校園空間中自在發生與流動。
The Fourth Person of Paper is the exhibition that designed with the artist-in-residence program in mind. By stationing the spaces on campus including Si Wei Hall, the main library, Computer Center Gallery, the entrance hall and gallery of the Art and Cultural Center, the works and performances of artists Jam Wu and Tim Budden are separated into "First Person: Creativity," "Second Person: Observation," and "Third Person: Legacy." The overall curatorial context of the exhibition reveals how the artists respond and reinspect their memories, how they envision the perspective of the viewer, and the focal points of paper art education, allowing varying personal perspectives to interact and collide within the different campus spaces.
表演／《 樂人講彈會—羅思容 》 ft. 吳耿禎
Performance: An Encounter with the Musicians - LO Si-Rong ft. Jam WU
2018年出版的《 落腳 》專輯是音樂人羅思容十餘年來，以歌詩行吟台灣各地，藉由遷徙者紮根大地的敘事視點，融合客家及在地的音樂美學，譜寫出當代客家民系的多元混聲。此次的專輯與剪紙藝術家吳耿禎合作視覺設計，從封面至內頁，吳耿禎由民間出發，凝鍊著一股詩性和原生性，以山林河流的脈動與宛如大地母神的肉身交互為素材，樸野而具詩性的民間藝術造型，激盪出野性思維的想像空間，而羅思容透亮蒼勁，宛如大地女巫的曠野嗓音，來回穿行在吳耿禎輕靈而野闊的山水之中，恰好和《 落腳 》的混聲與回音，交織成一張流轉著聽覺與視覺、人文與自然、地方與世界的音樂專輯。
The album released in 2018, We Settled Here, is a collection of the works by musician LO Si-Rong. For more than a decade, she has visited different corners of Taiwan and performed her music and poetry. From the perspective of settlers and how they settle and stand tall on the land they call home, this album is a fusion of Hakka and local music aesthetics, rendering a multi-faceted representation of modern Hakka community groups. The visuals of this album is designed by papercutting artist Jam WU. From the cover to the interior design, WU masters the poetic and primitive natures from the folk culture, and intertwines the pulse of mountains, woods, and rivers with the body of land that resembles the mother goddess for all. This foundation is accompanied by plain yet poetic folk art styles, sparking off ample room for imagination in one’s wildest thinking. LO’s penetrating, husky voice resembling that of the witch of wilderness is chanted in the spiritual, primal mountains and rivers created by WU. This mixture coincidentally blends extremely well with the mixed voices and echoes of the album, presenting an acoustic and visual, cultural and natural, local and global festival of music in this fantastic album.
表演／《 白色說書人 》示範演出 ft. Tim Budden
Performance: White Storyteller Lecture Performance ft. Tim Budden
同黨劇團於2017年首演的《 白色說書人 》以台灣戒嚴時期白色恐怖事件為背景，從俠義故事中的角色廖添丁引出一連串關於自我的生命經歷。由資深劇場創作者邱安忱擔任獨腳戲演員，並邀請二位布袋戲操偶師吳榮昌與黃武山同台演繹。此外，也邀請英國藝術家Tim Budden創作剪紙作品投影，呈現劇中主角幼時無憂生活；亦特別為戲創作鐵絲作品，借由鐵絲的凹、折、扭轉、纏繞，融合道教地獄意像，映照白色恐怖事件裡受難者的恐懼與創痛。Tim結合西方與東方風格的作品，提供劇作在舞台上另一種立體想像。同黨劇團以現代戲劇、傳統布袋戲與剪紙藝術構築《 白色說書人 》的戲劇骨肉，讓傳統與現代相遇、東方與西方對話。
White Storyteller, premiered in 2017 by the Party Theatre Group, is based on White Terror incidents during the period of martial law in Taiwan. A legendary Taiwanese Robin Hood figure, LIAO Tian-Ding, conducts series of soliloquies about his own life experiences. Portrayed by the senior theater artist CHIU An-Chen, the sole character in this one-man play is joined by palmardrama puppets manipulated by two puppetry masters, WU Rong-Chang and HUANG Wu-Shan. In addition, Welsh artist Tim Budden is also invited to create papercutting works for light projection to represent the carefree life of the protagonist in the childhood. Besides the papercutting works, wire bending artworks are also specially made for the play. The wires - bent, folded, twisted, and intertwined - allude to the imageries of the Taoist hell, and capture/recreate the fear and trauma suffered by the victims of White Terror. In this play, Budden blends the styles of the East and the West and provides an alternative, three-dimensional sort of imagination in this play. The Party Theatre Group’s successful blending of modern drama, traditional puppetry, and papercutting in the play White Storyteller, in many ways, opens the floor for the traditional to meet the modern, and henceforth a dialogue between the East and the West unfolds.