偽（為）檔案計畫：吳建興的創作

我的創作始於一個自我探索的動機，以對時間和記憶的好奇心透過創作轉換個人經驗記憶的方法，作為生命經驗轉換的媒介。自2009 年起的創作，是一段自我尋訪的旅程，從《愛美計畫》中透過性別轉換來對身份認同的探索，《家庭記憶》、《黑手》、《鋼鐵蒼穹》一系列作品回到南投家鄉修車廠，在家族產業中尋找舊時記憶，並進一步思考重新表述與轉換。運用傳統修車技藝改造報廢車輛而成的沙發，來探討產業延續與更新的可能性。使用家族裡流傳下來的農務用具，將它們重新組裝在樹木上，傳達傳統家族生命力的《鐵木》。在作品中我運用大量的「家庭物件」書寫著自身的家族記憶。將這一系列物件序列攤開，我們會發現它們竟串接起普遍在台灣現代化歷程中的中產階級家庭史。而《情定終生》是我於台北市立美術館的個展計劃，是自身面對「個展」作為一個呈現自身實踐被觀看的媒介的意義下，除了延展2011 年到2016 年間創作中的探討與關注，同時亦是將自身生命課題作為一種觀看對象的迴轉，一個將個體的生命關係轉換成為美學姿態的嘗試。試圖讓第一次個展不僅是作品回顧、再現與再脈絡化，而是展現的本身即是生命過程的一部分，透過在美術館公共機制裡促成對更多生命經驗的邀約。本文將聚焦在2011∼2016 的創作，從自我觀看�家族�記憶�回收�循環�日常物件�儀式等關鍵字進行思考，試圖從中牽引出一條套過創作達到自身關照的脈絡，以及其與時代環境變化之間的交織關係，作為一種開啟個人與歷史之間對話與談論的可能。

關鍵字

自我觀看,家族,記憶,回收,循環 ,日常物件,儀式

並列摘要

My works are motivated by self-exploration. By creative methods which reform personal empirical memory, I convert my curiosity about time and memory into a medium that transforms life experiences. Projects that I've worked on since 2009 have been a self-searching journey. "Get Dolled Up" is an exploration of identity through the transformation of gender. For the series "Family Memories", "Black Hand","Iron Sky", I returned to my father's auto repair factory in my hometown, Nantou, Puli,to seek for old memories of the family industry, and to further reflect onreinterpretation and transformation. By using traditional repairing techniques to transform scrapped vehicles into a sofa, I explore the possibility of continuing and improving the industry. In "Iron Tree", agricultural tools handed down in the family were reassembled and embedded in wood to convey the vitality of the traditional family. In these works, I use a lot of "domestic objects" to inscribe the memories of my own family. When these objects are sequentially spread out, we will discover that they,in fact, interweave the histories of the average middle-class family in the context ofTaiwan's modernization. "The Endless Ties of Love" was a solo exhibition project that took place at the Taipei Fine Arts Museum. Apart from extending the discussions and concerns in my projects between 2011 and 2016, it was also a process of converting one's rite of passage into an object for viewing, and an attempt to transform individual relationships into an aesthetic form, addressing the significance of the solo exhibition as a medium for self-expression. It was an endeavor to see the first solo exhibition as not only a retrospective, representation or re-contextualization, but also as part of life, and to draw more life experiences through the facilitation of the museum's public mechanism. The publication will concentrate on the works in between 2011 to 2016, ruminating on keywords such as self-observation / family / memory / recovery / recycle / everyday objects / ritual and others. In order to instigate possible discussions and dialogues between the individual and history, it is an attempt to extract a context regarding the self and the intertwined relationship with the era and environmental change through creative practice.