| Summary: | 碩士 === 國立臺北藝術大學 === 藝術跨域研究所 === 102 === In my experience of the project called “Happy Mount Drink”, I have been as an outsider in Happy Mount Colony which takes care of the disabilities. My concern about socially engaged art are how participates in this colony and what the position for the meaning of social practice. After reviewed the working process on this project, I reflect on participatory art which refers to the use and misuse of political participation: if “participation” becomes to complicity with dominant power structure and is viewed as the process of political correctness, how to re-think regarding of the meaning of “participation” in art practice? Thus, I attempted consider “collaboration” to connect art in society from the relationship with the co-author. The idea of the project named “Mothers’ Textile” is to collaborate with my mother. Under the influence of Textile Playing Workshop, my mother built up her women’s subjective consciousness from reviewing and sharing the story of her life with others in workshop. Because of my mother’s experience, I invited her to the project as my co-work. It starts to investigate the core of art practice that how “collaboration” can be a medium between art and society.
Thus, I suggest “aligned collaboration” to investigate art practice in society. The concept refers to “outsourcing authenticity” from “Delegated Performance: Outsourcing Authenticity” of Claire Bishop, and “partnership” from “Connective Aesthetics” of Suzi Gablik. The reference of the idea for art practice in society is mainly based on “social actors” from Alain Touraine. However, “aligned collaboration” does not suggest a type of art creation. Instead, it presents the point of view for social criticism through working process. And also, this is a kind of reactionary to the hegemony in dominated system through the creative production with horizontal connection such as “aligned collaboration.”
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