Picking Back Up Diderot’s Old Gown
策展人：吳妍儀、簡于庭
Curator：Yen-I Wu, Yu Ting Chien
藝術家：王怡美、林珮淳、張惠蘭、湯皇珍、賴純純、吳詠潔、康
Artists：Yi-Meei WANG、Pey-Chwen LIN、Hwei-Lan CHANG、Huang- Chen TANG、Jun T. LAI、Yung-Chieh WU、Ya-chu KANG、I-Chun CHEN、Jia-Hua ZHAN、Mia Wen-Hsuan LIU
展出日期/Date：2015.10.17~11.08
展出地點/Venue：11289 台北市北投區自強街 61巷6號1樓
Curator：Yen-I Wu, Yu Ting Chien
藝術家：王怡美、林珮淳、張惠蘭、湯皇珍、賴純純、吳詠潔、康
Artists：Yi-Meei WANG、Pey-Chwen LIN、Hwei-Lan CHANG、Huang- Chen TANG、Jun T. LAI、Yung-Chieh WU、Ya-chu KANG、I-Chun CHEN、Jia-Hua ZHAN、Mia Wen-Hsuan LIU
展出日期/Date：2015.10.17~11.08
展出地點/Venue：11289 台北市北投區自強街 61巷6號1樓
座談演講：王雅各 美國羅耀拉大學社會學博士/
Panelist:Y.K. Wang
「配套效應」源於18世紀，歐洲啟蒙運動的思想巨人－法
The “Diderot effect” refers to the 18th century’s European Enlightenment period’s great French philosopher Denis Diderot. The story begins with how Diderot was gifted a fine scarlet dressing gown by a friend. He soon abandoned his old gown and put on the new gown. Not long after, he replaced his old desk so to match the elegance of the new robe. Furthermore, he replaced his rug, chair, bookshelf, and prints. He ended up with an almost brand new study room. It was then that he realized he was made to replace all the furniture he never meant to replace. Diderot was regretful toward his own actions and recorded how he felt “Regrets on Parting with My Old Dressing Gown.”
人的欲望不因得到而滿足，反而因得到而擴張，在現今稱之
Panelist:Y.K. Wang
「配套效應」源於18世紀，歐洲啟蒙運動的思想巨人－法
The “Diderot effect” refers to the 18th century’s European Enlightenment period’s great French philosopher Denis Diderot. The story begins with how Diderot was gifted a fine scarlet dressing gown by a friend. He soon abandoned his old gown and put on the new gown. Not long after, he replaced his old desk so to match the elegance of the new robe. Furthermore, he replaced his rug, chair, bookshelf, and prints. He ended up with an almost brand new study room. It was then that he realized he was made to replace all the furniture he never meant to replace. Diderot was regretful toward his own actions and recorded how he felt “Regrets on Parting with My Old Dressing Gown.”
人的欲望不因得到而滿足，反而因得到而擴張，在現今稱之
The “Diderot effect” describes how people’s desire will not
be satisfied with more material possessions, but rather grows bigger. In the
capitalist present days, the term is used for those who dress to go along with
their sense of identities. Some even see this behavior as being similar to men
switching wives in an almost patriarchal world.
藉此，本次展覽意識之一是企圖從該面向解構社會賦予女性
One of the attempts of this exhibition is to deconstruct the way society views women. Diderot once said, “to describe women, the pen should be dipped in the humid colors of the rainbow, and the paper dried with the dust gathered from the wings of a butterfly.” The ideal image society assigns to women is: pretty, floozy, emotional, obedient, humble, sometimes weak, sometimes agitated, and always ignorant and useless. The way this image is assigned seems to be society’s “new robe” gifted to women. In order to match up to this image, women replace “furniture”, symbolizing individual ideas, behavior, and ideals. The ideology of feminism has been given importance and has been explored in recent years, yet the result is limited. This exhibition hopes to pick the “old robe” (symbolizing feminism) back up by inviting five to ten female artists to showcase their works. Each of them, using their experience in daily life, presents the subject consciousness of female artists. Each, based on her own role, makes her own interpretations when facing their status in society: feeling there’s nothing one can do, being passive, being independent, being dissimilar, and numerous other possibilities.
其次，本次展覽也企圖呼應狄德羅因「配套效應」的醒悟而
Next, this exhibition also
attempts to correspond to Diderot’s “Regrets on Parting with My Old Dressing
Gown,” which was written after his enlightenment. The female artists revisit
their selective sacrifices or replacements in their daily lives, and record
these in various forms using words, images, and videos. In addition, they
invite male feminists and cultural theorists to the conference to discuss the
relationship between female identity and cultural social groups, two aspects
that echo in the artists’ work. Furthermore, they are to discuss identity
awareness and Diderot’s aesthetics.
藉此，本次展覽意識之一是企圖從該面向解構社會賦予女性
One of the attempts of this exhibition is to deconstruct the way society views women. Diderot once said, “to describe women, the pen should be dipped in the humid colors of the rainbow, and the paper dried with the dust gathered from the wings of a butterfly.” The ideal image society assigns to women is: pretty, floozy, emotional, obedient, humble, sometimes weak, sometimes agitated, and always ignorant and useless. The way this image is assigned seems to be society’s “new robe” gifted to women. In order to match up to this image, women replace “furniture”, symbolizing individual ideas, behavior, and ideals. The ideology of feminism has been given importance and has been explored in recent years, yet the result is limited. This exhibition hopes to pick the “old robe” (symbolizing feminism) back up by inviting five to ten female artists to showcase their works. Each of them, using their experience in daily life, presents the subject consciousness of female artists. Each, based on her own role, makes her own interpretations when facing their status in society: feeling there’s nothing one can do, being passive, being independent, being dissimilar, and numerous other possibilities.
其次，本次展覽也企圖呼應狄德羅因「配套效應」的醒悟而
