高雄豆皮文藝咖啡館「勞動藝術」的實踐與論述分析

Practical and Discursive Analysis of“Labor Art”at Kaohsiung Dogpig Art Café

創立於高雄豆皮文藝咖啡館（以下簡稱豆皮），在1999年～2014年營運期間的策展與現場藝術實踐，深刻連結了勞動的議題。2002年，豆皮負責人劉秋兒拋出了「如何在豆皮勞動藝術」的探問，並且隨後展開了為期兩年、總計六十檔次的「勞動藝術」實驗，以不設限參與者背景與創作內容的方式，探討勞動與藝術之間的關係，也影響到了後續豆皮將勞動視為重要的藝術實踐的方向。本文以2002年到2004年豆皮「勞動藝術」的實踐與相關的論述建構為主，進一步探討勞動與藝術的關係。在論述的取徑上，首先梳理高雄地區勞動與勞工藝術的發展脈絡。其次，檢視豆皮「勞動藝術」的實踐與論述過程所勾勒出來的勞動美學問題。最後則探討「勞動」的議題在現今臺灣當代藝術領域裡，被以什麼樣的角度延續與關注。

The Dogpig Art Café(thereinafter abbreviated as“Dogpig”), established in Kaohsiung, was deeply intertwined with issues surrounding labor during curatorial practices and on-site artistic operations from 1999 to 2014. In 2002, Chiu-Er Liu (Leo Liu), the proprietor of Dogpig, initiated an exploration of“Labor Art at Dogpig”and subsequently embarked on a two-year, 60-session experiment in“labor art.”This experiment, open to participants of diverse backgrounds and creative content, aimed to investigate the relationship between labor and art. It significantly influenced Dogpig's subsequent direction in considering labor as a crucial aspect of artistic practice. This article primarily focuses on the period from 2002 to 2004, delving into Dogpig’s“labor art”practice and associated discourse, further exploring the connection between labor and art. Methodologically, the study begins by presenting the development context of labor and labor art in Kaohsiung. It then examines the issues of labor aesthetics outlined in Dogpig's“labor art”practice and discourse. Finally, it explores how the topic of“labor”continues to be pursued and addressed in contemporary Taiwanese art.