https://zh.wikipedia.org/zh-tw/%E8%AC%9D%E5%BE%B7%E6%85%B6
https://www.tehchinghsieh.net/
十三年計劃
- 《謝德慶：1986-1999》，簡稱《十三年計劃》（Thirteen Year Plan）
- 在這十三年中，謝德慶做藝術而不發表。這件作品從他36歲生日（1986年12月31日）開始，到1999年12月31日結束。在千禧年的第一天，謝德慶在紐約的約翰遜紀念教堂（Johnson Memorial Church）做公開發佈，宣佈「我存活了」。[1]
消失
1991年，謝德慶曾經嘗試創作一件稱為《消失》(Disappearance)的作品。作為十三年計劃的一部分，他試圖逃離目前的生活，前往阿拉斯加。然而這件作品只持續了半年，在到達華盛頓州後結束。謝德慶表示這件作品使他感覺自己回到1974年剛到美國時壓抑、困難的生存狀態，但是並非孤獨。在西雅圖找工作時生存比孤獨更難，受邀參加威尼斯雙年展時才更勝以往的感受到孤獨：「就像小丑一樣，你讓他們發笑。 然後你就自己回家了。 接著你會感到孤獨。」[4]
What’s your comment on Tehching Hsieh’s works? (ChatGPT, 2025-1-17)
Tehching Hsieh’s works are profound explorations of time, endurance, and the human condition, pushing the boundaries of art and life. His One Year Performances—acts of radical commitment, such as punching a time clock every hour (Time Clock Piece), or living outdoors without shelter (Outdoor Piece)—transcend traditional artistic mediums to interrogate existence itself.
Key Reflections:
1. Art as Life and Time:
Hsieh’s performances transform time into both material and subject. By committing himself to rigorous, often isolating routines for a year, he turns the mundane into art, foregrounding the relentless passage of time and the human struggle to find meaning within it. His work invites existential reflection: How do we fill our days, and what does that say about our lives?
2. Endurance and Authenticity:
Hsieh’s performances are deeply authentic, grounded in real, lived experiences rather than theatricality. They demand extreme physical and psychological endurance, blurring the lines between art and life. This authenticity resonates with viewers, evoking both admiration and discomfort.
3. Alienation and Freedom:
Hsieh often isolates himself—by staying outdoors or confining himself to a cage—highlighting themes of alienation, vulnerability, and self-imposed limits. His works also paradoxically suggest freedom, as they reflect a conscious, radical choice to live differently, challenging societal norms and expectations.
4. Philosophical and Metaphysical Dimensions:
Hsieh’s work aligns with existential and phenomenological inquiries. His performances could be seen as acts of “standing in the wound,” fully appropriated by the event of his own life. In this sense, his art becomes a lived philosophy, a reflection on the relationship between the self and the passage of time, as well as a critique of modern alienation.
5. Universality and Minimalism:
Despite their highly specific constraints, Hsieh’s performances achieve a universal resonance. The minimalism of his work—focusing on basic human experiences like time, shelter, and movement—allows viewers to project their own struggles and aspirations onto his art.
In essence, Tehching Hsieh’s works challenge the spectator to confront the essence of existence—time, endurance, solitude, and choice—while questioning what it means to truly live. His art stands as a timeless reminder of both the fragility and resilience of the human spirit.
