運動死後的運動：王墨林關於地理終結的可能回應

Abstract

王墨林於1990年宣告「小劇場已死」的幾乎同一時間，福山（Francis Fukuyama）宣告了「歷史終結」；而當2013年，臺灣政府以新自由主義的土地金融化手法，實現了佛里曼（Thomas Friedman）所說的「世界是平的」，華光社區作為被抹平的場址之一，王墨林的故居也夾雜其間。藉由王墨林在華光社區拆遷事件前後的兩部作品《荒原：致臺灣八〇》（2010）和《天倫夢覺：無言劇2012》（2013），本論文試圖挖掘從歷史終結到地理終結，這一段解嚴至今越演越烈的新自由主義進程中，王墨林可能提出的回應方式。哈維（David Harvey）指出，反對新自由主義的運動容易掉入兩個陷阱，一是訴諸人權的假普遍性，一是令人懷舊的假本真性。從這個角度，本論文進一步辨識王墨林如何一方面批判了資本主義將民主、人權、自由再生產為某種感性商品，一方面避開懷舊的陷阱，在多重意義的受壓迫者之間形成關係性的異質連結，從而開創一種在重複與差異之間持續辯證，逼顯反抗能量的身體詩學。

When artist Wang Molin stated that the little theatre is dead" in 1990, almost at the same time, Francis Fukuyama declared the "end of history." When the Taiwanese government enforced the financialization of land and moved towards neoliberalism, which columnist Thomas Friedman called "the flat world", Huaguang Community, where Wang's former residence was, was one of the sites wiped out in the name of neoliberalism in 2013. Based on the artist's two performances before and after the Huaguang demolition incident, Wasteland: To Taiwan 80 (2010), and East of Eden: Act without Words 2012(2013), this paper attempts to explore Wang's possible responses to the evolution from the end of history to the end of geography, which can be said to characterize the neoliberal development in Taiwan since the lifting of martial law. Geographer David Harvey points out that the movement against neoliberalism tends to fall into two traps, resorting to the false universality of human rights on the one hand and the nostalgia of false authenticity on the other. From this perspective, this study seeks to clarify how Wang criticizes the reproduction of democracy, human rights, and liberty as a form of emotional consumption in capitalism; in doing so, he avoids the trap of nostalgia, and forms a relationship with the multitude of the oppressed. The connections between them are helpful for continuing the dialectic between repetition and difference, indispensable to discovering the energy of resistance and the poetics of the body."