吳怡蒨 回應台灣健保議題的「藥。菓 II」裝置藝術
Wu I-Chien “Bitter & Sweet II” Installation Art
時間：2018年5月19日至9月10日｜ Date: 29 July - 10 September, 2017
藝術家：吳怡蒨｜ Artist: Wu I-Chien
地點：路由藝術｜Nunu Fine Art
台灣藝術家吳怡蒨以「藥」作為創作主體，將種類萬千的藥丸製成立體大型裝置探討台人用藥議題。在〈藥。菓Bitter & Sweet〉的系列創作中，吳怡蒨蒐集了大量的藥物與藥盒進行創作。不論是將盒裝藥品與盒裝零食拼疊呈現、將藥物堆疊成一座座如超市囤貨塔的小山，或是將糖果與藥丸重新組合成煙花一般的歡樂圖騰，一件件歡樂的藥物裝置皆以其繽紛的視覺擄獲人心，凸顯出藥物不同於以往印象的可愛樣貌。藝術家將苦藥與糖果並置，暗喻兩者之間逐漸模糊的界線。當人們忘卻了藥物的病痛象徵，隨之而來的卻是藥物濫用與浪費等社會問題。吳怡蒨回應著台灣人們的心目中普遍存在著的「服藥有病治病，沒病強身」心態，以用藥風氣反思全民健保制度的缺失。
近年來流行於全球的新興語彙 ——「藝術行動主義」(Artivism)，更說明了藝術(Art) 積極入世而與行動主義(Activism)漸次融合的趨勢。這些強調「參與」、「公共」等性質的創作，將過去非藝術的社會行為轉化為時下常見的藝術形式 。藝術家吳怡蒨以搜集藥丸並製作成裝置的手法回應與其切身相關的台灣健保問題，不但彰顯了台灣當代藝術的社會意識抬頭，更以靈活而敏銳的政治批判，滿足我們對於藝術與社會之關係的多元想像。從最基本的藥丸為單位出發，〈藥・菓 ll〉 以活潑有趣的創作形式與觀眾產生連結，並期許民眾在藝術及展覽的引介之下能重燃對周遭社會現況的關切。
Imagine you walk into a supermarket, where all the groceries on the shelves being not candies and biscuits, nor toys or any other daily products, but all kinds of medicine for illness of every description. If there comes a day when medicine can be purchased as easily as buying candies, without the permission from pharmacists or any prescription, would you feel rejoiced or become alert?
To relax consumers’ sense of crisis and vigilance against medication, pills are no longer kept in brown bottles covered with words of caution. Instead, they are now often produced in bright colors or even coated in sugar. Packed with shiny foils and presented in cheerful appearance, these medicines strive to replace the bitter memories of taking medicines with the pleasant feelings generated by a handful of sweets.
Taiwanese artist Wu I-Chien uses ‘medicine’ as her theme of creation. She turned thousands of pills into installations to discuss the medical situations in Taiwan. In the series of ‘Bitter & Sweet,’ a large amount of medicine along with their packaging are collected for artistic practice. Whether they are pieced together with boxes of snacks, stacked up to the ceiling like pyramids in supermarkets, or mixed with candies and rearranged into firework patterns, together, various capsules and drugs allure people with their colorful appearance while presenting an adorable facet of medicine that overthrows past impressions. The artist juxtapose medicine with candies, indicating a gradually blurring bindery between the two. However, when people started to forget the symbolic of illness in pills, an issue concerning uncontrolled lavishness of medicine usage has surfaced. Responding to a general belief by the Taiwanese saying pills can provides cure in sickness and promote vitality in health, Wu I-Chien reflects upon such medical notion and bringing forth the fault of our National Health Insurance(NHI) system.
A Sugar-coated Burden
Artist Wu I-Chien has observed that many Taiwanese people have the habit of stocking up medicines. She noticed that especially the elders have stored excessive drugs at home, unwilling to give up their accumulations like holding on to amulets. Perhaps to these people, keeping medicine close is as comforting as having candies in their pockets, while purchasing drugs is satisfying like shopping in the malls. This custom has attracted Wu I-Chien’s interest, but at the same time raises her doubts about The NHI system in Taiwan.
Hence, Wu started to collect expired drugs form hospitals for her art creation. During the process, she learnt that medicines in Taiwan are not only cheap but can be easily accessed; meanwhile, taking pills is no longer a painful and serious deal. Bottles displayed in pharmacies are no longer made in plain white, but are now covered in colourful packaging, boosting people’s purchase desire with visual stimulation. Potions are entitled with words implying ‘safe,’ ‘sound,’ ‘smooth,’ and ‘comfort’ to relax the customer’s vigilance as if all that troubles could be vanished within one dose. Moreover, health food claiming to be edible at any time has become the latest trend. These products allow the consumers to feel at ease by surviving between medicine and food, eventually they become a compromise of keeping health with our modern life.
Once medicine no longer serves as a remedy against diseases, a burden resulted from the hoarding and abuse of drugs immediately reflects on our the NHI system. The NHI in Taiwan has been providing convenient service to the public with a premium fee that is relatively low. Since its in 1995, over 99% of the citizens were benefited from this social welfare. However, the cheap medical service has led to patients randomly registering at the hospitals and misusing prescriptions and drugs. Consequently, an estimated additional expense of 10 billion NT dollars is wasted every year. When the government loses the ability to afford such overwhelming spending, drug companies will be forced to lower their price, resulting in a vicious cycle sugar-coated in a general convenience.
An Imagination toward Artivism
Wu I-Chien examines medical issues with her pill installations and ponders over our modern lifestyle regarding medicine usage. Such art practice embodies the concept of ‘social engagement,’ reflecting a postmodernist stance originated from the second half of the 19th century which encourages art to actively respond to the society. Under the influence of Avant-guard and Fluxus artists in the 60s, art creations have broken away from the ideology promoting individualism and the autonomy of art. Art has since approached ‘movements’ and ‘life,’ and become a reactionary force in society and politics. Today, ‘social engagement’ has set a trend in 21th century art. Contemporary artists now mostly practice art with a keen civic awareness by stepping into the complex reality with their creations in various forms.
A new-created term emerged in recent years: ‘artivism’ indicated a tendency of ‘art’ merging with ‘activism.’ Creations under this name emphasize notions of ‘participation’ and ‘community’ while turning non-artistic actions into common forms of contemporary art practice. Artist Wu I-Chien creates installations out of numerous medicine as a response to the medical situations in Taiwan, not only did this implies an increase of social awareness in Taiwanese art, but also provides us another view of the relation between art and the society with acute political standpoint. Starting from the basic unit of pills, “Bitter & Sweet” creates connections with its visitors with fascinating forms of creation; meanwhile, the exhibition seeks to raise public awareness among our surroundings and current situations.