未經許可的身體
Bodies Without Permission
在這個展覽中，姿態不是形式，而是身體在不確定條件下所做出的判斷。傾斜、偏移、支撐與修正，不是失誤，而是身體理解世界的方式。這些作品不追求一致，不指向單一中心。它們只是以各自的姿態站著，在共存之中，持續成立自己。
丁春誠
In this exhibition, posture is not form, but a decision the body makes amid uncertainty. Leaning, shifting, supporting, and recalibrating are not mistakes but the body’s way of understanding the world.These works do not seek uniformity, nor do they orient toward a single center. Each one stands in its own posture, continuously asserting its presence in coexistence.
Ting
如果說，身體是靈魂的容器，那麼人便像是血肉形塑的建築：有結構、有受力，也有那些看不見的規範，悄悄決定你該如何站立、如何被觀看。在社會規訓下的姿態有所謂的規則嗎？容納自我的空間有邊界嗎？丁春誠個人展覽《未經許可的身體》重新審視身體尺度，當人們從創作者的主觀出發，什麼樣的自我會被打破，又被重塑？
If the body is the soul’s vessel, then a person is architecture shaped in flesh: with structure, with loads to bear, and with unseen codes that quietly determine how one should stand and how one is seen. Under social discipline, are there rules for posture? Does the space that contains the self have boundaries? In his solo exhibition Bodies Without Permission, Ting revisits bodily scale and asks: when we begin from the artist’s subjective position, what kind of self is broken apart, and what is remade?
站立，從來不是一件簡單的事
Standing Is Never Simple
在成長過程中，人們從學會站立、到保持平衡、姿態端正、向左向右看齊。這一切訓練都是為了讓我們符合「社會期待的樣貌」。之所以看起來自然，是因為我們太早就學會了身體應該長成什麼樣子。不一致會被視為錯誤，偏移會被修正。然而身體應該有正確形狀嗎？
As we grow, we learn to stand, to keep our balance, to hold ourselves upright, to align left and right. This training is meant to make us fit the shape society expects. It appears natural only because we learned too early what the body is “supposed” to become. Inconsistency is treated as error; deviation is corrected. Yet should the body have a single “correct” form?
創作者關注的並非標準是否成立，而是回到身體如何被形塑的過程。有趣的是，我們似乎從來沒有意識到，「站立」並不是靜止狀態，而是每分每秒都在為了維持平衡而改變重心。身體隨時都在因應現實條件而做出判斷，也是此時此刻在重力、空間、與他者交互作用下的結果。當我們意識到「站立」，那或許就是理解存在的最小單位。
What the artist attends to is not whether standards hold, but the process by which the body is shaped. The overlooked truth is that standing is not a static state. Every second, the body shifts its centre of gravity to remain upright. It is constantly making judgments in response to real conditions, formed in the immediate interaction of gravity, space, and others. The moment we become aware of “standing” may be the smallest unit through which we understand existence.
於不同身體之間，形成共存狀態
Coexistence Between Bodies
在《Bodies》系列中，創作者試圖探討姿態的本質，並非為了「看起來如何」，而是為了回答更根本的問題：身體要如何站著，才能平衡？二十餘件 Bodies 系列作品共同構成一件大型裝置。作品彼此靠近、協調位置、互相支撐，在不同條件下嘗試站立。拋開統一的秩序感，每件作品都以獨立姿態存在，沒有高低、沒有主從，藉此向權威結構發出質疑：「每一個形體都是中心，每一個存在都有理由。」並從失序中重新定義穩定。
In the Bodies series, Ting explores the nature of posture not for how it appears, but to address a more fundamental question: how does a body stand, and still remain in balance? More than twenty works come together as a large-scale installation. They draw close, negotiate their positions, and support one another, testing ways of standing under differing conditions. Released from a unified sense of order, each piece exists in its own stance. There is no hierarchy, no principal and subordinate. In doing so, the works challenge structures of authority: “Every form is a centre; every presence has its reason.” Stability is redefined from within disorder.
從陶土質地中，描摹身體的紋理
Tracing the Body Through Clay
從另一個媒材的維度上，創作者選擇陶土來表現身體。原因在於陶不是被動材料，它會記住每一次施力、每一次猶豫、每一次錯誤留下的痕跡，它不允許撤回，如同身體擁有記憶。使用絞胎混土技法揉和而出的層層紋理，展現出材料互相擠壓、融合、嵌入彼此的過程，留下不同來源、不同文化在同一個形體中並存的證據，深刻回應著我們每個人的生命故事。
From another material register, Ting chooses clay to render the body. Clay is not passive. It holds the memory of every applied force, every hesitation, every trace left by error. It offers no simple undo, much like the body, which carries memory. Using a neriage (mixed-clay) technique, Ting kneads clays from different origins into layered strata. The resulting textures document compression, fusion, and interlocking as materials press into one another, merge, and embed within a single form. Within those lines lies evidence of varied origins and cultures coexisting, a record that speaks directly to the life stories each of us carries.
丁春誠的創作方法始終與身體經驗緊密相連。無數次的嘗試與失敗，都只是探索的過程而非結果；在不被框定的標準中，創作始終是一種當下的狀態，經由微調每一個角度、實驗每一道接近崩塌的界線，達成身體與現實條件之間短暫而微妙的和解。
Ting’s practice has always been closely tied to embodied experience. Countless trials and failures are part of the search rather than its conclusion. Unbound by fixed standards, making remains a present-tense act. Through fine adjustments of each angle and by probing thresholds close to collapse, he arrives at a brief, delicate reconciliation between the body and the conditions of reality.
《未經許可的身體》不追求完整，也不等待批准。它選擇提出質疑，卻不給予答案。丁春誠說：「我希望觀者記住的，不是某一件作品，而是某一種姿態。」看似不穩卻仍努力保持平衡，不只存在於每一個人的身體，也存在於我們與環境、制度、與他者之間的關係。同時提到：「當你離開展場，那些姿態不應該留在這裡。它們應該回到你自己的站立方式中，回到你如何在世界中找到位置的方式裡。」。
Bodies Without Permission does not seek completeness, nor does it wait for approval. It raises questions without offering a definitive answer. Ting says, “What I hope viewers remember is not a particular work, but a particular posture.” That effort to keep balance, even when it appears unstable, exists not only in each body, but also in our relationships with environment, systems, and others. He adds, “When you leave the exhibition, those postures should not remain here. They should return to your own way of standing, to the way you find your place in the world.”
