知道嗎？過了25歲，青春便一去不回。在經濟活動低迷的台灣，與國外相比，藝術市場簡直封閉且幼稚，年青的藝術家對未來只剩下質疑與怨嘆！所謂的拼下血淚去創作終究也只是看人臉色吃飯而已。為了討好市場而去貶低自尊所做出來不知所云的作品，在裡面已看不到自我與原創；那些以艱澀學術理論填充的作品終究只是空洞的殼甲，而你們真的懂嗎？
大家忘了為什麼創作了？----我開心！
我們三個年過25，青春在上，睥眤著我們！藝文界只是既得利益者在分食新血。為此，我們決定把我們這血灑向國外，只有自己！我們選了東京，匯聚亞洲時尚潮流以及當代藝術的文化城市！我們一樣窮苦，也因此我們的血還溫熱著；我開心，我創作，所以我們自己走向國際。即便台灣只是彈丸之地，我要告訴世界，這裡充滿人才，創造力破表！
若青春即逝，我們就用自己的方式來強占！
是我們的就是我們的，我們記住了，這過氣的青春！
You know what? Over 25, you’re just getting older and older.We live in Taiwan, a place compare to U.S. or Japan, owns a closed and immature marketing of art. Most of the young artists in Taiwan live in sigh and questions to that bad marketing.No matter how diligent artists work, they still have to be poor artists unless they are lucky enough.Art market in Taiwan fills with works that satisfied the sensational bad taste of collectors.
You see no dignity and any creative enlightenment among those works.Bad artist even fill their works with tough literally theories which they don’t even understand, then sell.
Artist here forget why they make pieces? ---- because I’d like to!
We are all over 25. The passed youth gazed us. The environment of art and art marketing are like carnivore. Hence, we’d like to spread our blood out, for ourselves. Tokyo, one of the most fashioned and cultured city in Asia, is our first choice. We are still as poor as usual, therefore we still have warm blood to encourage ourselves. We’d like to, therefore we do. That is why we go abroad. Taiwan is a small island, however it has best artists.
If youth passes, we seize it by our own way.
What ours is ours. We shall remember - - that passed youth!
強佔青春 – 是我們的就是我們的 by 劍之舞
2010年底，黃柏勳與黑雞兩人入侵台南市慶中街某二樓透天厝；說入侵不太對，應該是“佔地為王”；「強佔民宅」藝術工作室於是誕生，在兩年的時間內演變成略有名氣的藝術團體；進而演變至後民宅時期。此時期為民宅的核心理念注入當地社區與部份台灣藝術活動的文化層面，由於其外在形式的崩解，故稱為「後民宅時期」。而「強佔青春」則為後民宅時期的系列高潮！
強佔民宅之主要理念，乃是源於西方國家對空屋之概念，系該空屋若無人使用而遭任何人進駐且生活並使用一段(通常很長)時間，則該使用者可以獲得該空屋的擁有權。「強佔民宅」這一行為本身即含有強烈的批判意識，但我在此沒有必要與閱讀者討論該意識；值得略為思考的是這一行為其背後的意義：「是我們的就是我們的」。已然是無人使用的空間，於是我們使用。其目的並不在於獲得真正的擁有權，僅是單純使用無人使用的閒置空間這麼簡單。說穿了，這也只是個藝術家躲颱風避暴雨的繪畫小房間。
「後民宅時期」因其民宅形式崩解，民宅成員廣至遍布世界；嚴格說來卻只有三人：林書楷、黃柏勳、黑雞(依變態的程度排列)。林書楷的作品是三人創作量最少的(這也意謂著他過世之後的作品比較有可能上漲)。其在後民宅時期的創作特色在於使用細字簽字筆描繪島嶼城市；不得不說，這相當具有愛國精神，這小變態深深地了解到咱們身處島國的情懷，因此一筆一劃地勾勒出繁榮且熱鬧的小島城市，而其亦彷若暗喻著咱們那流離失所但近鄉情又怯的鄉愁。
黃柏勳大概是我認識藝術家中最為認真的，其變態之處在於對其繪畫作品的嚴苛要求與少女般柔和且浪漫的甜美。細品其作品上的筆觸(如果你能看得見的話)，你能聽見他失戀時唱的那首歌；看見他在每一個城市生活留下的腳印；口中若還能嚐到鹹味，那你是徹底的台灣人！因那拼湊貼黏的未知花名觸動著這土地上多種民族的淚腺！(你知道，用學術的話來說，那個叫做後殖民)
如果說我在藝術圈有認識什麼陽光且變態的青年，那只有黑雞一人。他可能患有無痛症，但是他的高體溫，絕對來自大動脈裡面打出來的熱血！其作品完整反映其特質，在艷麗色彩的重疊下你甚至會懷疑自己患有ADHD；如果你能再投入作品內極富特點的角色經驗著多重文化交疊與衝擊，你的家庭醫師會覺得你得了杭丁頓舞蹈症；在他的作品之前，你會清楚感受到什麼韻律與節奏；有一句話能代表他的作品，但我無法用中文跟你說。”peace and love!”
「強佔青春」為後民宅時期最重要的經典活動，於此之後，民宅將會完全消失(後民宅乃是對民宅形式消失之描述)，沒有後民宅，沒有民宅，之後或許會叫做民宅之文藝復興這種無聊的梗；也可能是民宅再起這種好萊塢動作片特色。無論如何，這強佔的民宅只想跟你說：是我們的，就是我們的。對藝術的堅持如此，民宅仍然如此，對咱自己的青春，亦若是。
Seizing Youth – what’s ours is ours By Swordance
At the December of 2010, Huang Bo-Xun and Mr. Ogay invaded a 2-floor-building located in the mid district of Tainan City in Taiwan. Oops! That might not an invasion. That is, more appropriately, squatting. Therefore, you had a chance to know an art studio called “House Squatting” or you can simply say “Your House is Mine”. After 2 years, they stepped into “post-squatting-period”. That was a house which belongs to the local college, and they just occupied it for studio. After 2 years, they graduated from that college, therefore they left. At the “post-squatting-period”, the core idea of “squatting” is leaking out side to affect native community and the artist around Taiwan. The only idea left to affect people is “squatting” and the “house” which is the physical one, was left over. According to the collapse of the form of house squatting, we called it “post-squatting”.
The main idea of squatting a house is very critically in Taiwan, however I am no having no intend to express that. What you need to focus is why they had done that. They were trying to express that “what is ours is ours”. That building had been left there for quite a long time. They, the art students of that college, needed a place to paint. It was that easy. That was a building that artists can hide from typhoons and crazy rain.
Due to the collapse of the idea of the “house”, artists in the house could be separated all over the world. Technically, “they” contain 3 artists: Lin Shu-Kai, Huang Bo-Xun and Mr. Ogay(I define the order by how they perverted.) Lin’s quantities of works are the least, which means the collectors can benefit more after he is dead. The specialty of his during the “post-squatting-period” time is that he draws thin lines to describe the floating cities between islands. I have to confess, how patriotic it is!! This little cute pervert just realized the feeling of living in an island county. Therefore he draws those prosperous city scenes which metaphors the nostalgias of the people who are keeping leaving or back in this island coutry.
Huang Bo-Xun is probably the most diligent artist that I have even known. They way can explain why he is a pervert is his mean, inhumanity request on his art works which have romantic girly lover atmosphere on them. You can taste those paint touches on his works(if you can see any), you can hear the song that he sang by his broken heart; you can see that every single foot print that left on every land of city he had ever lived, and if you can taste something salty, you must be the native Taiwanese! Because those unknown collected follower like symbols are stimulating the lachrymal gland of every single race in this land! (You know, if I pretend academic, I called it post-colonialism).
If I tell you I know an artist who is a sunny boy and a pervert, that must be Mr. Ogay. He may have pain Asymbolia, but the high temperature of his body must come from the boiling blood! His works totally represent his character. You might doubt you have ADHD for his sensational paintings. If you put yourself more into his character, your family doctor might diagnose you got Huntington disease. With his paintings, you will realize that how rhythm and beats work. One simple sentence can tell his works “peace and love”
“Seizing Youth” is the most important exhibition of “post-squatting-period”. There is no more “house” or “squat” after this one. (since post is specific for former, and the former is the post) They may have other boring names like “squatting renaissance” or Hollywood names like “squatting rise”. Anyway, those house squatting men just want to tell you that “what is ours is ours”. They believe in it, to the persistence of art, to the spirit of squatting, and so to their own youth.
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