Taoyuan Art x Technology Festival:Wonder of Art and Technology

Taoyuan Art x Technology Festival:Wonder of Art and Technology

Date:2019/10/15-2019/11/03
Venue: Taoyuan Arts Center

The 3rd Taoyuan Art x Technology Festival adopts the theme of “Wonder of Art and Technology" this year to explore the infinite possibilities and diverse development of contemporary art in the world of technology. The Festival hopes to guide the public’s imagination of art and technology through the wonders of technological media. When the collective wisdom of humanity is transformed into big data that isa already a necessity today, the seemingly cold technology has somehow become “human" because of art. Together, let’s discover how technology artists transcend perception and imagination dictated by technological media to reveal artistic wonders.

The exhibition is divided into four sections, which are “Wonder-Machine," “Wonder-Digital," “Wonder-lifeworld," and “Wonder-Performance." With an incredible range of media, including mechanical installation, interactive installation, sound, light, virtual reality and video documentation, the exhibition leads the audience into the new horizon of wonders informed by machines and technologies where virtuality and reality are integrated as an immersive whole to evoke our deepest inner desire for wonders.

Curators:Chen Yun-Ju, Lin Yu-Jie

The four exhibition areas

Wonder-Machine
Hybrid, cyborg and artificial intelligence have shaken and re-defined human life, morality, ethics, aesthetics and relations. Ideologies of artists are embodied through programs that operate machines while recording behaviors of participants, which generate new data to propel machines, forming absurd and grotesque Wonder-Machines. In the state of man-machine integration, are we operating the machines, or are the machines controlling us instead?

Artists:Chiang Chen-Wei, Hsu Yi-Chen, Wang Liang, Grinder-Man

Wonder-Digital
​Digital technology is now common and part of our daily life. Wonder-Digital refers to the era of total digital integration in human society, life, art and media. Wonder-Digital is made possible by digital native and has bridged and existed between virtuality and reality. It is no longer news that augmented reality reflects the digital virtuality in the real world. We are immersed in the sound, light, transparent scenes and immersive age of Wonder-Digital, which also foregrounds artists’ attempt to construct another dimension in search of authentic physical senses. However, what is authentic? At this moment, the definition has become blurry and fluid.

Artists: Takahiro Matsuo, Luo Xuanjiu, Lin Jiun-Shian, Tseng Yu-Chuan+Tseng Kung-Ta+Huang Yi-Ching

Wonder-Lifeworld
What happens when technology becomes autonomous and out of control? How can we control technology if we really can? We live in the era of Internet of Things when all things are always connected, and sensory systems are ubiquitous. Mobile phones, tables, mirrors, chairs and many other things have become “conscious” and “mind-reading.” In this section, we shall see how artists and designers construct and unfold the rhapsody of the future life and connect physical objects with virtual data through information capturing and communication technologies for a wide range of control, detection, and identification, satisfying our curiosity about a future world of imagination.

Artists:Ckfablab, Huang Chih-Chieh+Li Wuan-Chin, Lin Chih-An, Tseng Wei-Hao

Wonder-Performance
​The artists will engage the audience as part of their performances, converting performances into situation-based and immersive spatial installations while changing the role of the audience from simply being viewers into participants of their open texts. By releasing their dominance, the artists enable the audience to provide more organic responses and feedback, using interactive, participatory and immersive performance space to create Wonder-Performance and installation experience informed by fresh five senses. These interactive installations are performance stages, which are challenging and re-defining the audience’s conception of artworks.

Artists:JUBYCHIU+PSquare, Hu Chin-Hsiang+Tsai Bing-Hua, Chiang Chun-Yi+Wang Kuok-Pan+Zhan Jia-Hua, Penelope Cain, Marianne Jacquet


TAxT桃園科技藝術節-奇觀藝想

日期:2019/10/15-2019/11/03
地點:桃園展演中心

第三屆桃園科技藝術節以「奇觀藝想」為題,旨在挖掘出當代藝術在科技範疇中的無限可能與多元發展,以科技媒介的奇觀方式引領大眾對於科技的藝術想像。當人類集體智慧變成了大數據與必需品,看似冰冷的科技日常,卻因著藝術的介入而變得「人性」了起來,且看科技藝術家如何超越科技媒介所駕馭的感知與想像,再現藝術奇觀。

本次展覽透過四大展區:「奇觀機械」、「奇觀數位」、「奇觀生活」、「奇觀表演」。 以機械裝置、互動裝置、聲響、燈光、虛擬實境、影像文件紀錄等作品,引領大眾進入機械與科技、虛擬與真實沉浸融合的奇觀視域,召喚深藏在心中的奇觀慾望。

策展人:陳韻如、林羽婕
學術主持人:石瑞仁

四大展區

奇觀機械Wonder-Machine
混種(Hybrid)、賽博格(Cyborg)和人工智慧震撼與重新定義了人類的生活、道德、倫理、美感與關係。藝術家的意識形態體現在程式編碼中,操控著機械,同時又記錄著參與者的行為,重新驅動機械,形成一個既荒謬又怪誕的奇觀機械運作,在人機合體的狀態,究竟是我們操控機械?還是機械操控我們?

參展藝術家:江振維、許宜蓁、王量、GRINDER-MAN

奇觀數位 Wonder-Digital​
現今,數位科技已經很普遍,並成為一種日常。奇觀數位是數位完全融合浸入社會與生活、藝術與媒體的時代,奇觀數位的人們以數位原生(Digital Native)的方式誕生,早已穿梭與生存在虛實之間,而擴增實境將數位虛擬映射到現實世界已不再新奇,且我們正身處在這個聲、光、景全面透明且沉浸的奇觀數位世代,這也凸顯藝術家試圖建構另一個空間維度尋找真實的身體感知,然而,何為真實?此刻變得模糊且流動著。

參展藝術家:松尾高弘、羅玄九(錢泓霖/徐振邦)、林俊賢、曾鈺涓x曾功達x黃怡靜

奇觀生活 Wonder-Lifeworld
當科技變得自主,脫離了控制?如果能控制,那又怎麼控制?我們生活在萬物皆可連網與無所不在的感應器系統的物聯網(Internet of Things)時代,這個時代,手機、桌子、鏡子、椅子等物品變得「有意識」且善解人意。看藝術家與設計師們如何建構與展開對於未來生活的狂想,如何透過資料擷取以及通訊能力,連結實體物件與虛擬數據,進行各類控制、偵測與識別,引領觀眾滿足對於未來世界想像的好奇心。

參展藝術家:林楚卿數位構築實驗室CKfablab、黃致傑x李婉菁、林芷安、曾偉豪

奇觀表演 Wonder-Performance
藝術家將觀眾參與作為表演形式的一部分,從表演轉向情境式與沉浸式空間裝置,帶領觀眾從單向觀看演出到開放文本的參與者,藝術家透過主導權的釋放,讓觀眾產生更多有機的回應與激盪,以互動式、參與式和沉浸式表演空間的形塑,創造出新五感的奇觀表演與裝置體驗。這些作品即是互動裝置,亦是表演舞台,正考驗著觀眾對於藝術作品的重新定位。

參展藝術家:JUBYCHIU x PSquare媒體實驗室、胡縉祥 x 蔡秉樺、Marianne Jacquet、江俊毅x黃國斌x詹嘉華、Penelope Cain

TAxT桃園科技藝術節-奇觀藝想

Chimera-group exhibition of Taiwanese new and digital media art

Chimera-group exhibition of Taiwanese new and digital media art

Date: 2019/10/4-2019/10/27
Place: off-spaces of DOX, Center for Contemporary Art in Prague, Czech Republic

Chimera: Contemporary human transformed in a “chimera”; a hybrid of body, technology and virtuality

Artists: Chenwei Chiang, Chi-Ping Chin, Kung-ta Tseng, Scottie Chih-Chieh Huang, Tien-Chun Chang, Yu-Chuan Tseng, Yun-Ju Chen

Curator Jan Van Woensel & Yu-Chuan Tseng

Statement by Jan Van Woensel

“Chimera” is a group exhibition of Taiwanese new and digital media art put together by Yu-Chuan Tseng, artist, curator and Associate Professor at Shih Hsin University based in Taipei; and Jan Van Woensel, curator at Ladislav Sutnar Faculty of Design and Art at University of West Bohemia based in Pilsen. The exhibition is organized in two off-spaces of DOX, Center for Contemporary Art in Prague.

“Chimera” originates from the understanding that over the past decades humans evolved into a hybrid of body and machine. Man is codependent of technology. The smart device that we became one with is both the key that opens endless passageways into virtual space and the vessel that we use to ride the waves of cyber-reality. Irrevocably, our voluntarily mass-movement to the virtual space caused a situation of alienation. In a state of unconsciousness, modern man abandoned nature and replaced it with an open-sourced virtual mirage that serves as an ever-accessible substitute. But this agnostic parallel plain is only an unsatisfactory stimulus and it only feeds human’s increased dependence on digital tools. It provokes a double removal that is recognized in how personal alienation takes place in an increasingly alienating digitalized world.

“Chimera”is a melancholic and poetically-charged exhibition in which the loneliness of nature in the hypertechnological demiurgic era takes a central position.


Are we Chimeras? by Yu-Chuan Tseng

Do we genuinely exist? Are we, who exist through electronic signals, really our true selves?

This is the question I keep asking myself. Through message transmission, links are established between the virtual and real worlds. We rely on the virtual life to complete the dream to surpass all geographical boundaries and physical limitations.

The way of digital life, we create our existence by simply click to follow the direction of networking service. We activate an avatar and step into the virtual realm at any given time. Through the sharing and feedback on texts, images, and videos, this virtual database becomes a vast “backup system” for the memories of countless individuals. The virtual self even replaces the real self, to become the principle entity existing within this virtual world and carry out an immortal life on screen.

In a digital environment, humankind undergoes a mental evolution. The digital interface becomes a petri dish of our collective body. We have already become chimeras that integrate organic and inorganic materials as it fuses with digital mind, feeling and spirit. We have evolved to become hybrid bodies that have the ability to breed via digital information. Further we try to make the biological species to become a hybrid life form to fulfill the imagination and demands of human.

“Chimeras” as a metaphor symbolizes the existence in the digital age. The living creatures have evolved to become a race of cyborgs – hybrids. The physical and spiritual immersion have merged with digital genomes in a digital environment


嵌合體:當代人類的變形,混種身體、科技與虛擬

藝術家:張恬君、江振維、金啟平、曾功達、黃致傑、陳韻如、曾鈺涓+黃怡靜+吳冠穎+金啟平+陳威廷

策展人:Jan Van Woensel & 曾鈺涓

“Chimera” 「嵌合體」Jan Van Woensel

「嵌合體」由現為台北市世新大學副教授兼策展人曾鈺涓,與位於比爾森(Pilsen)的西波西米亞大學(University of West Bohemia)Ladislav Sutnar設計與藝術學院策展人Jan Van Woensel共同策劃,邀請台灣新媒體藝術創作者展出。展覽將會在布拉格DOX, Center for Contemporary Art兩個展覽空間展出。

嵌合體的概念來自於人類進化成人機合體的混種生物概念。人類與科技的關係越來越緊密,我們成為智慧裝置的融為一體,是打開無盡通道進入虛擬空間的鑰匙,又是我們用來駕馭網絡虛擬真實浪潮的船隻。我們自願地進行大規模遷移至虛擬空間並導致了疏離的狀態。 在無意識的狀態下,現代人放棄了自然,而用開源代碼的虛擬虛擬海市蜃樓代替了自然,虛擬海市蜃樓可作為一種隨時可造訪的真實替代品。 但是,這種不可知的平行場域只是無法令人滿意的刺激,它只能滿足人們對數位工具日益增長的依賴性。 引發了雙重清除,這種雙重清除在被日益增加的疏遠感中發生。

“嵌合體”是一個憂鬱而富有詩意的展覽,在高科技時代,自然的孤獨感處於中心地位。

Chimera – Fakulta designu a umění Ladislava Sutnara

Chimera-group exhibition of Taiwanese new and digital media art

【Czech】Chimera: Contemporary human transformed in a “chimera"; a hybrid of body, technology and virtuality

媽的,噓Mothership

媽的,噓Mothership

展期:2019/09/27 ~ 2019/09/29
地點:台北市國家兩廳院實驗劇場

舞蹈生態系創意團隊藝術總監彭筱茵和人尹合作社藝術總監鄭伊雯共同創作,談論著新手母親不為外人道——媽媽的厭世篇章,有種不說不快、不舞不行的渴望,發展結合舞蹈x戲劇x聲音的肢體劇場作品《媽的,噓》(Mothership)。分以下幾個篇章:

1.〈媽媽對你來說〉
由生理男性表演者陳福榮,以話家常的形式打破與觀眾的距離,和觀眾討論對於母親角色的看法、認同,以及分享自我與母親關係的個人故事。

2.〈新生-媽媽自白〉
從錄像片段〈肚皮:痕跡與記憶〉到鄭伊雯獨舞〈告別單身〉,以第一人稱的聲音、影像和肢體堆疊,揭開與新生兒一起新生的角色-媽媽內心的自白。舞台設計彭宇弘(起夫)設計的巨型子宮,高懸在育兒場景的正中,是乘載舞者、影像的載體,也象徵對母性的崇拜和制約。

3.〈育兒戰略〉
結合舞台裝置、多媒體、音樂音效、戲劇舞蹈等,營造出一個如復古18 bit風格的遊戲現場,呈現出新手母親要經歷的重重關卡,包含新生兒資訊洪流、餵食指南、尿布攻略、尿布疹警報、屁屁難關、漲奶警報、拍嗝比賽、夢境漫遊和媽的噓跳舞機等段落。

4.〈媽媽來說……〉
媽體田野調查第一部分影像,已經成為母親的女子們陳述自己原本是否有想過成為母親,以及確定懷孕瞬間的身心感受。

5.〈生產模組〉
從編導彭筱茵和共同創作鄭伊雯自身生產歷程為題材,真實大膽地將待產的身心狀態到生產過程的體感,以及醫療科技「監控」孕產的反思提問,發展成一個身體再現的模組。裝置設計彭宇弘,以巨型子宮和象徵監控產程的儀器裝置,結合群舞者的身體,搭配「產婦」鄭伊雯,呈現一個血淋淋又另類的生產模組。以及「產後」留下的〈身體殘痕〉,音樂設計卓士堯和演唱劉純良,以復古女伶的爵士風格,搭配舞者陳怡靜性感的肢體對照鄭伊雯產後恢復的真實寫照,自我解嘲的幽默反差,道出母親的矛盾、辛酸與甜美滋味。

6.〈媽媽的話〉
媽體田野調查第二部分影像,匯集不同母親陳述自己在育兒過程中,對於生理或心理最大的困難、感受或突破、心得。

7.〈媽的……〉
末段,一氣呵成從〈無法倒帶的母親角色〉到子宮的洗禮,單純清楚的三人接觸即興舞蹈,到最後僅存母親-鄭伊雯,在子宮下方接受流淌的鮮紅液體,是生命的真實,也是循環。

媽的,噓Mothership

Dancecology 舞蹈生態系創意團隊

享想創見平台-玩劇屋I《孤單合奏》

享想創見平台-玩劇屋I《孤單合奏》

展期:2019/06/28 – 2019/06/30
地點:空軍三重一村-24號眷舍

「享想創見平台」是賴翠霜舞創劇場創立8年以來第一次開放給中生代藝術家創作的平台,針對長期執著於表演藝術相關領域裡以及有共同理念的創作者,希望用分享行政資源與排練空間的方式,給有夢想的人去實踐心中理想的演出,以共享概念來引領他們未來更順遂的創作路程。

“玩劇屋”意指”非典型空間”,讓創作者利用空間的想像接受更多的挑戰。除了在非劇場空間裡玩空間、玩創意、玩好劇之外,更希望能為多元的空間帶來更不一樣的跨界創作,不設限的演出模式亦能延伸出無限的想像。

本計畫的6位藝術家來自不同領域,他們利用各自過往的創作以及生命經驗延伸出對於「孤獨」的不同想像,在推動著生命的探索與如何將感受化為創作動力的過程時,這三個作品都已為這次的主題找到方向與表達自我的方式。由楊琇如與陳瀚恩組合的舞蹈與影像開始,訴說著地平線上的遠方有著未知與等待死亡背後的孤寂,到陳韻如與江亞倫的裝置跟身體的關係,呈現現今社會亂象以及網路的所帶來的衝擊與孤單,最後由黃昭郡用樂器和黃齡玉兩人用更細膩的手法將個體與自我之間的獨白轉化成孤獨的享受。三者的串聯便是回溯自我、尋找終極內心踏實感與時空的定義。對觀眾而言也會是一次過濾當下社會嘈雜,開啟找回自我心靈歸屬的契機。

【跨界創作者與他們的作品】

合奏1. 舞蹈X影像

楊琇如+陳瀚恩=《單身公寓》

啃食斑落在地平線上的孤獨,凝視在於群體背後等待的死亡

合奏2. 裝置X舞蹈

陳韻如+江亞倫=《滴鐽滴鐽》

網路世界倒映在內心的反差會映射出什麼樣孤單泉湧?

合奏3. 音樂X舞蹈

黃昭郡+黃齡玉=《唯!你好》

內心裡的聲響伴著孤獨

孤獨有時也是一種私自的幸福

【演出日期】

6/28、29 (五、六)19:30

6/29、30 (六、日)14:30

ARTalks [特約評論人] 貧窮男 空軍三重一村24號眷舍的《孤單合奏》

享想創見平台-玩劇屋I《孤單合奏》

賴翠霜舞創劇場

Mom‧Baby: Creating ways to love and be loved

Mom‧Baby: Creating ways to love and be loved

Date:2019/03/01 – 2019/05/12
Venue: Taoyuan Museum of Fine Arts

After the “Germinate, Connect, Extend-2019 Taoyuan Female Art Exhibition curated by Professor Chang Hwei-Lan", Taoyuan Museum of Fine Arts invited Professor Chang to expand on the theme of maternal body and the germination of life from another perspective. The exhibition “Mom‧Baby: Creating ways to love and be loved" was held in Taoyuan Children’s Art Center.


媽媽・寶貝—創造愛與被愛的方式特展

展期:2019/03/01 – 2019/05/12
地點:桃園市兒童美術館(八德館)

108年3月1日至5月12日,桃園市兒童美術館推出「媽媽・寶貝—創造愛與被愛的方式」特展,由現任東海大學美術系系主任的策展人張惠蘭教授攜手金啟平、陳韻如、曾鈺涓、廖秀玲、廖敏君、蔣侖、顏杏砡+賴孟君、羅祤絹等藝術家,期盼市民通過與作品的感知、互動,在兒美館合力「創造愛與愛的方式」,並且回饋至具體的親子關係中,使下一代更形茁壯,展翅飛翔。

特展作品可分兩類。第一類關注生命的起點,同時也是「創造愛」的起點,譬如作品中出現的細胞、子宮、家屋等形象,連結母體的保護概念。金啟平取材演化論「生命孕育於太初汪洋」的假說,分別以平面、以及和曾鈺涓共同製作數位錄像輸出等形式,演繹造型中的點變成線,又再變成面,如同來自海洋的單細胞在演化時鐘的分分秒秒趨向複雜的變化,啟發觀者對生命的思考。陳韻如創作互動影像裝置,邀請觀者動手挪移、重組現場物件,創造新的組合形式,組合同時將觸發身後的投影裝置播映影片,開始閱讀她所採擷的「誕生記憶」,重溫個人與母體剝離的「人之初」。

成長過程中,脫離母體過程也是組成回憶重要的一部分,顏杏砡、賴孟君特別關注五感中的「觸感」,運用各種自然纖維、人造纖維、羊毛、塑化類、金屬等複合材料裝飾一座木造建築組成的洞穴,光線從微微自洞頂穿透,散落在佈滿玩偶、玩具的房內,復刻倘佯在母體懷中的溫暖記憶。但對家的想像,不僅如此,羅祤絹認為「家」更具有繁衍生命的功能,生命的過程如同一路充滿驚奇的旅程,她由各種細胞能繁衍生命、孕育萬物的想像出發,提供各種細胞圖像的彩繪磁鐵片及彩繪筆,鼓勵參與者自由延伸創作對家屋及家庭的想像。

特展的第二類作品,「愛的方式」,則關注親子互動關係、相聚的片刻,並歡迎觀者參與其中,感動、體驗愛的真諦。廖敏君在壓克力的外框中加入層層交疊交織的魚線,捕捉「日常的片刻」,近看若有似無,觀者必須後退腳步,在一定的距離內辨識畫中的造型,彷彿日常中的親子互動,往往若有似無,不自覺地流露。擅長雕塑造形的廖秀玲運用PU發泡材料,瞬間發泡快速成形的特質,並在過程中迅速加入預先製作的鐵絲網,如同框住「猴崽子」的緊箍咒,隱喻親子關係的存在衝突、張力與約束。最後,蔣侖的繪本《吞吞二號》,靈感取自廿一世紀台灣社會加速邁向「高齡化」的現實,她的畫筆既描繪祖孫間的親情,同時也對「少子化」下誕生的新一代賦予深厚期望。

除了現場展示外,館方表示,更希望透過「媽媽・寶貝」傳遞親子間的互動,兒美館同時規劃一系列教育推廣活動,鼓勵親子共學、體驗,共譜愛與藝術的篇章。

Mom‧Baby: Creating ways to love and be loved

媽媽・寶貝—創造愛與被愛的方式特展

A Land of Happiness-Treasure Hill Light Festival

A Land of Happiness-Treasure Hill Light Festival

Date: 2019/03/30 – 2019/05/05
Venue: Treasure Hill Light Festival

From March 30 to May 5, the 2019 Treasure Hill Light Festival is featuring the work of Taiwan and overseas artists whose creations use the medium of light.

The Treasure Hill Artist Village (THAV) has held a large-scale exhibition in early spring since 2012, said Catherine Lee (李曉雯), Artistic Director of Taipei Artist Village (TAV) on Treasure Hill.

At first, artists used the medium of contemporary art for the Lantern Festival. From 2017, the organizers started to focus on the medium of light and named the event “Light Festival.”

“A Land of Happiness” (野景) is the theme of this year’s Light Festival, curated by Lee I-hua (李依樺). She hopes that the festival could explore people’s expectations for future happiness through artistic creations, cultural activities, audience participation, and cooperation between local residents and students.

Fourteen artist groups participated in this year’s event. Students from Shih Chien University, Taipei National University of the Arts, and National Taiwan University worked together for the first time. Hsiao Sheng-chien (蕭聖健), Li Cheng-liang (李承亮), and Hsu Tang-wei (許唐瑋) are Taiwan’s outstanding artists who have won Taipei Art Awards and Taishin Arts Awards. The organizers also invited well-known artists from Japan and Spain to take part in the festival.


「野景」-寶藏巖光節

展期:2019/03/30 – 2019/05/05
地點:寶藏巖國際藝術村

六〇年代的台北公館一處,人們出於切身的現實需要,自力蓋起了房舍,在經濟物質匱乏的土地上,建構了一座滿足衣食生活的村落-寶藏巖。這塊聚落最原始的景緻構築在人們對於生存幸福的期待,這片景色像是野生的,生命在這裡有機地長著,人們努力生活著。

寶藏巖這片野景的美麗,包含了生命對於更好生活最真實、純粹、本能的追求,也因著人們對於美好遺產的珍視、文化景觀的理想、土地居住與人權的關懷、公平正義的寄託,而在大片景緻裡有過一段段狂野的捍衛。

「2019寶藏巖光節」,藝術家們在這片旖旎的野景之中,創造點點亮光,蔓延出的是現代社會裡文明與野生的矛盾想像。從步入村落開始,藝術團體衍椼透過作品〈眾裡尋他千百度〉,帶著人們在聚落的巷弄裡散步,細數座落的路燈和腳前的風景。大自然的景色隨著工業文明的發展,逐漸被都市繁華所取代,在寶藏巖上光巷的房舍內,蕭聖健投影了一輪滿月,以極低科技的手法,讓作品唱出鄉野田園的蟲鳴鳥叫。對自然環境的關愛也反應在人嶼和奧爾加.蒂亞戈的作品中,他們以回收廢棄物和塑膠製造了一座流瀉著螢光瀑布的假山水,以及充氣電子裝置閃著亮光的塑膠人間樂園。半樓廣場豎立的是李承亮利用球形水塔改造的舞台廣播系統〈萬年站〉,讓人們爬上如同登陸屋頂的太空站唱歌,做一場場野生的夢,而一旁鐵皮屋頂投影的〈失訊–夜〉,是郭奕臣以作品中人們的陌生關係,回應李承亮自現代生活的疏離狀態所拓展的〈萬年站〉幻想場景,身後的機槍堡也轉化成通往宇宙秘密基地的蟲洞。人工智慧的發展讓真實的情感變得模糊,陳韻如和瀧健太郎則透過人臉追蹤和線上遊戲,演繹著當今社會遭遇的科技綁架。

寶藏巖的最深處座落著許唐瑋的〈虹光樹:果實星球〉,這兩顆星球像是原始且充滿生命力的異野空間,與聚落入口磯崎道佳搭建的巨型透明帳篷遙望著,莊知恆的〈晷跡〉則在村內的屋舍牆面留下一抹抹光痕,再現了聚落生活的痕跡。在這片斑斕的景色之中,生命交錯著命運的野蠻,本能地生長著,時代和社會的發展則時而伴隨著與情感、關懷、真實相互抵觸的狀態向前邁進,野生和文明共存著,揉合成了這塊土地的景緻意義,這座富饒的野景也承載了如今的我們對於生活光景的期待。

☆ 藝術家/人嶼、李承亮、衍椼、莊知恆、許唐瑋、郭奕臣 、陳韻如 、蕭聖健 、奧爾加.蒂亞戈 、瀧健太郎、磯崎道佳、「輕量級」-跨校工作營、 萬福國小、微景設計

★ 藝術總監/李曉雯

★ 策展人/李依樺

★ 展期/2019.3.30(五)-5.5(日)

Treasure Hill Light Festival explores everyone’s desire for happiness

「野景」-寶藏巖光節

Silent group Picture 噤聲的群像

Silent group Picture​​

Please stand in front of the mechanical lamp. It will observe and track your face, as well as interact with you. It will follow you whenever you move to the right or left, taking pictures of your face, and then generating images of various people in the picture. Who are they? Victims, authorities, perpetrators, unrelated people……

If you were to live in this silent age, which side would you have stood on?

2019, Interactive mechanism, Depend on the space


噤聲的群像

請站在裝置檯燈前面,它喜歡看著你的臉,追蹤你的臉,與你進行互動。你往左,它也會往左,你往右,它也會往右,拍攝你的臉孔,生成畫面中的人。那又是誰?受難者、當權者、加害者,還是無關的他人……

若是噤聲的年代,想想:你會是站在哪一邊的人?

2019年,互動機械裝置,依場地而定


Unjust Deadline — Postwar Journalists

Unjust Deadline — Postwar Journalists

Date:2019/04/03~2019/12/15
Venue: Jing-Mei White Terror Memorial Park

From April 3 through Dec. 15, the Jing-Mei White Terror Memorial Park will play host to the National Human Rights Museum’s special exhibition in honor of Freedom of Speech Day 2019: “Unjust Deadline—Postwar Journalists." The New Taipei City exhibition will also be accompanied by film screenings and seminars.

“Unjust Deadline" covers the political persecution of the news media from the February 28 Incident of 1947 through the White Terror period, using the experiences of the journalists who suffered to look at the measures of oppression and restraint the authorities employed during the period of authoritarian rule and reflect on the value of a truly free media as the guardian of freedom of speech and cornerstone of human rights.

The exhibition features Huang Chih-cheng’s (黃至正) “Editor’s Desk Imprisoned at Garrison Command" installation and Chen Yun-ju’s (陳韻如) “Silenced Group Portrait" interactive installation. These, combined with reconstructed interrogation room scenes; “patriotic" anti-communist radio propaganda from the authoritarian era; and anti-Communist, anti-Soviet slogans all around, visitors will get a visceral sense of the oppressive, unfree air of a time when voices were silenced and the threat of surveillance was constant.

Deputy Minister of Culture Celest Hsiao-ching Ting (丁曉菁) commented that journalism is the cornerstone of a democratic polity and that the role of the Fourth Estate is essential. The structures and challenges of journalism under authoritarian rule were very different from those of the Internet age, and the oppression they faced was far beyond anything seen today. They fought for journalistic values, and their commitment is an inspiration to us all, she added.

Chen Chun-hung (陳俊宏), director of the National Human Rights Museum, said that from the cautionary tales of how journalists once suffered political persecution, one can witness how far freedom of speech and freedom of the press have come in Taiwan, and how hard the journey has been. In this “post-truth" era of social media, where emotion and belief can be more of an influence on public opinion than objective facts, the traditional gatekeeping role of journalism is under attack, and how those in the news business are to respond to this challenge is a serious issue, he stated.

Through this exhibition, one will also see how many journalists gave their lives for their ideals. To commemorate the 30th anniversary of pro-democracy pioneer Cheng Nan-jung’s martyrdom, the museum invites everyone to reflect on what freedom of speech meant to him, in hope that more members of Taiwan society will focus on the core values of freedom of speech and freedom of the press.


被折斷的筆桿-言論自由日特展

展期:2019/04/07 – 2019/12/15
地點:國家人權博物館白色恐怖景美紀念園區美工工廠

戰後臺灣民主化歷程之慘痛與艱難可謂斑斑血淚,逾四十年的戒嚴更是近代史上不可思議的汙點紀錄。這段期間「報禁」、「黨禁」,還有處處須防人耳目的「政治管束」,讓「言論自由」成為被剝奪的奢求。

新聞自由奠基於言論自由,是守護人權與民主的最後防線,本次特展展示1947年二二八事件起,到白色恐怖時期,遭受政治迫害的新聞媒體的人與事,並經由諸多新聞媒體受難者血淚斑斑的經歷,回溯過往威權時代無所不用其極的新聞壓迫與箝制,反省並正視新聞自由的嚴肅性與重要性,共同守護這個民主自由的寶貴基石。

此次展覽內容,展示了豐富的文史資料,高階互動體驗裝置及數位影音錄像,以及藝術創作,提供參觀者多層次的五感體驗,並結合講座暨導覽活動,成功吸引到青年朋友的參與,讓言論自由的議題得到更多重視。

Unjust Deadline – Postwar Journalists

被折斷的筆桿-言論自由日特展

Which one is true? 何為真實?

Which one is true?​​

Reality has become more precious with the advent of artificial intelligence.

We are now living in the era of post-truth and is bombarded by fake news and manipulated by social media. With the advent and popularization of artificial intelligence used for facial recognition, tracking, and prediction, these AI tools can be used to easily swap people’s faces in videos and fabricate people in videos, making it nearly impossible to tell the real from the fake. The saying “Seeing is believing" is probably no longer so reliable.

Which One is true? is an interactive robotic installation that uses the technology of facial recognition and tracking to interact with the audience. The robotic installation follows and tracks the audience and then proceeds to capture images of them and record them. The participants’ faces are then stored in a databank and composited to form images with their faces altered. The images with the altered faces are then projected and displayed at the same time with the actual faces of the participants. The participant’s’ real faces, their composited faces, and the faces of other participants are then projected and displayed inside the exhibition space at random. As the real faces continue to alternate with the fabricated faces and as the artwork continues to document throughout the exhibition, the process of digitalization raises the question of “which one is true?" in this post-truth era.

2019, Interactive mechanism, Depend on the space


何為真實?

人工智慧的發展,讓真實變得越來越珍貴。

我們生活在假新聞泛濫與社群網路操控的「後真相」(post-truth)時代,隨著人臉辨識、人臉追蹤、人臉預測的AI人工智慧的普及與開源,這些AI工具能夠輕易地讓每一個人將影片中的人物「換臉」移花接木竄改影片,偽造出真假難辨的擬真影片人物,以前我們常說「有圖有真像,眼見為憑」,恐怕再也不可靠了。

《何為真實 ? 》互動機械裝置,透過人臉辨識與追蹤技術與參與者產生互動,機械裝置會跟隨與追蹤觀眾的臉,並且捕捉與拍攝,將所有參與者的臉儲存紀錄到資料庫中進行人臉合成,自動生成換臉影像,並將換臉的影像與真實拍攝參與者的影像,同時投射與展示在空間,參與者將會看見自己真實影像的臉、合成後影像的臉,以及其它參與者的臉,隨機出現在空間中,不斷變化的真假面孔和不斷的紀錄活動,並在這個生成數字化的後真相社會中提出什麼是真實?

2019年,互動機械裝置,依場地而定


數位童樂會 一起同樂.一起娛樂

數位童樂會 Have a good time together 一起同樂.一起娛樂

展期:2018-07-01 ~ 2018-09-02
地點:新竹241藝術空間

中國科技大學互動娛樂設計系接受新竹市文化局委託,為新竹市與全國兒童在「新竹241藝術空間」打造【數位童樂會-Having a good time together.一起同樂,一起娛樂!】,即日起到9月2日免費入場。策展人陳韻如老師指出,【數位童樂會】是以「STEAM.Together」與「互動科技」的精神出發,應用大數據、手部感測互動、體感互動、VR(虛擬實境)等技術打造互動裝置,而且有多項互動投影作品、創客Maker文創品、展場實境遊戲與沒課來玩系列工作坊活動,全部由互動娛樂設計系的最新設備一次到位。

以VR、AR等虛擬實境打造互動遊戲裝置的【數位童樂會】,即日起到9月2日免費入場,安排有一連串的精彩活動規劃,尤其結合藝術與互動科技,創造全新的親子同樂型態,透過互動科技體驗藝術,啟發孩子創意思維,將是暑假期間親子寓教於樂的好去處,歡迎民眾大手牽小手前往童樂會「一起同樂、一起娛樂!」

新竹市政府特別於7/6日盛大舉行【數位童樂會】開幕活動,新竹市大家長林智堅市長與中國科大規劃與設計學院林珮淳院長特別親臨主持, 與會貴賓包括中國科大規劃與設計學院林珮淳院長、策展人陳韻如助理教授、台北黎畫廊黎耀之總經理,以及佈展藝術家李炳曄、林逸農、高軒然、吳欣怡、劉祖昇、邱琳、林品蕎、林湘榆、曾羽蓉、許仲佑、徐鈺惠等人,皆到場共襄盛舉。

數位童樂會 Have a good time together 一起同樂.一起娛樂