數位童樂會 Have a good time together

數位童樂會 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

展覽介紹

本展覽結合大數據、數位科技和創客,以「STEAM.Together」教育精神向下扎根為展覽核心理念,用互動翻轉教育、用科技玩轉空間,強調科學與科技、藝術與人文的相互激盪與匯流,匯集藝術家、工程師、動畫師與互動娛樂設計系的互動科技媒體中心,跨領域合作創造全新型態的親子同樂互動科技展。​

展覽邀請「科技藝術教母」林珮淳+數位藝術實驗室-吳欣怡VR裝置x劉祖昇聲音裝置、龍祈澔3D互動虛擬影像融合真實影片基底VR裝置、高軒然AI虛擬角色VR裝置、陳韻如數據資訊視覺化裝置+互動媒體實驗室、李炳曄肢體互動裝置+創客實驗室、林逸農互動遊戲裝置、邱琳x林品蕎x林湘榆x曾羽蓉AI實境解謎介入藝術導覽與許仲佑x曹芸嘉x徐鈺惠互動拍照遊戲裝置,15位藝術家來進行一場跨領域匯流的互動科技展,觀眾不僅可以體驗互動娛樂設計系的互動科技媒體中心各個獨具特色與風格的實驗室作品之外,也可以參加「沒課(Maker)來玩實境解謎任務包」、「沒課(Maker)來玩ONE-動手做立體紙花燈」、「沒課(Maker)來玩TWO-動手做造型機器人」和「沒課(Maker)來玩THREE-動手做悠遊機械魚」活動,藉由跨領域、匯流整合、科技體驗與動手作,更了解此展覽所要強調「STEAM.Together」教育精神向下扎根的理念。

參展藝術家:李炳曄、林珮淳+數位藝術實驗室(吳欣怡、劉祖昇)、林逸農、高軒然、邱琳x林品蕎x林湘榆x曾羽蓉、許仲佑x曹芸嘉x徐鈺惠、龍祈澔、陳韻如(依筆畫排序)

Accupass 推廣活動規劃

數位童樂會網站

2018 Taoyuan Feminist Art Exhibition

2018 Taoyuan Feminist Art Exhibition

Date: 2018/03/01-2018/03/25
Venue: Exhibition Room 1&2, Department of Cultural Affairs, Taoyuan

10 Invited artists to this exhibition include Liu Yi Lan, Lynn Chen, Chen Li Hsing, Chen Yun Ju, Emily Chuang, Liao Su Chen, Pu Yi Chun, Lai Pei Yu (all from Taiwan), Takeda Hiroko (from Japan), and Safina Ksenia (from Ukraine). Materials and media used in their respective artwork are diverse, ranging from paper and pencil, brush and canvas, to mixed media, iron, stone, and footage. The various contents and images of such works collectively unsettle the ideas of masculinity and femininity. Their different use of materials also breaks the dichotomy between what is considered concrete and abstract. This exhibition seeks to bring to the fore feminist artists’s efforts to innovate the production of contemporary art with the use of diverse media: they are challenging the stereotypes of women as gentle and powerless and at the same time adding novelty to existing styles and the use of materials.


后‧現代-2018女性藝術特展

展期:2018/03/01-2018/03/25
地點:桃園市政府文化局 第一、二展覽室

桃園市文化局即日起至3月25日止,在文化局3樓的第一、第二展覽室策辦「后‧現代-2018女性藝術特展」;桃園市長鄭文燦表示,女性藝術家有獨特關照這個世界的方式,她們所呈現的藝術意象,有獨特的魅力,歡迎民眾來一窺女性藝術創作的美好與獨特之處。

文化局長莊秀美強調,本展以「后」做為新時代女性代稱,彰顯女性的主體性與藝術高度,「后」也是「後」之古字,「後現代」指的就是要挑戰現代主義的主流意識形態,和對女性的刻板印象所衍生出的新思潮和藝術形式;「后・現代」兼具「女性x後現代」的雙重隱喻,突顯本展女性藝術家開展現代藝術新視野的秀異才情。

莊秀美指出,展覽表現的藝術向度,不僅翻轉溫婉柔弱的傳統女性印象,更藉由具象、抽象、光影幻象的展件,生動傳達女性藝術家運用剛柔虛實的多元媒材,創新當代藝術的鮮明意象;這次共邀柳依蘭、陳妙玲、陳麗杏、陳韻如、莊敏伶、廖素真、蒲宜君、賴珮瑜,及日本籍武田裕子(akeda Hiroko)、烏克蘭籍薩芬娜・克謝妮亞(Safina Ksenia)等10位藝術家參展。

后‧現代-女性藝術特展

Greenhouse 數據森林

Greenhouse​​

Greenhouse is a generative data visualization installation. The work is inspired by the problems of Taiwan and is based on the survey and analysis of big data. We gather and compile the big data from over seven hundred thousand fan pages on social media, it is found that “Misanthropic", “Low birth rate", “Population ageing " has become a hot topic in Taiwan, the behavioral and linguistic information from the public space on Facebook, and pull out open information of Taiwan’s population from the Open Government Data. We use information of posts, likes, comments, and shares gathered from Facebook’s “Misanthropic" keywords as our material, and combine them with the changes of Taiwan’s population structure throughout the years and population birth rate, creating a distinctive visual narrative. We convert the data from different periods over the years into visual images of a forest, which gradually evolve into a story about a growing forest. As the overlapping trees, leaves, flowers and fruits keep growing, we point out the starting point of this work: “perceiving humanity and environment from numbers, words and actions." The artistic concept of this work is “calculation anxiety or the co-existing initiative of positive thinking." Although the image and initial work are created and interpreted by creator, we hope that all viewers can participate in the project. After all, these data are about their online daily life and reflect the experience buried in their consciousness.

2017, Data Visualization installation, Depend on the space


數據森林

《數據森林Greenhouse》靈感來自於臺灣現今所處的時代有哪些問題開始,從大數據探勘與拆解出發,挖掘超過70萬粉絲專頁的社群大數據,發現「厭世」、「少子化」、「高齡化」成為臺灣熱門的議題,那些發生在臉書公共空間上的行為和言語資料,及擷取臺灣內政部人口統計處開放資料進行數據彙整。當臉書的「厭世」貼文、讚、留言、分享被集合起來成為作品的材料,再與歷年臺灣人口結構變化與出生人口數據運算形構出另一種視覺敘事,藉由這些歷年不同時期的數據資料轉換為森林意象之視覺影像,逐漸演化成森林的生長故事,透過重重疊疊的樹、葉、花、果不斷成長變化,也就點出了這件作品起點:「感受、人與環境,從數量、詞彙和動作」,創作圍繞的核心則為:「計算焦慮或與之並存的正面思考倡議」,映像與物件化初始雖由創作者製造詮釋,最終希望觀者參與投射,那些數據關於他們的網路日常,也是來自意識裡的經驗。

2017年,資訊視覺化裝置,依場地而定


Conflux.Infinity-Collaboration Now & Forever-The 12th Digital Art Festival Taipei

Conflux.Infinity-Collaboration Now & Forever-The 12th Digital Art Festival Taipei

Date:2017/11/10-2017/11/19
Venue: No.5 Warehouse & North Tobacco Factory of Songshan Cultural and Creative Park

As an important urban art festival in Asia, the Digital Art Festival Taipei employs the city as a base and invites artists, all citizens and art enthusiasts to participate in digital art. Together, we shall create an ever happening collaborative relationship that brings together different fields, embraces all identities, includes all diverse interests and unifies the body and mind. Upholding the concept of Conflux.Infinity as the theme of the Digital Art Festival Taipei 2017, we encourage all participants to be more than just viewers and actively engage in the art festival through digital art and artworks.

Artists:
Opening Performance: HH (YAO Chung-Han & YEH Ting-Hao)︱As One (TAI Han-Chih & HUANG Jin-Wei); Audio/Visual Collaborations: Viktor LIN︱CHANG Yun-Chih︱CHEN Yan-Ren
International Digital Art Exhibition: Youki Hirakawa︱Kimchi and Chips (Elliot Woods & Mimi Son)︱
Emerging Digital Artists Group Exhibition: CHIANG Yi-Hsuan x CHEN Yun-Ju︱WU Ping-Sheng x ZHANG Xu-Zhan︱CHANG Yun-Chih x CHEN Yan-Ren︱WANG Po-Yen︱CHANG Teng-Yuan︱CHENG Hsien-Yu
Retrospective Exhibition of Digital Art Festival Taipei: WANG Hsin-Jen︱YAO Chung-Han︱CHANG Yung-Ta︱TSENG Wei-Hao︱LIAO Chi-Yu


集.無限—永遠在合作中-第十二屆臺北數位藝術節

日期:2017/11/10-2017/11/19
地點:松山文創園區五號倉庫、北向製菸工廠

作為亞洲重要的城市藝術節,「2017第十二屆台北數位藝術節」以城市為基地,邀請藝術家、所有市民以及藝術愛好者共同參與,以數位藝術為方法,打造真正集合不同領域、無涉身份、包含多元興趣、融合身體與心理,永遠在進行中的合作關係。以「集.無限」的集合概念破題,藉由數位藝術以及展覽作品,廣邀所有參與者,超越觀賞者的身份,積極成為藝術節的共構內容之一。

參展藝術家︱
開幕表演活動:HH(姚仲涵、葉廷皓)、As one(戴含芝、黃晉韋)、影音合作:林立翔、張耘之、陳彥任
國際數位藝術邀請展:平川祐樹︱泡菜與薯片
國內數位新銳藝術創作展演:江亦瑄X陳韻如︱吳秉聖X張徐展︱張耘之X陳彥任︱王博彥︱張騰遠︱鄭先喻
臺北數位藝術節成果回顧展:王新仁︱姚仲涵︱張永達︱曾偉豪︱廖祈羽

Greenhouse 數據森林

第十二屆臺北數位藝術節—「集.無限-永遠在合作中」

國立臺灣藝術大學設計學院 60周年特展

國立臺灣藝術大學設計學院 60周年特展

展期:2017-10-07 ~ 2017-10-17
地點:松山文化創意園區一號倉庫

國立臺灣藝術大學設計學院,最早可溯自國立藝術專科學校美術工藝科,為國內最早成立的設計專業科系。迄今一甲子,本院已包含工藝設計學系所、視覺傳達設計學系所、多媒體動畫藝術學系所、創意產業設計研究所博士班,培育人才無數,校友遍及國內外,於設計領域發光發熱,表現傑出格外輝煌與耀眼。今年(2017)本院欣逢60週年紀念,以「臺藝設計•啟蒙60」為主題,期許肩負帶領臺灣設計教育的使命繼續展望未來,以穩健步伐走向下一個60年,共同為臺灣設計界努力,將更多國內的優秀設計推向國際舞臺。

謹訂於2017年10月7日(週六)下午13:00,假「松山文化創意園區一號倉庫」舉行開幕典禮暨設計圓桌論壇,共同就設計相關議題進行探討,誠摯邀請您與我們分享寶貴的經驗與建議。另外,並於10月7日(週六)至10月17日(週二)將於同一地點舉辦大型特展;10月11日(週三)、10月12(週日)、10月14日(週六)將有六場次的國際跨領域設計論壇,邀集國內外專家學者共襄盛舉、進行交流。

國立臺灣藝術大學設計學院 60周年特展

Simulating, Object and Perception

Simulating, Object and Perception

Date: 2017/08/11-2017/10/20
Venue: Art Bank, National Taiwan Museum of Fine Arts

How are humans and objects interdependent?

With the expansion and advancement of industries and technologies, the human society enters the fast-moving IT era, where people enjoy convenient and simplified like brought by trendy, constantly-changing technology gadgets – easy-to-understand, easy-to-use. Meanwhile, our living spaces are being quietly filled by technology products and information, which have become our daily essentials and an intertwining part of contemporary dynamics.

To us, technology products are vehicles for information and messages; moreover, through images and words they are building our idea of the world and universe, even penetrating deeply into our psychological world to become an extension of our senses or consciousness. Weaving together the reality and the simulated reality, they create layers of feelings and experiences different from before, and shape our logical thinking. Moreover, high technology facilitates the combination of machinery and organism. Now cyborgs are not merely part of our imagination about the future world – as they were in old sci-fi novels or movies. They are being made a reality in real life. Objects are produced simulating human senses and thinking, and could sense, respond to, and influence our awareness. In certain areas, they are replacing human beings.

Technology turns imagination into reality – or simulated reality – and realizes what was previously impossible, bringing us pleasant material life. However, homogenization of products is unavoidable when technology goods are being churned out through state-of-the-art production processes which pursue identical copies of consistent quality. The interdependence between humans and objects means that as an integral part of life, contemporary products reflect the phenomenon that our society is also being homogenized – that traces and uniqueness of individuals are being deleted in this world of IT. Unlike technology, which seeks homogenized quality improvement, art tries to find links with individuals in a society going toward homogenization, and people’s independent thinking and bodily senses are crucial to the awareness of one’s existence.

Simulation as a technique is widely used in technology production, media communication, life, and art creation. This exhibition aims to explore the interdependence between humans and objects through artists’ awareness and their use of techniques of simulation (which also include verisimilitude and mimicry) to connect objects (items, products and landscapes) and perceptions (which have various meanings from human beings to awareness and feelings). As we look at the artworks, we see how artists represent or recreate a unique state between “works and viewers", “objects and body", “the society and individuals", and “the material and the spiritual", in an attempt to find spiritual and sensual breakthroughs.

In Understanding Media: The extensions of man, Marshall McLuhan said, “The artist is the man in any field, scientific or humanistic, who grasps the implications of his actions and of new knowledge in his own time. He is the man of integral awareness." Perhaps when watching the exhibition, via the artists’ awareness as well as the interaction between viewers and works, we could re-explore the interdependence between humans and objects and make new sense of the time and space we are in.


【擬/物/體】新媒體裝置藝術展

展期:2017/08/11-2017/10/20
地點:藝術銀行

「人與物之間存在著何種相互依存的關係? 」文化部藝術銀行【擬/物/體】新媒體裝置藝術展於8月11日展開,透過盂施甫、洪韵婷、張徐展、陳韻如、傅雅雯、黃盟欽、賴珮瑜等7位青年藝術家的察覺意識,試圖由「擬」這類手法(包含擬真、模仿及模擬等),連結「物」(涵蓋物體、產物、景物等)與「體」(指人、覺知、感受等多層面意涵)來探討當代生活中人與物的依存關係。開幕活動特別邀請到獲2016數位藝術節表演獎首獎的陳依純、鄧雯馨、羅禾淋等藝術家,結合無人機、視覺影像、聲音藝術演出《火炬下的囚犯番外篇》,以當世界只剩下科技產物存在的主題,呼應本次展覽,重新思考科技如何科技與人的關係。

此次展覽中,藝術家盂施甫以機械裝置,描寫抽象的人格特質,透過節奏的掌握及光影變化,將生硬冰冷的機械語言,轉變成具生命力的有機個體。洪韵婷運用微型物件,表現當代社會中文明化、工業化的產物,影射機械化的現代生活及普遍均值化的現象。張徐展影像作品中的虛擬海島,象徵著失去遵循方向的虛無文化,以及人類找不到靠岸之港的窘境。陳韻如以聲音裝置模擬自然界的小生物,探討人對於環境空間,所造成的改變及影響。傅雅雯嘗試在作品中構建一個將身體延伸到空間裡的裝置,探討純粹的身體狀態與空間的互動關係。黃盟欽則探討科技媒介在紀錄時間與影像的歷時性下,影像、時間、聲音韻律所形構出的置身處境,觸及潛在影像與身體移動的觀念意象。賴珮瑜結合數位技術轉化台北城市的夜晚光芒,呈現數位文明建構的外在景觀,以及身體隨著觀看影像中的速度與時間,所產生的感知變化。本展藉由藝術家運用不同方式的創作,重現或再造獨特的作品與觀者、物與身體、社會與個人、物質與精神等狀態,以找尋精神及感知上的突破。

科技將想像化為真實(或說擬真),實現過往的不可能,為我們帶來了美好的物質生活,卻也不可避免的將產物趨近均質化; 而藝術卻在趨於均質化的社會裡尋找與人產生連結的精神,人們獨立的精神思考及身體感受成了覺知個體存在的要素。加拿大知名哲學家麥克魯漢(Marshall McLuhan)說「所謂的藝術家,是指任何行業中、或科學或人文,那些能夠掌握領悟自己行動之意義,以及自身所處時代新知意義的人,他是具有整體察覺意識的人。」【擬/物/體】展覽邀請觀眾與作品的互動,跟藝術家一起探索藝術與科技的交會,重新覺察自身與外在事物的連結。

【擬/物/體】新媒體裝置藝術展

大內藝術節-日出的悸動

大內藝術節-日出的悸動

展期:2016-11-05 ~ 2016-12-04
地點:內湖公民會館

台北大內藝術區(Taipei Art District, TAD)成立於 2014 年,其會員主要為大直與內湖地區共14家畫廊、藝術機構。大內藝術特區組織共同打造藝術創意街區,讓創意融入街道,使美學成為生活一部份。

2016第三屆大內藝術節由策展人羅禾淋、黃義雄策劃年度主題:「日出的悸動」,為延續2015年的主題「不眠的居所」,讓藝術介入大直、內湖區域的型態由夜晚橫跨到黎明。本屆策展主題以五感:視覺、聽覺、嗅覺、味覺、觸覺為主,共超過30位藝術家參展、串聯20處以上的展演場域,試圖從生活中的細節出發,營造藝術相遇的悸動時刻,藉此拉近大眾與藝術之間的距離並重新思考藝術與大眾之間的關係。

大內藝術節-日出的悸動

臺灣科技藝術節─科技藝術裝置展

臺灣科技藝術節─科技藝術裝置展

展期:2016/08/12-2016/09/25
地點:技嘉科技

文化部因應「2016臺灣科技藝術節─潮」偕同5大科技廠主辦的「科技藝術裝置特展」在今日圓滿落幕,文化部許秋煌次長、桃園市鄭文燦市長共同出席特展企業分享記者會,5大科技廠對於「科技藝術裝置特展」的成果一至好評,並同時預告將在8月中旬隆重登場的「臺灣科技藝術節」絕對符合觀眾期待。

文化部為了讓藝術與科技有更多的火花,別於往年特與祥儀、禾聯碩、廣達電腦、技嘉科技、研華科技企業等5大知名科技廠合作辦理「科技藝術裝置特展」,把藝術家的「軟性作品」帶入「剛硬理性」的科技公司大廳展出,新奇且充滿創意的互動裝置,出現在科技人的工作場域中,藝術與科技的相互呼應下,不僅引發科技人參與藝術的興趣,也讓即將展開的「臺灣科技藝術節」帶來更多注目。

臺灣科技藝術節─科技藝術裝置展

FEEL AND IMMERSED

FEEL AND IMMERSED

Date:2016/04/20-2016/4/24
Venue: Songshan Cultural and Creative Park

In an age of excessive knowledge, technology, and media, do we still have our senses and are they still sharp?

Entering its fourth year, “Art Bank, Taiwan” continues to contemplate on the ideal states of “art,” “people,” and “living space,” to better respond to contemporary society. Demands for art are derived from diversity of the age: focus on people, space as stage, and observations and interpretations through the different perspectives of men, artworks, creators, living spaces, and viewers. To stretch its uniqueness, Art Bank penetrates living spaces through various means. By facilitating the circulation of artworks in its collection, Art Bank hopes that the integration of people and space, new and old, traditions and future, and private spaces and public environment in everyday life, can enable everyone to experience the “immersive” art environment and wonderful lifestyle.

Senses need to be saved. Art is inspired through senses and experiences. The exhibition focuses on experiences of all five senses and combines different brands and disciplines to not only enable viewers to admire the works with their eyes, but also to stimulate all other senses so that they feel as if they were within the artworks, and be profoundly affected by the energy of art. The exhibition creates art experience of all senses through five sections: “See! Our Out-of-Focus Age,” “Listen! Behind the Slight Sounds,” “Taste! Must-Have Wonderful Memories,” “Touch! Unknown Amazing Creativity,” and “Smell! Memory Scents of Life.”

參展藝術家 Artists
李政勳 LI Cheng-Hsun、周慶輝 Chou Ching-Hui、林玉婷 Lin yu-Ting、施如瑄 Shih Ju-Hsuan、袁廣鳴 Yuan Goang-Ming、陳煥禎 Chen Huan-Chen、陳韻如 Chen Yun-Ju、黃法誠 Huang Fa-Cheng、廖堉安 Liao Yu-An、劉智丰 Liu Chih-Feng、蔡士弘 Cai Shih-Hong、賴易志 Lai Yi-Chih、蘇子涵 Su Tzu-Han(依姓氏筆畫排列)


藝術銀行:身在其中—當代藝術展

日期:2016/04/20-2016/4/24
地點:松山文創園區

在充滿知識、科技及媒體的時代,我們的感覺依然存在且敏銳嗎?

藝術銀行邁入第四年,持續思考「藝術」、「人」及「生活空間」三者的理想狀態?以更符合社會樣貌,時代多元性而產生的藝術需求:從人出發、以空間為舞台,透過人、藝術作品、創作者、生活空間、觀者等不同角度的觀察與詮釋,延伸藝術銀行的獨特性,以各種方式滲透生活空間。藝術銀行作品大量流通的特性,期望日常生活中的人與空間、新與舊、傳統與未來、私領域與公共環境之間相互融合,讓每個人都能感受「身在其中」的藝術環境及美好生活。

感覺需要儲存,藝術透過感覺與經驗所激發。此展覽以五感經驗為主軸,結合不同品牌與領域,讓觀者除了透過視覺欣賞作品,也能開啟其他感官,猶如身歷作品之中,更深刻感悟藝術的能量。以「看!我們的失焦年代」、「聽!微小的聲音之後」、「嚐!不可或缺的美好回憶」、「觸!未知的驚奇創意」及「嗅!生活的記憶氣味」等五感展區,開啟全感官的藝術體驗。

參展藝術家 Artists
李政勳 LI Cheng-Hsun、周慶輝 Chou Ching-Hui、林玉婷 Lin yu-Ting、施如瑄 Shih Ju-Hsuan、袁廣鳴 Yuan Goang-Ming、陳煥禎 Chen Huan-Chen、陳韻如 Chen Yun-Ju、黃法誠 Huang Fa-Cheng、廖堉安 Liao Yu-An、劉智丰 Liu Chih-Feng、蔡士弘 Cai Shih-Hong、賴易志 Lai Yi-Chih、蘇子涵 Su Tzu-Han(依姓氏筆畫排列)

FEEL AND IMMERSED 藝術銀行:身在其中—當代藝術展

The 21st ifva Festival

The 21st ifva Festival-CINEMA 2.0 Media Art Exhibition: Surviving the Glass System

Date:2016/02/25 ~ 2016/03/12
Venue: Pao Galleries

Cinema is a medium of faces. In a dark cinema, no matter you are watching romance, action, comedy or a film of whichever genre, the silver screen is showing you faces of the actors and actresses most of the time. Faces of all kinds tell stories of all kinds. “CINEMA 2.0: Dark Mirrors” reflects, like a mirror, faces that you have encountered or never thought of, and through which you see yourself as much as you see others.

Modern men lives in a society of surveillance where our privacy is under constant threat. Surveillance comes in many different forms such as CCTV cameras, aerial drones, telephone tapping, computer data interception, GPS location tracking, etc. Surviving the Glass System attempts to reflect on the relationship between these forms of surveillance and contemporary technological as well as creative practices. The technology and nature of the cinematic medium is, indeed, core to many surveillance practices.

Curator:Ip Yuk-yiu


第二十一屆 ifva 獨立短片及影像媒體節-媒體藝術展覽:玻璃之城

日期:2016/02/25 ~ 2016/03/12
地點:包氏畫廊

CINEMA 2.0 自 2011 年起成為 ifva 不可或缺的一部分,一直以前瞻態度 來探討電影媒體的無盡可能。今年 「CINEMA 2.0:玻璃之城」以監控為題,道出電影媒體除了捕捉當下、表達自我,也是一個關乎操控的媒介。

我們生於一個監控的世代,私隱天天受到威脅,閉路電視、無人機航拍、電話截聽、電腦資訊竊取、GPS 追蹤……種種監控無處不在。「CINEMA 2.0:玻璃之城」嘗試探究這些監控方式與當代科技發展和藝術創作的關係。電影媒體的技術與本質,其實與許多監控方式,根本同出一源。

策展人:葉旭耀

The 21st ifva Festiva