Date：2015-12-04 ~ 2016-01-03 Venue: Taipei Artist Village, Barry Room
Memory is similar to photography. It captures fragments of reality to reconstruct the time and experiences, and is an effective means to gain control of the past. Long-term memory isownership of widely shared experience that even manipulates the will and judgment of the future. Nerveless, short-term memory is not simply ephemeral and transientremains. It includes all the forgotten and inaccessible consciousness and feelings, and makes more accurate perception possible to shape the present reality. This exhibition attempts to re-examine the meaning and reliability of memory whileinvestigating various aspects and possibilities of oblivion to represent the memory that once existed.
Living in the present age predicted by German philosopherin 1843, Ludwig Andreas Feuerbach, as one that “prefers the sign to the thing signified” the boundary between imagination and experience has gradually become blurry. One could never be certain whether our use of short-term memory is really justified and authentic, or ironically removes the reality to serve our imagination. In I have never written a poem, the artist reconstructs objects’essence and formally breaks appearances. By doing so, the work creates an unpredictable form to explore more possibilities of imagination (or to expose more of the reality). The outdated news headlines used in Financial Times Highlights Nov. 4 have all lost their original purposes and soon become some meaninglessly ornate words of economic liberalism as demands are determined by the duration and class of memory, and we are all discriminators against memory.
Tu-144 was the world’s first super-sonic airliner manufactured by Tupolev in the previous USSR during the Cold War. Its cooling system was abnormally loud that passengers had no choice but to communicate with written notes. The work, Tu-144, uses the image of this discontinued product and silently conveys the faded experience and message of the time. Purification is a project inspired by a legend. The ancestors of the Maori had sailed across the ocean to New Zealand from a distant island called Hawaiki, which could be Taiwan. Reflecting upon the thousand years before and after us, the infinite time and space renders us transient and invisible as our short-term memory, like some ambiguous existence excluded from memory.
Slowly disappearing from the urban landscape, Yu-Lan the Flower Seller might not have forgotten anything. The scent of the flowers simply evokes a disappeared scene in another city, allowing the past to be represented from a different perspective. Walter Benjamin once said, “The measure of meaning precisely equals the force of decay and death.” Kaensan Rattansomerk documented relatives’ chanting at the time when his grandfather passed away. Through memory, the deceased could reunite with the living; and until the deceased is to be forgotten by the world, he or she would die again.
Oblivion beckons at the absence of memory, and memory exists solely for oblivion.
Curator／HUANG Hsiang、Eva LIN Artists／Julien COIGNET、Humberto DUQUE、Kaensan RATTANASOMERK、Kaya HANASAKI、Yotaro NIWA、CHEN Yun-Ju
處在德國哲學家路德維希・安德列斯・費爾巴哈（Ludwig Andreas Feuerbach）1843所預言的「重影像而輕實在…」的時代，想像和經驗的界線逐漸模糊，而暫存記憶是否經過正義精確的標準來存取，抑或扼殺了現實，用以滿足想像。〈我從未寫過詩〉（I have never written a poem）中藉由重塑物件的本質性，從形式上打破原有表象，創造無法預期的形式，開拓更多的想像，揭露更多的現實。《2015年11月4日金融時報焦點新聞》（Financial Times Highlights Nov. 4）所描繪的過期新聞標題，如今看來已失去原有的意義，瞬息成為經濟自由主義下華麗虛飾的詞藻，需求取決記憶之持久性與階級性，而我們都成了記憶歧視者。
數位影像區分為「404國際科技藝術節近10年動畫回顧」、「兒童影像」、「藝術與廣告特效的結合」等主題，作品有趣、奇幻，引發大家產生無限的想像力，例如Jacob Frey & Harry Fast的《BOB》，描述倉鼠BOB某日對一隻倉鼠一見鍾情，因此開始了跑遍世界各地、終日追逐所愛的感人戲碼，直到影片最後才發現原來BOB和另一隻倉鼠都只是在透明寵物箱裡被人類豢養的寵物，而不停變換的世界背景只是窗邊捲簾的圖案轉換罷了！
Date：2015-10-16 ~ 2015-10-18 Venue: URS21 Chung Shan Ceative Hu
For the very first time On Site programming team has organized Visual, On Site event. The event has two major sections: Open Call Exhibition and Pop Up Studio.
Open Call Exhibition
The event encourages creators from all disciplines to apply. Visual, On Site aims to expand creators’ unlimited creativities in onelimited1m x 1m square, and to provide creators diverse platforms to voice themselves. 100 exhibitors out of numerous applicants have been selected in the initial round. The exhibitors will present their works in the three-day exhibition in URS 21 Creative Hub, where judges will review the works on site and make the final selection. The final winner will be announced on the last day of the exhibition. The jury panel includes: Daehyung Lee, art director of Hyundai Motor Company; Takahiro Kaneshima , art director of Art Beijing; Natsumi Araki, curator of Mori Art Museum and Enin Supriyanto, curator of Yogyakarta Biennale Foundation.
Pop Up Studio
Taipei Artist Village hosts numerous artists from around the globe each year and has regularly organized open studio events in every season. This time, we pack residency artists’ creative world away and bring them out as a Pop Up Studio. 9 current residency artists and 5 alumnus artists will exhibit in this three-day exhibition. 2 residency artists will perform during the exhibition to lighten up the whole event.
Pop Up Studio Artist List : Agnieszka POKRYWKA、Humberto DUQUE、Julien COIGNET、Kaensan RATTANSOMRERK、Kaya HANASAKI、Noa YEKUTIELI、Nyubo ABE、Shake 、Yotaro NIWA、CHIU Chen-Hung、CHEN I-Hsuen、CHEN Yun-Ju、HUANG Li-hui、LO Shih Tung
Spring up II – Coexistence serves as an evolutionary product of the sound-sensitive installation of Spring up – it is a replication of its DNA. This continuation of life is just like cell division, the fundamental process of organism growth and reproduction in which one cell is usually split into two.
When these tiny organisms hear the sound of a person’s voice, footsteps, or hand-clapping, they will shrink according to the volume. The louder the noises you make, the more frightened they will get, which will result in a rapid recoiling motion by all. The inspiration for this artwork is derived from the experience of hiking. In the forest, a person can feel the presence of sunlight, birds, flowers, grass, trees, and bugs. Yet, these organisms will promptly go into hiding due to your presence. However, if you remain quiet for a period of time, they will get used to you and proceed with their normal activities. The sound-driven devices focus, reflect, and complement each other, while an endless and implicating conversation emerges amongst the viewer, environment, and space. This artwork expresses the changes and reactions to an environment caused by the introduction of people and sounds.
Time in Between features urban views from both Taipei and Paris. It documents a compressed 24 hours in these two places with 24 locations and 24 Taiwanese people strolling in Paris. By seamlessly overlaying urban images from the two cities at different hours of the day, 24 hours in the existence of a strange composite zone emerges. The present in the past, the present in the present and the present in the future coexist in temporal simultaneity.
The very moment I have just experienced in Taipei and Paris has gone, vanished and yet the feeling of the past and the future arc at the same time retained within the present. Today’s Taipei is as if yesterday’s Paris, our bodily perception straddles two cities and falls into the unfolding time in between. Carrying our past experience and present perceptions, we head for the future- connecting one point to the next, and on to the next one.
Every hour the video documents 24 Taiwanese people wandering slowly around 24 popular Paris attractions. Their slow movements create a sharp contrast with those of the fast-moving tourists, reflecting the subtle interplay of alienation and belonging one experiences in a foreign land. It depicts their careful consideration regarding their every step and the next steps they will take. They seem to make up some kind of community, but the connections between them seem blurred. This careful deliberation over how to proceed in a changing landscape extends beyond the international status at the current time.
Date：2014/03/08 – 2014/05/25 Venue: National Taiwan Museum of Fine Art
Time in Between features urban views from both Taipei and Paris. It documents a compressed 24 hours in these two places with 24 locations and 24 Taiwanese people strolling in Paris. By seamlessly overlaying urban images from the two cities at different hours of the day, 24 hours in the existence of a strange composite zone emerges. The present in the past, the present in the present and the present in the future coexist in temporal simultaneity.
The very moment I have just experienced in Taipei and Paris has gone, vanished and yet the feeling of the past and the future arc at the same time retained within the present. Today’s Taipei is as if yesterday’s Paris, our bodily perception straddles two cities and falls into the unfolding time in between. Carrying our past experience and present perceptions, we head for the future- connecting one point to the next, and on to the next one.
Every hour the video documents 24 Taiwanese people wandering slowly around 24 popular Paris attractions. Their slow movements create a sharp contrast with those of the fast-moving tourists, reflecting the subtle interplay of alienation and belonging one experiences in a foreign land. It depicts their careful consideration regarding their every step and the next steps they will take. They seem to make up some kind of community, but the connections between them seem blurred. This careful deliberation over how to proceed in a changing landscape extends beyond the international status at the current time.
Yun-Ju Chen 