無限重複─當代新銳藝術展

無限重複─當代新銳藝術展

展期:2015/12/24-2016/1/27
地點:駁二藝術特區大勇C5倉庫

我們重複著眨眼,
1分鐘20次,1天扣除睡眠19200次,
一樣的開闔,直到死去,
卻在每個睜眼的瞬間,
看見不同的風景。

我們重複著心跳,
1分鐘80下,1天115200下,
一樣的跳動,直到死去,
卻在每個心動的瞬間,
感受美好的砰然。

本展探討台灣新銳藝術家們利用不同媒材,透過不斷重複的元素或符號,傳達自身對生活、對社會情境的反映;而觀眾欣賞作品的同時,反映出他們對作品不同的見解,觀眾對作品的看法,其實也是將自己心境投射在作品上的表現。本展邀請台灣當代藝術家:吳芊頤、李吉祥、李政勳、張芳榜、陳韻如、陳德頤、馮徑蕪、黃韶瑩、老屋顏等9位藝術家,作品涵蓋平面繪畫、版畫、複合媒材、雕塑、互動裝置、攝影等多元樣貌。

參展藝術家Artists:
吳芊頤Wu, Chien-Yi
李吉祥Lee, Chi-Hsiang
李政勳Li, Cheng-Hsun
張芳榜Chang, Fang-Bang
陳韻如Chen, Yun-Ju
陳德頤Chen, De-Yi
馮徑蕪Fung, Ching-Wu
黃韶瑩Huang, Shao-Ying
老屋顏Old House Face Studio

無限重複─當代新銳藝術展

Short-Term Memory

Short-Term Memory

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 The outdated news headlines used in Financial Times Highlights Nov. 4 have all lost their original purposes and soon become some meaninglessly ornate words of economic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


暫存記憶

日期:2015-12-04 ~ 2016-01-03
地點:台北國際藝術村,百里廳

記憶如同攝影般,藉由捕捉片段的真實,用以拼湊時間與經驗,獲取控制過去的一種有效手段。長期記憶是一種獲廣泛共識的擁有,更操控未來的意志與判奪。然暫存記憶,不只是消縱即逝的殘留樣貌,包含一切的遺忘以及無法存取的意識與感受,卻能提出更精確感知診斷,形塑當下存在的現實。此展想要探討的不僅重新檢視記憶之意義與可靠性,更是將遺忘涉及之種種面向與可能性,紀念暫存的逝去記憶。

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。

冷戰時期由前蘇聯圖波列夫公司製造世界第一款超音速客機(Tu-144)冷卻系統異常吵雜,乘客只能使用紙條溝通,藉由已經停產的時代產物意象,以無聲來傳遞時代的消逝的經驗與訊息。一個以傳說為起點的計畫〈淨化〉(Purification),毛利人的祖先從遙遠的哈瓦基島嶼,可能就是台灣,飄洋過海到紐西蘭。沈思於過去千年前或是未來千年後,時空的無限性使我們如同暫存記憶般消逝無蹤,記憶之外那隱晦的存在。

逐漸成為城市中逝去的風景〈賣玉蘭花〉(Yu-Lan the Flower Seller),或許不曾遺忘了什麼,卻因花氣在異地喚醒過往的景色,過去因而得以以不同的角度重新被陳述。正如班雅明所暗示的:「意義的份量恰好等於衰 朽和死亡的力量。」肯桑・羅特納索瑞克(Kaensan Rattanasomrerk)紀錄其外祖父去世時被親人恭誦之際,藉由記憶,已故者與在世者得已重聚,直當被世人所遺忘,已故者將再次死亡。

遺忘是沒了記憶,記憶是為了遺忘。

策展人/​黃翔、林怡華
藝術家/​朱利安・夸涅、安伯托・杜克、肯桑・羅特納索瑞克、花崎草、丹羽陽太郎、陳韻如

Short-Term Memory

暫存記憶

數位魅影-國際數位藝術特展

數位魅影-國際數位藝術特展

展期:2015/11/15-2016/01/17
地點:府中15新北市動畫故事館3-5樓展覽室

府中15本次邀請臺灣新媒體藝術家林珮淳教授與404 國際科技藝術節策展人Gina Valenti 策劃「數位魅影」國際數位藝術特展。這次特展邀請多達17個國家、近60組藝術家參展,包括日本、加拿大、以色列、西班牙、芬蘭、法國、阿根廷、英國、美國、臺灣、德國等,展現當代藝術家如何掌握數位媒材的特色,形塑屬於作品內在與外在的魅影,共同建構一個進入幻想世界的虛擬空間。

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!

互動裝置區則是利用各種數位光(LED 光、螢光、鏡射光和投影光等)來展現魅力,像是「光風暴」,當人走進此區域時將觸發感應裝置,使周邊的螢光線條快速旋繞,光線好像變成了立體雕塑;由腦波儀裝置來呈現的「共感頻率」,隨著人類腦波的反應不同,其腦內產生的獨特風景也不斷影響變換著投影畫面中的竹林風景。

這些人體、資訊與裝置之間的傳遞過程,構成了人與藝術的互動關係,這也是數位藝術最獨特的部分,建構出內在可反思的影像內容、外在可感官的互動魅力。歡迎市民朋友踴躍參觀,體驗數位魅影的虛實變幻。

數位魅影-國際數位藝術特展

交響美樂地:跨媒體的聯覺空間

交響美樂地:跨媒體的聯覺空間

展覽時間:2015/10/29-2016/01/09
展覽地點:國立臺灣藝術大學 有章藝術博物館3樓展廳

國立臺灣藝術大學創立一甲子,不僅培育許多優秀藝術人才,亦寫下臺灣現代藝術與藝術教育發展史重要的篇章。在歡慶創校六十年之際,校慶活動亦成為重新凝聚認同與情感、藉回顧為前瞻築基的契機。「交響美樂地:跨媒體的聯覺空間」展,由交相應和的樂音或聲響出發,藉由跨媒體藝術開展多重感知的聯覺空間,以展現臺藝人多元的美學實踐。

「美樂地」原為melody的英文中譯,意指樂音旋律;在此,我們亦將之進一步引申,指稱盛景美好之地,更轉喻美學孕育之沃土與良地,亦即慶賀設校一甲子的臺藝。藉此,既引出本展紀念創校的意義,更點明展覽的兩個核心元素與概念:樂音/聲響以及空間/風景。本展以聽覺與視覺或觸覺的聯動、換位或共感的「聯覺美學」為基礎,在聲音與影像或物件裝置彼此的應聲交響中,提供多重的空間感知經驗與殊異的音景想像,並探索不同領域「互文」的可能關係。

交響美樂地:跨媒體的聯覺空間

On Site, Visual

On Site, Visual

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


視覺混種

日期:2015-10-16 ~ 2015-10-18
地點:URS21中山創意基地

今年混種現場策劃團隊特別規畫了「視覺混種」活動,此區塊活動又分為兩大主題進行:「徵件展」及「快閃工作室」。

視覺混種徵件展

採用徵件方式募集各方創作者,利用一公尺見方之有限空間,激發創作者的無限創意。冀望透過此一機會,給予年輕創作者另一個不一樣的發表舞台。經由為數眾多的投件作品中,初選審核出一百位參展者,於中山創意基地展示作品。展覽為期三天,並於展覽最後一天,現場公布獲獎名單。展覽現場特別邀請五位評審至現場做決選評分,此次特邀韓國現代集團藝術總監李大衡(DaehyungLee)、藝術北京藝術總監金島隆弘(Takahiro Kaneshima)、東京森美術館策展人荒木夏實(Natsumi Araki)、印尼日惹雙年展策展人艾寧.舒普利亞托(EninSupriyanto)與台北國際藝術村總監吳達坤共同出席這場別開生面的藝術舞台秀。

快閃工作室

台北國際藝術村,每年接待數十位來自世界各國的藝術家,也固定於春夏秋冬四季中,於藝術村舉辦開放工作室,讓大眾一窺藝術家的創作世界。這次,我們將他們的創作世界,拉到外面,以快閃(Pop Up)的方式,呈現給大眾認識。為期三天的展期,將展出九件當期駐村藝術家作品,以及特邀五位過去的駐村藝術家回村參與活動。展期三天現場也將有兩位駐村藝術家帶來行為表演,為快閃工作室更添增豐富度。

快閃工作室參展藝術家:Agnieszka POKRYWKA、Humberto DUQUE、Julien COIGNET、Kaensan RATTANSOMRERK、Kaya HANASAKI、Noa YEKUTIELI、Nyubo ABE、Shake、Yotaro NIWA、邱承宏、陳以軒、陳韻如、黃立慧、羅仕東

On Site, Visual

視覺混種

與時代共舞-《藝術家》40年台灣當代美術

與時代共舞—《藝術家》40年×台灣當代美術

日期:2015-09-26 ~ 2015-11-29
地點:高雄市鼓山區美術館路80號

為促使美術館成為史觀進駐的場域,並與時俱進推出有別於台灣美術史的分類法,高雄市立美術館近年來推出一連串研究搭配展覽,以不同的面向爬梳台灣美術史議題,形成不同的觀點,引領觀眾進入台灣特有的美術現象中。因此,從2013年起,著手在地藝術生態的研究,陸續推出《藝術推手:高雄藝廊發展初探》研究展、《異聲共振─高雄市現代畫學會研究展》;另一支研究脈絡,以國內藝術期刊發展為文脈,梳理台灣當代美術史,首先在去年展出台灣美術雜誌先驅《雄獅美術》研究展:《雄獅學:雜誌構築出的時代美學》。今年則聚焦在台灣發行歷史最悠久的美術雜誌《藝術家》,觀察其40年來的內容及對台灣美術發展的影響。這些研究型展覽的呈現均以建構台灣多元的美術史觀為出發。

拉長時間軸線來看《藝術家》和台灣美術發展,年度作品的並置展陳,有如「縮時攝影」,濃縮呈現臺灣美術40年的時間流逝和場景轉換;從年度焦點作品所使用的媒材、形式、語彙,串連出台灣美術史的輪廓和演進,並呈顯其時代的象徵意義。藉由回顧《藝術家》自創刊以來,見證、記錄、保存40年來的台灣美術史料,值得深入挖掘、研究、再現與回應;從《藝術家》480期的內容積累,透過本展的「縮時」呈現,概觀40年來台灣當代美術的時潮及脈動。

【與時代共舞】《藝術家》40年×台灣當代美術

Mirage & Aural Beauty of Virtual Insects

Mirage & Aural Beauty of Virtual Insects

Date:2014.06.27 ~ 2014.09.08
Venue: National Taiwan Science Education Center


蟲聲幻影-數位藝術互動特展

日期:2014.06.27 ~ 2014.09.08
地點:國立臺灣科學教育館七樓南側特展室

從機械時代進步到今日的電子時代,媒體的形變頻率與傳遞模式與日俱增,藝術家透過新媒體技術所展現出的各種實驗成果,如同生物進化一般,正在上演著演化論。科技藝術與昆蟲世界,乍聽之下毫不相關,但以角度與定位來觀,兩者都藉著多元的方式和所處的世界溝通,彼此皆存在著「傳遞」的本質。

依其多變的感官和想像,「蟲聲幻影數位藝術互動展」領著大家,以新媒體觀看的角度,並揉合詩意的手法及新的視野,循藝術家和專家之腳步,我們將喚醒官能去體驗另一個世界。

「蟲聲幻影」由林珮淳教授、曾靖越老師共同策劃,將科學與藝術跨領域的結合,是展件最多的「全互動」數位藝術展,13件作品都可歡迎觀眾的進入,利用電腦程式的隨機與回饋性,巧妙的將觀眾之互動行為轉換為影像與聲響之敘事,強化了藝術家所要提出的觀念與美學。

作品簡介:

《捕捉No.2/Catching No.2》
創作者:林珮淳 /Lin, Pey-Chwen
互動影音設計:蔡秉樺/Tsai, Bing-Hua
媒材:充氣塑膠布、互動影音、感應程式、電腦音響、投影機、kinect感應器

《多盒心/MultiCore 》
創作者:李家祥 /Lee, Chia-Hsiang
媒材:紅外線感應紙張,紅外線深度攝影機,電腦主機,投影機,揚聲器

《聲音物件「夏2.0」/Sound Object-Natsu 2.0 》
創作者:江振維 /Chiang, Chen-Wei
媒材:繼電器、壓克力

《視以為是II/Pseudonym II 》
創作者:曾靖越 /Tseng, Ching-Yueh
圖像設計:魏君洲/Wei, Chun-Chou
媒材: 電腦、網路攝影機、投影機

《幸福蝴蝶/Happiness – butterfly 》
創作者:陳進士 /Chen, Chin-Shih
程式設計:李家祥/Lee, Chia-Hsiang
媒材:2D動畫、互動系統、感應器

《〈聲機勃勃〉聲音敏感 裝置/Spring up 》
創作者:陳韻如 /Chen, Yun-Ju
媒材:步進馬達、聲音感測器、鏡子、椅子、木材

《光律/Law of Light 》
創作者:胡縉祥 /Hu, Chin-Hsiang
協同創作團隊:蕭思潁/Hsiao, Ssu-Ying、吳庭榛/Wu, Ting-Zhen、趙彥翔/Chao, Yen-Hsiang、陳家翊/Chen, Jia-Yi
媒材: 燈 泡、電子控制臺、電腦、內部網路、木板、紅外線深度攝影機、壓克力、變壓器

《身體構圖II/Soma Mapping II 》
創作者:詹嘉華/Zhan, Jia-Hua
程式設計:李家祥/Lee, Chia-Hsiang
聲響設計:邱㜋淳/Chiu, Yi-Chun
媒材:投影機,互動程式,電 腦,感應器

《移動風景 [B]/Moving Landscape [B] 》
創作者:蔡昕融 /Tsai, Sin-Jung
程式設計:李家祥/Lee, Chia-Hsiang
媒材:互動平臺、投影機、電腦、影像分接器

《虫聚II: 共生/Insect Swarm II:Symbiosis 》
創作者:蔡秉樺 /Tsai, Bing-Hua
媒材:投影機、MacMini 、麥克風、單體喇叭、擴大機

《Obfuscator II 》
創作者:陳震群 /Chen, Chen-Chun
程式設計:李家祥/Lee, Chia-Hsiang
媒材:手機應用程式、智慧型手機、互動程式、網際網路、電腦、投影機、3D攝影機

《在何方/Where are you? 》
創作者:謝佩君 /Hsieh, Pei-Chun
程式設計:李家祥/Lee, Chia-Hsiang
媒材:互動程式、感應器、投影機、電腦

《火花/Chemistry 》
創作者:陳淮茵 /Chen, Julia、林暄/Lin, Hsuan、郭為芃/Kuo, Wei-Peng、廖遠文/Lio, Un-Man
程式設計:李家祥/Lee, Chia-Hsiang
聲音設計:鄭建文/Cheng, Chien-Wen
媒材:互動程式、感應器、投影機、電腦

蟲聲幻影-數位藝術互動特展

Spring up Ⅱ-Coexistence 聲機勃勃Ⅱ-共生

Spring up Ⅱ-Coexistence​​

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.

2014, Sound-Sensitive Installation, 60cm*60cm*120cm*2


聲機勃勃 Ⅱ-共生

《聲機勃勃 Ⅱ-共生》是由聲機勃勃聲音敏感裝置演化而成,複製它的DNA,在這種生命的延續過程中,如同細胞分裂是生物體生長和繁殖的基礎,通常由一個細胞產生分裂則一分為二,生命的螺旋也因此誕生。

《聲機勃勃 Ⅱ-共生》聲音敏感裝置,由馬達機制組成的裝置作品,彷彿像擁有生命的小生物一般,這些小生物們非常害羞、敏感和好奇,它們像人類或是生物一樣有聽覺和視覺,聽得到環境的聲音,會探頭出來觀察這個世界。當環境安靜下來時,它們便會立刻探頭出來,更安靜的話,它們會更出來;但當有輕微聲響時,它們便會立刻躲起來,直到安靜為止。此作品靈感來自於爬山,在山林中,你可以感受到陽光、花鳥、草樹及昆蟲的存在,這些生物們會因為你的介入,而躲藏起來;但如果你安靜在那裡一段時間後,當牠們習慣有你存在時,牠們又開始出現及活動著。以聲音驅策裝置,彼此對焦、映照、相生,從而與觀者、環境和空間衍繹出一篇篇意涵無盡的談話,藉此希望創造出,環境因被人類或聲響介入之後,所造成的改變與反應。

2014年,聲音敏感裝置,60cm*60cm*120cm*2


Time in between 時光間

Time in between​​

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.

2014, Single channel video, Sound, color, 12’00 “


時光間

《時光間》收集了台北與巴黎兩地的城市景緻,每小時紀錄兩地24小時、24個景點、24位台灣人在巴黎行走,並運用台北與巴黎的景色產生出時空重疊,組合建構成一日時間的綻放。過去的現在、現在的現在和未來的現在,現在一個接續一個黏附在時間中進行著。我在台北與巴黎的現在才剛過去,它即刻消沒,過去與未來的感受伴隨著當下一同給出。今日的台北意向昨日的巴黎,我們的身體感知跨越兩地落入綿延的時光間,我們帶著過去的經驗,當下的體現,朝向未來持續前進,透過一個點連接另一個點,接續下一個點。每小時紀錄24位在巴黎的台灣人,緩慢行走於巴黎24個著名景點,與來往穿梭的觀光客構成強烈對比,突顯出滲透在身體裡的,生活在異地的細微差異性;描述著他們日以繼夜不停思考的每一步及下一步。在這裡他們如同生命共同體般,看似沒有關聯卻有關係地一個接著一個相互渡過一天!作品也傳達了一點政治意涵,透過主角們「思考如何繼續走下去」的遭遇,影射台灣目前的國際處境。

2014年,單頻道錄像,影片,有聲,彩色,12’00 “


2014 Digital Art Creation Competition Program

2014 Digital Art Creation Competition Program

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.


2014數位藝術創作案「陳韻如:時光間」

日期:2014/03/08 – 2014/05/25
地點:國立台灣美術館

〈時光間〉是2014數位藝術創作案徵件獲選的作品,藝術家陳韻如收集台北與巴黎兩個城市的風景,透過影像重疊的手法,以錄像裝置呈現出兩種不同時空的交錯。在360度的圓形展間中,藝術家將其切分為12格影像,如同時鐘形式般,雖代表時間連續地行進,然而每1格影像實際上皆展現了台北與巴黎兩地一日24小時的濃縮堆疊。藝術家將兩種不同的時空平行展現於觀眾眼前,試圖打破既定的物理時間,使觀者轉而以另一種思維觀看時間的存在。

台北與巴黎的24個場景於作品影像中同時出現與消逝,且穿插了24位緩慢行走於巴黎的台灣人。藝術家藉快速流轉的人潮,一種群眾與個人、快與慢的對比方式,讓觀眾在體驗不同時空的並行之外,也同時聚焦於24位主角處在異地的內在細膩感受:此刻我所在的,是純粹於巴黎的當下時空,抑或伴隨著過往經驗所累積的複雜感受?〈時光間〉將給予觀眾另一種不同的感知方式。

2014數位藝術創作案「陳韻如:時光間」