展名 Title｜超有機-德國當代媒體藝術展 re-active platform
展期 Date｜2011 / 10 /08 ~2011 / 11/ 20
策展人Curator | 華安瑞Andreas Walther 王浚人Wang Chun-jen
地點 Venue｜ 地下實驗‧創意秀場 (捷運中山地下書街，近R9出口)Taipei MRT Zhangshan Underground Street (near exit R9)
貼心小叮嚀│本展適合闔家觀賞，免費
Note / This exhibiton is for general public / free entrance
展覽簡介
文/石瑞仁
媒體藝術的發展源頭，可以上溯至20世紀60年代，由白南準等人引領潮流的實驗錄像藝術。到了80年代，隨著電腦科技日漸普及，媒體藝術的領域也延伸到電腦繪圖、影音特效、動畫、3D虛擬實境，乃至所有可以運用類比或數位科技完成的作品。及至90年代網路的興起，媒體藝術的發展更加多元，互動和參與也變成新的趨勢。
十月初於當代館「地下實驗、創意秀場」舉行的【超有機-德國當代媒體藝術展】(re-active platform)，是以大量數據傳導為基礎，應用雷射光電為展現媒介的新媒體藝術展。參與本展的六位藝術家，創作概念有別於外部的「互動」(interactive)模式，而更強調內在的「反應」(re-active)作用，希望從物理法則出發，將人與人、人與自然、環境、世界之間的牽引作用轉化為看得見、聽得到的媒體藝術表現形式。本展由德國媒體藝術策展人華安瑞與台灣新一代策展人王浚人共同策畫，邀請來自德國科隆藝術學院的六位新媒體藝術家展出五件新作，為了強化作品與台灣文化及在地環境的連結性，藝術家們特地提早來到台灣，感受台灣的文化，並選擇具有本土色彩的材質、做為與其多媒體作品結合的現場裝置元素。
本次展覽繼2010年由三位德國藝術家專程來台參與的【三極片─德國影像藝術三人展】(Tripolar-Three Position of German Video Art)之後，再度展現了德國當代媒體藝術的活力和多樣性。六位年輕藝術家對新媒體特性的掌握，對於異質元素的融匯和不同運用，形成各自獨特的美學，也為台灣觀眾開啟了文化交流、藝術體驗的新視野。
策展論述Curatorial Statement
文/華安瑞
媒體藝術這個名詞大約是在1990年以後開始流行，從那時到現在，這個名詞始終代表一種極有趣的觀點。但究竟什麼是媒體藝術呢？這個名詞，指的是否只是使用到電子科技或數位媒體的藝術創作？廣義地來看，媒體藝術這種創作類形，可以說聚焦於藝術創作本身─藝術本就與媒體(媒材)離不開關係。由此看，媒體藝術關心的是何謂「藝術媒體」(artistic media)，以及他們如何運作，還有，他們在創作過程、或在藝術家與媒體及世界之間的交錯互動中扮演何種角色。
比如，當我們只透過繪畫或攝影(或文學)來複製自我肖像時，我們會得到全然不同的自我參照。而同樣的，繪畫與攝影的過程對藝術家來說具有很不同的影響：這個過程本身即是一種特別的媒體結構，比如它(過程)對時間與空間的媒合作用，使它成為一種獨特的媒體。若我們放大媒體藝術的探討領域，會發現，透過傳播與社會媒體(政治、宗教、科學、藝術)所完成的溝通-社會過程，是這種藝術型態的考量之一。
反應平台，來自德國科隆的藝術團體，對於探討美學系統之封閉性抱著極大的興趣。(比如，肖像畫只能透過某種媒體，以某種手法、或者甚至是某種型式來實現。)在這種情況下，單一創作系統(或者任何一種系統)只能以極度自我參照的方式來操作，而且只聚焦於自身內在的邏輯與策略，對於外在世界漠不關心。當所屬的美學系統不能支應時，藝術創作的過程與結果會變得極度地以自我為中心。
反應平台的裝置作品，一方面創造了這樣的封閉系統，但另一方面他們也結合科技技術，意欲防止或反制這種現像發展：這些科技設備皆為不同的感應器，比如巧合迴路(感應器偵測巧合)、超音波感應器、錄像音軌設備等等；所有這些感應器所偵測的對像都是來自外在，不管這些外在來源是宇宙幅射、路人行動電話的訊號、或是裝置作品內觀眾移動的腳步。這些偵測結果皆被導入裝置作品內，引發改變：就像把多變性置入不可知或不可期的數學、物理模式中。
反應平台將於台北推出的展覽，可以看見其藝術創作方面的努力提昇至更高的層次：藝術家們雖然彼此熟識，且培養了長期的工作默契，他們卻沒有一個人曾經到過台灣。於是，從一個有趣的觀點來看，這個團體或多或少意謂一個封閉的系統，而對他們來說完全陌生的台灣，則代表著「外界」。就在他們建構自己的裝置作品時，反應平台本身對於「台灣」這個陌生環境的「反應性」深感興趣。他們特地提早兩個星期來到台灣，為的就是體驗他們與台灣這個土地之間的「反應關係」：他們決定，所有的創作媒材都將於來到台灣進行實探堪後再進行選擇，並且現地製作錄像作品。此外，除了展覽以外，將會舉行藝術家座談與工作坊等相關活動。
By Andreas Walther
Media Art is a term that became popular in the decade of the 1990s and was and still is an extremely interesting perspective. But what is Media Art actually? Does the term simply address those artworks realized by applying electronic, technical, or digital media? In a wider perspective, Media Art also focuses on the production of art itself - since art is generally media-bound. In this respect, Media Art asks what artistic media are and how they generally function, what role they have in the artistic work progress, in the interplay between artist, medium, and world: we would, for instance, definitely come to a different self-perception if we would apply only painting or only photography (or only literature) for portraying ourselves. Equally, also the processes of painting and photographing have very different influences on the artist: it is the particular structure of a medium, for instance its ways of mediating time and space, that makes a medium unique. Extending the field of investigation of Media Art, there further are communicative and social processes carried by communication- and social media (such as politics, religion, science, art) that can become part of the consideration.
re-active platform, media art group based in Cologne, investigates the case of (aesthetic) systems turning hermetic (for example when portraiture would be only realized in one particular medium, with one particular method, and, perhaps, even always with the same model). In such condition, a system (of whatever kind) exclusively operates self-referencially, focusses only its own internal logic or strategy, and disregards the outside. Also when an aesthetic system falls under such condition, the artistic work process and its results turn axiomatic, solipstic, egocentric.
In their installations, re-active platform on one hand create such closed systems, but on the other hand they also integrate techniques and technologies that know to prevent or reverse such development: these technologies for instance are various kinds of sensors such as coincidence cirquits (sensors detecting „coincidence“), ultrasonic sensors, video tracking equipment, and others; all of these sensors detect the outside, no matter if this outside appears in the form of radioactive cosmic showers, signals emitted by mobile phones of passers-by or the audience moving within the installation. These detections then are led into the installed hermetic system, causing change: as if one would integrate a variable for the unknowable or unexpectable in a mathematical or physical formula.
This whole artistic endeavour of re-active platform in the case of the exhibition in Taipei reappears on a second level: while the artists know each other very well, none of them had ever been in Taiwan before. And so, seen from a playful perspective, the group itself resembles a more or less closed system, while the unknown surrounding on location resembles the outside. And just as they build their installations, re-active platform themselves are interested in re-activity while being in this unknown surrounding ‚Taiwan’. Therefore they will arrive two weeks prior to the exhibition opening to re-act on location: building materials used for the installation for instance will all be decided after research on location in Taipei and also some of the exhibited video material will be produced on location in Taipei. Furthermore, besides of the exhibiton, re-active platform will hold workshops and artist’s talk.
延伸閱讀 Learn More
贊助Supported by
Shorten Url
