台北當代藝術館 官方網站 Museum of Contemporary Art, Taipei

【時光現場­­-姚仲涵個展 Light On-Site – Solo Exhibition by YAO Chung-Han】

展覽名稱 Exhibit

【時光現場­­-姚仲涵個展】 

Light On-Site – Solo Exhibition by YAO Chung-Han

展覽時間 Date

2015/08/22-2015/09/27

展覽地點 Venue

MOCA STUDIO

門票 Admission

免費 Free

參展藝術家 Artists

姚仲涵 YAO Chung-Han

展覽介紹 About the Exhibition

【時光現場­­-姚仲涵個展】 

Light On-Site – Solo Exhibition by YAO Chung-Han

姚仲涵為近年來十分活躍的新媒體藝術家,擅長結合聲音創作與空間裝置,歷年展覽也經常結合現場演出;他最為人知的代表性作品,創意將日光燈管的閃爍明滅和啟動器衰變的聲響轉換為空間中詩性的感知元素,讓日常物件以一種「類有機體」的姿態,觸發觀者視覺與聽覺交互衝擊的身體感,同時啟動人們對於一些日常冷硬事物的重新想像。姚仲涵曾多次受邀至當代藝術館參與聯展或現場演出,但【時光現場­­】實為他在當代館首次舉辦的個展,且本次展出所有作品,都是呼應當代館展場空間和動線的全新製作。

As an active new media artist in recent years, Yao Chung-Han integrated sound and space installation, as well as live performances. His significant work transforms flickering lights of fluorescent light tubes and sound of light starters into sensuous and poetic experience in space. Everyday objects triggered bodily senses of audiences with colliding visual and audio experiences. These everyday objects turned on re-imagination of cold everyday matters by posing itself as an“para-organism”. Yao Chung-Han was regularly invited to participate in group shows or live performances organized by MOCA Taipei. However, Light On-Site is his first solo exhibition in MOCA, exhibiting new works responding to the space and flow of exhibition gallery in MOCA.   

 

姚仲涵對聲音藝術的詮釋,具現為展覽與演出並存的一種實踐模式。本次【時光現場­­】展覽也不例外,藝術家嘗試模糊展覽與演出的界線,除了讓整個空間裝置做為演出的主題,也試圖探索如何藉由「聲響」和聽覺的導引,帶領觀眾脫離現實的身體經驗,並從當下提問:聲響的下一步是什麼?或者更重要的是:身心感知被啟發、擴大之後,下一步渴求的會是什麼?
Yao Chung-Han’s interpretation on sound art was realized as a co-exist practice of exhibition and performance. Light On-Site is not an exception either. The artist attempt to blur the lines between exhibition and performance, besides allowing space installation to become the core subject of performance, he also tries to explore ways to detach audiences from bodily experiences through the guidance of sound and sense of hearing. A question was raised. What is the next step of sound? Or more importantly, what is the next urge soon after the triggered expansion of mental and physical perception.

 

【時光現場­­】展,運用無形的噪音與節奏、具體的燈管和變動的光線等不同元素,營造了身心體驗的三個不同場域。首先與觀眾遇合的,是102展間的<動次動次>互動作品,此作可視為一種「光的樂器」裝置,觀眾透過自身對於光束的干擾,逆向地控制日光燈的明滅頻率和啟動器的聲響節奏,從而體會燈光、聲音與行為與此作的三角互動關係。接著是103展間的<時光>裝置,由90個環形日光燈管排列組成時、分、秒三個數值,藉由日光燈的物理特性所導致的數字顯示延遲,創造一種「所見不等於所知」的時間感知經驗。另外,利用廊道長條空間,結合環形日光燈管、雷射光束、和電子聲響等元素的裝置作品<LLAP >,名稱來自(Laser - Lamp - Audio Performance)的簡寫,也是其過去作品<LLSP > (Laser - Lamp - Sound Performance)的延伸。於此,姚仲涵將聲響(Sound)擴充為廣義的聽覺接收系統(Audio),有意引導觀眾更開放的思考聽覺的本質,並藉由日光燈與雷射的合奏和低限的語彙,討論準確與不準確的分界、數位訊號與類比訊號的對話與轉換等課題。

Light On-Site utilizes immaterial noise and rhythm, together with many other elements such as concrete light tubes and changing lights, creating three different scenes for mental and physical experiences. Audiences will first encounter Dong-Z Dong-Z in Room 102, an interactive work. This work could be considered as an installation of “musical instrument of light”. By interfering light beam, audiences reversely control the on and off rhythm of fluorescent light as well as rhythm created by sound of the light starters. Furthermore, audiences will then experience the interactive relations of light, sound and behavior. Followed by the installation Current Light, consisted of 90 circle fluorescent lamps arranged and reconstituted in three numeric of hour, minute and second. Through the delay of numeric appearance due to physical characters of fluorescent lights, it creates a kind of experience in time where the seen does not equal to the known. While LLAP, an installation uses elements such as circle fluorescent lamp, laser lights and electronic sound occupies the long corridor. LLAP is the short form for Laser - Lamp - Audio Performance, also a work expanded from Yao Chung-Han’s previous work LLSP (Laser - Lamp - Sound Performance). Yao Chung-Han expanded sound into audio, guiding audiences consciously into thinking about the essence of sound in an open way. He also attempts to generate discussion on issues such as distinctions between accuracy and inaccuracy, conversation and transformation between digital signals and analog signals through minimal language and ensemble of fluorescent light and laser light.

 

本展除了展出三件新作,在展覽期間9/20,將有姚仲涵及王福瑞在時光現場共同的演出。配合展覽同時播放的影片,包括第一代<LLAP >的演出,本展作品的創制及裝置過程、藝術家現身說法以及現場演出紀錄等。

Besides three new works, Light On-Site will also feature a performance by Yao Chung-Han and Wang Fujui on 20th September. Videos will be shown in conjunction with the exhibition, including the first generation of LLAP performance, creating and working process of exhibited works, artist’s interview and documentation of live performances. 

 

【時光現場­­-姚仲涵個展】影音紀錄

    Light On-Site – Solo Exhibition by YAO Chung-Han Project Video

 

參展藝術家 About the Artists

藝術家介紹 Artist Introduction

姚仲涵,日間工作混合教育、創作與設計,夜晚的身體擺盪噪音與舞曲之間。

Working as an educator, artist and designer during the day, Yao Chung-Han swings his body between noise and dance music during the night.

 

姚仲涵為台北藝術大學科技藝術研究所碩士,作品透過日光燈與聲音之間的呼應和對比,觸發觀者對自身體感的想像。作為台灣聲光藝術先驅,姚仲涵曾獲台北數位藝術節聲音藝術首獎,並受邀參加日本「福岡亞洲藝術三年展」、「NTT ICC-Emergencies!014」、荷蘭「STEIM - Massive Light Boner」等盛會,作品多發表於國際性展會,目前為專職藝術創作者與台北藝術大學、實踐大學兼任講師。

Yao Chung-Han attained his M.F.A degree from Graduate School of Art and Technology, Taipei National University of the Arts. His works recall conversation and contrast between fluorescent light and sound, and furthermore trigger physical imagination of audiences. As a pioneer in Taiwan’s light and sound art, Yao Chung-Han was the recipient of First Prize in Digital Art Festival Taipei for Sound Art category. He was invited to participate in Fukuoka Asian Art Triennale, NTT ICC-Emergencies!014, STEIM - Massive Light Boner and many others events. His works were presented in various international exhibitions. He is currently a full time artist and lecturesd at Taipei National University of the Arts and Shih Chien University. 

(攝影:陳彥齊)

作品介紹 About the Artworks

「聲響的對立面-動次動次」Dong-z Dong-: The Opposite of Sound

創作過程中,姚仲涵常嘗試將聲音解構,去除傳統樂器的聲音元素,進而提煉出純粹而精準的聲響。然而近幾年,姚仲涵認為抽象冷調的聲響,常使作品與觀眾的身體感知產生距離,壓抑住人性中潛藏的感性需求,因此開始嘗試將抽象的聲響帶入人性的感知溫度。

Yao Chung-Han tried to deconstruct sound by eliminating the elements of sound in traditional musical instrument, and furthermore refined pure and accurate sound. However in recent years, Yao Chung-Han thought abstract and cold sound creates distance between the art works and audiences’ physical experiences, as well as oppressing hidden sentimental needs inside human being. Hence he started to bring warmth of humanity to abstract sound. 

 

作品〈動次動次〉模糊聲音裝置與現場演出的界限,對其過去作品較為冷調、抽象、講究整齊的美學提出疑問,同時也藉由觀眾對於光束的介入與互動,探討觀眾與日光燈噪音之間的節奏對應關係。

Dong-z Dong-z blurs the boundary between sound installation and live performance. Yao Chung-Han attempts to question his older works that were colder, more abstract and that were very particular in the aesthetics of order. Simultaneously through the interference and interaction of audiences with light beams, he explores corresponding relation between rhythms of audiences and noise created by fluorescent light. 


〈動次動次〉 Dong-z Dong-z

燈光、日光燈、喇叭、電子裝置 Light, Fluorescent lamps, Speaker, Electronic devices

90x500x306cm

2015

 

「時間經過的現場:時光」Current Light: Site Where Time Pass

人類以時、分、秒的度量方法將時間分割成數個細小單位,成為一種連結世界的工具性系統,超越了語言的限制。然而時間是一種流動的概念,每種生物對於時間的感知及運行韻律也各有不同。

Human being divides time into trivial units of hour, minute and second. It becomes an instrumental system that is beyond the languages and connects the world. However, time is an idea of flowing. Each organisms experience time and its’ working rhythm in a different way.

 

〈時光〉以日光燈的光亮顯示時、分、秒等數字,與現實時間同步。然而由於日光燈是一種類比的產品,從通電到亮起所需時間往往超過一秒。姚仲涵藉此物理性限制,在視覺上出現了一種「來不及顯示...」或是「期待下一個時間的到來....」的時間感受。

Current Light display numbers indicating hour, minute and second that synchronizes real time through light of fluorescent light. But because fluorescent light is an analog product, time from the moment electric pass through until it was lighted often exceeded one second. Utilizing its’ physical limitation, Yao Chung-Han reveals the experience of time through visual indication of “too late to reveal…” or “anticipating the arrival of next period of time…”.

 

為了要與時間同步而產生了流動感,則是時間最有生命力的特徵。

The flow created from attempt to synchronize with time, is the most vital character of time.


〈時光〉 Current Light

日光燈、電子裝置 Fluorescent lamps, Electronic devices

600x80x306cm

2015

 

「組織失控的聲響:LLAP」LLAP : Organization of Incontrollable Sound

姚仲涵著迷於日光燈富有生命力的聲光語彙,然而,這樣的特性也是難以精準控制的。〈LLAP〉透過環形日光燈的明滅與垂直、水平雷射的光束引導,構成簡約的平面視覺。日光燈因其物理特性,每次啟動的聲響及明滅效果皆有些許差異,與雷射光及電子聲響精準的節奏控制產生對比,在類比與數位訊號的準確度落差間產生對話。〈LLAP〉嘗試帶入電子音樂元素,希望更寬廣的討論聽覺的本質,而不受限於聲響、聲音與音樂的分類限制。

Yao Chung-Han was very into the vital language of sound and light derives from fluorescent light. However, these characters are hard to control. Through the on and off of circle fluorescent light as well as guidance of vertical and horizontal laser light beam, LLAP constructed a minimal two-dimensional visual presentation. Due to its’ physicality, there are differences in starting sound and on / off effect of fluorescent light, creating contrast with precise rhythm control of laser light and electronic sound. It then creates a conversation between the accuracy gap of analog and digital signals. LLAP attempts to bring in the elements of electronic music, hoping to create a broader discussion on essence of hearing, and not limited to the classification of sonic, sound and music. 


〈LLAP Laser - Lamp - Audio Performance

雷射、日光燈、喇叭、電子裝置 Laser, Fluorescent lamps, Speaker, Electronic devices

1220x270x330cm

2014