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

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展覽名稱 Exhibit

Y世代:人造知覺─詹嘉華個展

The Y Generation:Artificial Corporeality - Solo Exhibition by Zhan Jia-Hua

展覽時間 Date

2018/10/06-2018/12/02

展覽地點 Venue

MOCA Studio

門票 Admission

免費

參展藝術家 Artists

詹嘉華Zhan Jia-Hua

展覽介紹 About the Exhibition

 

 

Y世代,略指1981年~2000年出生的世代,此世代年幼時數位科技並不普及發達、成年後週邊充斥著數位化與訊息化的生活環境。藝術家詹嘉華身處於這個時代當中,逐漸發覺現代人真實身體感知被虛擬感知侵蝕的狀態,其創作常以感官衝擊的視覺元素為呈現主軸,長期關注「數位科技/身體感」的相互關係。

“The Y Generation” refers to those born during 1981 and 2000. This generation grew up in an era when digital technology had yet become popular; but as they entered adulthood, they have found themselves living in an environment characterized by digitization and information. Zhan Jia-Hua has gradually discovered that modern people’s genuine physical perception is eroded by virtual perception in this era. Her work often focuses on visual elements that can create a perceptual impact and continuously explores the relationship between “digital technology” and “corporeality.”

 

「Y世代:人造知覺─詹嘉華個展」以邁倫.克魯格(Myron W. Krueger)所提出的「人造現實」(Artificial reality)為概念,人們藉由科技創造虛擬現實供人們體驗,當逐漸與科技產物接觸更為親密時,其感知世界便已經從五感擴張成與電子產品接觸後所產生出虛擬的「人造知覺」。藝術家希望透過本展覽探討人造的虛擬產物所構成的感知所帶來的感受之真實性,並提出「這樣的感知是否可以像虛擬世界般被快速刪除?」的提問,試圖引導觀眾釐清真實的身體感知與虛擬的人造知覺之間的界線。

The Y Generation: Artificial Corporeality - Solo Exhibition by Zhan Jia-Hua adopts the concept of “artificial reality” proposed by Myron W. Krueger. Through technology, people can experience virtual reality. When the distance between people and technological products becomes much shortened, our bodily senses expand into “artificial corporeality” incorporated with electronic products. With this exhibition, the artist hopes to explore the authenticity of perception created by artificial and virtual products. Meanwhile, she also poses a question: “can such perception be deleted immediately like that of the virtual world?” Through her work, she attempts to guide viewers to discover the boundary between real bodily perception and virtual artificial perception.

 

本展覽延續藝術家長期對「數位科技/身體感」的關注,以希臘文對身體(Soma)的描述為觀點切入,將「時間」的元素導入身體長、寬、高的固態形體概念之中,認為身體會因著時間的推移而累積成長,成為一個即時且不斷更新的狀態,而藝術家則運用科技媒體將身體即時更新的狀態再現於作品之中。展覽從《虛擬角色:藝術家 詹》開始,點出虛擬世界中「身分」之議題;透過其從2012年開始的《身體構圖II》系列作品,討論透過虛擬結構,重建人與自我和空間環境的關係;為本次展覽而創作的《訊息》L系列,則著重在討論人類行為受網路訊息控制的現況;展覽最後呈現的作品《公民擠壓》系列則回應「人的身體」作為抗爭的手段,紀錄人與社會的關係。

Continuing her long-term focus on the subject of “digital technology/corporeality,” Zhan employs the idea of the Greek word “soma” (body) and incorporates a temporal element into the concept of solid forms defined by length, width and height. For the artist, the human body grows and accumulates as time progresses and is in a real-time and constantly updating state, which is represented with technological media in her work. The exhibition opens with the work, Virtual Role: Artist Zhan, which pinpoints the issue of “identity” in the virtual world. The series, SomaMapping II, started in 2012 discusses the possibility of using virtual structures to re-construct the relationship between the self and spatial environment. The Message L series, created specifically for this exhibition, evolves around how human behaviors have become controlled by online information. The Squeezing Citizenship series, displayed at the end of the exhibition, serves as a response to using “the human body” as a means of resistance and documents the relationship between people and the society.

 

 

參展藝術家 About the Artists

 

詹嘉華Zhan Jia-Hua (DuDu Zhan)

 

游擊的 專職藝術創作者/獨立設計師

Guerrilla-like professional artist/independent designer

 

1987年生於臺灣新竹,畢業於臺灣藝術大學多媒體動畫藝術研究所,擅長跨域整合視覺藝術與表演藝術,作品多探討人/科技/媒體間的交互關係。曾獲「第七屆法國安亙湖國際數位藝術節-視覺藝術類」首獎與「國立臺灣藝術大學60週年」傑出校友,並曾於美國克里夫蘭、德國奧登堡艾蒂羅絲媒體藝術中心與國立臺灣藝術大學文創園區等地駐村。

 

Born in Hsinchu, Taiwan in 1987, Zhan Jia-Hua graduated from the Graduate School of Multimedia and Animation Arts, National Taiwan University of Arts (NTUA). She specializes in integrating visual art and performing arts, and her work often explores the relationships between different individuals, people and technology as well as people and media. She has been awarded the First Prize of the Visual Art category in Bains Numériques #7 and the Outstanding Alumni in the 60th Anniversary of the NTUA. Zhan’s works have been exhibited extensively, and she has also conducted artist residencies in Cleveland, USA; Edith-Russ-Haus für Medienkunst, Oldenburg, Germany; and the Cultural Creative Industry Park of the NTUA. 

作品介紹 About the Artworks

入口

《虛擬角色:藝術家 詹》(Virtual Role : Artist Zhan)

LED 音箱、手機、後端程式庫 LED Speaker, Mobile Phone, Database

12.5 x 12.5 x 5 cm

2018

虛擬角色 @czk5896n

Virtual Role @czk5896n

藝術家在LINE平台上,創造了一個虛擬角色:Artist Zhan(@czk5896n),它將會主動推播展覽消息,由後端程式庫主動回覆您的訊息,同時自行運算成長。這樣的虛擬角色還會是藝術家本人嗎?現代人在虛擬世界中擁有各種虛擬身份,虛擬的分身可以發表各種言論,瞬間擁有各種自己,彷彿真的存在一般。當分身刪除之後,本體是否也連帶缺少了甚麼?是人在控制虛擬的分身,還是虛擬的分身比較像真正的自己?此作品為作者對於虛擬身份與真實身份,具矛盾性存在關係的呈現。

The artist creates a virtual role Artist Zhan (@czk5896n) on LINE, which actively sends out exhibition information. Messages, on the other hand, will be responded by a back-end program and grow through automatic programming. Can this virtual role be viewed as the artist instead?  Modern people have all kinds of virtual roles in the virtual world. Through these avatars, people can make endless statements and embrace countless identities as if they were realistic existences. However, when these roles are deleted, does the self lose something as well? Is it the people that are controlling their avatars in the virtual world, or the avatars are, in fact, more like their true selves? This work exposes the conflicting relationship between the virtual roles and people’s real identity.

 

R102103走廊

《身體構圖II《身體構圖II》身體資料庫

SomaMappingII, SomaMappingII Database

數位媒材 Digital Media

2012-2018

共同創作/詹嘉華、李家祥(Lee Chia-Hsiang)、邱(女益)淳(Chiu Yi-Chun)

Co-creation by Zhan Jia-Hua, Lee Chia-Hsiang and Chiu Yi-Chun

 

《身體構圖II》互動裝置藉由數位媒材、互動機制與身體影像的再現,記錄觀者身體軌跡,並加入陌生人群的身體軌跡之中成為集體共同創作,呈現小型網絡社群的縮影。第一階段以互動的方式,紀錄觀眾的行為軌跡動態構成即時影像與聲響,探討紀錄行為的觀點、連續影像繪畫美學和其環境與人的關係,以數位的方式打破作品與觀眾的籓籬,構成數位身體素描般的影像創作。第二階段為創造獨特身體的數位紀錄,再現於虛擬世界並與他人產生溝通,形成一幅集體的連續紀錄行為軌跡構圖,呈現人與自我、空間環境及與整體社會的關係。

《身體構圖II》身體資料庫則為《身體構圖II》於法國、德國、韓國、義大利與臺灣等地展出所收集到的身體資料。

SomaMapping II is an interactive installation based on digital media, an interactive mechanism and the representation of bodily images. As an observer’s movements are recorded, movements of an unknown crowd are added into the image, creating a collective mapping of physical movements that serves as an epitome of a small social network. The work first records the viewer’s physical movements through an interactive mechanism and forms real-time images and sounds. The work explores the viewpoints of recorded behaviors, the aesthetics of continuous image and the relationship between people and the environment. By employing digital technology, the work shatters the barrier between an artwork and its audience in the form of digital body sketching. Furthermore, the work creates a digital record of a unique body and represents it in the virtual world to enable communication with other people, mapping out people’s continuous movements in a collective sense. In addition to display the relationship between an individual and his self and the relationship between people and their spatial environment, the work also delineates the relationship between people and the society.

SomaMappingII Database shows the information collected through SomaMappingII when the work was exhibited in France, Germany, Korea, Italy and Taiwan.

 

R102

《訊息》L系列 Message L series

數位媒材、電子材料、現成物

Digital Media, Electronic Material, Ready-Made

尺寸因空間而異 Dimensions Variable

2018

Y世代的你我,年幼時沒有接受虛擬訊息的機會與環境,而現代的虛擬訊息如靈光般四處流竄,宛如世界的主宰者。登入網路後我們書寫、購物、交友、聊天與評論等等行為,已被虛擬訊息主宰,甚至無法忍受一秒鐘的斷訊。《訊息》L系列為一燈光與聲音裝置,企圖將虛擬訊息的感受實體化呈現,資訊與訊息本身應為中性的存在,卻因著個人的使用狀態產生不同的意義和重要性,引導觀眾思考自己是否已經迷失在資訊的慾望中?

The childhood of the Y Generation was free of virtual messages. Nowadays, online messages have inundated the virtual world. When connected with the internet, our writing, shopping, friendship, chatting and commenting are all dominated by virtual messages; and we cannot even bear one second without receiving any messages. Message L series is a light and sound installation that concretizes the perception stimulated by virtual messages. Information and message are supposed to be neutral; however, their meaning and significance have become different due to individual use. Therefore, this work guides audiences to think about the possibility of getting lost in the desire of information. 

 

R102

《訊息:雲》L系列Message: Cloud L series

電子材料、棉花、現成物

Digital Material, Cotton, Ready-Made

100 x 85 x 85 cm

2018

每天每個人都彷彿帶著一把雲端的傘,終日不斷地上載、下載,我們不再仔細思索每一條資訊的重要性,只是像災難般的不停大量製造稱為資訊的那些廢棄物。《訊息:雲》L系列為一互動燈光裝置,當人進入傘下的包覆空間,資訊就開始自主流動。

Everyone is like carrying an umbrella of cloud on his wrist every day, constantly uploading and downloading information. We no longer consider the importance of each piece of information but disastrously keep producing the waste that we call “information.”

Message: Cloud L series is an interactive light installation. When audiences step into the space within the umbrella, information starts to flow automatically.

 

R102

軟實力小姐 Miss Soft Power

數位媒材、現成物

Digital Media, Ready-Made

100 x 38 x 18 cm

2018

此作品源自於藝術家自身的經驗:自小無憂無慮在島嶼生活,從未離開過這座島嶼,總是依靠網路等媒介認識世界,對她來說世界很大也很遠,有那麼點事不關己。長大後離開島嶼而看見世界,漸漸意識到想要將一份熱愛自己生長土地的心情與他人分享並不那麼簡單,似乎有很多名字,但都有其模糊空間,於是藝術家開始自問:我是誰?《軟實力小姐》是一件錄像裝置,將藝術家多年的駐村及參展後所產生的心境、以及對於國家認同的矛盾情感,以後製特效處理過的影像來呈現。

This work is inspired by the artist’s personal experience. As a child, she grew up worry-free on the island. Never had left it, she relied on the internet and other media to know the world, which used to be immense and remote for her. The world, in short, was not part of her world. After she became an adult, she departed from the island to see the world. Gradually, she has realized that it is challenging to share about her homeland with other people. Her homeland has quite a few names, but they are all indistinct. Therefore, she began to ask herself: “Who am I?” Miss Soft Power is a video installation. Using video image created with special effects and editing techniques, the artist visualizes her conflicting feelings about national identity after gaining years of experiences in artist residencies and exhibitions. 

 

R103

日常Untitled

電子媒材、現成物、數位媒材

Electronic Media, Ready-Made, Digital Media

116.5 x 91 cm

2018

共同創作:詹嘉華、陳建志(Chen Chien-Chih)

Co-creation by Zhan Jia-Hua and Chen Chien-Chih

 

生活在這人造世界裡,被集體價值觀影響的我們,吃著基因工程改造過的食物、用著無法被環境自然分解的電子產品、穿著人造纖維的服裝、看著虛擬的實境影像、過著如同螻蟻一般的日常。《日常》為一件投影光雕裝置,試圖以廢棄的電子產品及零件拼湊出城市的意象,投影於其上的影像則顯現城市生活中逐漸壓抑的情感,以及不自覺循環的日常生活狀態。

Living in an artificial world, we have been under the influence of collective values, digesting genetically modified food, using electronic products that will never decompose in nature, wearing clothes made of artificial fiber, watching virtual images of the reality, and spending each single day like a tiny ant. Untitled is an installation of projection mapping with components of wastes salvaged from electronic products. The artists aim to create an urban landscape with the wastes whereas the projection reveals the suppressed feelings of living in a city as well as the daily cycle that is formed without people’s awareness.

 

R103

《公民擠壓》系列  Squeezing Citizenship

3D列印件、電子媒材、數位媒材、文件

3D Printed Objects, Electronic Media, Digital Media, Documents

2014~2017

攝影師/詹嘉華、熱血一號(Y.C. Lin)

Photographer / Zhan Jia-Hua, Y.C. Lin

 

《公民擠壓》扮演一個載體,引導曾參與社會運動的公民們,回復其抗爭當下的身體姿勢,以數位的方式記錄並再現其抗爭的身體記憶,詮釋公民身體在其中所扮演的角色,在彷如壓迫的黯黑氛圍中,成為一個發聲/光體。藝術家期望此作品作為一個契機,讓更多人重新檢視土地上的紛爭與衝突,正視公民運動的權利與義務,瞭解其於社會運動中的發聲,將成為黑暗中的一道光,照亮這片土地。而人們越來越有權利爭取公眾的權益,為這片土地留下共同的記憶,刻劃出後人可依循的歷史軌跡。

Squeezing Citizenship is created as a vessel that aims to guide citizens who have participated in social movements back to the body (posture) of resistance. The artists use digital means to record and represent the bodily memory of resistance as a way to engage social movements, interpret the role played by citizens’ bodies in social movements, and demonstrate how they have become a voice/light in oppressive darkness. The artists hope this work can serve as an opportunity for more people to re-examine the conflicts and controversies that are taking place on this land, to take the rights and obligations of civil movements seriously, to understand the voices in social movements so that they can become a ray of light in the dark that lights up this land. Consequently, people will gain more power to fight for their rights and save the collective memories of this land, which will become the history that later generations can learn from. 

 

R103

公民擠壓:理想國的擬像 Squeezing Citizenship: Utopia of Simulation

鐵件、電子材料

Steel, Electronic Material

210 x 295 x 95 cm

2018

共同創作:詹嘉華、劉大維(David Liu)

Co-creation by Zhan Jia-Hua and David Liu

 

以柏拉圖的《理想國》中提到民主即容易滑落為專制的論點之下,藝術家認為《公民擠壓》對於民主政權裡的公民抵抗運動,需要被更細緻地討論,如同列奧·施特勞斯(Leo Stauss)所提:「正因我們是民主的盟友,所以我們不能諂媚它。」現身抗爭的民眾希望喚醒公眾的聆聽跟同理心,但當今的媒體以嗜血的角度、愈發針對性的觀點來報導公民運動,讓參與運動的公民再一次被放大檢視甚至傷害;於是藝術家建造出宛如國家機器般運轉的輸送帶,觀眾可以自由選擇是否將3D列印的人物(擬像),放置於輸送帶上緩緩升高,由其自主墜下摔碎。而漠視或加入撻伐的你我,是否將成為下一個輸送帶上的待宰羔羊呢?

In Plato’s Republic, the philosopher mentioned that democracy might easily become tyranny. The artists believe that the voices of resistance in civil movements in democratic societies also need to be noticed and discussed. In Leo Strauss’s words, “We are not permitted to be flatterers of democracy precisely because we are friends and allies of democracy.” People who are resisting feel that their rights have been ignored, therefore they need to be heard and empathized by the public. However, the artists have observed that the media today are making viewers more blood-thirsty by feeding them sensational news with aggressive viewpoints. As a result, citizens involved in civil movements have undergone scrutiny and even gotten hurt. In this work, the artists create a conveyor belt that symbolizes the state apparatus. The public can freely place printed objects (figures) on the conveyor belt to let it go up to the height and shatter to pieces in the end. Could the silent bystanders, like you and I, be the next victims put on the conveyor belt? 

 

相關教育活動 Educational Programs

 
●CODE: Message S代碼化的身體訊息
 
日  期|2018/10/05(五)14:30-15:00
演出團隊|詹嘉華(參展藝術家)、黃任鴻(舞者)、邱㜋淳(音樂DJ)
 

 
 
日 期|2018年10月05日(五)15:00-15:30
藝術家|詹嘉華
 
 
●「公民擠壓號召再開!」3D身體掃描工作坊
 
日 期|2018/10/13(六),14:00-18:00
2018/11/18(日),14:00-18:00
備 註|本工作坊為藝術家《公民擠壓》系列之延伸,參與觀眾須簽署肖像授權同意書,
同意授權此件創作。