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

展覽名稱 Exhibit

【不曾到來的未來-黃贊倫個展】

The Future That Never Comes-Solo Exhibition of Huang Zan Lun

展覽時間 Date

2017/01/21-2017/03/05

展覽地點 Venue

台北當代藝術館MOCA Studio

門票 Admission

免費 Free

參展藝術家 Artists

黃贊倫 Huang Zan Lun

展覽介紹 About the Exhibition

【不曾到來的未來—黃贊倫個展】

The Future That Never Comes—Solo Exhibition of Huang Zan Lun

在人類歷史洪流的軸線上,過去的、現在的、未來的,「文明」的到來,總是伴隨著一次次的戰火紛起與新制武器的勝利,而我們何時才能非掠奪式的邁入下一個新的文明?

In the history of mankind, the birth of past, present, and future civilizations were mostly or would possibly be accompanied with wars and victories enabled by newly invented weaponry. When could humanity venture into a new civilization without plundering?

 

於本次展覽中,藝術家意圖將人類最初始對於「即將到來」(yet to come)之事物的慾望與想像;將那一份關乎往後美好世界的期待與盼望,逐步地推衍為一種未來「尚未到來」的待續時態,同時形成一種純粹而又未可知的力量,不斷地誘引著我們去期盼下一個將臨的文明。基此,本次展覽場域被定錨在「未來戰後的未來」此一弔詭的時空之中,存在於其中的作品──無論是平面繪畫、動力機械,甚或是空間及錄像裝置──皆以「機器人」的形象呈現。然而這些為了代替我們贏取未來之爭所建造的機器人們,它們的使命卻早已不再是為了上戰場爭勝,而是被視為是講述與紀錄未來戰爭歷史的重要文物。

In the exhibition, the artist delineates human being's desire and imagination of the things that are yet to come and gradually reveals our hope and expectation for a better future through presenting a suspended moment in time when the future has not arrived yet. This approach creates a pure and unknown force that fuels our anticipation for the next civilization to come. To achieve his goal, the artist creates a curious space-time in the exhibition that captures "the future after future wars," and the artworks on view, whether paintings, kinetic machinery, spatial or video installation, show robotic forms. However, these robots that are supposed to win the future for mankind are no longer fighting for mankind in battlefields. Instead, they are significant artefacts that document and speak the history of future wars.

 

 

【不曾到來的未來】透過藝術家黃贊倫後設敘述的邏輯思維,置換了不同時序下空間與立場,將虛擬與真實並置,讓未來與現今交錯。而被邀請穿越至未來並置身其間的我們,則得以去覺察在文明演進過程中所缺席的肉身與眼光,我們又該如何去進行對於未知的想像與押注,而未來,是否「不曾到來」。

In The Future That Never Comes, Huang illustrates his thinking of meta-narratives and depicts a different space-time and position by juxtaposing the virtual and the real and interweaving the future and the present. As we are transported to and immersed in the future, Huang creates an opportunity for us to detect the absent body and vision in the progress of civilization when we wonder how we should imagine and take on the risk of the unknown. Perhaps, the future will never come.  

參展藝術家 About the Artists

藝術家介紹 Artist Introduction

黃贊倫 Huang Zan Lun

1979年出生於臺灣宜蘭,現工作生活於宜蘭與臺北。

Huang Zan Lun was born in Yilan, Taiwan in 1979. He now lives and works in Yilan and Taipei.

國立臺灣藝術大學美術學系學士、國立臺北藝術大學美術創作碩士。曾於關渡美術館、台北國際藝術村等舉行多次個展,並獲邀參與如德國維特拉設計博物館五年國際巡迴展、義大利阿索洛國際藝術影展等國際大展。創作聚焦於生物、機械合體/混種等議題,藉以展開自我認知與外在環境的多重辯證。

Huang holds a BFA from National Taiwan University of Arts and a MFA from Taipei National University of the Arts. He has held solo exhibitions in Kuandu Museum of Fine Arts and Taipei Artist Village, and his works have been shown in a five-year international touring exhibition organized by Vitra Design Museum in Germany as well as in Asolo Art Film Festival in Italy. Huang's work focuses on the mixture and hybrid of biology and machine, which unfolds a multilayered dialectic discourse between human self-awareness and the external environment.

作品介紹 About the Artworks

空襲〉Air Raid、搶灘Beachhead

兩件作品分別擷取戰爭電影裡部分橋段中的聲音與對白,電影畫面裡角色則置換成不同形狀的閃光,每一個角色被切分呈現在不同的螢幕裡,彷彿每一台螢幕就是一個士兵,正互相對話、產生關係。藉此暗喻現實的戰爭,究竟是槍林彈雨、頭破血流的恐怖實況?還是憑藉著媒體傳播,而淪為一台台聲光效果的螢幕?!

The two works use sounds and dialogues from war films; however, the film characters are replaced by various shapes of flashing light. Each character is shown in a monitor as if each monitor were a soldier, and the soldiers were involved in and connected by their dialogues. Through the works, the artist explores the reality of war: is it truly horrific with shooting bullets and bloodshed? Or, is it simply a constructed reality on screen created by media?

空襲〉Air Raid

液晶螢幕、多媒體播放器、喇叭、鏡面玻璃

HD-LCD Screens, Multi-Media Players, Loudspeake, Mirror Glass

尺寸因空間而異 Dimensions Variable

2017

搶灘Beachhead

錄像、CRT監視器螢幕、壓克力 Video, CRT Monitor Screens Acrylic Box

尺寸因空間而異 Dimensions Variable

2016


控制Control Freak

馬在近代已開始成為人類的交通工具;機器人則是人類情感的轉移,藝術家有意將兩者融合,模糊了真實血肉與機械複製的界線,探討生命的存在為何?或許在不久之後,將被重新被定義。

Horses have been used as a form of transportation by humans for centuries. Robots represent an agent to  convey human feelings. The artist combines both and blurs the distinction between real life and mechanical replication to explore the existence and meaning of life, which might be re-defined in the near future.

控制Control Freak

油畫顏料、金箔、銅箔、炭精 Oil on Canvas, Golden Foil, Copper Foil, Charcoal Stick

210x154 cm

2016


標本The Type Specimen

「標本」一詞意味著已過去/曾經過往的留存之物。但此作中,被封存在古典容器內的標本,卻是一個現今仍然無法經驗的機器人。隱喻人類試圖去遙想的未來,終究得面對被歷史化的一天;那麼「未來的未來」時間究竟該如何去想像?是否是一個可以被思考的世界?

The term "specimen" refers to a preserved item from the past. However, the specimen sealed in this classically decorated container is a robot unfamiliar to people of today. The work is a metaphor for human's vision of the future when the existence of mankind might eventually become history. How do we imagine this future? Is it a future that we are able to contemplate on?



標本The Type Specimen

玻璃纖維、機件、壓克力圓管、不鏽鋼雷切、金箔、密集板、LED燈管、機蕊音樂

FRP, Machine Elements, Acrylic Tube, Laser Cutting Stainless Steel, Golden Foil, Medium Density Fiberboard, LED Light Tube, Music

120x60 cm

2016


真實的笑容 I、II Real Smile IReal Smile II

在不久的將來,AI人工智能將普遍地存在於我們的生活中,成為某種執行人類業務的機具。倘若AI對情緒已有某種程度上的模仿與回應,那麼這笑容裡所夾帶的究竟是那些被撰寫出來的程式指令,還是發自內心的歡愉?而那對微笑的雙眼,所望出去的是世界的美好?還是某種我們現今仍然無法遙望的缺乏?

In the foreseeable future, artificial intelligence (AI) will become very common in our life and will be integrated into machines that carry out errands and tasks for humans. If AI is capable of imitating human emotions and simulating responses, is a robot's smile a pre-programmed response or genuine joy? Are the smiling eyes gazing at a beautiful world or something that modern man still lack and cannot envision?

真實的笑容 I、II Real Smile I, Real Smile II

油畫顏料、金箔、銅箔、炭精 Oil on Canvas, Golden Foil, Copper Foil, Charcoal Stick

86x126 cm

2016


模仿 Monkey See, Monkey Do

機器人的存在即是對人類進行某種層次上的模仿,是一種相對於無機體運動模仿。而作品<模仿>裡擬真的機器人小女孩,卻手持鹿角頂在頭上模仿鹿的姿態。對此,我們又將如何辨別在第一個層次的模仿不是真實呢?

Robots are based on the imitation of humanity, which is the opposite of imitating inorganic movement. Monkey See, Monkey Do shows a robotic girl holding a pair of antlers and trying to imitating a deer. In his case, how can we be sure that the lifelike little girl robot is not real?

模仿 Monkey See, Monkey Do

油畫顏料、金箔、銅箔、炭精

Oil on Canvas, Golden Foil, Copper Foil, Charcoal Stick

126x172 cm

2016


天堂路 The Road to Hell

作品運用海軍陸戰隊退伍前最後一道關卡「天堂路」來命名,象徵通過時,所需面對的勇氣與毅力。<天堂路>將佈滿尖銳的電容、銲錫針腳、電腦主機板,以及IC零件鋪成一條道路,來對應在科技大躍進的時代裡,人們依然得在虛擬化的世界裡抱持著勇氣與毅力,然而通往的究竟是天堂還是地獄呢?

The Road to Hell shares the name of the last barrier in the final test for marine soldiers before their training is completed. It symbolizes the courage and perseverance one needs to face the barrier. The work reveals a path paved with sharp-edged capacitors, metal pins, computer motherboards, and other IC parts, and conveys the idea courage and perseverance are still necessary have in the virtual world of the technological era. Nevertheless, it remains a question whether the road leads to heaven or hell.


天堂路 The Road to Hell

電腦與汽機車廢棄零件、樹脂

Scraped Machine Components of Computers, Cars and motorcycles, Epoxy Resin

100x350 cm

2017


搖搖馬The Coin Operated Rocking Horse

藝術家在兒時的遊戲機,置入一個象徵著未來的機器人,但卻手持著第二次世界大戰時期的武器。在過去的歷史戰爭與未來的文明交織下,扣問人類的有生之年,是否可以不需要戰爭與武器,而邁入下一個新的文明。如同《娃娃國》這首兒歌的歌詞,雖是首兒歌卻充滿著對於戰爭的教條,藉此連結到作品本身。

The artist combines an electric rocking horse with a futuristic robot that is holding a piece of WWII weaponry in its hands. Interweaving the history of wars and a vision of the future civilization, the work proposes a question: would human being ever be able to venture into a new civilization without wars and weapons? The nursery rhyme, "Doll Country," is also incorporated into the work because of its lyrics, which talk about military creeds.  


搖搖馬The Coin Operated Rocking Horse

玻璃纖維、機件、不鏽鋼雷切、金箔、電動音樂、Kar-98K步槍

FRP, Machine Elements, Laser Cutting of Stainless Steel, Golden Foil, Music, Kar-98K Rifle

270x200x90 cm

2016

相關教育活動 Educational Programs

【不曾到來的未來-黃贊倫個展】座談

《在跨域關係之中:時尚x藝術》

講座時間:2017/03/05 Sun. 14:30-16:00

講座地點:台北當代藝術館一樓入口大廳

主       持:邱誌勇/北京師範大學-香港浸會大學聯合國際學院文化與創意學院署理院長

與      談:黃贊倫/藝術家、陳鎮川/知名音樂製作人

簡      介:

藝術家黃贊倫,他的創作長期聚焦於生物與機械合體/混種的議題、自我認知和外在環境的辯證,面對科技化的各類系統和隨之而來的各種技術規範,反思人類的慾望如何保有其存在價值和能動空間。【不曾到來的未來】是黃贊倫透過後設敘述的邏輯思維,置換了不同時序下空間與立場,將虛擬與真實並置,讓未來與現今交錯。本講座邀請名音樂製作人陳鎮川與藝術家黃贊倫,分享近年來致力融合時尚流行、科技與藝術,將多元領域結合,以及2015年為阿密特量身打造半人半獸奇幻藝術品等經驗之對談。歡迎有興趣的觀眾報名參加!

活動頁面:https://goo.gl/zOcLtN

報名網頁:https://goo.gl/forms/u1yPNaJy7Nn3l4Bi2

備       註:免費入場參加,請事先至當代館官網預約報名。