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

首頁 展覽資訊
展覽名稱 Exhibit

「穿越─正義:科技@潛殖」

Trans-Justice: Para-Colonial@Technology

展覽時間 Date

2018/08/04 (sat.) ~2018/10/21 (sun.)

展覽地點 Venue

台北當代藝術館

門票 Admission

NT50

策展人 Curator

黃建宏 Huang Chien-Hung

參展藝術家 Artists

卡戴.阿提亞Kader Attia

白雙全Pak Sheung Chuen

吳其育Wu Chi-Yu

咸良娥Ham Yang Ah

哈倫.法洛奇Harun Farocki

致穎Musquiqui Chihying &格雷戈爾.卡斯帕Gregor Kasper

徐坦Xu Tan

張紋瑄Chang Wen-Hsuan

陳界仁Chen Chieh-Jen

黃以曦Estella Huang

黃邦銓Huang Pang-Chuan

黃漢明Ming Wong

策展論述 Curatorial Statement

 

 

 

「穿越─正義:科技@潛殖」

Trans-Justice: Para-Colonial@Technology

 

策展人:黃建宏

2017年是臺灣宣告解嚴的三十週年,然而當時那個解放時刻並非臺灣獨有,就地緣政治而言,無論是原屬自由主義陣營或是共產主義陣營的國家,都進行著民主化運動,另一方面就歷史縱深而言,以2017-2019三年來回溯,也是十月革命一百年、六八學運五十年、推倒柏林圍牆三十年;然而,八○年代後期大量的「轉型正義」,似乎在二十多年後並沒能保障社會正義,意即社會價值的共享、平等與權力資源的公平分配都沒能獲得解決,以至於在這十幾年間出現大量「準無政府主義」的佔領運動。簡言之,全球的民主化與自由化牽動了所有社會中權力與貧富差距的懸殊。

這些層層包覆的懸殊差異,在全球結構和個人關係之間存在著不可見的明確關聯,可是怎麼面對這地理和歷史上都極為複雜的巨大跨度,似乎造成今天中間世代的尷尬處境以及年輕世代的困境,甚至社會創造力的大量開發與耗損。無疑地,今天大多將未來改變的可能投注到科技的創造力,然而,數位網路科技的發展與這發展牽動的生產關係,也同時帶給人們極大的不安,意即對人的「取代」。對此,藝術的創造力,特別是建立個人與世界之間新關係的想像,也就是「生態式個體」(eco-individual)的保存,將會是下一階段民主與科技發展中的核心需求。「穿越─正義:科技@潛殖」展覽就是為能藉由藝術家的相關創作來開啟我們對於穿越困境的想像,以及對於「正義經驗」的思考。

因此,從展覽中的藝術計畫來看,「未來正義的所在」必然不在過去或現有「正義/不正義」的二元框架內,而是作為框架外、又並非烏托邦的「另類選項」。在八○年代的全球民主化三十年後,我們可以更清晰地理解到「科技@潛殖」不是歷史中特定殖民主義或後殖民處境的延伸,不像先前特定歷史階段中可清楚區分出殖民者與被殖民者的狀況,而是指在今天社會關係的民主化與訊息的高速流通傳輸下,仍然保存了舊的支配關係,其中隨著全球化流動而不斷變動的只是佔據支配位置的角色。毫無疑問地關注個體與結構、經驗與宇宙論的關係,並以創造性的方式想像各種個體或社群得以實踐的方法,這正是藝術家們從未在晚近幾個世紀停止過的工作:朝向「穿越」。

 

Trans-Justice: Para-Colonial@Technology

 

Curator: Huang Chien-Hung

The year 2017 marks the 30th anniversary of the lifting of martial law in Taiwan, with that moment of liberation in history belonging, nonetheless, not only to Taiwan. Geopolitically, other nations, whether originally on the side of liberalism or communism, were also in the midst of democratization, and historically, the three years between 2017 and 2019, also mark the centennial of the October Revolution, the semi-centennial of the May 1968 in France, and the 30th anniversary of the fall of Berlin Wall. However, the abundance of “transitional justice” in the late 80s has not led to the guarantee of social justice two decades later; in other words, communal social values, equality, fair distribution of power resources have all remain unresolved, resulting in the heavy influx of “quasi-anarchism” occupy movements. In short, global democratization and liberalization have caused power disparity and a gap between rich and poor in society

 

Under the layers of disparaging differences, there exists an invisible yet apparent connection between global structure and personal relations; however, how to confront this extremely complex and colossal geological and historical stretch seems to have caused an awkward state for the middle-aged generation and imposed some conundrums for the youth generation, even leading to tremendous expansion and exhaustion of social innovativeness. Undoubtedly, much attention on the possibilities of altering the future is placed on technology’s inventiveness; however, the development of digital network technology and the relations of production evoked by such development are also inflicting much anxiety in people due to suggestion that human could be “replaced”. With this in mind, artistic creativity, especially imaginations on forming new relationships between individuals and the world, or the preservation of the “eco-individual”, will be the core demand for the next phase of democracy and technological development. The objective of this exhibition, Trans-Justice: Para-Colonial@Technology, seeks to find artworks relevant to the theme to open up our imagination for transcending obstacles and our thoughts for “justice experience”.

 

Seeing from the artworks on view in the exhibition, the position of future justice certainly does not exist in the binary framework of “justice/injustice” that is often seen in the past or even the present, but it exists outside the framework and does not present itself as a utopian “alternative option”. Three decades after global democratization took place in the 80s, we can more clearly comprehend that Para-Colonial@Technology is not an extension of specific historical colonialism or post-colonial state; it is not a state of affair with the colonizer and the colonized clearly distinguishable like previous specific historical periods in time. The old dominance relationship remains, but the one occupying the dominant position is constantly changing under the flow of globalization. The relationships between individuals and structure, experience and cosmology are indisputably focused on, with innovative ways applied to imagine various methods of practice for individuals or groups. This is exactly the task that artists in recent centuries have never ceased pursuing, which is striving to “TRANS”.

 

 

參展藝術家 About the Artists

藝術家介紹 Artist Introduction

 

張紋瑄Chang Wen-Hsuan

張紋瑄(1991–)生於臺灣彰化,目前創作及生活於臺北。擅長運用文件式的後設語言展開創作敘事的連結,尤其關切歷史的解釋方法是如何詮釋個體的向度,透過虛構的形式,探索個體故事以及歷史書寫之間的關係與能動性。

Chang Wen-Hsuan (1991- ) was born in Changhua, Taiwan, and is currently based in Taipei. Chang specializes in using document-based meta-language to expand on creative narrative connections, paying particular attention to how history is explained and how the scope of an individual is interpreted. Using the format of fiction, the relationship and dynamism between individual stories and the writing of history are explored. 

 

徐坦Xu Tan

徐坦(1957–)生於武漢,目前創作及生活於德國柏林與中國深圳。為實驗藝術工作小組「大尾象」的成員之一。他的藝術創作以社會調查為基本方法,直接面對、介入社會再進行研究,其長年執行兩個項目:一、關鍵詞,是一長時間變化之中微觀的意識縮影;二、社會植物學,是關鍵詞項目之下的一個分支,透過在地人對植物的認知想法以探查方誌地貌的人文肌理,最後兩者逐漸交錯連結,深入探索社會研究如何成為藝術?藝術工作如何成為一種研究方式,從而生產有別於學科知識的美學知識。

Born in Wuhan, China, Xu Tan (1957- ) currently works and lives in Berlin, Germany and Shenzhen, China, and he is a member of the experimental art collective, the Big Tail Elephant Group. Using social investigations as a way to create art, Xu confronts, engages directly in and then examines society, with the following two subject matters extensively concentrated on: 1. Keywords as the epitome of consciousness under an extensive period of change; 2. Social Botany, a branch under the category of keywords, which examines humanistic and cultural contexts through the study of gazetteer based on local people’s cognitive thoughts for planting. The two gradually cross over and connect, with how social studies could be transformed into art profoundly explored. With art endeavors serving as a research methodology, aesthetic knowledge that differs from pedagogical knowledge is produced.

 

咸良娥Ham Yang Ah

咸良娥(1968–)生於韓國首爾,目前創作及生活於荷蘭阿姆斯特丹及韓國首爾。她關注藝術在當前這個時代如何涉入社會,進而與公共議題產生對話,其創作形式廣泛地嘗試多媒材應用,發展出一系列描繪個體生命與社會體制的創作計畫。藉由關於當代社會的宏觀隱喻與微觀處的連動鏈結,揭露被層層系統遮蔽的荒謬現實景觀。

Born in Seoul, Korea, Ham Yang Ah (1968- ) is currently based in both Amsterdam and Seoul. Her art focuses on how to engage in society in the present era, which prompts dialogues on public issues. Ham works with a wide range of creative formats and experiments with different media, developing a series of art projects depicting individual lives and social systems. With a grand metaphor created for the contemporary society, with interlocking links formed from small, subtle places, a landscape in the absurd reality concealed by layers of systematization is exposed.

 

吳其育Wu Chi-Yu

吳其育(1986–)生於臺灣臺北。作品的基本關懷在於找尋如何在被技術-資本主義摧毀的廢墟中重建人、事物、動物與世界連結的方式。其創作主要以動態影像為主,透過口述歷史與傳說的紀錄進行文本的再製,在逝去的記憶中尋找當代敘事的語言型態,同時也進行裝置、影像裝置與表演等不同類型的合作計畫。

Wu Chi-Yu (1986-) was born in Taipei, Taiwan. The fundamental theme of Wu’s work is the search for ways to reconstruct the connection between people, events, objects, animals, and the world amongst the ruins of technology and capitalism. The artist’s works are mostly created in the form of moving images and reproduce texts through records of oral history and legends, searching for the language form of contemporary narrative in faded memory. The artist also participates in collaborative projects including installation, image installations, and performance.

 

白雙全Pak Sheung Chuen

白雙全(1977–)生於福建,1984年移居香港,目前創作及生活於香港。擅於將生活的日常與對社會的觀察作為藝術實踐。從小處著眼,尋找隱埋於慣常敘事中被忽略的內在紋理,並據此檢視人與系統之間的連結,藉以誘發個體對應社會城市之權力結構關係及其想像與解讀,白雙全的創作不僅是對藝術與生活邊界的挑戰,也精微地探索了人類境遇的複雜層面。

 

Pak Sheung Chuen (1977-) was born in Fujian and moved to Hong Kong in 1984, and currently lives and works in Hong Kong. He specializes in combining daily life scenes and his observations of society with his artistic practice. Pak focuses on the insignificant aspects in life to look for the overlooked internal textures buried in common narratives, through which he examines the connections between people and systems. By doing so, he introduces imagination and interpretations about the power structure and relations between individuals and their social and urban environments. Pak’s work does not merely represent a challenge to art and the boundaries in life but also a subtle and intricate exploration of the complexity that characterizes the human condition.

 

黃邦銓Huang Pang-Chuan

黃邦銓(1988–)生於臺灣高雄,目前創作及生活於法國和臺北。

當前在法國巴黎里爾的菲諾爾法國國立當代影像工作室進行創作培訓計畫,其創作理念探討影像與材質、紀實與虛構之間的曖昧關係。

Huang Pang-Chuan (1988-) was born in Kaohsiung, Taiwan, and is currently based in Taipei and France.

Huang is currently working participating in a creative training project at Le Fresnoy - Studio des arts contemporains in Lille, France. The artist explores the ambiguous relationship between images and material, reality, and the imaginary.

 

黃漢明Ming Wong

黃漢明(1971–)生於新加坡,目前工作及生活於新加坡與柏林。創作手法涵括媒體藝術、表演和錄像裝置等,他熱衷於改編、戲仿世界電影與戲劇並親自參與角色演繹,在扮演角色的詮釋中不僅關涉電影時間的記憶重構,也是一種藝術家自傳式的復現,試圖探討語言、性別、種族、社會、跨文化等身分認同的議題。

Ming Wong (1971-) was born in Singapore and is currently based in Singapore and Berlin. Wong’s creative methods include media art, performance, and video installations. The artist is passionate about adapting and parodying movies and drama from all over the world and participates in the interpretation of the characters. By interpreting the characters, not only is the memory regarding the sense of time in movies reconstructed, this act also serves as a form of the artist’s autobiography and an attempt to explore themes on identity including language, gender, race, society, and cross-culture issues.

 

致穎 & 格雷戈爾.卡斯帕

Musquiqui Chihying & Gregor Kasper

致穎(1985–)生於臺灣臺北。目前創作及生活於德國柏林與臺灣臺北,為復興漢工作室成員之一。擅長運用多媒材創作,以探討全球資本化時代人類生存語境與環境體系之關聯,並多方關注當代社會文化之主體性研究與探查。

格雷戈爾.卡斯帕(Gregor Kasper,1986–)生於東德並成長於冷戰後的後共產轉型階段。目前居住於德國柏林。他關注於歷史的重新建構與調解,以及社會共同記憶的探究。

Musquiqui Chihying (1985-) was born in Taipei, Taiwan; he currently lives and works in Taipei and Berlin, Germany, and is a member of the art collective, Fuxinghen Studio. He specializes in using multimedia creation to explore the human condition and environmental system in the age of global capitalization, and engages in the study and research about issues of subjectivity in contemporary social culture.

Gregor Kasper (1986-) was born in East Germany and grew up within the post-communist transformation processes after the Cold War. He is now living and working in Berlin, Germany. In his artistic practice he deals with the construction and mediation of history and remembrance in the society of the many.

 

卡戴.阿提亞Kader Attia  

卡戴.阿提亞(Kader Attia, 1970–)生於法國巴黎,阿爾及利亞裔法國藝術家,法國殖民阿爾及利亞的歷史,折射出藝術家身為北非移民穿梭於雙重文化及政治背景的生命歷程,成為阿提亞創作的思維主軸,他以全球化為背景的視角,探索西方現代文化霸權和當代後殖民政治,運用詩意化和象徵性的手法,在既有歷史進程上賦予「修復/補償」美學之概念,重新連接不同文化之間的隔閡,創造一個開放多元的且不同敘事的開端。

Kader Attia (1970-) is a French-Algerian artist born in Paris, France. The history of French colonial regime in Algeria is the central theme of Attia’s work and reflects his identity and life as a North African immigrant, whose life spans two cultures and different political backgrounds. From the perspective of globalization, he explores the hegemony of Western modern culture and the subject of contemporary postcolonial politics. He adopts poetic and symbolic approaches to realize the aesthetic of “repair/compensation,” which he applies to historical processes. By doing so, he bridges disparities between different cultures and initiates an open, diversified and multifaceted narrative.

 

陳界仁Chen Chieh-Jen

陳界仁 (1960–)生於臺灣桃園,目前生活和工作於臺北。在冷戰/反共/戒嚴時期,陳界仁曾以游擊式的行為藝術干擾當時的戒嚴體制 (1950-1987),1987年解除戒嚴後,曾停止創作八年。1996年重新恢復創作後與失業勞工、臨時工、移工、外籍配偶、無業青年、社會運動者等進行合作,對已被新自由主義層層遮蔽的人民歷史與當代現實,提出另一種「再—想像」、「再—敘事」、「再—書寫」與「再—連結」的拍攝計畫。

Chen Chieh-jen (1960-) was born in Taoyuan, Taiwan, Chen Chieh-jen currently lives and works in Taipei, Taiwan. Chen employed extra-institutional underground exhibitions and guerrilla-style art actions to challenge Taiwan's dominant political mechanisms during a period marked by the Cold War, anti-communist propaganda and martial law (1950 – 1987). After martial law ended, Chen ceased art activity for eight years. Returning to art in 1996, Chen started collaborating with local residents, unemployed laborers, temporary workers, migrant workers, foreign spouses, unemployed youths and social activists. In order to visualize contemporary reality and a people’s history that has been obscured by neo-liberalism, Chen embarked on a series of video projects in which he used strategies he calls “re-imagining”, “re-narrating”, “re-writing” and “re-connecting.”

 

哈倫.法洛奇Harun Farocki

哈倫.法洛奇(1944-2014) 生於捷克斯洛伐克 (今捷克共合國與斯洛伐克共和國的前身),為德國著名紀錄片導演、電影評論家與當代藝術家。他以檢視影像的政治學著稱,自1960 年代持續關注影像與戰爭之間的關係,乃至1990年代影像製造機器及其演算法驅使「操作性影像」(operational image)急速增長,法洛奇意識到一個新影像政體已悄然而立,說明一種無人注視的視覺―「機械式的凝視」是如何輔助發動一場無人的戰爭,由此反身性地質疑影像再現之力,關切科技發展與視覺圖像之間的解析與批判。其作品擅長提取在晦暗不明之中的醜惡本質,隱含了對社會良知的自我反省。

Harun Farocki (1944-2014) was born in Czechoslovakia (now respectively Czech Republic and Slovakia). Farocki was a renowned German documentary director, film critic and contemporary artist. He was known for his examination of image politics, and had been consistently exploring the relationship between image and war since the 1960s. When operational image grew exponentially in the 1990s due to the increase of image-production machinery and related calculation, Farocki realized that a new regime of image had already been established. It revealed how an overlooked visuality –“the mechanical gaze”—has initiated a war, in which human beings have been absent. Based on his exploration, Farocki reflexively questioned the representational ability of image and focused on the analysis and critique of the relationship between technological development and visual image. His work has been known to extract the unpleasant, ugly nature from the ambiguous and obscure and implicitly convey his self-reflection upon social conscience.

 

黃以曦Estella Huang

黃以曦生於臺灣彰化,為資深影評人,2001年起從事評論工作至今,曾獲選柏林影展新力論壇(Berlinale Talent Press)影評人項目。她以電影評論者的身份參與電影、影像、文學、設計與當代藝術相關工作,其專欄評述之文字散見於各大報刊與網路媒介。

Estella Huang was born in Changhua, Taiwan. As a senior film critic, Huang has been writing reviews since 2001. She has been awarded a film critic prize of the Berlinale Talent Press in the Berlin International Film Festival, and has engaged in works related to film, image, literature, design and contemporary art as a film critic. Her reviews can be found in various major newspapers and online media.

 

克里斯.馬克Chris Marker

克里斯.馬克(Chris Marker,1921-2012),生於法國。以報導攝影出身,集作家、導演、評論和多媒體藝術家等多重身分,為法國新浪潮運動重要人物之一。他關注社會主義國家的社會變革和政治運動,以電影參與政治、介入社會,在影像中詮釋自己對於世界變遷的評論與觀點。其作品《堤》(La Jetée,1962) 以800多幅靜照和動態影像的串聯,極簡的形式、驚異的科幻想像與複雜內涵,顛覆了電影和攝影之間明確的界線,開創其「散文電影」的獨特影像美學,成為科幻電影之先驅,也是一位透過影像見證、記錄、保存歷史與記憶的時空旅人。

Chris Marker (1921-2012) was born in France and began his career through reportage photography. Marker was a writer, director, critic, and multi-media artist, and is one of the leading figures in France’s New Wave Movement (La Nouvelle Vague). Marker paid great attention towards the social changes and political movements in socialist nations and voices his concerns regarding political and social issues through creating films, conveying his opinions and perspectives through images. Marker’s work La Jetée (1962) uses over 800 stills and motion pictures to express simplistic, scientific imaginations and complex content, blurring the distinction between films and photography and opening a new, unique aesthetic genre of “essay films.” Chris Marker is known as a pioneer in scientific films and a time traveler who witnesses, records, and preserves history and memory through images.

 

尚盧.高達Jean-Luc Godard

尚盧·高達(Jean-Luc Godard,1930–)法國和瑞士籍導演,大學畢業後與年輕的電影人、製作人以及影評人致力於推動革新電影藝術,為法國新浪潮電影奠基者之一。1960年發表首部劇情長片《斷了氣》,以多重突兀的跳接技巧驚艷影壇,擅長以連續長鏡頭展示電影的真實性,其電影作品的拍攝手法及敘事風格,被視為挑戰與抗衡好萊塢電影,他將自身的政治思想及其對電影發展史之豐富知識注入電影中,作品不乏存在主義與馬克思主義哲學的影子。

Jean-Luc Godard (1930-) is a French-Swiss film director. After graduating from university, Godard collaborated with young filmmakers, producers, and film critics to promote innovative forms of film art and became an important figure in the French New Wave Movement (La Nouvelle Vague). Godard announced his first feature film Breathless in 1960, which impressed the film world with its original use of jump cuts. Godard is an expert at portraying films through long takes, while the style of photography and narrative are viewed as methods that challenge the Hollywood approach. Jean-Luc Godard infuses his thoughts on politics and his rich knowledge in the developmental history of films into his works, which are characterized with Existentialism and Marxism.

 

 

作品介紹 About the Artworks

 

入口形象區Entrance Hall

 

南榕的二三事 

Historie(s) of Nylon

 

策劃:書寫公廠

Planning: Writing FACTory

 

 

鄭南榕紀念館館藏提供

From the Nylon Cheng Memorial Museum Collection

 

入口形象區以美術館與學校之間分界共有的過道門窗,貼覆一張鄭南榕辦公室經燒毀後的照片輸出,以及兩側鏡牆和五組活動文件櫃,形構一個鄭南榕史料文件區。

鄭南榕(1947-1989)向來被以「象徵性」正義的詮釋被大家所認識,然而,「象徵性」正義的價值在當今呈現多元的混淆甚或各種簡化,如同我們置身歷史的各個節點皆是相互交織而成的生態紋理,無法以二分法、「簡化主義」得視全貌。

時值臺灣解嚴31年,我們將鄭南榕為人熟知的名言:「剩下就是你們的事」。由表意客體的第二人稱指向,專注在關涉鄭南榕「我自己的事」的面向上,因此在作為場域物件主體的活動文件櫃,透過左右鏡像的反射,文字與文件櫃呈現無數地擴展與空間延伸,以此寓示鄭南榕個體的一種創造力以及生命政治的能動性,其文件內容分為:

一、關於策略:
展示鄭南榕作為「行動思想家」的行動策略、思考策略及實踐的方法論基礎—對於身份定位與對媒體的策略等。

二、關於教育:
展示鄭南榕思索如何將哲學及邏輯思考教育給年輕人,包含課程的討論內容及作業規劃。

三、關於宗教:
從鄭南榕在筆記裡,對於宗教的思考及分析中使我們了解到,他如何提醒自己在推動某種議題以及讓受眾維持獨立思考之間取得平衡。

四、關於家庭:
在行動者與思想家的角色之外,鄭南榕作為父親的身份也是我們所不熟悉的「自己的事」。

五、其他「自己的事」:
當「剩下就是你們的事」被不斷複誦,經常被忽略的「剩下」意指什麼?(必須了解他將哪些事已劃為「自己的事」於實踐之後,才能理解哪些是「你們的事」)。

從文件中我們得以重新掌握個體對於正義之味的連結,正義和當時的科學認知遠比和意識形態的關係更為緊密,鄭南榕對於理性和自由的連結是屬於創造性,而並非單純的呼應自由主義的民主化。

鏡牆上的文字為雜誌創辦人鄭南榕發行的各種時代雜誌,在屢屢遭到查禁而必須一再智巧地改變雜誌名稱與發行人,以圖求存。因此鏡面上依序各種時代週刊之名排列,呈現視覺戲法下整體意象的「時代」二字,藉此史料回視曾經發生的革命精神與創造性人格,轉譯各種方式被發現與理解同時再創造。

A photograph printout of Nylon Cheng’s office after it was set on fire is pasted on the windows, the mirror walls at the two sides, and five mobile filing cabinets on the hallway dividing the museum and the school at the museum’s entrance hall.These have trans formed this gallery into an archive room of Nylon Cheng.

Nylon Cheng (1947-1989) is recognized as a symbol of justice; however, the value of such “symbolic” justice in today’s time has resulted in various confusions or different simplifications. This echoes with the fact that the various points in history that we are situated in are interwoven into an ecological pattern that can’t be seen in whole through the method of bisection or via “simplism”.

With the 31st anniversary of the lifting of martial law in Taiwan upon us, these famous words by Nylon is referenced: “the rest will be up to you”, with the objective second-person pronoun changed into “up to me”, and focus is placed on things related to Nylon. Bearing this in mind, the mobile filing cabinets in the exhibition space serve as object-oriented subjects, and through the mirrored reflections on the left and right, the texts and the filing cabinets seem to extend into infinity, forming a metaphor for Nylon’s bio-political ingenuity and dynamism. The following four matters are presented in the documents:

1.       Strategy: The action strategies, thought strategies, and methodology basis for Nylon as an activist thinker, such as self-identity and strategies towards the media.

2.      Education: Nylon’s approach to educating the youth in philosophy and logic, including course discussion and homework.

3.      Religion: According to the thought process and analysis of Nylon’s notes, we gain insight into his ways of reaching a balance between promoting an issue and leaving space for independent thought.

4.      Family: Apart from his role as an activist and thinker, Nylon’s role as a father is one of those aspects that we are unfamiliar with.

5.      “Up to Me”: Despite the fact that the phrase “…the rest is up to you” has been repeated again and again, we should inspect what Nylon was talking about when referring to issues that are categorized as “the rest.” (We should first explore what issues are “up to me.” Only then can we be clear about issues that are “up to you.”)

We are able to once again gain control over the connection between an individual and the sense of justice from these documents, and how justice is more closely related to scientific understanding than ideology. The connection Nylon had held between rationality and freedom was ingenious, which did not just simply echo with the democratization of liberalism.

The words on the mirror walls are excerpts from various Era Weekly magazines published by Nylon, which were banned on several occasions, forcing him to cleverly alter the names of the magazine and the publisher on several occasions, in order to continue to publish it. Arranged on the mirror walls are the Era Weekly under different names, which comprehensively come to visually form the Chinese characters for the word “era” (時代). These historical documents are presented as a way to reexamine the revolutionary spirits and ingenious characteristics that took place, with different ways to discover and understand interpreted and also reinvented.  

 

 

1樓走廊/1F Hallway

媒介翻譯

Media Translation 

 

數位科技時代,持續發展的人工智能與大數據的全球結構,在高速流通傳輸下,是否仍然保存著潛隱的支配關係?藉由「超什錦」小組的專研,梳理臺灣暨全球科技文化發展的資訊提供,營造展場中的信息空間,讓科技發展信息成為展出作品的外部回聲,並透過張永達以數位科技的設計以及回溯科技史的方法,將數位資訊進行視覺化與聽覺化互為交融的媒介翻譯。

張永達擷取全球科技文化脈絡下,關涉臺灣科技/產業科技/數位發展的歷史為主要資訊轉譯的內容,運用不同時期的傳媒物件,如麥克風,從1920年代及至戰後,常見於政治人物或領袖發表演說的碳粒式麥克風;乃至作為某種命令式宣導的廣播式播音系統;以及電視媒體老三台時期,受制於開播與收播時間之限,當收播時螢幕畫面即定格於檢驗圖像或「雪花」雜訊圖像上…還包括數位通訊摩斯密碼、電報等各式傳媒物件,不僅含蘊了經濟與科技的發展也兼具政治和國際間強烈的連結。其中麥克風、播音喇叭經由物件功能的改造,使聲音裝置的接收轉為播放;而電視或螢幕因現場的影像偵測器,感應物體的移動便由雜訊圖像切換至正常的畫面或音訊內容,將科技造成人的支配關係主體置換,反轉了觀看的方式與體驗的維度。

張永達將巨量數據轉譯出意象符號的連結,組構成聲音-影像物件式的裝置,讓隱性的資訊系統透過聲音和視覺裝置再現於空間中,提供觀者一個置身科技語境之下所隱伏的主體位置與支配意識的審視意圖。

In the era of digital technology, with artificial intelligence and the global big data structure’s continual development, is the latent dominance relationship still preserved under such rapid circulating transmission? With research conducted by Chanpon, information is presented on the technological and cultural developments in Taiwan and around the world, with a information space created on the exhibition site, allowing the information prompted by technology to be transformed into exterior echoes for the artworks on display. Moreover, with Chang Yung-Ta’s digital technology design and approach to retracing the history of technology, Media Translation that mutually integrates visualization and sonification is conducted. 

Extracting from the context of global technological culture, the main content of the information translation by Chang deals with the history of technology in Taiwan/industrial technology/digital development, with media objects from different periods utilized, including the carbon microphone that was commonly used by political figures and leaders when giving speeches in the 1920s till the post-war era; a radio broadcast system that transmitted imperative propaganda; and television test pattern or static image seen on Taiwan’s original three television channels due to constraints with broadcasting times. Other media objects included are digital signal Morse code, telegrams, and others, presenting economical and technological developments and also strong connections between politics and international communities. Amongst which, the functions of the microphone and loudspeakers are altered, changing the sound installation from receiving to broadcasting. With the use of image detection, the television or monitor picks up moving objects and switches the static image to normal image, shifting the subject in human dominance relationship through the use of technology, subverting the way of seeing and the scope of the experience.     

Chang translates big data to connect together imagery icons, forming a sound-image object-oriented installation, with latent information system represented in the space through the audio-visual installation, inviting the audience to examine the underlying subjective positioning and sense of dominance through the context of technology.

 

 

105展間R105

張紋瑄Chang Wen-Hsuan

《國際自殺大賽》

International Suicide Award

 

複合媒材裝置

尺寸因空間而異

2018年

Mixed Media Installation

Dimensions Variable

2018

 

張紋瑄虛擬一個評議《國際自殺大賽》的決選會議室,由牆面賽制規章的公告,以及三張辦公桌上展呈參賽者的提案與文件,分別為:一、以自殺作為手段的自殺者,二、以他殺作為手段的自殺者,三、社會主義烏托邦瓦解下的生命處境。他們分屬不同時代背景下的社會情境與生命寫照,將他們置放在構築歷史的共性與歷時性的套層結構中,作為參照身處在大歷史的動盪裡,個人基於社會的迫切性與時代之必要性所抱有的「自殺」想像,以及主體生命格局的部署情境。

《國際自殺大賽》對於生命之死的價值取向,將「自殺」的意旨賦予在社會脈動節點的推進上適足以折射出歷史意義的能動趨力。透過張紋瑄對人物史實的研究與虛構計畫的遊戲形式,刻意凸顯虛構不僅是真實的反義詞,虛構使得人或物在未顯現的運動趨勢中所蘊含的潛能,能夠改變其運動方式和發展趨勢,讓它得以跳脫預定的運動軌跡,從而掙脫某種必然規律的宰制。由此讓觀者進入評議室轉換為評議員的視角,展開對參賽者角色原型的討論及其生命面貌的想像。

Chang Wen-Hsuan has created a fictional judging room for the International Suicide Award, with the competition prospectus displayed on the wall, proposals and documents from the competition’s participants placed on three office desks that are categorized into the following: 1. Suiciders of spiritual beliefs; 2. Killers of passive suicides; and 3. Life condition after the collapse of utopian socialism. Belonging to different social settings with different portrayals of life under different epochal backdrops, they are placed in a synchronic and diachronic nested structure of historical construction, referencing the thoughts of necessary “suicides” due to the urgency of society and the necessity of the times, and deployment scenarios for a subjective pattern-of-life.

International Suicide Award examines the value of death, and places the intention of “suicide” on the pulse of society to adequately reflect on its historical significance with a dynamic force. With Chang’s expertise on historical figures and game-like format for fictional projects, the notion that fiction is not only an antonym for reality is intentionally highlighted, showing that fiction allows the undisclosed potential of people or objects to alter their trajectories and developmental directions, taking them out of their predestined course of movements, breaking free from the control of a certain preordained rhythm. Through which, the audience is invited into the judging room to see through the perspective of the jurors, sparking discussions on the prototypes of the competition participants and imaginations on what their lives are like.

 

 

106展間R106

徐坦Xu Tan

《水,地-地盤》

Water, Land and Turf 

 

複合媒材裝置

尺寸因空間而異

2018年

Mixed Media Installation

Dimensions Variable

2018

 

《水,地-地盤》由兩部分構成:一、關鍵詞實驗室:1996年關於土地與領土佔有的國際法研究;二、社會植物學:2013年關於廣州疍家人土地使用的歷史與現狀的調查研究。透過8個錄像與複合媒材裝置,來展示這個持續進行的研究計劃。

1995-1996年徐坦關注法律在土地佔有方面的敘述和判斷。除了針對國際和中國關於土地、領土、領海狀況的敘述之外,透過奧本海國際法原則進行對照性閱讀與思考,將他對法律的了解與90年代「後殖民」/「後共產主義」時期的國際與中國境內的土地佔有情況,以及頻繁的國際衝突一同參照,在觀察過程中發現的一些邏輯悖論,並以此為引導,進行提問。另外,在調查研究有關土地和植物種植的過程中,徐坦到了廣州瀝滘疍家人在珠江邊的居住地。他們在合作化時期,從原本的江邊生活上了岸,開始農、漁並舉的新生涯。然而在改革開放後,疍家人失去了土地使用權,於是他們以一種獨具創造性但又扭曲的方式—在水中進行種植。以此表述他們對土地和種植方式的看法。

此作,不僅僅考慮研究性的活動與美學經驗的結合,同時嘗試建立一個針對公共的社會性議題、公共研究以及實驗平台。而「關鍵詞實驗室」則立意於一個公共性的實驗室,讓觀眾、專業人士和對藝術有興趣的大眾共同參與,即使持不同觀點,亦可作為研究成果同時展出。徐坦的研究創作直指—「對社會的了解必須來自於社會上的人」,而藝術家的工作即扮演了這個角色,因此現場安排互動留言,邀請觀者一起加入討論,共同研究。

Water, Land and Turf consists of the following two components: 1. Keywords Laboratory: Studies on international laws on land and land occupation; 2. Social Botany: Investigative studies conducted in 2013 on the Tanka people of Guangzhou’s history of land use and current conditions. A composite display for this ongoing research project is presented with eight videos and mixed media installations. 

From 1995 to 1996, Xu Tan focused on land occupation laws’ narrative and judgment, and besides concentrating on international and Chinese narratives on land, territory, and territorial sea, the Oppenheim's International Law was used for comparative reading and consideration, referencing his understanding of the law and the conditions with land occupation globally and in China in the post-colonialism/post-communism 90s, and frequently occurring international conflicts, with some of the paradoxical logics discovered during the observation process used as a guide for raising questions. Furthermore, during the research on land and planting, Xu visited the habitat of the Tanka people in the Pearl River Delta region situated in Lijiao, Guangzhou. The Tanka people assimilated themselves and came on shore during the period of the cooperative movement, whereby they began a new lifestyle combing agriculture and fishery. However, after the reformative opening up policy began, the Tanka people lost the right to use the land, and resorted to a uniquely innovative but also warped approach with planting on water. This section presents their views on land and methods of planting.

This artwork not only brings together research-based activities and aesthetic experiences, and at the same time, it also seeks to create an experimental platform for public social issues and public studies. The objective of the “Keywords Laboratory” is to form a public laboratory that welcomes the participation of the public, professionals, and anyone that is interested in art, with different opinions considered for the research and able to be put on display. Xu Tan’s research-based art endeavor points out “the understanding of society must come from people in the society.” This role is executed by the artist, with a design for interactions and messages arranged on site, inviting the audience to take part in the discussion and to collectively engage in the research.

 

 

107展間R107

咸良娥Ham Yang Ah

《未定義全景》

Undefined Panorama

 

單頻道錄像

7分30秒

2018年

Single Channel Video

7 min. 30 sec.

2018

 

錄像作品中呈現小社群之間彼此的互動連結,看似有層次的系統結構,卻又未顯現出核心格局的意象。咸良娥強調:「一個可以洞察整體社會問題以及個人問題,且尊重他人的人,不僅能與他人共同生存,也能更具備創意地開拓他們的視野與社會。」由個體到小社群的小眾單位,由單位與單位之間彼此聯繫,相互扶持並共同尋求解決各自面臨的種種境況。是一種由下向上的趨力精神,以此詮釋了《未定義全景》所隱含的—藝術家如何將她對社會的思考置入藝術實踐中。

2014年一艘渡輪在韓國西部海洋的沉船意外,事件的救援機制浮現出國家體制、社會系統、媒體平台、業主監督等環節的漠視與荒謬性。此一事件促使咸良娥對現今社會與經濟問題的深切憂心,亦觸動韓國社會對科技時代帶來人性思維的深度省思,她堅信藝術足以扮演轉化個體生活,以藝術實踐來尋找可替代的社會系統方案;而個體生活亦須做出極大的調整,進而朝向活化新形態社會系統的目標。

「世越號」沉船事件後,咸良娥創作了關此事件的第一件作品《睡》,藉睡覺作為表述人民與社會關係的隱喻,反映現代人如何面對當下的恐懼,以及社會制度無以平撫恐懼的情況。而第二件創作《未定義全景》更深層地指出,世界已被經濟結構分為兩個極端,而科學與科技的革新更加深了現在與未來的不確定感,一如各種工業革命的歷史。然而,藉由藝術性的社會批評視點,適足以找尋潛藏於事實背後的替代性敘事手段。

This video work shows interactive connections between small communities, which appears to have multi-layers of systematic structure; however, it doesn't show any impression for a core structure. Ham Yang Ah elucidates that, “People holding insights on comprehensive social issues and individual issues and whom are also respectful of others are not only able to co-exist with others, but they are also more capable of innovatively expanding their perspectives and society.” From individuals to small units in small communities, the connections between such units and the support provided to each other to collective seek out resolutions when faced with different situations show a bottom-up driving spirit. Undefined Panorama shows how the artist incorporates her thoughts on society in her art practice.

In 2014, a ferry capsized and sank off the west coast of Korea, with the ensuing rescue exposing the aloofness and absurdity found in the state institution, social system, media platform, and owner supervision. Ham Yang Ah felt deeply concerned about today’s society and economic issues because of the incident, which led to profound reflections on how the technological era has impacted thoughts of humanity in the Korean society. She firmly believes in art’s ability to transform individual lives, and seeks to use the practice of art to find alternative systematic social solutions. Drastic adjustments need to be made by individuals, in order to progress towards the goal of activating a new social system.

After the sinking of the Sewol Ferry, Ham created the artwork, The Sleep, her first artwork prompted by the incident, with sleep used as a metaphor for the relationship between people and society, reflecting on how modern day people deal with immediate fear, and situations where social system is unable to appease the fear. The second artwork, Undefined Panorama, points out more profoundly how the structure of the world has been divided into two sides by economic polarization, suspecting that uncertainties for the present and the future have been sped up by reforms prompted by science and technology, echoing with the history of various industrial revolutions. However, through artistic social criticism, alternative narrative means hidden behind facts are pertinently searched.

 

 

108展間R108

吳其育Wu Chi-Yu

反覆驗證

CAPTCHA-CAPTCHA

 

錄像裝置

12分34秒

2018年

Video Installation

12 min. 34 sec.

2018

 

此錄像裝置,是藝術家運用區分用戶是電腦或是人的驗證碼(CAPTCHA)機制作為創作的基點,連結現今已無所不包並協助人類生活的演算系統:圖文辨識、建議拼音、自動回信、語音助理…等,在協助的名義之上開始建議著人類的思考方式,影片中模擬一台可以與人類相同進行書寫與表達的機器,並且與其寫出來的文字內容彼此對話,探討人類和人工智能載具的心智與意識。

錄像中的旁白與字幕不斷地在讀句與書寫來回質問、反覆驗證。讀句的聲音如何閱讀書寫出來的內容;書寫出來的內容如何寫出它聽到的聲音?兩者何為人工智能?何為人類?人類是否存在心靈、自由意志?人類的選擇是否是人類自己的選擇?創造性思考需要透過人類心靈才能達到?人工智能透過一套複雜的演算法而所作出判斷與決策,而人類的決行是否亦由基因編碼而構成算式演算?以此,探究人類生存與當代生命樣貌之間、自然與人工、真實存在與虛擬網路、時間、記憶與感官等經驗的深思映照。

Video work installation CAPTCHA-CAPTCHA is created using the verification code (CAPTCHA), a mechanism for distinguishing computers from human beings, to connect with calculations which are omnipresent as a source of assistance in our everyday life. Features such as graphic recognition, suggested spelling, auto-replies, and voice assistants, have started to interfere with human thought in the name of assistance. The video depicts a machine that is capable of human-like writing and expression and uses the words that the machine produces as the basis for interaction, exploring the mind and consciousness of human beings and artificial intelligence.  

Throughout the video, the narration and subtitles continuously question and repeatedly verify through reading and writing. How does the voice read the written content, and how does the written content write down what it hears? Which is artificial intelligence, and which is human? Do human beings have the capacity of mind and free will? Are human choices really chosen by human beings? Is the human mind essential for creative thinking? If artificial intelligence reaches judgment and decisions after a series of complex calculations, are human judgment merely a result of calculations resulting from the coding of our genes? The artist uses these questions to contemplate issues such as human existence and contemporary life, the natural and artificial, reality and virtual reality, time, memory, and sensory experiences.

 

 

1樓西側樓梯、2樓中樓梯Western Stairway 1F,Central Stairway 2F

白雙全Pak Sheung Chuen

《噩夢牆紙(No.DCCC901-16#15):蛇吞熊圖》

Nightmare Wallpaper (No.DCCC901-16#15): A-Snake-Swallows-A-Bear

 

牆紙、檔案資料                                       

尺寸因空間而異

2017年

Wallpaper, Archival Materials

Dimensions Variable

2017

白雙全此次展出的作品《噩夢牆紙(No.DCCC901-16#15):蛇吞熊圖》與《封印(No.HCCC408-16#11):黑河騎士》,分別由一樓西側樓梯與二樓中樓梯之空間場域,以牆紙、封印和演唱會為媒介主體,在顯與隱之間似以儀式性之部署,寓意了物理特質與時間視域和空間語境的連結。

「我以法院的旁聽過程來修復我自佔領運動以來的創傷」。――白雙全

此為白雙全在香港佔中雨傘社會運動後自我療癒的創作作品。他形容「只有在法院內冰冷、潔白、寧靜和嚴肅的氣氛下我的心才能平靜下來。」因此他於法庭內聽審過程中創作出不少手稿,並衍繹出作品《噩夢牆紙(No.DCCC901-16#15): 蛇吞熊圖》與《封印(No.HCCC408-16#11):黑河騎士》。

牆面上貼滿《噩夢牆紙(No.DCCC901-16#15): 蛇吞熊圖》的作品輸出,是藝術家在聽審旺角暴動DCCC901-16案中被告D3(鍾志華)華仔的故事,在聽審之際他於筆記本上隨機的塗鴉,進入了一種抽離的狀態,他記錄了華仔的側臉以及他在醫院的日子…。華仔是9名被告之一也是白雙全最熟悉的一位,隨著和他們於法庭中互動的狀態改變,白雙全由旁觀者漸漸成為一群人,於是,他們開始有了交談,他說:「偶爾我會和D3吃飯,每次飯後我都會收集他用過的湯匙,他知道也不介意。我把湯匙洗乾淨,做了記號放入家中的餐具盤,家人並不知道和他共用餐具,但我知道。當我蒐集到一定數量的餐具,我想搞一個聚餐請社會的賢達一同進食。湯匙是一件聖物,喻表同飲基督的苦難」。華仔被判暴動罪成立,「可能我是唯一肯幫他的人」他沒有任何社經背景與資源,白雙全為他寫了一封求情信,也在媒體明報專欄撰寫了他的故事…。

「我把圖案正反並列重複製作成牆紙,不知道背後的故事,還以為它是一款典雅的家居裝飾品。」從人物圖像原型―華仔,演繹出一條巨蛇把白熊吞下,變成一隻單眼的怪獸,三個殉道者站在熊的體內。藝術家在看似軟性調子的牆紙中,刻意將冗長的案件編號及字母,加入於作品名稱―《噩夢牆紙(No.DCCC901-16#15): 蛇吞熊圖》,以此引喻美麗背後的醜惡。其中,暴動事件訴求的是香港的政治前景問題,白雙全以藝術創作作為策略伸延,透過一個個體的療傷為社會反思的借鏡;從中對正義的訴求與事實進行了回應及抵抗。

Featured in this exhibition are Pak’s Nightmare Wallpaper (No.DCCC901-16#15): A-Snake-Swallows-A-Bear and SEAL (No.HCCC408-16#11): Knight-Of-The-Black-River, which are respectively displayed in the spaces of the 1stfloor Western Stairway and the 2ndfloor Central Stairway, in the form of wallpaper, a seal and a concert. In a subtle way, the ritualistic arrangement symbolizes the connections among material characteristics, temporal horizon and spatial context.

“I try to heal the traumas I suffered since the Occupy Movement by sitting in at the hearings and trials.” – Pak Sheung Chuen

This work reveals the artist’s attempt for self-healing since the Umbrella Movement. In his own words, “My mind could only find peace in the cold, white, quiet and solemn atmosphere of the court room.” As a result, he created many drawings while sitting in at the hearings and trials, from which he developed Nightmare Wallpaper (No.DCCC901-16#15): A-Snake-Swallows-A-Bear and SEAL (No.HCCC408-16#11): Knight-Of-The-Black-River

In the stairway, the walls are covered with the wallpaper, entitled Nightmare Wallpaper (No.DCCC901-16#15): A-Snake-Swallows-A-Bear, which has been inspired by the experience of attending the hearing of Defendant 3 (D3), also known as Wahzai (Chung Chi-Wah), in the case of Mong Kok Civil Unrest DCCC901-16. During the hearings, Pak scribbled in his notebook and entered a detached state. He recorded the profile of Wahzai and his days in the hospital. Wahzai was one of the nine defendants, and was the one that Pak has become most familiar with. As Pak’s interaction with the defendants increased, his stance as a bystander gradually changed and merged with the group. Consequently, they started to talk. According to Pak, “I occasionally had meals with D3, and I collected the spoons he used after each meal. He knew about it and wasn’t bothered by this. I washed the spoons, marked them and put them in the eating utensil tray at home. Except me, the rest of my family did not know that they were sharing spoons with him. When I collect enough eating utensils, I want to invite different social leaders to dine. Spoon is a sacred object, symbolizing the sharing of Christ’s suffering.” Later, Wahzai was convicted of rioting. “I might be the only person that was willing to help him.” He was from an ordinary socio-economic background and did not have any resources. Pak wrote a plea letter for him and also wrote about his story in his column at the news media Ming Pao.

“I created the pattern of the wallpaper by juxtaposing the front and the reversed side of the patterns. Without any knowledge to the story, people might see it as an elegant home décor.” From his drawing of Wahzai, Pak created a giant snake swallowing a white bear and turning into a one-eye monster, whereas three martyrs could be seen standing in the belly of the bear. In the seemingly soft-toned wallpaper, the artist deliberately incorporated the tedious case name with its numbers and letters, and also added them into the artwork title, Nightmare Wallpaper (No.DCCC901-16#15): A-Snake-Swallows-A-Bear, as a metaphor for the ugliness behind a beautiful appearance. The appeal of the civil unrest featured in the work was about the political prospect of Hong Kong. Pak uses his artistic creation as a strategy to transform an individual’s action of self-healing into an artwork for social reflection, through which he responds to the appeal for justice and truth and expresses his resistance.

 

 

2樓中樓梯Central Stairway 2F

白雙全Pak Sheung Chuen

封印(No.HCCC408-16#11):黑河騎士

SEAL (No.HCCC408-16#11): Knight-Of-The-Black-River

壁畫(油漆)、檔案資料

尺寸因空間而異

2018年

Mural Painting with Emulsion Paint, Archival Materials

Dimensions Variable

2018

 

白雙全以3月6日至高院聽審時,未見到家駒,以為他在之前已經認罪而還押荔枝角(香港)羈留所等候判決。然而4月19日藝術家在庭上見到家駒,詫異地問:「你不是在荔枝角羈留所嗎?」他說:「那是另一個阿駒,我的案件在七月才過堂。之前也被人誤會過。」白雙全才知道他的姓名是袁志駒,原來是被Facebook照片中Beyond的黄家駒誤導了,但無論如何白雙全描繪時想著的那位騎著黑馬的鳥人,就是他。「我在庭上筆在紙上亂動時,畫出了一座黑色的石山,山內有山,右下邊有一座被削了山頂的高山,上面有剛出的月亮,頂部圓形是黑夜的太陽,它們之間有一個浮動著巨大的人頭,而下面是一位舉起雙手嚎啕大哭的婦人,再下面是另一座小山。黑色的大山是一個宇宙,上方是一隻黑色的鳥人,太陽是牠的眼珠,牠騎著一隻黑馬,月亮是馬的眼睛,牠站在黑色的河流上,摸黑向前行」。

此後,白雙全將此符碼,提供黃耀明用於演唱會的舞台上,經燈光、投影於巨大銀幕上成了十分震撼的封印!黃耀明演出了《家明》的故事:「他出發找最愛,今天也未回來,途中那些細節沒有太多的記載。但為什麼不放開?竟吊在懸崖旁邊盼待…誰若碰到這個他,能為他了了這小心願嗎?無力協助他嗎?也願你任由他,騎著世上最終一隻白馬。」家明是一個人,也是在雨傘運動中的每一個人。這每一個人中有一個是家駒,但他騎的不是一隻白馬,而是一隻黑馬。

《封印(No.HCCC408-16#11):黑河騎士》透過圖像與相關之報導、檔案文件資料,及其演唱會記錄等物件裝置,傳達了香港社會中每一個人不可回避的焦灼。

When Pak Sheung Chuen attended the High Court hearing on March 6, he did not see Ka Kui, and thought that he had pled guilty and returned to Lai Chi Kok Reception Centre. Therefore, he was surprised to see him in the court room on April 19, and asked him, “Aren’t you in custody at Lai Chi Kok Reception Centre?” To this, Ka Kui replied, “That is another A-Kui. My case will go to trial in July. This misunderstanding has happened before.” Only then did Pak learn that his full name was Yuen Chi-Kui, and he had been misled and confused by the Facebook photo of Wong Ka-Kui from the music band “Beyond.” Nevertheless, the bird man on the black horse Pak had depicted was inspired by Yuen Chi-Kui. “When I was scribbling in the court room, I have drawn a black rock mountain, which encompasses other mountains. On its lower right corner is a mountain with its peak removed. Above it is the moon that has just come out. The circle on the very top is the sun at night. Between them is a large floating head, and below that is a crying woman putting her two hands in the air. Another small mountain is at the bottom. The big black mountain represents the universe. On top of it is the black bird man. The sun is his eye, and he is riding a black horse. The moon is the eye of the horse that is standing on a black river, marching forward in the dark.”

Afterwards, this symbol created by Pak was used in Wong Yiu Ming’s concert. With the design of lighting and projection, it became an impressive seal on the giant stage screen. The singer performed the story told by the song, “Ka Ming”: “Looking for his love, he set out, and has not come back until now. About his journey, little was recorded. Can’t you just let go? Hanging by the cliff, you keep pining… Whoever runs into him, can you fulfill his tiny wish? Incapable of helping him? Then let him keep riding the last white horse in the world.” Ka Ming is just a person, but he also represents every single individual in the Umbrella Movement. In their hearts, there is a “Ka Kui,” but he is riding a black horse instead of a white one.

With images, news reports, archival materials and the concert record, the installation Seal (No. HCCC408-16#11): Knight-Of-The-Black-River conveys the unavoidable angst and unease lurking in the hearts of Hong Kong people.

 

 

2樓西側樓梯Western Stairway 2F

黃邦銓Huang Pang-Chuan

《回程列車》

Retour

 

 

單頻道錄像

19分48秒

2017年

Single Channel Video

19 min. 48 sec.

2017

 

在展出場域裡黃邦銓結合了過渡空間的敘事連結,將錄像作品的影格以5格播放,僅有中間影格有字幕且聲影同步,而上與下影格分別各延遲一格與加快一格播放,有意識地讓照片時而像幻燈片一般駐留眼前,時而似電影的動態影像,猶如是一列稍縱而過的列車。此作以兩次旅行分兩階段進行:一是穿越兩大洲的火車之旅;另一個是將戰爭期間拍攝的舊照片復原,其創作的構想來自於即將裝修的老家裡,從一個裝滿照片、書信與筆記的箱子,其中一張祖父的照片背後寫著1948年8月…就此開啟了《回程列車》的歸鄉之途。

片中藉由第三人稱「他」與第一人稱「我」,以及黃邦銓的法文旁白,畫面由昏黃轉為黑白,從單一照片的局部遊移,轉為多張靜態黑白照片的播放。他提及:「那是『他』和『我』的跨時空對話,而『他』,正是『我』的爺爺。將近七十年前,『他』為了生存,離鄉背井輾轉來到臺灣,於1948年拍下這張鐵軌前的照片,那是二二八事件的一年之後。『他』想要透過這張照片向家鄉的親人報個平安,然而這張照片卻未曾寄出,而『我』發現了這張照片,懷著想要『進到』這張照片裡的企圖心,從自己的學校所在地(Tourcoing)圖爾寬搭上火車,南下巴黎,然後轉車往東行,沿途經過德國、波蘭、白俄羅斯、俄國、蒙古,最後抵達中國。『我』帶著35釐米攝影機,在旅途中拍下數百張照片,這趟旅程的終點站是廈門的海邊,彼端的臺灣就是他的家鄉,可是再也沒有鐵路了」。

其中,他以不同的語言、人聲、環境音和地景來區隔不同的國境,如置入一段被趕下列車沒有現身的非裔男人以不標準的法文咆哮:「種族歧視」,使移民與族群議題隱含其中;而黃邦銓親自為影片配上帶有口音的法文旁白亦意有所指:「語言的隔閡是區別你我身份最明顯的標記,法國對我來說是個異國,法文說得再怎麼精確也不會是法國人。」;「我想到我祖父剛來(臺灣)的時候一定也是這樣」。《回程列車》就藝術家而言,是一封繪寫了兩段不同時空的影像家書。

Huang Pang-Chuan integrates narration of transitional space in the exhibition place and plays the video through five frames, with subtitles and sound only available in the middle frame while the frame on the top and bottom each playing one frame slower and one frame faster. This allows images to either be presented as slideshows and sometimes as motion pictures, just like fleeting train cabins. This work is separated by two travels into two sections: the first is a train travel across two continents, and the other is a repair of old photographs taken during times of war. This method was inspired by a box of old photographs, letters, and notes found in the artist’s old house. In particular, the date “August 1948” was written on the back of an image of the artist’s grandfather; this photograph marked the start of Retour, the homebound journey.

The video includes “him” in the third person, and “I” in the first person, along with the French narration by Huang Pang-Chuan. As the scene turns from dim yellow lighting into black and white, the lens moves between different partials of photographs and then turns into slideshows of several black and white images. Finally, the viewer hears: “It was a dialogue that transcends time and space between ‘him’ and ‘I’ ; ‘he’ is ‘my’ grandfather. Almost seventy years ago, in order to survive, the ‘him’ in the video left his hometown and stumbled to Taiwan and took this picture in front of train tracks; it was one year after the February 28 Incident. The ‘him’ in the video wished to use this photograph to let family members back home know that he was safe and unharmed, but the photograph was never sent. Years later, ‘I’ discovered this photograph. With a wish to ‘enter’ the image, I boarded the train from Tourcoing, where my school was, and traveled south to Paris to transfer trains to proceed eastward. I passed through Germany, Poland, Belarus, Russia, and Mongolia, finally arriving in China. ‘I’ brought my 35mm video film camera and took countless photographs throughout my travels. My journey ended on the shore of Xiamen, with Taiwan, my grandfather’s hometown, on the other side of the ocean. However, the train track is no longer there.”

The artist uses different languages, voices, environmental sounds, and landscapes to signify different nations. For instance, an African American male is chased off the train off screen, accompanied with shouts of “racial discrimination” heard in accented French, hinting to immigration and racial issues. Huang Pang-Chuan’s accented French narration for the video also conveys a message: “The barrier of language is the most obvious distinction between the self and the other. For me, France is a foreign country; I would never become French, no matter how good my French is.” “I think this was what it must have been like for my grandfather when he first arrived (in Taiwan).” For the artist, Retour is a letter involving two different space and time addressed to family members in the form of video recording.

 

 

205展間R205

黃漢明Ming Wong

《明年》

Next Year 

 

單頻道影像裝置

18分12秒

2016年

Single Channel Video Installation

18 min. 12 sec.

2016

 

黃漢明的創作《明年》改編自1961年意識流的電影—《去年在馬倫巴》的片段。電影描述了一位住在豪華飯店中的女子邂逅一名陌生男子,男子對失憶的她說,彼此在一年前的馬倫巴會見過,那時他們相愛並約定於此重逢、私奔;男子口中的誓言和執拗的堅持讓不置可否的女子最終妥協與男子出走。而另一位在女子身邊的男伴侶也試圖支配著她的記憶…。

黃漢明在《明年》片中,一人分飾多角,將原作電影的時間進行了時態的改變,透過剪輯與安排,畫面呈現時間隨著思想活動的節奏,時而重複,時而倒轉,打破線性時間的敘事,以此符應對失憶思維綿延的提問,同時在來回切換中交織著現實、回憶和幻想的意識流動,暗喻了曖昧不明的衝突性與不穩定性。而電影從客觀世界轉換為對主觀世界的再現視角,讓觀者在凝視之時彷彿是鏡像的對視,從中觀看到自己的意識調動內在時間的方式。

此作拍攝地點為上海,黃漢明以法式花園與中國園林風格相結合的上海復興公園、以及,以法國電影命名的上海咖啡館,與街巷里弄各種中西合璧的歐式建築等,充分展現曾為英法殖民地的上海文化交融的景觀,影射當今文化上時間與空間的消失,民族文化身份混亂而趨同的普遍現象。

記憶上,黃漢明一人扮演著男子與女子,在片中原始電影的聲線與藝術家自己的聲音彼此疊加,喚醒與置入,呼應著性別框架與殖民歷史間一種共生關係的隱喻。時態上,《明年》片中主角從一年之後的時空穿越回來,他們知曉一年後的相遇和這其中發生的種種細節,在黑白畫面鋪陳之下指涉了1930-40年代已然消逝的歐洲舊時光,看似意象復古實則諭示了未來。因此展場以一個古老的歐式風格酒店宴會廳的氛圍,讓觀者從時序的當今進入黑白電影的時空。

Ming Wong’s work Next Year is an adaption of a section from movie Last Year at Marienbad, a 1961 stream-of-consciousness film. The film depicts the encounter between a woman living in a luxurious hotel and a man. The man says to the woman, who has lost her memory, that they met a year ago at Marienbad, and that they had agreed to reunite and elope. The man’s vows and persistence finally convinced the woman to run away with the man. At the same time, another male figure accompanying the woman also tries to meddle with her memory.

In Next Year, Ming Wong plays multiple characters, both male and female, changing the original timeline of the movie to display a time rhythm that echoes the thought process through editing and the arrangement of scenes. The method sometimes involves repeating, sometimes reversing, breaking linear narrative to correspond with explorations of memory loss and the continuance of consciousness, at the same time intertwining the stream of consciousness of reality, memory, and imagination to imply the conflict and instability of ambiguity. The movie transforms the objective world and re-presents the world through subjective perspective, allowing viewers to emerge into the mirror-like gaze and to realize their own method of dealing with time.

For visual language, the artist decided on Shanghai as the shooting location, picking Fuxing Park, which integrates the style of French gardens with Chinese landscape gardens, and a café named after the French movie, along with various European buildings constructed with a mixture of western and Chinese architecture styles in the streets and alleys. The scenes captured in the film fully portrait the culture of Shanghai, which was previously under the influence of French and English colonial rule, while at the same time hinting to the disappearance of the boundaries of space and time in contemporary culture, and the universal phenomenon of identity confusion and becoming more and more similar.

In terms of memory, Ming Wong portrays multiple characters of both sexes and layers the voices of the original movie with his own voice as a hint to the co-existing relationship between gender frameworks and colonial history. As for the portrayal of time, the main characters of Next Year travels back in time from a year later and are aware of their encounter one year in the future and all relating details. The black and white settings refer to the fleeting vintage times of Europe of the 30s and 40s, implicating the future with the seemingly nostalgic scenery. Because of this, the exhibition space is designed in the style of a European banquet hall, allowing visitors to enter the time and space of the black and white movie from the time sequence of the present. 

 

 

204展間R204

致穎 & 格雷戈爾.卡斯帕

Musquiqui Chihying & Gregor Kasper

《多哥咖啡》

CAFÉ TOGO

 

十六釐米黑白膠捲轉4K數位影像、三頻道錄像

27分

2018年

16mm B & W Film, 4K Digital Video, Three Channel Video

27 min.

2018

Copyright: Still image from the film Café Togo (2018)© Musquiqui Chihying, Gregor Kasper

 

三頻道錄像裝置作品《多哥咖啡》,以兩側螢幕相互穿插影像,中間字幕則為阿普德爾.阿敏.穆汗默德(Abdel Amine)依據史實基礎所撰寫的虛構文本—《相伴殖民之愛》(With Colonial Love),除了作為字幕閱讀之外,也象徵了阿敏的寫作與影像創作在三頻道螢幕上同處於一平面,文字不再是影像的附庸,成為一種動態式閱讀,形構了文字的主體生命,呼應作品的主軸—如何重新閱讀歷史。

《多哥咖啡》以三個時空向度交互映現。一、由致穎飾演出版社編輯的咖啡廳場景,致穎訪問書籍作者阿敏及其助理海克。二、歷史穿越的置入,當致穎與阿敏提及書中內容和人物時,便以諷刺劇穿插其中。三、阿敏於柏林非洲區具有爭議性的三處地點對群眾解說。此作關注德國柏林維丁區(Wedding)俗稱「非洲區」(Afrikanisches Viertel)街道正名的問題。依據柏林街道命名律法,為表彰個人之貢獻得以其姓名為街道命名,然而在非洲區的「彼得大街」(Petersallee)、「呂德律茲街」(Lüderitzstraße)以及「納荷狄卡廣場」(Nachtigalplatz)卻以德國殖民非洲期間從事剝削、血腥鎮壓之人為街道名,這些時年被視為英雄,於今在歷史視域的當代,在民主、人權觀念上他們早已不合時宜。《多哥咖啡》依循柏林黑人運動家阿敏的觀點,將政治性符碼以及去殖民之多元價值思想作為主軸,開啟後殖民議題的討論空間。而全片於柏林非洲區拍攝完成,以諷刺納粹時期所製作的舊殖民宣傳電影《卡爾.彼得》(Carl Peters)團隊,利用德國北方綠根島(Rügen)假作為東非洲的製作手法,藉以重新審視歷史。 (本片由台北市文化局補助製作)

In Café Togo, a three-channel video installation, the screens on both sides show interweaving images whereas the screen in the middle shows the text of Abdel Amine’s fictional work, With Colonial Love, which he has created based on historical facts. The text not only serves as the subtitle of the film, it also symbolizes that Amine’s writing and the image of the film are equally important in this three-channel video work and words are no longer accessories to images. The dynamic way of reading constitutes the subjectivity of the text, and responds to the central theme of the work—how to re-read history.

Café Togo reveals an intricate fabrication of three spatial-temporal dimensions: 1. Musquiqui Chihying plays the role of an editor from a publishing house and interviews the author Amine and his assistant Hike at a café; 2. Historical representations are embedded into the film through interweaving contents and figures from Amine’s book when they are mentioned; 3. Amine talks to the crowd at three controversial places in the Afrikanisches Viertel (African Quarter) in Berlin. The work involves around the issue of rectifying street names in Berlin-Wedding, which is known as the African Quarter. According to Berlin’s street-naming regulations, streets can be named after individuals who have made great contributions to the city; however, some streets and places in the African Quarter, including Petersallee, Lüderitzstraße and Nachtigalplatz, are named after people who have committed exploitation and violent oppressions during the period of German colonization in Africa. In the past, these people were viewed as heroes; nevertheless, in the contemporary era that emphasizes historical horizon, their names are no longer suitable for streets from the perspective of democracy and human rights. Café Togo follows the visions of the Black activist Abdel Amine and centers on political symbols as well as diverse values and thinking of decolonization to initiate discussions about postcolonial issues. The entire film was made in Berlin-Wedding, and represents the attempt to re-examine history by satirizing the old colonial propaganda film, Carl Peters made during the Nazi regime, in which Rügen in northern Germany was used as a fake setting for East Africa. (The production of this film has been sponsored by a grant from the Department of Cultural Affairs, Taipei City Government.)

 

 

203展間R203

卡戴.阿提亞Kader Attia

《反映記憶》

Reflecting Memory

 

單頻道錄像

48分

2016年

Single Channel Video

48 min.

2016

Courtesy of the artist, Galleria Continua, Galerie Krinzinger, Lehmann Maupin and Galerie Nagel Draxler

 

單頻道錄像作品中,由外科、神經科醫師、心理分析學家等共同對「幻肢」現象進行分析。「幻肢症」是指對已截除的肢體仍然存在的主觀感受和由此引發的幻覺,其成因可能與「鏡像神經元」有關。法國人類學家勒內·基拉爾(René Girard)指出,鏡像神經元會發送刺激以回應擬態的欲望,是一種人類特有的「模仿欲望」。

藝術家以多位因戰爭或襲擊倖存者的訪談,他們帶著殘缺的肢體,承受幻肢的折磨,透過治療心理創傷的神經學家—拉瑪錢德朗(Vilayanur Ramachandran) 著名的鏡像療法,拍攝了截肢患者與其在鏡中的假像,從一開始看不出是鏡像,使人們漸入一種錯覺體會,當觀者目光聚焦在這些殘缺之體的同時,一種喚起共感的意圖,從而強調身體修復與精神療傷的必要性。

卡戴.阿提亞創作中凸顯的「修復/補償」概念,是個人和集體的傷痛,可回溯至當代歷史中的奴隸制、殖民史、共產主義、種族滅絕等歷史傷痕,修復雖無力還原最初的形象,但修復可以延續更長的生命甚而更廣闊的空間。阿提亞從最初關注藝術品的修復,以至將修復作為探索個體生存的重建過程,進而關注形而上層面的修復,藉以寓示人們勿對「看得見的傷痕」視而不見,深層地探觸人類對修復的渴求。他企圖找尋的不僅是西方與非西方之間的隱藏敘事,更試圖找出個體與時空的對話。

藝術是為了傳達有效資訊。卡戴.阿提亞結合了醫學、心理學、文化人類學等領域繫之與當代藝術的關係,以獨特的語言詮釋人類意識的狀態,除了蘊含個體的創傷即是一種群體的創傷之餘,借助創造性的再調動以對生命、壓抑和創傷的深沉反思。

This single-channel video shows the analysis of “phantom limb” by surgeon, neurologist and psychoanalyst. The so-called phantom limb syndrome refers to the persistent sensation of the presence of an amputated limb, which might be related to “mirror neurons.” French anthropologist René Girard points out that mirror neurons send out stimulations as a response to mimetic desire, which is the desire of imitation unique to the human race.

The artist interviewed various survivors of wars or violent attacks, who have suffered the loss of limbs and the pain of phantom limbs. Using the well-known mirror therapy created by Vilayanur Ramachandran, a neurologist specialized in treating psychological traumas, Attia filmed the amputees and their images in the mirror. At first glance, viewers might not be able to recognize the mirror images, which cause people to experience a confusion. As viewers focus their attention on the incomplete bodies, a sense of empathy is aroused and brings the emphasis of the work to the fore, which is the indispensability of physical repair and psychic healing.

The concept of “repair/compensation” foregrounded in Attia’s work refers to both individual and collective pains and wounds, which include slavery, colonization, communism and racial genocide in modern history. Repair might not restore the original image, but it allows a longer extension of life and even a wider space in life. At the beginning, Attia focused on repairing artworks. Later, he shifted his focus to exploring the process of reconstruction in individual survival through repair and further extended his work to a metaphysical level. Through his work, he hopes to confront people with “the visible wounds” and awaken to their urge for repair. What he aims to find is not merely the hidden narrative between the Occidental culture and the non-Occidental cultures, but also to establish a dialogue between individuals and time.

The purpose of art is to convey effective information. Attia combines medicine, psychology, cultural anthropology with contemporary art, and uses his unique artistic language to interpret the status of human consciousness. His work states that individual trauma is, in a way, collective trauma, and allows viewers to deeply reflect on life, oppression and trauma through creative expression. 

 

 

202展間╱R202

陳界仁Chen Chieh-Jen

《十二因緣-思考筆記》

Notes on the Causes

單頻道錄影裝置、DV、黑白、無聲、8分16秒、循環放映
Single Channel Video Installation, DV, Black and White, Silent,8 min.16 sec. , Loop
 

單頻道錄像《十二因緣-思考筆記》,是陳界仁自1996年開始,以電腦修改歷史刑罰照片創作「魂魄暴亂」系列作品之後,2000年以真人排演直接拍攝的形式,開始了他探討「虛假未來」、「無法到來的未來」之「十二因緣」系列作品。

此次展出影片是當時準備「十二因緣」時拍攝的影像筆記,片中他以兩位視障者彼此對話關於未來科技電子眼發展的想像,並寄予冀盼與奇想。其中一位懷孕的視障者提及,她夢見了她的孩子誕生於大瘟疫時代…。這個末世的影像,與那個未出生和不可見的嬰兒―「一個不可見的生命與未來」。意味了過去、現在與未來的時間層疊,其中看見/看不見的時間記憶;末世時代/科技時代的生存語境;過去/現在的史觀敘事等,寓意了多重時態的歷史辯證與對未來的省思。

Notes on the Causes is a single channel video installation that artist Chen Chieh-Jen started working on after Revolt in The Soul & Body since 1996, a series of computer-revised historical photographs portraying punishment methods, Chen used actors in 2000 and started exploring topics “virtual future” and “unreachable future” in Notes on the Causes Series.

The video on display in this exhibition is a recording of the preparations for Notes on the Causes. Two blind characters engage in a conversation about their imaginations and hopes on future technology regarding the electronic eye. The pregnant character mentions that she dreamt her child was born during a big plague. The images of the apocalypse and the unborn baby compose the “unforeseeable life and future.” The work refers to the layering of past, present, and future, while the visible/invisible memory of time, the context of existence in the apocalyptic era/technological era, historical narrative of past/present, all encourage contemplation towards the history and the future.

 

 

201展間R201

陳界仁Chen Chieh-Jen

《星辰圖》

Star Chart 

 

 

黑白相紙

50公分x34公分,共11件

2017年

Black and White Photographic Paper

50cm x 34cm,

11 Pieces

2017

 

《星辰圖》以靜態的黑白攝影作品,敘事臺灣自1980年代末產業結構轉型;以及1997年亞洲金融風暴爆發,導致傳統產業大量外移後的第二波中年失業潮。而藝術家的兄長也是這一波之中失業的一員。而長期處於失業困頓的期間,經歷憂鬱症、自殺、獲救後生命經歷復歸生活的回應。「原本已很少出門的大哥,開始將其漏水的住所,緩慢改建成一個收納各種『異知識』的圖文資料庫,這個不斷膨脹的資料庫,整齊地塞滿整個屋子,但不知為何,他卻獨留下一個未安裝電燈的房間,任其荒置。我不清楚他在研究什麼?或想建造一個什麼樣的空間?但每隔一段時間,他會突然發來簡訊,告訴我該注意什麼,或者什麼事該如何處理。」陳界仁說。「2017年初某夜,我跟他在那個塞滿『異知識』的屋內一邊聊天,一邊看著那唯一未裝電燈的幽黑房間:為什麼不在那個房間裝燈?他說:那是屬於灰塵的世界」。而《星辰圖》為《中空之地》的創作前導與拍攝端點,拍攝當天,也是那個房間唯一有光的時刻。

Star Chart uses still black and white photographs to depict the transformation in Taiwan’s industrial structure during the 80s, and the second wave of middle-age unemployment caused by traditional industries moving offshore during the 1997 Asian financial storm. The artist’s brother lost his job during this crisis and is a victim of depression, suicide, and was rescued back to life. Chen stated: “My brother, who rarely left the house even before the disaster struck, transformed his leaking residence into a space that housed various images and articles of eccentric information and knowledge. This expanding database was filled with all sorts of material, but my brother left a dark room with no lighting. I had no idea what my brother was researching or building. However, my brother would send me a message from time to time, telling me things that I should be aware of, or how to handle certain issues.” One night in 2017, I was talking with my brother in the house filled with eccentric information. I glanced toward the dark room and asked: “Why don’t you add lighting to that room?” My brother replied: “That room belongs the world of dust.” Star Chart is the prelude and shooting location of A Field of Non-Field. The day of shooting was the only day there was light in the room.

 

陳界仁Chen Chieh-Jen

《中空之地》

A Field of Non-Field

 

 

單頻道錄像

61分07秒

2017年

Single Channel Video

61 min. 07 sec.

2017

 

單頻道錄像作品《中空之地》詮釋了科技的發展與資本的關係已匯流為科技資本主義,以一種全域式操控技術的治理姿態,包覆甚而駕馭了個體的欲望、感知與思維方式,使人愈發地處於一種「全球監禁、在地流放」的境地,於此之下我們如何為生存尋求其他出路?

作品中以妹妹與媽媽的對話,述及自殺獲救的哥哥並自行離開醫院,從此消逝無蹤,媽媽說:「你哥,只是去了一個比西方更遠的地方…。」以及:「妳哥,只是還在回來的路上…。」以此開啟了一趟「去」與「回」的旅程。

在「去」的旅程中,似拉開資本主義結構下遺跡般的地理景觀,包括工地餘音籠罩的無牆之獄,望向聳立著虛無的現代公寓,喻指了「被廢棄之人」的社會派遣工以及資本主義下肉身耗材的陪葬物,如人體器官模型、舊電腦;其中亦交錯著不同的呢喃,如:「什麼時候?我們接受了被在地流放的判決書?…」與「怎麼辦?名字沒了。名字沒了,怎麼辦?」等集體的唸誦聲,形構了多重意象與多元意義的流變群。在「回」的旅程中,隊伍消逝,獨行的哥哥駐足在荒地上,凝神靜聽女工們高亢的歌聲,直到隨著歌曲「萬古千秋不斷情」而淡出。

此作將各種現實、困頓的奇觀並置其中,成為一種懸置的狀態,藉此讓潛隱其中的問題意識凸顯出來,在題旨《中空之地》的蘊藉上,審思《中觀學》中,對於「空性」課題以及實踐具有多重辯證精神的「中道」方法,透過「不生不滅、不常不斷、不一不異、不來不去」論辯法,說明一切事物皆是相對、相互依存、不斷流變的,藉此打破各種絕對主義與執著。陳界仁將其簡稱為多重辯證法,並認為通過對《中觀學》的學習,是質變當前由全域式操控技術所主導的新生命政治的方法之一。

Single channel video installation A Field of Non-Field conveys the concept that the relationship between technological development and capitalism has formed a new concept of technology capitalism, imposing control over technology and even the desires, perception, and thinking of individuals. This condition forms a situation of “global imprisonment, at-home exile.” What are our options of survival under circumstances such as these?

From the dialogue between the little girl and her mother, the viewer listens to how the little girl’s brother left the hospital without permission after being admitted for suicide, and was never to be seen again. The mother said: “Your brother just went somewhere far away, beyond the west…” and “Your brother is just on his way back…” With these statements, an“ outbound” and “ return” journey begins.

The geological scenery of capitalism is presented almost as a relic during the “outbound” journey. Images of wall-less industrial grounds filled with echoes with a view of empty modern apartments hint to the abandoned dispatch workers and objects, such as human organs and old computers, that are sacrificed in the name of capitalism. Collective murmurings such as “When did we accept being sentenced to at-home exile?” and the chanting of “What can we do? Nameless. Nameless, what can we do?” can be heard, forming multiple imageries and the fluidity of meaning. Throughout the “return” journey, the troop disappears, and the brother is seen standing alone in a wasteland, listening attentively to the resounding singing of female workers as the music gradually fades.

This work mixes the spectacles of different realities and frustration, creating a state of suspension that accentuates hidden problems. With title A Field of Non-Field, the artist explores the concept of Sunyata (nothingness) in the Madhyamaka School and the Madhyamaka method, which involves multiple dialectic approaches. Applying the concept of “no destruction without existence, no discontinuity without consistency, no diversity without sameness, no departure without arriving,” the fact that all things are relative, codependent, and constantly changing is manifested, and the illusion of absolutism is shattered. Chen Chieh-Jen calls this method “multiple dialectics” and believes that the philosophy of the Madhyamaka School is one of the ways of changing the new politics formed by gaining complete control over technology.

 

 

201展間R201

哈倫.法洛奇Harun Farocki

《平行Ⅰ》 PARALLEL 

 

 

 

雙頻道錄像

15分53秒

2012年

Two-Channel Video

15 min. 53 sec.

2012

Photo: "Parallel I" © Harun Farocki 2012

 

《平行Ⅰ》以雙頻道展示,指出在短短三十年的時間裡,電腦圖像技術快速演化,從80年代開始只由橫豎線條構成的圖形,直至今日朝向照相寫實主義的風格演變。然而電腦生成圖像的「寫實主義」無法以「再現」角度分析,因電腦遊戲中並不存在被再現的外部世界。揭示出推動技術發展並不在忠於現實,而是對一種具誘惑性逼真(verisimilitude)的欲求;試問電腦造就的超真實感(hyperrealism),是否意圖超越現實本身?

The two-channel video, Parallel I, shows how the development of graphics technology in the short span of three decades has rapidly enacted from the consistence of only horizontal and vertical lines in the 80s to photorealism nowadays. This “realist” computer graphics, however, cannot be analyzed from the viewpoint of “representation” because the external world to be represented does not exist in the world of computer games. Therefore, the force that propels technological development does not originate from the loyalty to reality but from the desire to seek the tempting verisimilitude. One cannot help asking: does the hyperrealism enabled by computer animation aim to surpass reality?

 

 

《平行PARALLEL

 

 

單頻道錄像

8分39秒

2014年

Single Channel Video

8 min. 39 sec

2014.

Photo: "Parallel II" © Harun Farocki 2014

《平行Ⅱ》的多維度透視提供了敘事進行中的人物所屬的空間及其所處位置,引導著觀者視點行進的方向,探索遊戲創作者(如造物主般)所創建的一個又一個自成系統的世界,交相切換真實與虛構的提醒,刻意顯露邊界區隔的明顯切線,或以躍遷式的屏障揭示超現實的假象。呈顯一個由電腦建構的「世界」景象,引申遊戲中隱性邊界狀態兩個方向的探討:一、「遊戲裡的世界」其邊界為何?二、遊戲者與電腦生成的角色之間互動的限制關係。

The multi-perspective simulations in Parallel II offer a sense of space and position of the figure in the narrative, leading viewers’ visual perspective toward the direction that the figure is taking. It explores the world with its own system invented by the game “Creator”. The real and the fictional are entwined together and each surfaces intermittently. The premise of the work also foregrounds the intentionally revealed boundaries, or exposes the illusion of hyperreality with transitional barriers. Finally, the work reveals the landscape of “worlds” constructed entirely from computer games. A discussion encompasses two aspects which can be derived from the implicit boundaries in the games: 1. What are the boundaries of “the worlds in games”? 2. The restrictive relationship that characterizes the interaction between gamers and those computer-generated characters.

 

哈倫.法洛奇Harun Farocki

《平行PARALLEL

雙頻道錄像

7分20秒

2014年

Two-Channel Video

7 min. 20 sec.

2014

Photo: "Parallel III" © Harun Farocki 2014

 

《平行Ⅲ》以雙頻道展示,擬態(模仿)在科技時代愈發依恃生成演算法,它的有效預測、控制以及精算精密的各種製程,包括:製造生產、人工智能、戰爭等,乃至大眾領域之動態世界的情感經驗。當人們頻繁地經驗著由科技製造的各種影像世界,這影像將潛移默化地凌駕於真正體驗的真實之上。

《平行Ⅲ》中研究物質世界及物件在遊戲中是如何被呈現的。許多遊戲建構出的世界都有如一座宇宙中的浮島,並如同戲劇舞台般有著背景布幕。所有的物質似乎都沒有真實的存在,物質特性是為了不同的需求而特別建構與設定的。

Parallel III is a two-channel video. Simulation (imitation) has relied more and more on generative algorithm in the digital age. It is used to effectively forecast, control and precisely calculate various production procedures, including production and manufacturing, artificial intelligence, war, and even emotive experiences of the public in a dynamic world. When people frequently experience a wide range of image worlds created through technology, image can imperceptibly override their experience of reality.

Parallel III seeks out the material world and the nature of the objects represented in them. As it has been observed, many game worlds take the form of discs floating in the universe. The worlds have a backdrop, like theatre stages. The things in these games seem have no real existence. Each of their properties must be separately constructed and assigned to them.

 

哈倫.法洛奇Harun Farocki

《平行PARALLEL

 

單頻道錄像

11分20秒

2014年

Single Channel Video

11 min. 20 sec.

2014

Photo: "Parallel IV" © Harun Farocki 2014

法洛奇在〈嚴肅的遊戲〉(2011年)文章中提及:「現在用來形塑我們的集體想像的主導性媒體是電腦遊戲」。在《平行Ⅳ》中,法洛奇研究遊戲中的角色,通常無表情,只能說著簡短但無法交談的句子,並總是遵循一定的行動模式。法洛奇觀察到:「迴圈(loop)時常在電腦遊戲中出現,使玩家進入有關存在或者薛西弗斯式的寓言裡」。而《平行Ⅰ-Ⅳ》作品的結構,似乎一再邀請觀者在電腦動畫與現實之間進行對照與連結。

In his article, entitled “Serious Games” (2011), Farocki stated “video games are the single most important medium to shape collective imagination.” In Parallel IV, Farocki explores the figure of the heroes in video games. They hardly have any facial expression and only express interchangeable short sentences. They often have to follow the same movement rules. Farocki has observed that “loop is often used in computer games to bring gamers into an existential or Sisyphean fable. ”Furthermore, the structure of Parallel I – IV seems to repeatedly invite viewers to compare and connect computer animation and reality.

 

 

活動大廳/Activity Hall

《王國、城堡、迷宮與數位》

Kingdom, Castle, Labyrinth, and Digit

展演座談

2018年

Lecture Performance

2018

 

「說明一種狀態,就勾勒出一張場景;確認一張場景,就朝向一張全景。

成立一張全景,結構將滲蝕地成立。只要有結構,就有關於結構的幽閉與逃逸,結構的鞏固與崩解。書寫對精神地景的展現,及其可提示的關於結構成立的想像幅度。《王國、城堡、迷宮與數位》以一次性現場創造、呈現人如何深鎖在如此結構之中。」—―黃以曦

一次性的演說表演1―《王國、城堡、迷宮與數位》是黃以曦作為思考者的專業講演;而一次性的演出「形式」成為黃以曦在本展裡展出的藝術作品。角色的演出與身分的跨域或中介,提借出一位女性思考者在專業界域的系統結構中審視「身分正義」的歧義觀點,思索20世紀英國歷史學家湯恩比(Arnold Joseph Toynbee,1889-1975)所言「具有創造性的回應能力」足以提升藝術在社會上的角色意義,試圖解決現今各種人為與生態的挑戰。

“To explain a status is to depict a scene; to confirm a scene is to view a panorama. In creating a panorama, its structure will also be imperceptibly created. As long as there is structure, there will be structural enclosures and elusions as well as consolidations and collapses. I aim to write about the representation of a spiritual landscape and the imagination about the formation of structure hinted in such representation. Kingdom, Castle, Labyrinth, and Digit is a one-time live creation, revealing how people are locked into this structure.” – Estella Huang

The one-time1 speech performance, entitled Kingdom, Castle, Labyrinth, and Digit consists of professional speeches given by Huang as a thinker. The one-time performance is her artwork featured in this exhibition. Her performance of the role and her interdisciplinary or intermediary identity reveal her examination of the divergent perspectives in “identity justice” as a female thinker in the systematic structure of the professions. Through this work, she explores what has been put forth by the 20thcentury British historian, Arnold Joseph Toynbee (1889-1975) – the ability to “respond creatively,” which could elevate the social meaning of art and solve numerous man-made and social system challenges humanity is facing today.

--------------------------

*兩場演說題旨:1. 卡夫卡路徑:假性創造;2. 波赫士現場:用有限消滅無限。

詳細演說資訊,請至台北當代藝術館官網查詢。

*The topics of Huang’s two speeches are: 1. The Kafka Route: Pseudo-creation; 2. The Borges Scene: Eliminating the Infinite Through the Finite. For more information of the speeches, please visit the official website of MOCA, Taipei.

 

 

《特別放映》光點台北/Special Screening SPOT-Taipei

克里斯.馬克Chris Marker

2084

2084

電影

10分

1984年

Film

10 min.

1984

 

此片是克里斯•馬克於1984年受法國勞工民主聯盟委託製作,為紀念法國工會運動百週年的作品。但工會成立於1884年,而作品題旨並非為《1984》。

克里斯•馬克以未來100年後的時間點,重新塑造了《2084》年的法國工會…。馬克從社會主義的角度,將工會歷史、現實政治與科幻連結,影射了喬治·奧威爾(George Orwell,1903-1950)反烏托邦名著小說《1984》,預示技術在歷史中扮演的重要角色,意味著無計可施的人類將「未來」視為尋求解決方法的投冀對象。 (詳細放映資訊,請至光點台北官網查詢)

This film was commissioned by the General Confederation of Labour in France (Confédération Générale du Travail, CGT) in 1984 and commemorates the hundred-year anniversary of the trade union movement. However, although the union was established in 1884, the title of the film is 2084, rather than 1984.

Chris Marker portrays the future 100 years from now and reconstructs the union in the year 2084. Marker connects the history of the union, political reality, and science fantasy from the perspective of Marxist socialism and implies George Orwell’s (1903 - 1950) popular dystopian fiction 1984, prophesizing the significant role of technology in history and how the “future” has become a last resort and source of hope for human beings. (For more information about the screening, please visit the official website of SPOT-Taipei)

 

尚盧.高達Jean-Luc Godard

東風

Wind From The East

電影

100分

1970年

Film

100 min.

1970

 

高達於1968年協同尚–皮耶.高漢成立「維托夫小組」的極左派影像小組,主要以布萊希特和馬克思的理論進行批判世界現況的影像工作。《東風》一片主要邀請68學運學生領袖丹尼爾.柯恩–班迪合作在義大利拍攝,假定一群人前往義大利拍攝一部義大利式西部片,以西部片討論西方人與資本主義的暴力,影片主要以丹尼爾.柯恩–班迪犀利的語調批判當下的世界,同時帶出參與者的即時討論,而高達用彷彿真實電影的方式和論述電影的後製建立起複雜的對話,讓政治討論密切疊合上影像技術的討論。(詳細放映資訊,請至光點台北官網查詢)

In 1968, Godard collaborated with Jean-Pierre Gorin and established far-left filming group Dziga Vertov Group, which focused on creating films based on the philosophies of Bertolt Brecht and Karl Marx when criticizing the world status. Wind from The East invites Daniel Cohn-Bendit, leader of the May 1968 Unrest, and is shot in Italy. This project presumes the scenario that a group of people are traveling to Italy to film an Italian western film and explores the oppression caused by the western world and capitalism. The film portrays Daniel Cohn-Bendit’s sharp critique towards the contemporary world and encourages discussion between participants while Godard constructs the complex dialogue using realistic filming methods and post-production discourses to layer political discussion with filming techniques.

(For detailed information about the screening, please visit the official website of SPOT-Taipei)


 

 

相關教育活動 Educational Programs

 
日 期|08月04日(六)
主持人|黃建宏(「穿越─正義:科技@潛殖」策展人)
 
第一場|正義不正義-我們置身何種時代?
時 間|14:00-15:30
藝術家|陳界仁、徐坦、張紋瑄
 
第二場|支配被支配-科技森林裡的生態學
時 間|16:00-17:30
藝術家|吳其育、致穎、黃以曦
 


展演講座藝術家:黃以曦

卡夫卡路徑:假性創造
日 期|08月18日(六) 15:00-16:30
以卡夫卡為起點,提出徒勞、窒迫卻又憑空鑿出孔洞的行動意象。
 
波赫士現場:用有限消滅無限
日 期|09月01日(六) 15:00-16:30
以波赫士為起點,提出網絡交織地促使人從幽閉底發展虛構自我的「場」的意象。
 

 
 
數位(反)啟蒙
日 期|08月25日(六) 14:00-16:00
講 者|許煜 (德國呂納堡大學哲學研究所講師及研究員)
 
幸福的時刻-與哈倫•法洛奇及喬治‧迪迪于伯曼一同思考影像
日 期|09月16日(日) 13:00-15:00
講 者|彼特‧米拉特Petar Milat (策展人、歐洲人權影展策展人)
 
我在法院所遇見的人,香港價值的守護者
日 期|09月22日(六) 14:00-16:00
講 者|白雙全 (藝術家)
 
關於《單鏡頭下勞動者》的計畫製作
日 期|10月20日(六) 14:00-16:00
講 者|安傑‧伊曼Antje Ehmann (策展人)
與 談|徐文瑞 (獨立策展人兼藝評家)
 


特別演出

沒有正義,只有報復
日  期|09月16日(日) 17:00-17:30
演出團隊|臺巴赫Taibach
 


專家導覽 週日14:00-15:30
 
08月05日|黃建宏 (「穿越─正義:科技@潛殖」策展人)
09月09日|劉星佑 (獨立策展人、走路草農/藝團成員)
10月07日|張正 (燦爛時光東南亞主題書店創辦人)
10月14日|鄭慧華 (藝術評論者、獨立策展人、立方計劃空間總監)
 

 
提姆老師的藝術小學堂(兒童限定)
時 間|2018/09/02-10/14,每週日10:00-12:30,共七週
對 象|國小三-六年級
費 用|4,500元
藝術家|提姆 Tim Budden (英國藝術家)
注意事項│本課程為中英雙語教學

兒童專區

「穿越-正義:科技@潛殖」兒童教育專區

 

【兒童語音導覽】*適合年齡:5-12歲。歡迎至當代館一樓服務台借用或掃描展間QR code。為強化美感、深耕藝術教育,於原有的教育設施導賞服務中,開發兒童語音導覽服務,以活潑趣味的說故事方式,深入淺出的導讀主題展覽。

 ※ 歡迎聆聽:

http://www.mocataipei.org.tw/index.php/2012-01-12-05-32-59/audio-guide/2712-2018-trans-justice-para-colonial-technology-audio-guide

 

 

【兒童學習單】*適合年齡:12歲以上。歡迎至當代館一樓服務台索取。

 

以寓教於樂的方式,配合每檔主題展覽,提供更進一步的問題、小知識、簡易手做,讓大小觀眾一同學習展覽,增添學習趣味。

 

※ 歡迎下載取用:

 

【親子觀察單】*適合年齡:5-12歲。歡迎至當代館一樓服務台索取。

 

可拆解成上下半截,上半段的彩色地圖,提供小朋友進展間尋找藝術作品;下半段的文字問題,提供大朋友簡易版的問題,引導小朋友觀看作品的一種方式。

 

※ 歡迎下載取用:

 

 

【MOCA U12-小玩藝教室】*適合12歲以下。詳見入場規範。

 

為推動本館教育推廣之功能,讓藝術向下扎根,「U12-小玩藝教室」,憑門票開放親子入場共同體驗藝術之美。除了規劃年度主題,設計與兒童互動及遊戲的裝置之外,亦配合每檔展覽,規劃不同媒材的手作課程,希冀藉由藝教於樂的方式,激發兒童的藝術想像力與創造力。

 

這次搭配「穿越-正義:科技@潛殖」展,規劃設計了4個區域,親子們可自由選擇喜歡的區域進行學習活動。設計了身體創作區、繪本區、鏡像學習區及發想創作區,歡迎參觀完展覽後,進入U12小玩藝教室學習展覽。

 

http://www.mocataipei.org.tw/index.php/2012-01-12-05-25-27/moca-u12