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

首頁 展覽資訊

「穿越─正義:科技@潛殖」Trans-Justice: Para-Colonial@Technology

展覽名稱 Exhibit


Trans-Justice: Para-Colonial@Technology

展覽時間 Date

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

展覽地點 Venue


門票 Admission


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





Trans-Justice: Para-Colonial@Technology







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


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


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


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


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



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



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


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


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



Historie(s) of Nylon



Planning: Writing FACTory




From the Nylon Cheng Memorial Museum Collection












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


Media Translation 





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.




張紋瑄Chang Wen-Hsuan


International Suicide Award





Mixed Media Installation

Dimensions Variable





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.




徐坦Xu Tan


Water, Land and Turf 





Mixed Media Installation

Dimensions Variable






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.




咸良娥Ham Yang Ah


Undefined Panorama





Single Channel Video

7 min. 30 sec.






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.




吳其育Wu Chi-Yu







Video Installation

12 min. 34 sec.





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


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





Wallpaper, Archival Materials

Dimensions Variable




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


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




Mural Painting with Emulsion Paint, Archival Materials

Dimensions Variable






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








Single Channel Video

19 min. 48 sec.






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.




黃漢明Ming Wong


Next Year 





Single Channel Video Installation

18 min. 12 sec.







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. 




致穎 & 格雷戈爾.卡斯帕

Musquiqui Chihying & Gregor Kasper







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

27 min.


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.)




卡戴.阿提亞Kader Attia


Reflecting Memory





Single Channel Video

48 min.


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。



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. 




陳界仁Chen Chieh-Jen


Notes on the Causes

Single Channel Video Installation, DV, Black and White, Silent,8 min.16 sec. , Loop



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.




陳界仁Chen Chieh-Jen


Star Chart 






Black and White Photographic Paper

50cm x 34cm,

11 Pieces




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


A Field of Non-Field






Single Channel Video

61 min. 07 sec.







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.




哈倫.法洛奇Harun Farocki








Two-Channel Video

15 min. 53 sec.


Photo: "Parallel I" © Harun Farocki 2012



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?









Single Channel Video

8 min. 39 sec


Photo: "Parallel II" © Harun Farocki 2014


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





Two-Channel Video

7 min. 20 sec.


Photo: "Parallel III" © Harun Farocki 2014




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






Single Channel Video

11 min. 20 sec.


Photo: "Parallel IV" © Harun Farocki 2014


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


Kingdom, Castle, Labyrinth, and Digit



Lecture Performance





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。


*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







10 min.




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


Wind From The East





100 min.




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)
時 間|14:00-15:30
時 間|16:00-17:30


日 期|08月18日(六) 15:00-16:30
日 期|09月01日(六) 15:00-16:30

日 期|09月23日(日) 15:00-17:00
地 點|當代館一樓105展間


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
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
日 期|09月22日(六) 14:00-16:00
講 者|白雙全/藝術家、梁國雄(長毛)/香港前立法會議員
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


日  期|09月16日(日) 17:00-17:30

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)

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)




【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。

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【MOCA U12-小玩藝教室】*適合12歲以下。詳見入場規範。