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
I want God, I want poetry, I want real danger, I want freedom, I want goodness, I want sin
展覽時間 Date

2018/08/11 (sat.) ~2018/10/14 (sun.)  17:00-21:00 (好評延期中)

展覽地點 Venue

台北當代藝術館 廣場電視牆 MOCA Video

門票 Admission


策展人 Curator

馬克•倫利 Mark Lungley, 黃 伊涵 HUANG Yi-Han

參展藝術家 Artists
大衛•布蘭迪  David Blandy 
拉娜•洛克     Lana Locke 
伊萊翠•琳歌  Electra Lyhne-Gold 
盧克•麥基迪  Luke McCreadie 
里奇•莫門     Richie Moment  
賽斯•平洛     Seth Pimlott 
葉育君           Yujun Ye

展覽介紹 About the Exhibition




In times of uncertainty and anxiety this exhibition brings together seven artists working with video who question its conventions through an exploration of its relationship to the real world, challenging the physical and conceptual limits of what it means to live in the world today. Many of the works probe the vast theme of time, layering history and memory, or focus on the transient, fragile nature of our existence and mortality.

The name of the exhibition is taken from Aldous Huxley’s novel Brave New World. When John the Savage moved into this “brave new world” from the Savage Reservation, feeling confused and blocked within and without the society, he cried out these words and chose to be unhappy. People's pursuit of happiness has modeled the cultural and financial construction of the consumerist society nowadays; however, there is a price to pay. This exhibition seeks to urge our reflection on the routines and restrictions in daily living, and to open up our imagination and thoughts for “a better world”.




策畫團隊 Curatorial Team

Mark Lungley is director of LUNGLEY a gallery in London with focus on presenting the work of emerging international artists.



Huang Yi-Han is currently working as part of Exhibition team in MOCA Taipei. Her main research includes technology arts, image studies, and experimental sound installation.




作品介紹 About the Artworks


大衛•布蘭迪 David Blandy

世界末日  The End of the World

13 min.


Images copyright: Seventeen Gallery, London.


This video focuses on the artist’s relationship to technology and memory, speculation about Armageddon and a loss of connection to the server. The accompanying audio monologue intertwines examples of end times, examining its differing cultural forms. The narrator touches on macro ideas effecting nations such as genocide and climate change and also more personal, intimate moments of loss and grief. A section of the film appropriates chat-room text from users of Asheron’s Call, a multi-player online role-playing game, whose servers were recently shut down after 17 years of collective game play.




里奇莫門Richie Moment

超人里奇 SundowneR

2 min. 35 sec.



Hard-hitting and overtly humorous this new video acts as self-promotion for the artist whilst highlighting anxiety’s within the art world. Set against a psychedelic landscape, which sees the artist wearing war paint calling on all sorts of exotic characters. Moment addresses themes of power, desire, and, this demigod superman is less an archetype of perfection than the suggestive demigod like sculpture that occupies the skies. The artist considers that it’s the search for freedom, both personal and social, in a world that doesn’t want people to have it.




伊萊翠•琳歌Electra Lyhne-Gold

自我中心 The Self Centered

6 min. 40 sec.


Scripts: Lauren van Weyenbergh and Ruth Spencer Jolly  

Actress: Emma D'Arcy 


This video is a reflective piece of work that explores how our public and private identities are self-fashioned and documented. Lyhne-Gold blurs the line between reality and fiction inviting several people to write a script about her to be performed by an actress to the camera. The script could be based upon on a real event that occurred or be fictional but had to be written in the form of a monologue before an actress ‘played’ her whilst the artist filmed her. Choosing how and when she is portrayed the artist metaphorically ‘seizes’ a new identity.




拉娜洛克Lana Locke

將玫瑰染紅 Painting the Roses Red

7 min. 38 sec.


Cinematography: Toby Paton


Locke utilizes the title and tune of the song “Painting the Roses Red” from the Disney adaptation of Lewis Carroll’s Alice in Wonderland, but subverts its lyrics and meaning. Her song and white flowers are offered in mourning and tribute to the victims and survivors of Grenfell Tower, but dipping them in red paint becomes a call for social change, a call to remain angry and a visual reminder of bloodshed – amidst calls for charges of corporate manslaughter to be brought against those responsible for the management and refurbishment of the block.




盧克•麥基迪Luke McCreadie

Mouthed and Sucked

7 min. 30 sec.



Mouthed and Sucked explores the way words exist in the world and how through their saturation, there is a point where they have the potential to create a lapse in meaning and our understanding of the way we perceive objects and ideas. The contained elements imply hierarchies, patterns and systems; and yet McCreadie hints at the capacity for structure within a world that is mediated through language and imagery including the narrative structures present in film and literature and how our experience of the world is governed by these codes. Often, a gap opens up between an object’s superficial appearance – and its material form.




葉育君 Yujun Ye

愛麗絲在冰箱裡 Alice in the Refrigerator

7 min. 50 sec.



This video was included in an installation work The Garden for Alice, created by Yujun Ye at 2013. Inspired by Lewis Carroll’s Alice in Wonderland, this piece focuses on self-identification, misplaced spaces, dreams and absurd plots. In this film, Alice was in the refrigerator, turning over and over in order to fit her body in the limited space, singing songs made by her with birds and her animal friends called “In a World of My Own”. Are these good times originated from the life experiences in our childhood or just an imagination of self-dialogue? Or perhaps, a piece of memory lost during our lifetime?




賽斯平洛 Seth Pimlott

風從何處來 The Wind From Nowhere

12 min. 41 sec.



A magical realist re-imagination of death, The Wind from Nowhere sees a private ritual, thwarted by the wind and triggers a spiritual battle of the elements. Pimlott turn the lens on himself using a vivid personal memory as a departure point for a self-reflexive narrative that grapples with consciousness and loss. Seth Pimlott makes experimental narrative films that develop through a workshop process. This process organically suggests certain modes, genres or methods of filmmaking, and together artist and actor embark on a collaborative development process.