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

展覽名稱 Exhibit
「我要神、要詩、要危險、要自由、要良善、要罪惡」
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.) ~2018/09/30 (sun.)  18:00-21:00

展覽地點 Venue

台北當代藝術館 廣場電視牆 MOCA Video

門票 Admission

免費

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

 

身處不安定與焦慮的年代,七位藝術家分別針對不平等的社會支配結構、現代人孤絕壓抑的心理狀態、以及對虛擬網路的依存慣性等等文明徵候,進行共同體察與各自回應,匯聚成了本展的核心議題。透過一系列視覺元素鮮明、敘事風格迥異的錄像作品,除了關注廣義的時間命題、歷史與記憶的堆疊,同時聚焦在生命與道德其短暫、脆弱的本質,並對日漸標準化的當代生活提出質疑,同時嘗試探討人類自訂的「遊戲規則」與真實世界的連結與意義。
 

展名取自於赫胥黎名著《美麗新世界》中,主角野人約翰從蠻荒保留區進入了文明世界後,瀕臨精神崩潰所發出的吶喊。人們對快樂的追求,形塑了消費社會的文化與經濟,同時也付出了相應的代價。本展企圖藉由藝術家的相關創作,開啟人們對於生活常規與制約的再思考,也鼓勵觀眾進一步想像,什麼樣的世界是我們希冀擁有的。
 

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”.

 

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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.

馬克•倫利現為倫敦倫利畫廊總監,專注於發掘國際藝術新銳。

 

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.

黃伊涵現職台北當代藝術館展覽組國際藝術專員,關注科技藝術、影像語言及聲音實驗等相關主題研究。


 

 

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.

2017

Images copyright: Seventeen Gallery, London.

這件作品呈現布蘭迪如何看待科技與記憶的關係;從末日論的思索,衍伸至現代人面對伺服器斷訊的焦慮與失落。旁白列舉了規模、形式各異的時代終結,大至氣候變遷導致種族滅絕,或人為發動的民族清洗;小至失去摯愛、沉痛哀悼的私密片刻。藝術家也引用了線上遊戲「亞瑟王的召喚」聊天室文字。這個歷時17年的遊戲已於2017年劃下句點。在遊戲結束當日,玩家們紛紛上線共同哀悼這個屬於他們的「世界末日」。

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.

 

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里奇莫門Richie Moment

超人里奇 SundowneR

2 min. 35 sec.

2018

莫門以誇張甚至有些滑稽的姿態現身於影片中,看似一部生猛的自我推銷廣告,卻也諷刺地點出了藝術家在藝術界打拼,伴隨而來的焦慮與虛榮。迷幻的背景下,藝術家全副武裝,召喚來各路蛇神牛鬼。這件作品指涉了權勢、慾望等議題,以及對假想中的完美形象所展開的不斷追逐。活在這個殘酷的世界,莫門預言人們對於個人及社會自由的尋求將永無止境…。

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.

 

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伊萊翠•琳歌Electra Lyhne-Gold

自我中心 The Self Centered

6 min. 40 sec.

2017

Scripts: Lauren van Weyenbergh and Ruth Spencer Jolly  

Actress: Emma D'Arcy 

一個人的公眾及私密身分是如何受到他人的形塑及記錄?琳歌邀請多方人士撰寫關於她的劇本,並找來專業演員來演出這個「角色」。藉由這樣的特殊安排,藝術家試圖模糊現實與虛構的界線;劇本裡描述的情節,可能是根據真實事件,也可能是純屬虛構,而一手主導這場獨角戲的琳歌,在指示演員如何演繹自己的同時,也暗喻了現代人對多重身分的掌控與操作。

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.

 

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拉娜洛克Lana Locke

將玫瑰染紅 Painting the Roses Red

7 min. 38 sec.

2017

Cinematography: Toby Paton

洛克挪用並改編了路易斯•卡羅的經典著作《愛麗絲夢遊仙境》迪士尼卡通版本裡頭的插曲「將玫瑰染紅」,並在倫敦格蘭菲塔火災悼念現場演唱。她將一朵朵白玫瑰浸泡在紅色染料中,以染紅的玫瑰作為社會改革的隱喻號召,提醒人們對本不該發生的悲劇保持憤怒。以紅色作為罹難者鮮血的象徵,藝術家呼籲有關當局應為此事件負起責任,並正視消防安全法規修訂等公共問題。

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.

 

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盧克•麥基迪Luke McCreadie

Mouthed and Sucked

7 min. 30 sec.

2018

透過這件作品,麥基迪嘗試探究文字的存在狀態,而又是在什麼樣的情況下,人們會因解讀上的失誤而導致誤會產生。影片中的視覺元素象徵著不同階級、典型與系統。麥基迪認為,人們的理解系統是間接經由語言與意象組織而來,如同電影或文學中的敘事架構;而人們的生活早已被這些形形色色的「密碼」主宰。矛盾的是,往往是事物表面意義和其本質形式之間的差異,造成了人們在理解上的最大障礙。

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.

 

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葉育君 Yujun Ye

愛麗絲在冰箱裡 Alice in the Refrigerator

7 min. 50 sec.

2013

此件作品是葉育君2013年裝置作品「愛麗絲的後花園」中的一部影片。創作靈感來自愛麗絲夢遊仙境中,所呈現的關於成長的自我認同、錯置空間、夢境寓意、荒謬乖誕的劇情。愛麗絲在冰箱裡,翻來覆去的身體、唱著迪士尼卡通中愛麗絲與鳥兒動物們的歌曲「屬於我的世界」。然而,美好時光是童年的成長經驗、自身對話的想像?亦或是生命中遺失的某段記憶?

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?

 

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賽斯平洛 Seth Pimlott

風從何處來 The Wind From Nowhere

12 min. 41 sec.

2016

仿若一趟魔幻現實主義式的死亡探索旅程,隨著風的帶領,影片中的主角經歷了精神搏鬥,同時展開一場神祕的儀式…。平洛將自身回憶轉換為故事情節,記錄意識的尋回與失去之間的掙扎狀態,並以此作為一種自我反思的手段。平洛多以工作坊的形式來製作實驗性敘事影片。這種有機的創作模式,讓藝術家和演員都能夠參與影片的製作過程,並共同決定影片最後的樣貌。

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.