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

展覽專輯 Publications: 2013

《因腦維新族:新媒體藝術的華麗旅程》

The Innovationists: The Spectacular Journey of New Media Art

發行 Published by : 台北當代藝術館 MOCA Taipei

初版 First published in:2013年5月 May, 2013

ISBN:978-986-88674-4-4

定價 Price:新台幣 NTD 450

頁數 Pages:77 頁

展覽簡介 About the Exhibition:

【因腦維新族】作為二十一世紀的新媒體藝術展,希望透過來自美國、英國、日本、香港、台灣等地藝術家的作品集結和對話,將台北當代藝術館展場空間轉化為超越視覺感官的多重體驗行程,本次展出的9組18件作品,從某方面說,是結合了科技、設計與創意理念的機動藝術類型,並衍生了許多觀看與閱讀和詮釋的角度。「因腦維新族」像煉金術士般,從生活出發而共同成就了一場華麗冒險的旅程。

The Innovationists, as a New Media Art exhibition in the 21st century, attempts to transform the space of the Museum of Contemporary Art, Taipei into a multifaceted experiential journey transcending mere sight through the dialogues and artworks created by artists from United States, Britain, Japan, Hong Kong and Taiwan. This exhibition gathered 18 pieces created by 9 different units. All are in some sense of mechanical art which unite concepts of technology, design and creativity. These pieces also generate multiple observations, readings and interpretations. The Innovationists, like alchemists, inspired from daily lives and surroundings, together to create a spectacular journey for all of us.


末世化石‧未來考古─格雷戈里‧夏通斯基個展

Telofossils-Gregory Chatonsky Solo Exhibition

發行 Published by : 台北當代藝術館 MOCA Taipei

初版 First published in:

ISBN:978-986-88674-7-5

頁數 Pages:189 頁

展覽簡介 About the Exhibition:

【末世化石.未來考古】展由加拿大資深獨立策展人希薇.帕宏(Sylvie Parent)與台灣策展人鄭淑鈴(Shuling Cheng)共同策劃,本展也是法國跨領域藝術家格雷戈里.夏通斯基(Grégory Chatonsky)在亞洲的首次大型個展。展覽點出了科技時代的特殊敘事思維與存在哲學等當代重要議題,從中也可以窺探出,「毀滅」在當代文明中已露出端倪的各種面貌。面對展場中的諸多「末世化石」,觀者可以展開「未來考古」的面向,毋寧是很多元的!

Telofossils, the French artist Grégory Chatonsky’s first major solo exhibition in Asia, was jointly arranged through the efforts of independent Canadian curator Sylvie Parent and Taiwanese curator Shuling Cheng. The exhibition highlights the specific narrative mode, existentialist thought and crucial philosophical questions that characterize the contemporary technological age. Standing before the exhibited “Telofossils” exhibition, viewers can contemplate the diverse perspectives of a “future archaeology.”


第十一屆台新藝術獎入圍特展

The 11th Taishin Arts Award Exhibition

發行 Published by : 台新銀行文化藝術基金會Taishin Bank Foundation for Arts and Culture

初版 First published in:2013年5月 May, 2013

頁數 Pages:128頁

展覽簡介 About the Exhibition:

「台新藝術獎」自2002年創設以來,透過成就肯定與實質獎勵,表彰台灣藝術中具有創新的想法、專業水準的表現、和最能彰顯時代精神的藝術展演活動。2012年(第十一屆)台新藝術獎入圍作品,包含了音樂、戲曲、舞蹈、戲劇等不同類型的10項表演製作,共同特色是,突破性地融合了傳統延續與現代創新的理念;同年入圍的5件視覺藝術展項也有不謀而合之處,特別關注到大型策展案和計畫型的創作行動,共同凸顯了當代藝術積極介入現實與公共空間、重構社會記憶與傳承、乃至於實踐社群關懷等的行動影響力。

Taishin Arts Award was founded in 2002. Through substantial honoring and rewards, it recognizes innovative ideas, professionalism and artistic performances that manifest spirit of the era for Taiwanese art. The 10 performing arts finalists of the 11th Taishin Arts Award cover different genres of art, including music, Chinese opera, dance, and theater. They all innovatively integrate different traditions and contemporary creativeness. The same breakthrough can be found in the 5 projects in the visual arts category. Through large scale exhibition plans and creative projects, they observe and highlight how contemporary art engages in the real-world public space, succeed and reconstruct collective social memory, and realize the caring for society.


這個世界會好嗎? 向京在台北

Will things ever get better?- Xiang Jing @ MocaTp, 2013

發行 Published by : 台北當代藝術館 MOCA Taipei

初版 First published in:2014年1月 January, 2014

ISBN:978-986-88674-8-2

定價 Price:新台幣 NTD 780

頁數 Pages:176頁

展覽簡介 About the Exhibition:

「這個世界會好嗎?—向京在台北」,是當代館開館以來首次舉辦的大陸女性藝術家個展,本展集結向京二十一世紀創作中精選出來的二十四件作品,透過創作者敏 銳的眼光,細審浮世的繁華與荒誕,以三個系列作品向世人提出了「這個世界會好嗎?」的大哉問。

Will things ever get better?—Xiang Jing @ MocaTp, 2013 is the first Chinese female artist’s solo exhibition ever held in the Museum of Contemporary Art, Taipei. The exhibition includes 24 pieces of Xiang Jing’s artworks created in the 21st century. Through these three series in the exhibition, Xiang Jing throws out this grand question “Will things ever get better?” to the world with her penetrating vision that examines the world’s vanity and absurdity.


 

《風險社會—個體化的德國當代藝術新世代》

The Risk Society and Individualization Risikogesellschaft und Individualisierung

發行 Published by : 台北當代藝術館 MOCA Taipei

初版 First published in:2014年8月 August, 2014

ISBN:978-986-90771-2-5

定價 Price:新台幣 NTD 780

頁數 Pages:264頁

展覽簡介 About the Exhibition:

以「風險社會」為主題,透過22組藝術家不同風貌的作品,鋪陳了四個議題脈絡:「微觀─宏觀」、「失序與幻滅」、「每個人都是一個個體」以及「再融合/新的合作模式」。讓觀者從中去閱讀和理解,德國當代社會總體情境不斷變遷之同時,個人生存態度和價值思維如何跟著因應變化—從自我追尋的過程,到各種社會關係的建立,從主流文化的檢驗與批判、到青少年次文化的觀照與呈現…,在在顯示德國新世代藝術家在觀念表達和創作實踐上,一方面都強化了相當個人化的主張,另一方面也都提出了某種與社會對應的行動方式。

The theme of this exhibition was “Risk Society”; and through different creations of 22 groups of individual artists and collectives, the exhibition presented four streams: “Micro—Macro,” “Detachment and Disenchantment,” “We are All Individuals,” “Reintegration/New Models of Collaboration.” The exhibition allowed the audience to interpret and understand how the living attitude, values and thoughts of individuals change according to the constantly evolution of the German contemporary society—from the finding of oneself to building all kinds of social relationships, from the examination and criticism of the mainstream culture to the observation and representation of the sub-culture of the youth, these all revealed, in terms of expressing their concepts and making art, the new generation of German contemporary artists have strengthened individual statements on the one hand, and proposed some kind of action models to respond to the society. 


《後人類慾望展》

Post-humanist Desire 

發行 Published by : 台北當代藝術館 MOCA Taipei

初版 First published in:2014年6月 June, 2014

ISBN:978-986-90771-0-1

定價 Price:新台幣 NTD 750

頁數 Pages:178頁

展覽簡介 About the Exhibition:

「後人類」(Post-human)一詞,源自1988年史蒂夫.尼可思(Steve Nichols)所發表的《後人類宣言》(Post-human Manifesto)一書,目前學術界和藝術界對這個名詞的定義雖無共識,但它已被普遍使用於描述/形容現代人日漸分歧、複雜的生命期許和身分認同。有鑑於這個事實,台北當代藝術館2013-14的跨年大展【後人類慾望】,特邀留英研究此議題的陳明惠博士擔綱策劃,從三個大的面相: 〈複製人〉、〈跨性人〉、〈改造人〉來鋪陳和詮釋「後人類」這個目前不斷發展而值得關注的新興藝術文化課題。這三個面向,反映了60年代「賽伯格」(cyborg)的概念被提出以來,試圖融合有機體和機械物的各種系統的拼貼、組合與運作,乃至於延伸到了「生命創造」這個在眾多文化中被歸屬於神話或禁忌的領域。這三個面向也聯合反映了,人類不斷地試圖找出各種打破自然與文化界線的新方法,眼前的事實和源源動力是---當代人已不再擁抱單一之價值觀,而是活在多重的、異質的、且自我矛盾的不同系統之中。

The term “Post-human” comes from Post-human Manifesto by Steve Nichols, published in 1988. Although the definition of “Post-human” remains unresolved within academic and artistic circles, the term has become very common in describing the divergent and complex life expectations and identities of 21st century people. Post-humanist Desire is both the final and the major exhibition of the year at the Museum of Contemporary Art (MOCA), Taipei, which is curated by Dr. Ming Turner, who has done extensive research on this topic in the UK. Dr. Turner interprets the continuously developing and noteworthy theme of the “Post-human,” under three headings: the “cloned human,” the “transgendered human,” and the “transformed human.” The three aspects include human’s attempts to combine organic beings and mechanical devices since the concept of “cyborg” was advanced in the 1960s, even to the point of “creating life,” which is still deemed as mythological or forbidden in many cultures. The three aspects also reflect the fact that human beings are continuously seeking new ways to break the boundaries between nature and culture. People today do not adhere to any single value, but live in varied, heterogeneous, and inconsistent systems.

 

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