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展覽專輯 Publications: 2007

《第二層皮膚—當代設計新肌體》

Second Skin

發行 Published by : 台北當代藝術館 MOCA Taipei

初版 First published in:2007年3月 March, 2007

ISBN:978-986-8321106

定價 Price:新台幣 NTD 200

頁數 Pages:89 頁

展覽簡介 About the Exhibition:

【第二層皮膚】為延續二○○二年於紐約展出的「皮膜:表層,本質與設計」展覽的最新版本。策展人經過三年後與德國埃森威察設計博物館合作,加入更多元的展覽作品,並於二○○六年於埃森展出。臺北當代藝術為在臺巡迴的第一站,隨後轉至高雄市美術館展出。

Hewitt, National Design Museum in New York in 2002. Second Skin contains new objects and projects as well as selected works from the original installation. It had its inaugural presentation at Entry-2006 in Zeche Zollverein, Essen, Germany, at the end of 2006. MOCA Taipei is the first touring stop in Taiwan, followed by Kaohsiung Museum of Fine Arts.


流行的意外

Fashion Accidentally

發行 Published by : 台北當代藝術館 MOCA Taipei

初版 First published in:2007年5月 May, 2007

ISBN:978-986-8321113

定價 Price:新台幣 NTD 550

頁數 Pages:135 頁

展覽簡介 About the Exhibition:

台北當代藝術館【流行的意外】展覽,以服飾與符號學做為展覽論述基礎與架構,深入地思考並觀看當代藝術家如何藉由服裝──作為一種符號、載體、媒介或平台──對應全球化語境底下文化發展的多元樣態,關照與反思當代人類關注的課題,如:性別、身分認同、文化殖民、種族、生死、階級、勞力剝削、環保、流行消費等文化議題,建構並展現社會文化的真實狀況,從而形構出一種當代全球文化的切面與輪廓,提供觀者面對服裝時有不同層次的審視與思考。

Fashion Accidentally is an attempt to encourage the public to contemplate how contemporary artists reflect on the issue of fashion itself, in the context of globalization and through clothing as a medium or an interfact. The range of subject matter addressed is impressively varied; body politics, racism, class struggle, self-identity, national politics, cultural colonialism, labor exploitation in poor countries, over consumption in rich countries and the consequential environmental crises in the so called post-globalization era. The exhibition touches on all of these hot button issues.


V2_特區—動態媒體—行動,互動

Zone_V2_Unstable Media Act- Interact

發行 Published by : 台北當代藝術館 MOCA Taipei

初版 First published in:2007年8月 August, 2007

ISBN:978-986-8321120

定價 Price:新台幣 NTD 600

頁數 Pages:147 頁

展覽簡介 About the Exhibition:

本展由臺北當代藝術館與荷蘭鹿特丹「V2_動態媒體藝術中心」共同合作。策展人亞歷士.阿德理安善斯以「機械計時」、「資訊是活的」及「互動求生」三大主題涵攝當代新媒體領域的思考方向。

【V2_特區】展覽共計邀請十三國二十組享譽歐美、亞洲的新媒體藝術家/團體共同展出。作品媒材包括互動裝置、聲音裝置、攝影、動態影像、網路互動裝置等等,透過新舊媒體的交雜紛陳,本展呈現出科技與網路對人類文明在時間、空間與速度上的改寫,以及如何左右人類在當代社會的「行動」與「互動」等議題,作出幽默深刻的人文勾勒和提醒。

Zone_V2_ is organized by the Museum of Contemporary Arts, Taipei in association with V2_Institute for the Unstable Media. It is structured around the three themes of Dutch Electronic Festival Arts Festival, i.e. "Machine Times”, ”Information is Alive”, and "Interact or Die" in an attempt to pinpoint the current trend of contemporary media.

In this sense, historical writing can be seen as a series of data-selecting acts. Human actions and interactions, on the other hand, can be seen as processes determined by information according to the economic, social, or political agenda behind these processes. Nonetheless, the result of such actions or interactions is hard to predict or control. Zone_V2_ invites 20 acclaimed artists and artist groups from 13 countries to exhibit. By way of juxtaposing old and new media, this exhibition demonstrates how technology and the world-wide web have transformed our perception of time, space and speed. With great humor, it also incisively outlines, and reminds us of, the cultural implications of technology and progress which characterizes our time.


複音:流動在李明維、謝素梅之間

Duologue:Exhibition by Lee Ming-Wei and Tse Su-Mei

發行 Published by : 台北當代藝術館 MOCA Taipei

初版 First published in:2007年11月 November, 2007

ISBN:978-986-8321137

定價 Price:新台幣 NTD 850

頁數 Pages:171 頁

展覽簡介 About the Exhibition:

李明維和謝素梅的作品中常常可見一種時間循環復始的象徵週期。李明維【如沙的格爾尼卡】以沙隱喻的生命哲學:來自塵,歸於塵;謝素梅【個人時光】(Personal Times)以及【沙漠清道夫】(The Desert Sweeper)以沙的聲音推敲時間的過程,在沙中流逝的時間中卻又同時堆積起時間之沙。面對死亡的議題,不過是回到了生命的原型、時間的圓形,如同沙漏不停迴轉。以沙為喻,藝術家鋪陳出一種宏觀而延伸的視野,也分析出生命虛空的本質,沉澱出最原始的狀態。以沙為度量,有限卻也無限,好像僧侶手中撥動的念珠,在轉動間,意念便可昇華,所有的物象可以回歸到單純的本質。

Symbols of time circles can often be detected in the works of Lee Mingwei and Tse Su-Mei. For example, in Lee Mingwei's Guernica in Sand (2006),sand is employed as a metaphor for a philosophy of life such as "dust to dust". Similarly, in Tse Su-Mei's Personal Times and The Desert Sweepers, we can see the artist ponder over the process of time by the sound of the sand. As time passes along with the sand, the sweeper also piles up the sand of time. Death could be regarded as a return to the origin of life or the starting point of the circle, which is just like continuously turning a sandglass over. Using sand as a metaphor, the artists show an extensive macro vision for life by revealing its nature of emptiness, and by extracting its most primitive prototype. On the other hand, using sand as a measure shows the limits as well as limitlessness of life which resemble the beads in the hand of a monk. As the beads slide through the monk's fingers, all thoughts are sublimated, and all worldly phenomena can then be essentialized into their purest and simplest form of existence.

 

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