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

首頁 教育推廣

展覽專輯 Publications: 2005

《平行輸入-前駭客藝術》

Pseudo Hackers's Art in Parallel Zones

發行 Published by : 台北當代藝術館 MOCA Taipei

初版 First published in:2005年2月 February, 2005

ISBN:957-3002760

定價 Price:新台幣 NTD 640

頁數 Pages:123 頁

展覽簡介 About the Exhibition:

以平淺而具有雙關語意的「平行輸入」做為策展主題,目的在於揭提當代藝術生產的多重動力與複雜面向。「人不是一座孤島」,當代藝術家也不願意躲在封閉的象牙塔中進行自戀自賞的創作;日常生活中,他們和常人一樣,需要呼吸和飲食,也需要從生存的時代與社會中去接收知識與訊息,並從中建構發展出他們對人生的看法和對藝術的企圖。比較不同的是,藝術家對於時代的觀察與社會訊息的解讀,往往有其特殊的角度和批判的尺度,對於知識的吸收與運用,也常常有前瞻的、前衛的、偏執的、反現實、超現實、或逆勢而為等各種不同的態度。

Taking “Ping Hsing Shu Ju” with its simple yet dual meaning as the curatorial focus of an exhibition is intended to emphasize the multiple forces and complexity that underpin the creation of contemporary art. “No man is an island” and no modern artist wants to hide in an enclosed ivory tower, narcissistically producing art for his or her own appreciation. In day-to-day life, artists breathe the same air and eat the same food as everyone else. They also need to receive knowledge and information from the era in which they exist, using that to construct and develop their own life ideas and artistic aspirations. Where artists perhaps differ from the mainstream is that they invariably observe a period of time or interpret social messages from more unusual perspectives, on the basis of an altogether different critical yardstick. In this way artists often have very different attitudes in the way they absorb and utilize knowledge, whether forward looking, avant-garde, opinionated, unreal, surreal, counter-intuitive etc. 


偷天換日:當․代․美․術․館

Trading Place: Contemporary Art Museum

發行 Published by : 台北當代藝術館 MOCA Taipei

初版 First published in:2005年4月 April, 2005

ISBN:957-3002779

定價 Price:新台幣 NTD 800

頁數 Pages:168 頁

展覽簡介 About the Exhibition:

【偷天換日:當․代․美․術․館】基本上是個觀念展,也是一個視覺化的論述展,由參展藝術家從策展人的基本論述――何謂「當‧代‧美‧術‧館」的提問出發,各自擷取濃縮了當代藝壇常見的一些議題作為創作主題,以「偷」、「換」、「交易」、「再現」、「挪用」等方式,虛擬當代藝術可能有的發生情境。

Trading Place: Contemporary Art Museum is basically a conceptual exhibition as well as a visualized exhibition of discourse. Participating artists start off from curator’s discourse – what is a “contemporary art museum?” by questioning the nature of contemporary, generation, aesthetics, technique, and institution, and then using methods of stealing, replacing, trading, exchange and representation to create hypothetical events and activities that could happen in today’s contemporary art world.


膜中魔

Membrane onto Magic

發行 Published by : 台北當代藝術館 MOCA Taipei

初版 First published in:2005年6月 June, 2005

ISBN:986-8134102

定價 Price:新台幣 NTD 700

頁數 Pages:135 頁

展覽簡介 About the Exhibition:

【膜中魔】這個展覽希望能夠透過當代藝術家們對於空間維度的想像力,帶領觀眾思考藝術中無限可能性的視野以及視覺觀點,藉此探討藝術美學裡超越平面繪畫的透視與超視觀點。為了更能具體的體會到所謂的維度,這個展覽運用史帝芬˙霍金在他的名著《胡核裡的宇宙》一書中以《美麗膜世界》形容宇宙的複雜維度,以「膜」來比擬藝術對於空間維度的複義與多元的想像。

The exhibition Membrane onto Magic invites contemporary artists to open up new spatial imaginings for us. In order to more concretely experience these ‘dimensions,’ the exhibition referring to the fascinating exploration in human knowledge is the search for the structure of space-time in our universe. In The Universe in a Nutshell, Stephen Hawking used the term “brane” to describe the complex dimensions of the universe, using it as a byword for multi-dimensional space.


仙那度變奏曲
 
VARIATION XANADU

發行 Published by : 台北當代藝術館 MOCA Taipei

初版 First published in:2005年8月 August, 2005

ISBN:986-8134110

定價 Price:新台幣 NTD 700

頁數 Pages:131 頁

展覽簡介 About the Exhibition:

「仙那度」(Xanadu)在英國名詩人柯立芝(Samuel Taylor Coleridge)的知名詩作〈忽必烈大汗〉(Kubla Khan;1797)當中,指的是一個東方神祕而玄奇的悠遠異度城國;在奧森‧威爾斯Orson Wells自導自演的《大國民》(Citizen Kane; 1941)電影裡,則成為片中媒體大亨所圈駐的私人豪邸。之後,到了1960年代,美國資訊科技先驅泰德‧納爾森(TedNelson)亦取用「仙那度」原本玄緲的空間詩意,為其電腦資訊計畫命名,「Project Xanadu」於是成了今日電腦網絡與數位空間「超連結」(hypertext)概念及技術的原型。

【仙那度變奏曲】作為策劃展的主題,一方面轉借「仙那度」在詩、電影與網際網絡空間當中,已經成立的理想樂園之美學意象,其所欲凸顯的卻是「空間變調」的當代世界現實,同時,亦呈現當代藝術家各種對於空間的觀照、想像、探索、再現或實驗。

The exhibition title Variation Xanadu was originally inspired by Samuel Taylor Coleridge’s (1772-1834) famous poem “Kubla Khan,” written in 1797. In Coleridge’s poem, Xanadu had been represented as an exotic, mysterious place like a paradise or utopia of “the Orient”. In 1941, when Orson Wells was making his modern film classic, “Citizen Kane,” Xanadu became the name of the ideal mansion—a real place--built and privately owned by the media tycoon Kane. Later in the 1960’s, Ted Nelson took up the name “Xanadu” again and transformed the original poetic space connoted in the word into a computer project, the so-called “Project Xanadu,” and coined the word “hypertext.” Thus, “Xanadu” has interestingly enough linked with cyberspace, a digitally generated virtual space that is between real and unreal.

By entitling the exhibition Variation Xanadu, the curator intends to see how contemporary artists present and represent in terms of variation of spaces. Variation is about difference and change. Variation is also a kind of music form, which varies on an established theme or melody; therefore, variation has its own aesthetics, too. In general, Variation Xanadu is about the poetics of spaces and of other spaces.


非常厲害─設計中的藝術‧藝術中的設計

Well Done─The Art of Design World

發行 Published by : 台北當代藝術館 MOCA Taipei

初版 First published in:2005年10月 October, 2005

ISBN:986-8134129

定價 Price:新台幣 NTD 500

頁數 Pages:175 頁

展覽簡介 About the Exhibition:

【非常厲害】企圖從當代文化種種層出不窮的線索,來繪製這個混沌時代的藝術面貌:設計當道,且藉助全球化橫行的波瀾,藝術與設計越來越不分彼此地攝取養分,當代藝術所高喊的前衛性、反叛性,在年輕世代的藝術創作裡,批判性已經與消費性結合,他們所處的資訊消費時代,是文化生活化、娛樂化的開始,本展勾勒的藝術視野包括了討論產業結合的文化消費現象、年輕族群對於偶體的幻想,消費時代的視覺體驗;用設計的概念來談藝術的現象,要呈現與當下時代呼應的觀念,並欲突顯它與場域的連接性、當下性及必要性,同時尋找出藝術與設計在時代的模糊界度。

Well Done attempts to draw a map of the art of this chaotic age, one dominated by design, from various emerging clues of contemporary culture. Flooded in the gigantic billow of globalization, art and design have come to absorbing nutrition from one another, and the avantness and rebelliousness of contemporary art has been reduced, in the artistic production of the younger generation, to the integration of criticality and consumptability. The age of information consumption they are in is the beginning of the lifeness and entertainmentization of culture. The artistic scope outlined in the exhibition includes the discussions on the industry-combined cultural consumption phenomena, the phantasy of the younger groups towards their idols and the visual experiences in the age of consumption. The purpose of articulating art in the terms of design is to present the ideas corresponding to the current time, highlight its connectivity, presentness and necessity with the fields, while trying to find the obscured line between art and design of this age.

 

▲Back to【研究出版 Publications】