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

展覽專輯 Publications: 2003

 

《圖騰大地:澳洲當代原住民藝術》

The Native Born:Contemporary Aboriginal Art from Australia

發行 Published by : 台北當代藝術館 MOCA Taipei

初版 First published in:2003年2月 February, 2003

ISBN:957-3002728

定價 Price:新台幣 NTD 180

頁數 Pages:63 頁

展覽簡介 About the Exhibition:

【圖騰大地】這個展覽中的展品,是澳洲雪梨當代美術館館內三個重要的原住民藝術典藏之一,策展人瓊•孟丹在一九八一年至一九八四年間為動力藝廊(澳洲雪梨當代美術館前身)收羅了這批典藏,藏品主要來自於澳洲北部一個距達爾文鎮五百公里的小社區:瑞明吉寧(這裡是著名的一個原住民藝術社區),這批經典的典藏品成為後來雪梨當代美術館的藏品,也同時代表美術館正式以「藝術」之名,肯定原住民創作在當代藝術領域中一個不應被忽略的文化定位。一九八四年,這批展覽品第一次展示在當時的動力藝廊。一九九六年,它正式以【The Native Born】的展名,在雪梨當代美術館開始巡迴展的起點,然後於二零零零至二零零三年間,巡迴德國漢諾威、西班牙馬德里、巴西聖保羅、紐約亞洲協會等地,台北當代藝術館將是亞洲除了雪梨當代美術館的唯一一站。

The pieces shown as part of the current exhibition The Native Born come from one of three distinguished collections of aboriginal art at the Museum of Contemporary Art, Sydney. Curator Djon Mundine acquired these objects for the J. W. Power Collection (predecessor to the MCA, Sydney) between 1981 and 1984, while working as an art adviser in Ramingining, a small community 500 kilometres east of Darwin, in Australia’s Northern Territory. These works later became part of the MCA, Sydney Art Collection, confirming the status of aboriginal creative pieces as important works of contemporary art. From 2000-2003 the exhibition toured museums in Europe and America (including Hanover, Madrid, Sao Paulo and the Asia Society in New York). The Museum of Contemporary Art, Taipei will be the only Asian venue after Sydney.   


虛擬過去‧複製未來-馮夢波1994-2003

Past Virtualized‧Future Cloned–Feng Mengbo 1994-2003

發行 Published by : 台北當代藝術館 MOCA Taipei

初版 First published in:2003年4月 April, 2003

ISBN:957-3002744

定價 Price:新台幣 NTD 350

頁數 Pages:93 頁

展覽簡介 About the Exhibition:

馮夢波是中國當代藝術圈裏的青年奇才,在以電玩遊戲轉換為藝術創作的領域中,馮夢波是國際間的先驅。遊戲,提供可以自由選擇身分的二度空間虛擬世界,創造一個最理想的「存在」。隱藏於現實記憶中的虛擬人生,在遊戲的異次元裡得到滿足與享受,「虛擬」,成了一種保護色。在這裡,馮夢波以他流利的科技語言帶您進入他的幸福劇 場。

Feng Mengbo is Chinese avant garde art world's wunderkind. He is also one of the pioneers of artworks based on computer games. Games provide a virtual world in which individuals are free to choose their own identities and create their ideal being. This virtual life exists as a part of real memory, but it can only be enjoyed in an alternative games dimension. The language of technology with which Feng speaks so fluently is the key to enter his “Theater of Happiness”.


大開眼界─蓋瑞•希爾錄像作品選集展

Unfolding Visions: Gary Hill Selected Works 1976-2003

發行 Published by : 台北當代藝術館 MOCA Taipei

初版 First published in:2003年5月 May, 2003

ISBN:957-3002752

定價 Price:新台幣 NTD 450

頁數 Pages:149 頁

展覽簡介 About the Exhibition:

蓋瑞‧希爾是公認當代最具影響力的藝術家之一。其最受注目的莫過於他在錄像藝術領域中的開創性表現。這項中型回顧展的起始點放在希爾從一九七六到一九八六年間的單頻道錄像作品,藉此可以看到他早期對影像、聲音與文本所作的實驗性表達模式,他將傳統關於雕塑、聲響與影像這些分離的表現類項,成功結合成一種探索感知與感官的全新視覺語言。透過聆聽、觀閱和甚至觸摸這些強調感官與觸覺的作品,觀者可以直接地對這位傑出且具開創遠見的藝術家有基本的了解。

Widely regarded as one of today’s most influential artists, Gary Hill is today perhaps best known for his pioneering work in the field of video art. This retrospective exhibition begins with Hill’s single-channel videos from 1976 - 1986, which illustrate his early mechanistic examinations of image, sound and text as well as his engagements with the acts of reading and writing.


搞破壞:台灣藝術家個展─開到荼靡:蘇孟鴻個展

TAT @ mocataipei : Taiwanese Artists Today─ Kai Dao Tu Mi: Su Meng-hung Solo Exhibition

發行 Published by : 台北當代藝術館 MOCA Taipei

初版 First published in:2003年8月 August, 2003

ISBN:957-2895702

定價 Price:新台幣 NTD 300

頁數 Pages:55 頁

展覽簡介 About the Exhibition:

延續2002年「Material Paradise」系列的思維,展出作品將表達藝術家對若干「真實」與「虛擬」議題的討論。本次展覽嚐試從玩具以及中國花鳥畫發想,給予觀者不同於傳統平面水墨的視覺感受並找尋不同於西方寫實靜物畫的觀看角度;更進而思考關於「永恆」的問題。

在現今高度擁抱數位科技、資訊的時代,藝術家選擇某些手工技藝作為藝術的表現手法,期望在泛泛本土化的喧鬧聲中,提供一個足茲靜思的空間。本次展覽的主軸是建立在「人們對於征服自然、企圖擁有『永恆』的憧憬從未消滅。如果繪畫模仿自然可以被是一種理式,那麼,遊戲與玩具的生產就更印證了虛擬本身就是真實的一部份」。


搞破壞:台灣藝術家個展 ─ 出世神韻-神祕卜湳文明遺跡特展:涂維政個展

TAT @ mocataipei : Taiwanese Artists Today─ The Beauty and Mystery of Bu Num Civilization Revealed: Tu Wei-cheng Solo Exhibition

發行 Published by : 台北當代藝術館 MOCA Taipei

初版 First published in:2003年8月  August, 2003

ISBN:957-2895710

定價 Price:新台幣 NTD 300

頁數 Pages:55 頁

展覽簡介 About the Exhibition:

【神秘卜湳文明遺跡特展】作品包括聞明遺址的實擬、表演行動、展演、週邊商品販售等;其透過博物館/美術館等特定場域所造成的「超級特展」形式(我稱為「新靈光場域形態」)—一貫是結合館方、其他產業、媒體與商業機制而建立的藝術與群眾互動成功模式,為我藉機親近各類型觀賞群眾的最佳外衣。選擇此龐大的運作體制所擁有的教化與詮釋權,除了可為擬真的物件合法化外,我尚企圖藉由展演作品表達我對藝術環境和機制運作、資訊文化和消費行為與時代性等問題的觀察,提出個人在理解資訊快速便利下普遍觀看方式與潛在心理狀態的轉變,和網路自己自足的特性,以及人與人因此溝通模式改變產生的精神效應等時代趨向。

The Beauty and Mystery of Bu Num Civilization Revealed includes imitations from the site, performances, documentary footage, exhibitions, and couvenir products. It utilizes the form of a “Special Exhibition” created by an (art) museum. Generally, this combines the art formed by museums, other industries, the media, business and successful models for interacting with the public, providing the perfect vehicle for getting close to a wide range of different viewers. By selecting the educational and interpretive authority possessed by this large operational establishment, I made imitation behavior and objects real. I also attempted to use these works to express my own observations on the art environment and established order, information culture, consumer behavior and the nature of the times. My aim was to discuss personal changes in the general way I look at things and the potential psychological condition in understanding the speed and convenience of information. Another issue is the self-sustaining nature of the Internet and the spiritual effect of changes it has caused in the way people communicate.


搞破壞:台灣藝術家個展─梅氏解讀玩:梅丁衍個展

TAT @ mocataipei : Taiwanese Artists Today─ Displacement: Mei Dean-E Solo Exhibition

發行 Published by : 台北當代藝術館 MOCA Taipei

初版 First published in:2003年9月 September, 2003

ISBN:957-2895729

定價 Price:新台幣 NTD 480

頁數 Pages:111 頁

展覽簡介 About the Exhibition:

梅丁衍是台灣藝術家中對於台灣複雜政治文化議題投入最深也最為專注的藝術家,他的作品大量運用了大眾極為熟悉的政治人物圖像、政治符號,也時常針對一些時下的政治議題與發生的事件,以藝術的形式作發言。然而,藝術家卻將這些指涉政治與文化混種的荒唐錯置,視為一種身分認同與存在的自我辨證,詮釋台灣文化不離政治現實的認同課題,及其背後盤根錯節的歷史情節與文化情愫。

Mei Dean-E is perhaps the local artist whose work is most focused on the complexities of Taiwanese political culture. Many of his pieces make use of political characters, images and symbols familiar to the general public and he often transforms his witty comment on current political issues and incidents into artistic forms. However, Mei views these absurd displacements and their mixed references to politics and culture as a personal dialectic of identity and existence. In this context, his interpretation of Taiwanese culture is intimately related to identity issues that are inextricably linked to political realities and the deep-rooted historical circumstances and cultural factors that underpin these.


搞破壞:台灣藝術家個展─漫無目的:王德瑜個展

TAT @ mocataipei : Taiwanese Artists Today─ Adrift:Wang Te-yu Solo Exhibition

發行 Published by : 台北當代藝術館 MOCA Taipei

初版 First published in:2003年10月 October, 2003

ISBN:957-2895745

定價 Price:新台幣 NTD 380

頁數 Pages:55 頁

展覽簡介 About the Exhibition:

王德瑜的作品一向訴求簡單的概念,她一直嘗試著在極簡的媒材裡探索空間的存在感,並進而思考人於空間裡的存在形式與狀態。從一九九0年開始,利用不同材質的布料,張羅一個純粹的空間形式,成為王德瑜創作中的主要母題,在她一系列以作品序號為標題的空間創作裡,呈現了對空間主題的持續性研究,轉換空間與人的主體/客體關係,並讓身體的感官經驗取代視覺經驗,以觀眾與作品的互動體驗值作為一個藝術家提供「進入」作品精神的入門之徑-一個表徵藝術家主觀意識的作品卻包容了參與觀眾的主觀經驗,在互動的機制裡築構了一個共感空間。

Wang Te-yu’s works have always sought simple ideas. She has always tried to explore the feeling of spatial presence with an extreme economy of media, and go on to meditate on the existential form and situation of people in these spaces. In 1990 she began spreading out a pure spatial from with fabrics of different material , and this has become a primary motif in the in the artist’s work. In a series of spatial creations whose titles begin with a number, she has pursued continuous research into the spatial theme, transforming the subjective/objective relationship between spaces and people, and letting the body’s sensory experience replace visual experience. In this way the interactive experience between viewers and work functions directly as a pathway that the artist provides for “entry”into the  spirit of the work- a work that symbolizes the artist’s subjective consciousness. The work also unexpectedly encompasses the participating viewer’s subjective experience and constructs a commonly-sensed space through the mechanism of interaction.


搞破壞:台灣藝術家個展 ─ EX–TT–03:黃世傑個展

TAT @ mocataipei : Taiwanese Artists Today ─ EX–TT–03: Huang Shih-chieh Solo Exhibition

發行 Published by : 台北當代藝術館 MOCA Taipei

初版 First published in:2003年10月 October, 2003

ISBN:957-2895737

定價 Price:新台幣 NTD 380

頁數 Pages:55 頁

展覽簡介 About the Exhibition:

黃世傑的EX-TT-03激發自一股強烈的實驗企圖心,並以一種代號來記錄這個實驗空間的場域與成果,它是關於藝術如何實驗物體與物體間的交流,以及人與人之間的互動,當然也是在紀錄作品與當下觀眾每個互動的感官經驗。藝術家在作品裡運用水、空氣、以及塑膠材質的特性,製造動態的互動裝置。觀眾在這個展覽空間中的身體動作、姿態以及參與的動作,都可能隨時改變裝置中的任何一個因素,進而讓物理空間產生意想不到的變化。藝術家所要討論的是:人與週遭空間的關係,以及一個開放觀眾參與的新觀點。

Huang Shih-chieh’s EX –TT- 03 is inspirited from his playful experimental creation. This is also a code which the artist uses as a meaningful record of his incidental installation in specific site. The artist merges artificial materials, air, water and electronics to create organic living environments, installations, and sculptures. He disassembles everyday electronic appliances or devices and reassembles selected parts with dissected household plastic materials.  The result of these combinations forms a kinetic cause and effect system that interacts with the viewer. The theme is the involvement between the viewer and their environment. EX –TT - 03 is a process that deals with the ideas of interactivity and play in conjunction with viewer participation. The results of these physical exchanges are open to each individual interpretation and offer multiple perspectives and is best described as a process of interchange between people and space.

 

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