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

展覽專輯 Publications: 2002

《長安西路神話Ⅰ:街道是植物,藝術是動物》

Legends of Chang-an West Road: Street as Plant, Art as Animal

發行 Published by : 田園城市 Garden City Publishing Ltd.

初版 First published in:2002年8月 August, 2002

ISBN:957-0406720

定價 Price:新台幣 NTD 300

頁數 Pages:151 頁

展覽簡介 About the Exhibition:

【街道是植物,藝術是動物】為釐清民眾對當代藝術的迷思,建立當代館與大台北社區居民的良性互動,創造民眾的認同及榮耀感,並透過藝術展現社區豐富的人文歷史及內涵。邀請的三個藝術家葉偉立、張基義、石昌杰,試著以長安西路為題,舉重若輕的觀看,並思索傳統社區的意義及時代變遷。誠如策展人阮慶岳所道:「如果城市是森林、我們願是輕盈的動物,懷著欣喜的心情步入植物林立的街道裡,如動物般在饑餓與脆弱時,回到無盡藏的森林,尋求滋養、庇護與心靈慰藉。」

In the midst of a multitude of development, traditional and culturally rich assets in Asia, such as historical neighborhood, gradually begin to re-emerge on the city spectrum. While cities undergo the chaotic process of defining these concepts, it is difficult for architectural professionals to identify the direction in which the city is heading. The three artists in the project utilized Chang An West Rood as a focal point to observe and question the meaning of a traditional community.


長安西路神話Ⅱ:黏菌城市─台灣現代建築的本體性

Legend on Chang – An West RoadⅡ: Myxomycity – Taiwan Contemporary

發行 Published by : 田園城市 Garden City Publishing Ltd.

初版 First published in:2003年1月 January, 2003

ISBN:957-0406887

定價 Price:新台幣 NTD 320

頁數 Pages:151 頁

展覽簡介 About the Exhibition:

【黏菌城市】以〈台灣現代建築的本體性〉為副標題來思考,由建築師阮慶岳策展,包括有謝英俊、廖偉立與程紹正韜。此展覽思索並反省台灣建築本體位置,探討面臨新世紀與全球化衝擊時,台灣當代建築自身的因應之道:例如謝英俊以邵族921震災家屋重建的經驗,來探討都市中無殼蝸牛的住宅問題;廖偉立以台灣身處亞熱帶緯度,具有雜木多元林立共存林相,與西方溫帶單一林相為出發點的美學比較,來思索台灣建築美學的新立基點問題;程紹正韜則以人與自然宇宙間,如何藉由建築構築,來達成一種合諧共存的關係,以及建築空間可否成為自然環境及人內在生命間的連接器而非斷阻體的思考。

Myxomycete (slime mold) is a single cell organism commonly found in Taiwan, The ideal habitat for this organism to flourish is in moist and shaded areas of a forest, and subsequently, the sub-tropical climate of Taiwan naturally offers a well-suited environment. The title of this exhibition “Myxomycity” (Myxomycete+city) refers to a kind of urban development that is very similar to the evolution of protists (Myxomycete is a type of protists). Myxomycetes seemingly exist outside of the grand scale of evolution (think of globalization) , while at the same time it retains yet mutually relationship to the global ecology.


建築新紀元 -加州當代建築師作品展

Architecture for the New Millennium-Contemporary California Architects and Selected Works 

發行 Published by : 田園城市 Garden City Publishing Ltd.

初版 First published in:2002年5月 May, 2002

ISBN:957-0406623

定價 Price:新台幣 NTD 800

頁數 Pages:285 頁

展覽簡介 About the Exhibition:

【建築新紀元-加州當代建築師作品展】邀集了國際當紅的建築怪傑法蘭克.蓋瑞與美國洛杉磯地區五所知名建築師事務所來台展出。洛杉磯因為其族裔之多樣性與無拘束的拓荒性格,在近10萬平方公里(約台灣的三倍大)的土地上有1600萬人口,包含有白人、亞裔、非裔與拉丁民族等等多元種族的組成。貧窮的非白人裔社區與富裕的比佛利山莊、街頭遊民與迪士尼樂園、街道塗鴉與好萊塢電影文化,這種對立性的併存導致了洛杉磯地區衝突與活力的來源,本次展覽所集結的作品都可視為對此現象的回應。

Greater Los Angles Challenges the very definition of a city, with its constant and innovative responses to the ever-mutating forces of contemporary life. Its “lived-in” qualities, its dispersal across a huge area , and its seeming preparedness to tear down and trash what elsewhere would be regarded as recent construction in a constant impetus to address the challenge of current needs and possibilities represent a scaled-up version of what many cities are facing in the 21st century. Forced with the challenges of the 21st century, Taiwan has sought to present itself as an island of technology and culture. But the question remains how are we to establish a definite character for our cities given the chaos of urban areas and the historical impact of different cultures? In this context the cultural development of Los Angeles can perhaps serve as a model for Taiwan, allowing us to develop a future Taiwanese architectural /style by actively challenging our view of the place in which we live. 


科技禁區-當代媒體藝術展

Tech / No / Zone-Contemporary Media Art

發行 Published by : 台北當代藝術館 MOCA Taipei

初版 First published in:2002年10月 October, 2002

ISBN:957-300271-x

定價 Price:新台幣 NTD 600

頁數 Pages:126 頁

展覽簡介 About the Exhibition:

科技禁區認可了科技所帶來的影響,但卻不故意去誇示那些新進的視聽科技。它刻意避開所謂電玩公式唯我世界的特質,而以較為接近機械羅曼史的闡述,與作品作更為深刻的連結。此次展覽重點集中於一系列相當吸引人的創作作品,如此引人的原因是因為這群藝術家們結合了新式的媒材,諸如數位攝影、影帶投射以及錄像裝置,每一件作品各自以獨特的表現形式,表達了科技與人類之間的微妙關系。展覽作品呈現了我們所身處的當下世界,並關注到人們對視覺的認知與視覺對人類的無形掌控。這些作品也重點放在身體與記憶,包含一些突顯社會政治與種族的議題,以及科技與意識型態的變重提出適切反應必要性。

如此說來,科技禁區為所謂的工業藝術提供了一個相對的詮釋。

所有的展覽作品傾向一個敍事性的語調;也極力想要呈現一個中立的態度。融合了感性的想像、智性的思考與溝通,藝術家充分地反映了視覺科技已成為一個有力的媒介,透過私人對當代議題的表達,亦可以藉此傳達給普羅大眾。

這些結合數位攝影與影像投射的作品,探測著人們原先對身體認同與存在感的制約思考,並突顯一種內在反射的心理意義,觀者也許身在一個漆黑的暗室裡,觀賞著影片,但影像中的經驗如何啓發觀者,才是關鍵點。如果科技反映的是人類智慧,表露人們實現夢想的能耐,那麼這個名為科技禁區的展覽可以視為一個啓示,無論這個想像如何,科技的進化論涵蓋了人們如何去接受他們所創造出來的世界。

Regardless of the cultural or political context, ''no-go'' zones are a common reorganisational social feature. "No-go" zones are everywhere they indicate restricted or denied access and, as signs, are universally understood. But as well as being about selective entry (with codes, passwords, access cards and regulations) "no-go" zones can be designated for protective reasons, as with taped off areas at the scene of an accident or disaster. The implications and consequences of technological innovation suggest a similar predicament : rechnology appears revolutionary and progressive - but sometimes it can be restrictive, often instilling uncertainty and fear. Because of this "double-bind", the title TECH/NO/ZONE emerged as an appropriate encapsulation for an exhibition based on contemporary media art - not only in terms of methods of production but as a way of drawing attention to important and challenging concerns. TECH/NO/ZONE did not pretend to showcase the spectacular or enlist the latest in audio-visual and interactive technology.  The exhibition focused on a selection of selection of compelling artist projects - and while it incorporated new media such as digital photography, video projection and installation, each work concentrated on or celebrated what it means to be human. As well as focusing on the body and memory, there were works that highlighted socio-political and ethical concerns and the need to respond to ideological and technological changes. These investigative studies explored some of the ways we have been conditioned to think about our sense of being. They highlighted the significance of inward projection - we may be watching a film or video in a darkness space but it is what that experience engenders within each viewer that is crucial. If technology is a reflection og human ingenuity, revealing our ability to make manifest the things we dream about, then TECH/NO/ZONE could be considered a reminder of the fact that - regardless of the dreaming - rechnological progress is equally about accepting the world we create.

 

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