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

隨著電腦科技、網際網路的高度發展，不僅人類的日常生活邁入了數位應用的時代，連藝術也在1980年代掀起了科技媒體與數位創作的風潮，面對這個號稱第三波文明革命、幾乎「擋不住」的新潮流，許多台灣當代藝術家（尤其是新生代）也開始在傳統媒材如畫筆、畫紙、畫布、顏料…之外另闢新徑，陸續投入了以電腦和程式、滑鼠和螢幕、乃至機械電子為工具媒介的「新媒體藝術」創作。與此同時，數位化的圖像輸出、影音裝置、銀幕投影、虛擬的網路平台空間及超連結機制的加入應用，也連帶引發了藝術展覽新模式和創作發表之可能性的探討。 【心動EMU】特展，由策展人黃建宏與張晴文共同策劃，展名EMU一方面以縮寫英文點出數位時代三階段的流變和組成─Electronic-Mobile-Ubiquitous─，同時以呼應法文的ému來詮釋當代人類有求於數位新科技的人文環境和願景──我很感動（Je suisému）！本展共邀集了25組／28位台灣當代藝術家參展，其中大致涵括了兩類人馬：一、專擅數位媒材創作的王俊傑、袁廣鳴、吳季璁、林冠名、王福瑞、曾御欽、姚仲涵、豪華朗機工、吳其育、陳敬元、余政達、謝牧岐、郭奕臣、張明曜、李承亮、黃博志等，以及二、應用非數位媒材創作，但作品映現了對數位時代的價值思維、趨勢觀照、技術參考、或美學轉化的陳浚豪、陳曉朋、王璽安、曾雍甯、席時斌、周代焌、蔡士弘、廖建忠、黃沛瀅等。 本展的策畫思維和作品配置，有意將當代館的展場和廊道整合應用為趨勢閱讀和藝術體驗的時光通廊，在空間及動線規劃上，刻意對照呈現台灣近十年來數位藝術「圈內」具代表性的特色作品，以及「圈外」創作者用以對應數位時代風潮的特殊藝術樣例；從門牆之內的學院到多元競秀的藝壇，存在於這兩造之間的隔空對話與隱約角力狀態，除了可透過本展而進行現場的、密集的、多角度的閱讀觀照，從中也可以感受和想像一種「未完待續」的相互激盪關係。 As computer technologies and Internet are rapidly advancing, not only our daily life has stepped into an era of digital application, a trend of hi-tech media and digital art has become prevailing since 1980. Facing this so-called “third wave revolution” of our civilization, an irresistible new wave, many Taiwanese contemporary artists, especially the new generation, have begun to explore new means amongst traditional media, such as that of the brushes, paper, canvases and paint. They submerge themselves in creative works of the new media art, employing computer programs, mouses and screens, and electro-kinetic devices as media. Meanwhile, the utilization of the digital images, video installations, screen projections, virtual spaces and platforms on the Internet, and the mechanism of hyper links has brought about new models for art exhibitions as well as the investigation into various possibilities of artistic creation and publicization. “Crush on EMU” is co-curated by curators, Huang Chien-Hung and Chang Ching-Wen. While the title, EMU, uses the initials ofElectronic-Mobile-Ubiquitous to point out the change and formation of the three stages of the digital era, it also simultaneously corresponds to the French term, ému (as in “Je suis ému”), as an epitome of modern people’s reliance on the humanitarian environment and vision of the new digital technology. This exhibition includes 25 groups/28 contemporary Taiwanese artists, and they can be roughly divided into two types: (1) artists who specialize in digital media art, including Wang Jun-Jieh, Yuan Goang-Ming, Wu Chi-Tsung, Lin Guan-Ming, Wang Fujui, Tseng Yu-Chin, Yao Chung-Han, LuxuryLogico, Wu Chi-Yu, Chen Ching-Yuan, Yu Cheng-Ta, Hsieh Mu-Chi, Kuo I-Chen, Chang Ming-Yao, Li Cheng-Liang, Huang Po-Chih; and (2) artists who make use of non-digital media, including Chen Chun-Hao, Chen Shiau-Peng, Wang Sean, Tzeng Yong-Ning, Hsi Shih-Pin, Chou Tai-Chun, Tsai Home, Liao Chien-Chung, Huang Pei-Ying, whose works reflect the values and thinking, contemplations on trends, references of techniques or transformation of aesthetics of the digital era. The curatorial logic and the placement of the artworks in this exhibition indicate an attempt to incorporate and convert the exhibition rooms and hallways into a corridor of time to stimulate trends reading as well art experience. The planning of the space and traffic flow intentionally juxtaposes characteristic artworks of digital art of the recent decade in Taiwan and the correlating, exemplifying art works created by artists outside the digital art circle. In this exhibition, viewers can conduct an on-site, intensive, multi-perspective reading of the embedded dialogues and subtle tensions between various parties ranging from the walled-in academia to the diverse and competitive art circle, and therefore, perceive and imagine a “consequent and continuous” surging relationship therein.