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

鄭安齊以都會空間的變遷以及生活在其中的人作為創作主題。除了探求這些變化所牽動的各種行為模式與情感關係，更進一步想追問，真正操作與推動這些變遷的社會機制及可能的抵禦行動。


Cheng An-chi works with the changes of time and space, and the lives of people living in them as creative theme. Besides of exploring the behaviors and emotional relationships brought by these changes, he also pursues the nature of the system which manipulates and promotes them – and whether there is any possible course of opposition.

鄭詩雋的行為藝術擅長以身體為素材結合特製的服裝，現場即興演出的方式，力求和觀眾及外在環境互動，展現的是人類心理慾望層面共鳴的幻想狀態。


The performance art of Cheng Shih-chun specializes in the integration of the body with custom-made clothing. His live performances emphasize on the interaction between the audience and the external environment, while conveying an illusory state which resonates with the psychological desires of every human.

香港藝術家程展緯，擅於借用現實生活的脈絡做藝術創作，以輕巧的手法將現實符號轉換及挪用，這些符號元素常常可以導向「框架在香港社會現實的」嚴肅的政治性問題。


Ching Chin-wai is an artist from Hong Kong who specializes in the integration between the context of everyday life and artistic creativity. Through innovative methods, the artist transforms real-world symbols into elements that address the political issues present “under the reality of the Hong Kong society.”

「意外領域」是旅居紐約藝術家張力山之系列作品總稱，主要探討人類生存空間與自然生態空間重疊，所造成對彼此的影響及傷害，想像中生機活絡的各地自然界，隱約已變成了隨時有生存危機的「意外」場域。


Accident Realm is title of the work series created by artist Chang Li-shang, currently residing in New York. The central theme of this series is the exploration of the overlap between human living space and natural ecosystem, and the resulting mutual influence and damage. Nature, once thought to be full of life force and vitality, has subtly become a realm where “accidents” are bound to happen at any moment.

陳萬仁擅長以後製的動態影像作為創作表達方式，其中結合應用了許多日常街景拍攝的錄像，以及從網路上收集的圖片，以往的作品《比爾先生的早晨》與《比爾的假期》所顯示的既是一種超真實的美好虛擬場景，也顯示了經由非現實場景創造出純粹感知的藝術企圖。


Chen Wan-jen specializes in using post-production images as method of creative expression. The artist's works employ and integrate videos recorded from everyday life sceneries and images from the Internet. In his previous works Good Morning Bill and Bill's Vacation, the artist depicts hyper-realistic fictitious landscapes, and presents the artistic intentions of evoking a state of pure perception through unrealistic imagery.

方彥翔的作品一向探討文本與歷史之間的弔詭關連，如之前的《1984的超級真實》、《綠色標籤（或其相反）》等作品中，藝術家挑選了某種次文化、他國語境與邊緣意識的議題作為出發點，藉以探究隱藏在日常平凡現象與事件背後的共謀關係。


The works of Fang Yen-hsiang often explore the paradoxical relationship between text and history. The theme of his previous works, such as Hyperreal 1984 and Green Label (or its Negative), was inspired from the issues of subcultures, foreign context and marginal consciousness. Through creation, Yen-hsiang Fang studies the hidden complicity between everyday social phenomena and what goes on behind them.

廉價的柏油雖是最易得好用的道路鋪面材料，但許多交通事故卻是由於路面常見的破損與欠修。李吉祥的「路平專案」創作及展出計畫，第一階段包括用玻璃纖維去翻製各地道路的坑洞和裂縫，並散置這些大小同道路凹坑的模具，於當代館的走廊地面，觀眾可以踩踏這些模具，甚至視為路障；接著進行相關地圖的製作，並調查記錄這些路段所發生過的道路事故。第二階段是製作出一個完全符合坑洞大小的水泥填充塊，最後藝術家會再小心翼翼地將這些破碎的填補物送回原地。


Asphalt is the cheapest and easiest method to pave roads, but as result many traffic accidents are caused by road deterioration and their lack of maintenance. In the creation and planning of Lee Chi-hsiang's “smooth road project,” the initial stage consists of using glass fiber to reproduce the potholes and cracks in roads, distributing these actual-size models across the hallways of MoCA Taipei. The public is invited to stamp on these models, and even consider them as roadblocks. The next step was for the artist to create a map charting the deteriorated roads, and document the road accidents that took place in those sections. The second stage consists of manufacturing cement fillings that exactly fit into the roads’ potholes; the artist would conclude by carefully return them back to their original places.

許家維是個影像工作者，以往的作品近乎「電影式錄像」，著重在處理影像構成的問題。關鍵概念在於將作品脈絡放置在「電影的時間」中──即使影像緩慢而毫無敘事作用，但是卻如電影般的往前推進。在《 3月14日，紅磡體育館》中，許家維拍攝了空無一人的演唱會現場，以「無人的體育館」突顯了演唱會的虛構性。


Hsu Chia-wei is a video maker whose previous works are “film-style recordings” that focus on the issues of image composition. A key concept in the artist’s works is that their context is placed within the “temporality of the film” - even though the videos are slow-paced and without narrative, they carry forward like regular films. In March 4, Hong Kong Coliseum, Chia-wei Hsu filmed a live concert with no audience, using the “empty coliseum” to depict the fictionality of concerts.

黃博志自2006年開始，製做了一系列名為PTB (Peeping Tommy Boy) 的作品 ，他扮裝為一個被男性之手撫摸的女子，搭配一連串男女曖昧的交談，影像的呈現，結合了被偷拍者及偷窺者的雙重視覺情境。


In 2006, Huang Po-chih began to create a series known as PTB (Peeping Tommy Boy). The artist disguised himself as a woman caressed by the hands of a man, and complemented the work by inserting a series of flirty conversations between a man and woman. The video representation of such scene integrates a dual visual context between the peeping tom and the victims.

來自巴西的藝術家安娜伊莎‧佛朗哥，擅長以新媒體科技以及人造材質再製出軟性肢體，作成互動裝置，以虛擬的科技身體界面探討人際互動的可能。


Brazilian artist Anaisa Franco specializes in using new media technology and synthetic materials to reproduce flexible limbs and create interactive installations. The artist uses technology to construct fictitious body interfaces in order to explore the possibilities of interpersonal interaction.

朴寶娜從英國Goldsmiths學院取得碩士學位畢業後，開始於義大利與韓國各處駐村，並參與西班牙、塞爾維亞等地的展覽。她擅長調換創作主體之間的位置，以及在展覽場合中置入一些慣性的現實物件，或在現實機制中製造一些微小的縫隙，從中開展其藝術性的另類敘事，本質上是以「借力使力」的方式創造出反思性的作品。


After obtaining the master’s degree at the Goldsmiths University in London, Bona Park has resided in Italy and Korea, while participating in exhibitions from countries such as Spain and Serbia. The artist specializes in switching the position of creative subjects, inserting familiar real-world objects into exhibition space, and creating small cracks within the mechanism of reality. Through these elements, the artist develops innovative narratives which result in reflexive works that “borrow strength to produce more strength.”

黃世傑利用消費產品製造共生的有機環境，藉用大量生產的低科技產品呈現消費文化與人的狀態， 再探人與自然的關係。混亂拼裝的作品形態像是一種純粹無用的發明，卻也反映了在地文化中拼裝回收物件的習性及作者個人的精神狀態。透過破壞、重組及再生，黃世傑所呈現的不是一個完美的科技擬像，而是人與現實短路的科技異境。他點出了科技在當下與未來的焦慮，也是對於「科技始終來自於人性」的反諷。


Huang Shih Chieh works with consumer products to create coexisting organic environments, depicting the human-consumerism and human-nature relationships through mass produced low-technology products. The chaotic assembly of the works might seem like useless inventions, but they reflect the artist’s personal state of mind, and the local culture’s tendency of reassembling recycled objects. Through destruction, restructuring and rebirth, Huang Shih-chieh does not present a perfect technology, but a technological scenario portraying the “short-circuited” state between the humanity and reality. The artist reveals technology’s concern of the present and the future, which is the irony that “technology is always derived from human nature.”

甫以《這時候認真就輸了》計畫參與2010年台北雙年展的張允菡，利用展覽中常見的語音導覽作為創作媒介以導入特定議題，虛擬觀眾針對雙年展作品、美術館本身及展覽空間等的對話，透過虛假與真實的交錯，擾動聽眾/觀眾視覺與聽覺的接收，造就另一種觀展的經驗與方式。


Chang Yun-han participated in the Taipei Biennial 2010 with the project If You Take it Seriously. In the work, the artist used audio-guides of exhibitions as creative media, establishing fictitious dialogues between the audience and the artworks, the exhibition space and the museum itself. The mixture of truth and fiction present in the work disturbs the visual and auditory senses of the listeners/spectators, creating a new method and experience of viewing exhibitions.

黃立慧偏好從自身的主體位置去開啓特定的社會課題。之前的《讓我一次愛個夠》，即是利用自身與觀眾的互動，呼應「日日春協會」有關女性身體的議題，讓觀眾以「實境體驗」的方式參與身體關係的辯證。她從藝術家的引誘與觀眾的受誘出發，以單向視線的方式，置換掉被動與主動之間的觀看權力關係，創造者權充奇特的兩種身分：羞赧窘迫的觀眾以及化身為誘惑的製造者。

Huang Li-hui specializes in approaching certain social issues by using her subject position. In her previous work Make Me High and More, the artist’s body served as platform of interaction with the audience, echoing topics regarding female body as addressed by the Collective of Sex Workers and Supporters. The audience is given the opportunity to participate in dialectics of the human body through “real experiences.” Using the artist’s temptation, the tempted audience and the unidirectional sight line created by the artist, the authority of observation between the passive and active is reversed. Under these circumstances, the creator temporarily fulfills two roles: the embarrassed audience and the object of seduction.

謝牧岐喜歡畫畫，但是他不滿足於自我封閉的創作習慣，於是他試圖找出一種「可以滿足個人畫慾，又可以與更多人連動」的開放模式。


Hsieh Muchi enjoys painting, but he is not satisfied with self-enclosing creative tendencies. As result, he has attempted to find a creative model that can “fulfill his personal desires of painting while connecting with more people.”

徐建宇一人橫跨多重身分，透過持續的創作，他一面碰觸著藝文領域中有形的界限，一面揭露現實生活中不可見的各種界線。


Xu Jian-yu plays different roles in art production. He comes across the visible limits of arts and culture, and revealing the invisible boundaries present in real life.

艾拉‧瑞德習慣以影像記錄的形式呈現其創作理念， 早期作品不論鎖定快照店的沖洗過程或美術館的庫房等， 都指涉不可再現的真實。近年持續進行的紀錄片，遠赴非洲莫山比克拍攝當地的中國人生活情形，及其身處異地時，對於非洲的文化社會觀。因為全球化， 跨國的勞工遷徙不僅發生在先進國家，在邊陲地區實際更為劇烈，而衝突更大。


Ella Raidel has a tendency of using video recording as form of representing creative concepts. Her earlier works capture the irreproducible reality, such as snapshot development in photo processing stores or museum storages. In recent years, the artist worked on a documentary on the lifestyle of Chinese people in Mozambique, revealing the perspective towards the African culture of these individuals living far away from home. Under globalization, transnational labor migration not only occurs in developed nations, but also in the borderland territories as well.

林厚成的創作，擅長以細膩的影像翻攝現實，讓我們透過媒體之眼看到一種現實中不可能存在的「影像烏托邦」。在這次的展覽中，他把作品的脈絡著放在社會共享的「媒體記憶」之中，鎖定了1980年代台灣兒童電視節目的高峰時期，當時為學前與學齡兒童製作的電視節目不勝枚舉，有些熱門節目的主題歌曲也深深地烙印在許多兒童的記憶裡頭。


The creations of Hoho Lin work with detailed images based on reality that aims to portray, through the eyes of the media, a “utopian image” that cannot exist in reality. For this exhibition, he placed his work’s context on the shared “media memories” of society, focusing on Taiwanese children’s television programs during the decade of the ‘80s. Back then, the amount of television programs targeted on preschool and school-age children were too many to count, and the theme songs of the more popular ones are deeply imprinted into the memories of children in that time.

李國民為人所熟知的作品，是記錄社會底層空間的行動攝影系列。其影像除了呈現居民與環境、歷史的關係，也見證了社會生活的變遷。


Lee Kuo-min is known for his photography series which captures the underclass life of society. The photographic works present not only the relationship of the people with environment and history, but also are witness of the changes in social life.

周育正之前曾將畫廊空間轉換為非營利社會組織，直接將藝術買賣行為轉化成社會公益行動；他也常以「再脈絡化」的方式，透過展覽讓既有事物例如燈光、台座等，以藝術品的姿態呈現，藉以探討文化資本在社會場域中的流動過程。


In the past, Chou Yu-cheng had transformed a gallery into a non-profit social organization, converting the act of art dealing into social welfare activities. The artist often works with the method of “re-contextualization,” displaying objects found in the exhibition space, such as lighting and pedestal, as art. His work explores the flow process of the cultural capital within social space.

應蔚民是表演藝術工作者，前「夾子電動大樂隊」、「夾子太硬啦」樂團主唱與創意發想的靈魂人物，同時也在電影「海角七號」中以「水蛙」一角走紅。其創作形式以現場表演為主，包含了演唱、短劇、脫口秀等，並在錄音、錄影後加入了非工業性的視覺特效，營造高度歡樂的情境。


Ying Wei-ming is a performance artist, and former lead singer and creative source of the band The Clippers. With his participation in the movie Cape No. 7, the artist obtained further increase in popularity. His works are primarily performance art including concerts, short plays and talk shows. After the process of recording music and video, he inserts non-industrial visual effects conceiving a highly entertaining atmosphere.

余政達以影像為主要創作方式，先前的作品中藉由不同的媒體探討訊息扭異的現象，以2008年台北雙年展參展的《附身【聲】者》為例，他邀請外籍人士說仿別人躲在背後所說的中文語句，並藉由過程中不斷產生的陰錯陽差現象，突顯出在全球化、傳播化、互動化的時代，有關文化溝通、轉譯的諸般課題。


Yu Cheng-ta uses images as his primary form of creation, with his previous works employing different media as mean to explore the phenomenon of message distortion. In his 2008 Taipei Biennial work Ventriloquists, the artist invited foreigners to repeat Chinese phrases spoken by people hiding behind them. This strange combination of circumstances brought many unpredicted mishaps, symbolizing the issues of cultural communication and translation under this era of globalization, transmission and interaction.

生活在台灣的日籍藝術家大塚麻子，試圖讓我們從其作品去關注日本與台灣文化交織的細縫，例如她研究「日本俳句」（日本古典短詩）與「台灣日本俳句」間的關係，關心的不僅僅是文學性的考究，而是在這些文學之上，夾在這兩個文化中的之間 (in-between) 地帶。實際上，大塚麻子的作品著重在使用各式各樣不同的介面，來呈現台灣、日本兩者之間的文化轉譯，並以之作為後殖民性的參照點。


Asako Otsuka is a Japanese artist who currently resides in Taiwan. She intends for the audience to observe through her works the fissures between the interweaving of the Japanese and Taiwanese culture. As an example, she previously researched the relationship between Japanese haiku (classical Japanese short poems) and Taiwan-Japanese haiku. The artist’s research is not of literary nature, but from literature she aims to explore the in-between area of these two cultures. Asako Otsuka’s works focus on employing different interfaces to represent the cultural translation between Taiwan and Japan, and further using it as a referential point to approach the issues of post-colonialism.

鬼丘鬼鏟成立於2008年底，兩名成員在日本與美國留學期間，曾參與許多行動主義運動，他們穿著色彩鮮艷怪異的服裝，參與設計免費的地下刊物。這個團體的表演時常以有機、游擊的形式呈現，看似即興，實則如一部實驗性的現世文學。作品常令觀眾陷入一種慌亂與困惑之境，例如將菜市場買來的動物內臟飛濺表演場所，或是表演者連同熟飯一起磨蹭，甚至抹向觀眾。然而，真正關鍵之處在於他們表演「發作」的能力，與其以「現場」來稱呼鬼丘鬼鏟自我定義的「Live art」，不如以「活生生」的概念去理解這個團體的作風，因為他們是讓角色真正「付諸行動」，而非只是一種暫時的假扮。


Dellinger and Dali was formed at the end of 2008. The two members participated in several activist movements during their time studying in the U.S. and Japan; they wore strange and colorful clothes, and were involved in the design of free underground press. The group’s performances often seem to be improvised and presented in an organic and guerrilla-like fashion, as if they were a secular literature that is experimental in nature. Their works often bestow to the audience a sense of panic and confusion, displaying for instance animal organs purchased from market splattered in every direction, or performers rubbing together along cooked rice. However, the key of their performances lies on the ability to “act out”; rather than using “live stage” to address “live art” as proclaimed by the group itself, why not understand their work-style through the concept of “living.” The characters they play are in reality “actions put in practice,” and not just some temporary disguises.

在這件錄像作品中，蘇匯宇試圖將志願者服用安眠藥的個人體驗，轉換為一種獨特而可以共享的藝術經驗，同時也將在展覽現場以派對的形式，邀請有類似經驗或嚮往這種經驗的朋友，來共同參與這個另類藝術實驗，製造一個在美術館的類夢遊狀態。此作嘗試突破藥物在社會中理所當然的位置，讓負面邊陲但真實的病徵瀰漫在藝術場域裡，不僅挑戰了醫療品與迷幻物的定義，也翻轉了藝術展陳的狀態，打破觀者對作品的制式想像。

本作將另邀「萬德男孩」（蘇育賢、黃彥穎、江忠倫）參與創作，以「外掛」模式參與夢遊行動及宣傳錄影帶。


In this video work, Su Hui-tu attempts take the personal experiences of volunteers who took the sleeping pill, and transform them into a shareable artistic experience. At the same time, the exhibition space is decorated in the form of a party, inviting the people that have had – or are looking forward to have – similar experiences to participate in this peculiar art experiment. It is then, that a sleepwalking-like experience is created within the museum. The work attempts to subvert the conventional position of drugs in society by allowing their negative, yet real symptoms to fill the artistic space. This course of action not only challenges the definitions of medicine and hallucinogen, but also overturns the context of art exhibition and breaks through the audience’s standards towards artworks.


This work has also invited the “Wonder Boys” (Su Yu-hsien, Huang Yen-Ying and Chiang Chun-Lun) to create “extensions” that participate in the action of sleepwalking and promotional videos.

伊百慧將不定期邀請觀眾於當代館內展開一場尋鏡遊戲活動，藉著她所製作的「尋鏡圖」，找出安置於當代館中不同位置的凸面鏡。這件作品企圖對「眼見為憑」的既有成規，以及作品於「公眾空間」進行展示而產生的主、客二元關係提出挑戰。不再期待觀者依循既定路徑，而是將感知、閱讀、甚至定義作品的權力釋放到觀者身上，讓觀者可能在鏡前驚鴻一瞥自己的那個神祕時刻，經驗到一種全然屬於自己獨有的知覺。


From time to time, Yi Bai Huei invites the audience to participate in a game of mirror searching set within MoCA Taipei. For the purpose of this event, the artist created a “map for mirror searching” that would help finding convex mirrors places in the different corners of MoCA Taipei. This work attempts to challenge the conventions from the concept of “seeing is believing,” and the binary relations of objectivity and subjectivity generated from its presentation within “public space.” The artist no longer expects for the audience to follow a pre-established path, but bestows the authority of perceiving, reading and defining the work to them. Therefore, as the audience catches a glimpse of themselves in the mirror, in that mysterious moment they will be able to experience a unique perception that absolutely belongs to no one else but them.