TODAY’S ON

CLOSED TODAY

Friday 星期五

10AM - 6PM

Exhibition

展覽

  • 10:0018:00

    瘟疫的慢性處方

    Interminable Prescriptions for the Plague

  • 10:0018:00

    成為提問─侯玉書個展

    Being Question—George Ho Solo Exhibition

Events

活動

  • 19:0021:00

    「災難的靈視」開幕音樂會

災難的靈視

Co/Inspiration in Catastrophes

2019 / 11 / 23 Sat.

2020 / 02 / 09 Sun.

10:00 - 18:00

  • 地點

    venue

    台北當代藝術館 MOCA Taipei

  • 策展人

    Curators

    黃建宏、潘小雪 Huang Chien-Hung、Yuki Pan

About 展覽介紹

災難的靈視:拒絕內心被災難吞噬 Co/Inspiration in Catastrophes 「球莖思維以關係詩學為原則」(〈漂流、放逐〉,埃鐸瓦.葛里松,1990) "Rhizomatic thought is the principle behind what I call the Poetics of Relation."(“Errantry, Exile,” Édouard Glissant, 1990.) 二十一世紀至今已近二十年,我們正面對到一種矛盾的景況,一邊是各種明顯且大規模的失控,從心理、家庭、社會、政治到氣候,另一邊則是新型控制系統與運算邏輯的降臨,人變成了數據的容器,並在大數據運算中成為進行勞動、消費的殭屍;這個悖論不僅涉及到社會和國家為尺度的政治問題,也指出人的智能與技術發展,將整個地球捲入到開發漩渦後所引發的變化,揭示出「地球作為開發對象」這幻象破滅後的人類窘境。 Almost twenty years after the arrival of the 21st century, human beings are now faced with a contradiction: on the one hand, there has been a wide range of obvious and large-scale out-of-control situations – whether it is people’s psychological condition, family, society, politics or the climate – and a new control system and operation logic have emerged, turning humans into vessels of data, i.e. zombie-like laborers and consumers in the operation of big data. This paradox not only involves political issues on a social and national scale, but also points to the changes occurred after human’s intellect and technological advancement have enveloped the entire Earth in a vortex of development, exposing the dilemma resulting from the disillusionment of “Earth as an object of development.” 於是,災難從「天災」發展到「人禍」,甚至在今天混雜成天災人禍無法區分的「共業」,隨著人類技術與知識對「自然」與「環境」的控制能力越發強大,失序也就成為更為頻繁的日常,甚至在資本競爭的全面化底下,「控制」成為主要手段、「災難」成為家常便飯,並在民主的要求與發展下,「控制」深入到生命與身體的內部、「災難」的承擔也從非人之責到無人負責。正是在這個處境下,災難不再是人類矇昧無知的恐懼和對於懲罰的想像,而真正以另一種樣貌成為問題(polemic Gaia)「蓋婭」:我們與萬物的生命延展造就地球與它的流變。傳統領域的變異就如同瞬間躍出、在大地上磨出灼臉扭曲的普悠瑪號,是層疊地景、人跡、獸影、電流、數據的地層,地震的搖撼與翻攪或許就是為了顯現災難是地質層的事實。 Consequently, catastrophes have evolved from “natural disasters” to “man-made calamities,” and even become “shared karmic consequences” that mix natural and man-made disasters. As technology and knowledge have growing control over “nature” and “environment,” disorder has now become more frequent and part of the everyday life. In the era of total capital competition, “control” becomes a dominant approach, and “catastrophes” seem to happen on a regular basis. Due to the demand and development of democracy, “control” now extends into our lives and bodies; and “catastrophes” have changed from “nobody’s fault” to “no one’s responsibility.” It is circumstances like these that catastrophes have progressed from being the embodiment of human’s ignorant fear and imagined punishment to assume another role—the polemic Gaia: the continuation of the human race and other creatures have shaped the Earth and caused its changes. The variation of the traditional territory happens quickly and drastically, like a suddenly derailed train that scrapes and distorts the surface of the Earth, and forms strata of layered landscape, human and animal activities, electric currents and data. Perhaps, the shaking and stirring of earthquakes are to reveal that catastrophes are indeed geological layers. 以皮耶.雨格在智利阿塔卡馬沙漠的「印歿丘」開啟一個自然與人禍交互糾纏的末世景象,Chim↑Pom在核災與奧運的追問中,以培力行動批判並抵抗「發展」邏輯下相繼出現的廢墟,來自東部的學生(曾湘淇、羅詩蘋、王茹霖)與香港的學生(反送中關注組)則分別表達出對於天災與人禍的創造性回應,與層層深挖的感知地層;而風間幸子的版印作品則從殖民現代性的東移,到日本的現代發展版圖,並重回到殖民與發展所糾結的精神分裂。而阮英俊重回因開礦而變貌的家鄉,連呼吸道都充滿著全球資本開發的脈波,相應的加藤翼則與民眾以象徵地標的重建,培蓄面對未來的精神力;到了陳瀅如和洪子健以小說重建「透納之屋」,並將其連結上白人主義在現代歷史發展上的重要角色,以此回溯人類現代歷史發展的變態動力。延伸到周滔用沈靜的地景訴說生命與環境的重新癒合,這個弔詭(paradoxical)的靜默將我們導引到激烈異常的哀悼,無論是艾未未對於難民生命狀態的追念,以及巴卡芙萊用紅藜、藤蔓和竹枝釘裝出的心臟重新懷想原住民的生命流放,乃至於安聖惠(峨冷‧魯魯安)將過去災難所造成的創傷沈積在纏繞而暗沈的雕塑中。最後,我們看到即將被淹沒的臺北,吳繼濤將災難置入陰鬱、飄渺卻又彷彿圓滿的弔詭狀態。災難中的靈視,不是為了用藝術來記取奇觀,而是不讓內心被災難吞噬。 The exhibition opens with Pierre Huyghe’s Cerro Indio Muerto, an image taken at Chile’s Atacama Desert, which introduces us into an apocalyptic landscape that mixes natural and man-made disasters. Chim↑Pom questions nuclear disaster and the Olympics Games while employing empowerment activities to critique and resist the continuous emergence of ruins caused by the logic of “development.” Students from Taiwan’s east coast (Zeng Xiang-Chi, Lo Shih-Pin and Ikong Hacii) and Hong Kong students (the TNUA Concern Group for HK Anti-Extradition Bill) respectively convey their creative responses to natural and man-made disasters as well as the strata of sensibility they have explored layer after layer. Sachiko Kazama’s woodcut prints feature how the colonial modernity has spread to the East and the trajectory of Japan’s modern development to examine the schizophrenic state entangled by colonization and development. Tuan Mami revisits his hometown, which has changed because of the mining industry, and delineates the moment when even breathing is dictated by the pulses of global capitalist development. On the other hand, Tsubasa Kato, joined by a group of people, reconstructs a symbolic landmark to nurture and cultivate the spirit that helps us embrace the future. Chen Yin-Ju and James T. Hong rebuild the “Turner House” based on a novel, and associates it with the crucial role of White Supremacy in the development of modern history to trace the abnormal force behind the development of humanity in modern history. From their work, the audience are then led to the quiet landscape created by Zhou Tao, which speaks of the healing of life and environment. The paradoxical silence will carry the audience into a strangely intense journey of mourning—from Ai Weiwei’s lament for the lives of refugees, to Pakavulay’s red quinoa, lianas, bamboo heart that re-imagines the diasporic existence of indigenous people, to Eleng Luluan’s enwrapped, dark sculpture that visualizes the traumas caused by past catastrophes. At the end, the audience will witness an imminent tsunami that is about to overwhelm Taipei in Wu Chi-Tao’s work, which embeds the disaster in a gloomy, ethereal yet somewhat perfect state. Co/inspiration in Catastrophes is not to document spectacles with art but to prevent catastrophes from devouring the soul.

MORE

LESS

Artist 參展藝術家

Pierre Huyghe 皮耶·雨格
Takashi Suo 周防貴之
Chim↑Pom
Zeng Xiang-Chi 曾湘淇
Lo Shih-Pin 羅詩蘋
Sachiko Kazama 風間幸子
Tuan Mami 阮英俊
Ikong Hacii 王茹霖
Tsubasa Kato 加藤翼
Chen Yin-Ju 陳瀅如
James T. Hong 洪子健
Zhou Tao 周滔
Pakavulay (Malay Makazuwan + Huang Jin-Cheng) 巴卡芙萊(瑪籟+黃錦城)
Eleng Luluan 安聖惠(峨冷‧魯魯安)
Ai Weiwei 艾未未
Wu Chi-Tao 吳繼濤
TNUA Concern Group for HK Anti-Extradition Bill 北藝反送中關注組

1962年生於法國巴黎為九零年代關係美學運動推動者之一。其作品多以複雜的生態系統呈現,含蘊廣泛的生命形式和無生命事物以及科技 等特點構建一種結合生物、技術和虛構成分的有機體,創造出似龐雜的微型宇宙供人類、動物和非生物不斷演變的環境,並藉此介於現實與虛構之間變形的過程,探討人類世與自然界的交互關係。作品突破傳統表現形式及其敘事模式贏得國際讚譽。曾獲2015 年德國漢諾威斯普倫格爾博物館的庫爾特史維特獎、2013 年蘇黎世的羅斯威塔 哈夫曼獎、2010 年史密森美國美術館的當代藝術家獎、2002年雨果博斯獎、2001 年代表法國於威尼斯雙年展展出並獲威尼斯評審團特別獎等。

Born in Paris, France in 1962, Pierre Huyghe is one of the pioneering and driving forces behind relational aesthetics in the 90s. Huyghe is known for his diverse, intricate presentation of the ecological system, which envelopes an extensive range of life for ms, inanimate things and technologies. He constructs organisms which not only combine biological, technological and fictional elements, but also produce a complex, immersive microcosm with a constantly changing environment, in which humans, animals and non beings learn, evolve and grow. Through the transformative process posited between reality and fiction, he explores the interrelations between the Anthropocene epoch and the natural world. Huyghe's oeuvre has gained international acclaim for its ability to challenge conventional forms of representation and accepted narrative models. He was the recipient of the 2017 Nasher Prize, the 2015 Kurt Schwitters Prize at The Sprengel Museum in Hannover, Germany; the 2013 Roswitha Haftmann Prize in Zurich; the 2010 Smithsonian American Art Museum’s Contemporary Artist Award; the 2002 Hugo Boss Prize; and the Special Jury Prize awarded by the 49th Venice Biennale, in which he represented France.

1980年生於日本,建築設計師,畢業於日本慶應大學建築學碩士。曾任職於建築師妹島和世與西澤立衛所創立的SANAA建築事務所。2015年創立SUO建築事務所。2017年與藝術團體 Chim↑Pom 合力創作「拆廢和起厝: 拓展道路」,協同藝術家重新設計作品所需之建築物與創造新的公共空間。 

Born in Japan in 1980, architect Takashi Suo holds an M.Arch from Japan’s Keio University. Before starting his own architectural firm SUO in 2015, he worked at Kazuyo Sejima & Associates and SANAA. In 2017, Suo collaborated with Chim↑Pom and launched Scrap and Build project: Paving the Street, in which he re-designed the architecture for the works and created new public spaces.

Chim↑Pom藝術團隊於2005 年成立於東京,由卯城龍太、林靖高、 Ellie、岡田將孝、稻岡求以及 水野俊紀等6位年輕藝術家共同組成被稱為「日本藝術世界的頑童」。其創作表達以挑釁和犀利的姿態,突破當代藝術形式上與社會感知上的侷限性,透過行為、表演、裝置、錄像、繪畫 和策劃活動等多重媒材,探觸揭示隱藏矛盾的、禁忌的、社會的議題除了本能地回應時代的真實,貼合現實脈絡更讓自身不斷地對藝術家的位置進行質問 積極 嘗試超越當前對藝術的框限與操縱。作品憑藉介入現代社會的現實性而贏得了廣泛的讚譽,並屢次獲邀參加國內以及國際展覽,如:2012年聖保羅雙年展和上海雙年展、2017年里昂雙年展和亞洲藝術雙年展等。

Described as “the enfant terrible of Japan's art world,” the artist collective Chim↑Pom was founded by six young artists, including Ryuta Ushiro, Yasutaka Hayashi, Ellie,Masataka Okada, Motomu Inaoka and Toshinori Mizuno, in Tokyo in 2005. The practice of Chim↑Pom employs provocative and edgy approaches that shatter the limitations of contemporary art forms and social sensibility, using diverse media and methods ranging from performance, installation, video, painting to curatorial project to explore and expose hidden contradictions, taboos and social issues. Their work not only intuitively responds to the social reality of our time, the realistic context of their work also allows them to constantly question their position as artists, enabling them to actively experiment and surpass existing frameworks of and control over art.Chim↑Pom has received extensive accolades because of their work that intervenes in modern social reality, and has been featured in numerous exhibitions domestically and international, among which are the São Paulo Art Biennial and the Shanghai Biennale in 2012 as well as the Biennale de Lyon and the Asian Art Biennial in 2017.

1995年生於臺灣彰化。目前就讀國立東華大學藝術與設計研究所,其創作多以繪畫的形式,運用代針筆的媒材特性,兼具複雜細緻的點描與寫意暈染的逸趣,描繪探索臺灣傳統道教文化的時代語境。對她而言,無形的世界如同另一種人類社會,激發她探究的驅力。作品以神、魔、妖、鬼、怪為主角,融合現代環境與社會議題的觀照,詮釋她對現代性異化的現象與生態視域的觀察。


Born in Changhua, Taiwan in 1995, Zeng Xiang-Chi is currently having her Master’s Degree in the Department of Arts and Design, National Dong Hwa University. She uses the characteristics of fineliner pen drawings that adds intricate and refined dotting and outlining as well as the lyrical charm of color rendering to portray and explore the contemporary cultural essence of traditional Taoism in Taiwan. For the artist, the invisible world represents a different human society that prompts her exploration. The gods, demons, monsters, ghosts and ghouls in her works are incorporated with her observations of modern environment and social issues, and convey her interpretations of modern alienation and ecology.

1995年生於臺灣花蓮。目前就讀國立東華大學藝術與設計系研究所,同時擔任花蓮四維中學教師。一路走來,大多將視野投注於觀察世界和他人,鮮少發現她自己,唯一能找到她的地方,就是她創作的影像。其作品體現她觀察一切的現象與事物,並非從它們的現實面,而是從它們的極限,由深刻的悲喜困境中了解世情,並提升自己。


Born in Hualien, Taiwan in 1995, Lo Shih-Pin is currently having her Master’s Degree in the Department of Arts and Design, National Dong Hwa University, and is a teacher at Szu-Wei Senior High School in Hualien. Along her creative journey, she has placed an emphasis on observing the world and others, rarely discovering herself. The only way she feels in touch with herself is through the images she creates. Her work visualizes the phenomena and things she observes, in which the dilemmas informed by sorrow and joy embedded in the realities or extreme situations from her observation enable her to understand the world and elevate herself.

1972年生於日本東京,自小喜好浮世繪。1996年畢業於武藏野藝術學院版畫系,其版畫風格深受大正時代現代主義版畫的影響。她的創作多以木刻版畫結合卡通造形的形式語彙,反映當前正在發生的現象及其事件起源,並從回溯過去之中進行檢視與探討,對「歷史是真實的嗎?」提出質問,因此創作題旨含納了大量的文獻研究、實地參訪與脈絡踏查,透過連結過去與現在,虛構與真實以拼貼出一個敘事歷史荒誕之處的故事。她自言:「挖掘亡佚的歷史記憶以及從和平城市的角落預示未來,成為我創作的方法。」其目的並非給觀者投以政治衝擊或改變它,是以藝術媒介培植批判性思維。曾獲譽:2006年「第9屆岡本太郎紀念當代藝術大獎優秀獎」和2016年「第8屆創作傳統獎」。


Born in Tokyo, Japan in 1972, Sachiko Kazama has adored ukiyo-e since she was young. She graduated from the Department of Printmaking, Musashino Art University in 1996. Her artistic style is deeply influenced by modernist prints from the Taisho Era, and her work adopts a formal language that integrates woodcut prints and cartoon-like figures to reflect current events, phenomena and their origins, through which she re-examines and discusses the past while posing her question by asking, “is history authentic?” By doing so, she incorporates extensive literature studies, field visits and research about historical context to connect the past and the present and create collage-like narratives comprised of fictional and realistic elements to highlight the historical absurdities. According to the artist, “uncovering the historical memories that have faded and envisioning the future from a corner of a peaceful city have become my creative method.” Her objective is not to create any political impact or alteration, but rather cultivate the audience’s critical thinking, using art as her medium. Kazama was the recipient of the Superior Prize in the 9th Taro Okamoto Award for Contemporary Art in 2006 and the 8th Tradition Créatrice Art Award presented by the Japan Arts Foundation in 2016.

1981年生於越南,2006年畢業於越南藝術大學。是一位不斷探索新媒材與表現手法的藝術家,他從人類、社會學等領域擷取各種創作方法,經由影像、裝置、行為和觀念藝術等形式,進行一種深度思維的冥想式實驗和創作,藉以審思各種邊界議題的探討。作品多以特定場地和重組概念來質疑社會的退化狀態,和個體與社會之間,以及人類需求與自然資源之間複雜的關聯。他於2012-2018年分別與人共同成立了MAC Hanoi與Nha San Collective以及ÁSpace藝術空間;2013年曾擔任舊金山藝術學院客座教授。

Tuan Mami was born in 1981, and graduated from Vietnam University of Fine Arts in 2006. His multidisciplinary practice spans across various new media and methods of expression, including video, installation, performance and conceptual art, as he employs creative approaches from anthropology and sociology to conduct deep thinking and meditative experimentation, with which he explores a wide range of boundary-related topics. His work critiques the regressive state of the society through specific sites and the concept of reconstruction while discussing the complex relationship between individuals and society as well as human needs and natural resources. He co-founded MAC-Hanoi in 2012, Nha San Collective in 2013, and then Á Space 2018. He was also Visiting Faculty at the San Francisco Art Institute in 2013.

1984年生於臺灣花蓮縣萬榮鄉,賽德克族,臺灣師範大學美術學系西畫組畢業,目前就讀國立東華大學藝術與設計研究所,同時擔任中學美術教師。創作多以風景水彩畫以及沾水筆人像素描居多,關注自身生活的環境與部落傳統生活消逝的面貌,透過畫筆呈現當下的景況,探索族人及其部落文化脈絡的關係。其筆下的人事物,融合了創作者自身對人物與情境的理解,以及個人情懷一筆一畫描繪而成,像部落耆老織布時,每一次的經緯交錯,同時織入了自我的生命經驗。

Seediq artist Ikong Hacii was born in Hualien’s Wanrong Township, Taiwan in 1984, and graduated from the Western Painting Division, Department of Fine Art, National Normal University. She is currently having her Master’s Degree in the Department of Arts and Design, National Dong Hwa University and is a junior high school art teacher. Her art practice mainly focuses on landscape watercolor and dip pen portrait drawing, which feature her own living environment and the traditional life in indigenous villages that have been disappearing. She uses her work to explore the scenes of the present and explore the relationship between her own people and the indigenous culture. The subject matters in her work, be it people, things, objects or scenes, are integrated with her personal understanding and constructed with sentiments and feelings, which is similar to the village elders’ weaving, as each crossing of the vertical and horizontal threads is informed by individual life experience.

1984年生於日本埼玉縣,2010年畢業於東京藝術大學美術學院研究所。2015-2017年獲日本文化局海外培訓計畫的資助,赴美國華盛頓大學進行藝術交流創作。他自2007年以來,以「拉動和提升」藝術計畫而聞名,其形式語彙多以群眾參與的行為藝術,反思個人與群體之間深層鏈結的社會意識及其價值取向,重新建立人與人之間的關係,並試圖解決因社會變動,造成分裂或疏離的時代徵候。作品為大阪國立藝術博物館、愛知豐田市藝術博物館和東京森美術館典藏。

Tsubasa Kato was born in Japan’s Saitama Prefecture in 1984, and received his MFA from Tokyo University of the Arts in 2010. From 2015 to 2017, he was awarded the grant of the Program of Overseas Study for Upcoming Artists by Japan’s Agency for Cultural Affairs, and was a visiting research scholar to the University of Washington in Seattle, USA. Since 2007, he has been known for his art project, Pull and Raise, which adopts the form of performance art with audience participation to reflect the deeply connected social consciousness between individuals and the collective and its value. The project also emphasizes on re-establishing the relationships between people while attempting to mitigate the impact of ruptures or alienation resulted from social changes. His works have been included in the various Japanese collections, including the National Museum of Art, Osaka, Toyota Municipal Museum of Art, Aichi and Mori Art Museum, Tokyo.

陳瀅如透過宇宙學系統,利用占星學、神聖幾何、鍊金術等符號,來詮釋社會、歷史中的權力結構,例如人類行為、國家暴力、烏托邦思維與集體意識等議題,目前創作主題藉由靈修與薩滿實踐探索人類意識的無限可能性。參與國內外展覽與影展,包括2020年光州雙年展、2019年第五屆烏拉爾當代藝術工業雙年展、2018和2011年荷蘭鹿特丹國際影展、2016年利物浦雙年展、雪梨雙年展、柏林影展以及2014年第二屆中央美術學院美術館雙年展和2012年台北雙年展等。


Integrating symbols of cosmology, astrology, sacred geometry and alchemy, Chen Yin-Ju work interprets power structures in society and history, and discusses issues related to human behavior, national violence, utopian thinking and collective consciousness. The creative theme she is currently working on involves the exploration of the infinite possibility of human consciousness through spiritual and shamanistic practice. Chen has been featured in various exhibitions and film festivals in Taiwan and abroad, among which are the upcoming Gwangju Biennale, the 5th Ural Industrial Biennial of Contemporary Art (2019), the IFFR International Film Festival Rotterdam (2011; 2018), the Liverpool Biennial (2016), the Sydney Biennale, the Berlin International Film Festival, the 2nd CAFAM Biennale at the Central Academy of Fine Arts Museum (2014), the Taipei Biennial (2012), etc.

二十多年來,洪子健持續製作發人深省且偶爾會引起爭議的作品。其創作主題包括海德格、史賓諾莎、日本細菌戰、鴉片戰爭與種族主義,聚焦於哲學主題和人物、種族主義、階級以及亞洲的歷史衝突等議題的探討。曾參與國內外展覽與影展,包括2019年第五屆烏拉爾當代藝術工業雙年展、2018年新加坡當代藝術學院、2017年紐約古根漢美術館、德國世界文化中心展出;2016、2013年柏林影展,以及2012年阿姆斯特丹國際紀錄影展等。作品《潰爛癒合掩藏》獲得2018年韓國釜山影展最佳紀錄片獎。

For over two decades, James T. Hong has continuously produced thought-provoking and occasionally controversial works that explore the creative themes about Heidegger, Spinoza, Japan’s biological warfare, the First Opium War and racism, with an emphasis on philosophical subjects and figures, racist ideologies, class, and historical conflicts in Asia. His works have been featured in exhibitions and film festivals in Taiwan and abroad, among which are the 5th Ural Industrial Biennial of Contemporary Art (2019), the LASALLE College of the Arts in Singapore (2018), the Soloman R. Guggenheim Museum, New York (2017), the Haus der Kulturen der Welt, Berlin (2017), the Berlin International Film Festival (2013; 2016), the IFFR International Film Festival Rotterdam (2012), etc. His Opening Closing Forgetting was awarded “Best Documentary” in the 2018 Busan International Film Festival in Korea.

1976年生於湖南長沙,畢業於廣州美術學院油畫系學士以及綜合媒介專業碩士。其創作往往從他所遭遇的場所和人群中展開影像的敘事,對於個體與空間關係的探索一直是他創作的線索之一。近年來周滔從全球不同城市的地理文化情境中汲取靈感,善於從這些看似迥異的場景中尋覓共通和互動。對周滔而言,所謂的影像方法,無異於是身體的一部分,是皮膚與現實接觸的一層觸介,因此他不構思營造劇本,讓敘述脫離任何的理性框架和生產邏輯,其詩學般的影像敘述跨越了真實與虛構的界限,藉此從現實之重中突圍而出,淬煉「賽伯格記錄影像」的本質面貌。
獲獎包括:2018年馬德里文獻展「FUGAS Feature Film Section評審團獎」、2015年第 61屆奧伯豪森國際短片電影節評委會大獎首獎、2013年首屆漢涅夫金斯基金曼谷藝術及文化中心,當代亞洲藝術獎。

Zhou Tao was born in Changsha, Hunan Province in China in 1976, and holds a BA in Oil Painting and an MFA in Mixed Media Study from Guangzhou Academy of Fine Arts. His video narratives usually start from the places and people around him, and the relation between individuals and space has been his creative motif. In recent years, Zhou draws inspiration from the geo-cultural context of cities worldwide and specializes in uncovering commonalities and interactions between scenes that appear to be utterly different. For the artist, the so-called methodology of image is no other than the body—an interface between human skin and reality. Therefore, he does not preconceive scripts but allows the narrative to surpass rational framework and production logic. His poetic image narrative transcends the boundaries between reality and fiction, moving beyond the weight of reality and refining the essence of “the documentary image of cyborg.”

Zhou is the recipient of the Jury Award in the 2018 FUGAS Feature Film Section, the Jury Prize of the 61st International Short Film Festival Oberhausen, the 2013 1st Han Nefkens Foundation BACC Award for Contemporary Art in Asia, and the Asian Cultural Council fellowship.

由瑪籟(林琳)、黃錦城兩人所組成的「巴卡芙萊」,在卑南語中隱含著「使事物變得美好」的意涵。作品常以現成物、自然素材以及部落口傳神話意象的結合與對應,呈顯族群文化的傳承和創始的可能,藉以揭示臺灣原住民族群的現代處境。

瑪籟,生於臺灣花蓮,國立東華大學原住民學院民族文化系畢業,目前居住與工作於花蓮吉安。
黃錦城,生於臺灣宜蘭,輔仁大學應用美術系畢業。目前居住與工作於花蓮吉安。

Pakavulay is formed by Malay Makazuwan and Huang Jin-Cheng. In the Puyuma language, it means "to make things beautiful and wonderful." The artist collective often employs ready-made objects and natural materials to combine with or respond to imagery of their tribe's oral mythology. Their work emphasizes on the inheritance of their tribal culture and the possibility to create, and by doing so, highlights the modern circumstances of Taiwanese indigenous peoples.

Malay Makazuwan was born in Hualien, Taiwan. She graduated from the Department of Ethnic Relations and Cultures, College of Indigenous Studies, National Dong Hwa University. She now lives and works in Jian, Hualien.
Huang Jin-Cheng was born in Yilan, Taiwan. He graduated from the Department of Applied Arts, Fu Jen Catholic University. He now lives and works in Jian, Hualien.

峨冷.魯魯安,魯凱族,漢名安聖惠,1968年生於臺灣屏東,為臺東藝術家群落「意識部落」的成員之一,擅長運用漂流木、植物纖維等自然媒材進行創作,結合雕塑、裝置、地景藝術等形式,寓意強烈的自我追尋與土地之關係的思索,在充分體現取「材」自然也取「道」自然的藝術精神,作品呈現出蘊藏無限的張力與爆發力。

Eleng Luluan (1968-), the Rukai whose Chinese name is An Sheng-Hui, was born in Pingtung, Taiwan. She is a member of an artist community in Taitung, called Floated Tribe. She specializes in using driftwood and plant fiber to create sculpture, installation, and land art. Her work shows her self-pursuit and reflection of the land, fully embodying the artistic spirit of using natural materials and learning from nature to demonstrate limitless tension and power.

1957 年生於北京,先後就讀於北京電影學院和紐約帕森斯設計學院。他以其強烈的美學表述而聞名,並藉此表述與世界地緣政治的及時現象產生共鳴。從建築到裝置,社交媒體到紀錄片,艾未未使用各種各樣的媒體作為創作的表達方式, 傳遞他對社會的審視及其價值觀。其國際展出包括2019年德國杜塞爾多夫K20/K21美術館,2017年捷克國家美術館,2015 年倫敦皇家藝術學院,2014 年柏林馬丁.格羅皮烏斯美術館、2011年臺北市立美術館,2010 年倫敦泰特現代美術館以及 2009 年慕尼克美術館等。曾獲獎項:國際特赦組織 2015 年年度良心大使獎;2012 年紐約人權基金會頒發的哈維爾創意異議人士獎。艾未未的長篇紀錄片《人流》在第74屆威尼斯電影節首映。

Born in Beijing in 1957, Ai Weiwei studied at Beijing Film Academy and Parsons School of Design, New York. He is renowned for making strong aesthetic statements that resonate with timely phenomena across today’s geopolitical world. From architecture, installation, social media to documentary, he uses a wide range of media as expressions of new ways for his audiences to examine society and its values. His recent solo exhibitions have been presented in various major art museums, including the K20/K21 in Düsseldorf, Germany (2019) , the National Gallery Prague (2017), the Royal College of Art (2015), the Martin Gropius Bau in Berlin (2014), the Taipei Fine Arts Museum (2011), the Tate Modern in London (2010), and the Munich Haus der Kunst (2009). He is the recipient of the 2015 Ambassador of Conscience Award from Amnesty International and the 2012 Václav Havel Prize for Creative Dissent from the Human Rights Foundation. His first feature-length documentary, entitled Human Flow, premiered at the 74th Venice Film Festival.

1968年生於臺灣臺南,為書畫創作藝術家。畢業於國立藝術學院 (今臺北藝術大學) 美術系,東海大學藝術學研究所。其創作語彙取藉自然山川為元素,發紓內在的孤寂情感;並擅長藉由「黑暗」的營構,表達晦澀、神秘的未知與孤獨。一直以來他以「蕭瑟」作為表現母題,並涉及對環境生態的隱憂,期許自己的生命在反覆辯證的過程中得到淨化,獲致平靜豁達的自得之境。曾發表個人創作展12場,受邀參展於臺北市立美術館、國立臺灣美術館、中國美術館、宜蘭美術館和臺南美術館。曾獲東華扶輪美術獎(1998)、吳三連藝術獎(2011)。作品為國美館、北美館、南美館、澳洲白兔美術館典藏。


Born in Tainan, Taiwan in 1968, ink artist Wu Chi-Tao graduated from the Department of Fine Arts, National Institute of the Arts (now Taipei National University of the Arts), and later obtained a MFA from Tunghai University. His artistic language is inspired by nature with its mountains and rivers, through which Wu expresses the feelings of solitude. Known for his creative use of "dark shades," Wu's work conveys a sense of ambiguity, mystery, unknown and isolation. With "bleakness"as his consistent creative motif, which he incorporated with his concerns for the world's ecology and environment, he hopes to achieve a cathartic result through the dialectic process of his artistic life and reach a calm and carefree state. He has held twelve solo exhibitions and has been showcased by major art museums, including the Taipei Fine Arts Museum, National Taiwan Museum of Fine Arts, National Art Museum of China, Yilan Museum of Art and Tainan Art Museum. Wu is the recipient of the Tung-Hua Rotary Club Fine Art Award (1998) and Wu San-Lien Art Award (2011); and his works have been included in the collections of the Taipei Fine Arts Museum, National Taiwan Museum of Fine Arts, Tainan Art Museum and Australia's White Rabbit Gallery.

北藝反送中關注組是一群多以港生為主的臺北藝術大學學生,眼看家鄉紛擾動盪,雖身處彼岸,冀以行動支持遠方的戰友作為香港人的後盾。他們認為藝術在當代社會具有思想教化及帶動地方發展的力量,甚至可以憑藉藝術以改革社會。因此他們透過不同的藝術形式,如行為、裝置、視覺藝術等,在不同的地方、校園、街頭、網路世界等;以其擅長的方法將事件幽默化,藉由調侃、諷刺地手法轉化為易於接收的意念,從而提升臺灣甚至國際間對香港社會運動的關注。


TNUA Concern Group for HK Anti-Extradition Bill comprises mainly of Hong Kong students at Taipei National University of the Arts, who very much care about the turmoil in their hometown despite where they are and hope to support their comrades in Hong Kong with actions. They believe that art carries the power to transform human thinking and propel local development in contemporary society, and can even prompt social reform. Therefore, they have employed a wide range of art forms, such as performance, installation, visual art, etc., to communicate their ideas on campus, in streets and online. They specialize in depicting events in a humorous way, using sarcastic, ironic means to convert their thoughts into messages that are easier for people to digest and accept, and by doing so, bringing Taiwanese people’s and even the international audience’s attention to the social movement taking place in Hong Kong.

Artworks作品介紹

Sampan fishing boat.( Registration Number MG3-44187, from Kesennuma-shi, Miyagi-ken, Japan) 舢舨漁船(船籍編號MG3-44187,來自日本宮城縣氣仙沼市)
Lennon Ship 「自由號」連儂船
Catastrophe usual-Typhoon Toraji 《災難 日常——桃芝》
The Lighthouses—11.3 PROJECT 「311光屋計劃」
Cerro Indio Muerto 《印地安死寂之丘》
In One’s Breath—Nothing Stands Still 《在呼吸中:無物靜止》
The Post—quake 《震後群》
Dawn of Tainan 《台南之晨》
MORE

CLOSE

CLOSE

Notice 著作權&隱私權相關政策
關於當代藝術館需要注意的相關法規

著作權聲明

台北當代藝術館尊重他人著作權,台北當代藝術館服務條款亦明定,網友使用台北當代藝術館服務不得侵害他人之著作權,因此,台北當代藝術館呼籲使用者同樣尊重他人之著作權。如果您認為台北當代藝術館網站中之任何網頁內容或網友使用台北當代藝術館服務已侵害您的著作權,建議您利用本處理辦法提出檢舉,台北當代藝術館客服中心將儘速為您處理:

  • 權利人檢舉著作權侵權處理辦法

    若台北當代藝術館網站中之任何網頁內容或網友使用台北當代藝術館服務已侵害您的著作權,請您填寫:「 著作權侵權通知書」,且依該通知書所載提供下列資料及聲明,並以傳真的方式通知台北當代藝術館:
    1、著作權人之簽名、或著作權人之代理人之簽名、相關權利證明文件及著作權之內容,例如:已發行書籍之封面及相關頁面、發表於網路中之網頁內容列印紙本及其網址。
    2、侵害著作權之內容所在的網頁及網址。
    3、您的聯絡地址、電話等資料。
    4、書面聲明您確信該網頁內容的使用行為是未經過著作權人、其代理人或法律的授權。
    5、書面聲明您於通知書所載相關資料均為真實,且您是著作權人或著作權人之代理人而為上開聲明。

  • 台北當代藝術館處理原則

    若台北當代藝術館網站中之任何網頁內容或網友使用台北當代藝術館服務已侵害您的著作權,請您填寫:「 著作權侵權通知書」,且依該通知書所載提供下列資料及聲明,並以傳真的方式通知台北當代藝術館:
    1、著作權人之簽名、或著作權人之代理人之簽名、相關權利證明文件及著作權之內容,例如:已發行書籍之封面及相關頁面、發表於網路中之網頁內容列印紙本及其網址。
    2、侵害著作權之內容所在的網頁及網址。
    3、您的聯絡地址、電話等資料。
    4、書面聲明您確信該網頁內容的使用行為是未經過著作權人、其代理人或法律的授權。
    5、書面聲明您於通知書所載相關資料均為真實,且您是著作權人或著作權人之代理人而為上開聲明。

隱私權保護政策

台北當代藝術館非常重視用戶的隱私權,因此制訂了隱私權保護政策。請你細讀以下有關隱私權保護政策的內容。

隱私權保護政策的適用範圍

1、隱私權保護政策內容,包括台北當代藝術館如何處理在用戶使用網站服務時收集到的身份識別資料,也包括台北當代藝術館如何處理在商業伙伴與台北當代藝術館合作時分享的任何身份識別資料。
2、隱私權保護政策不適用於台北當代藝術館以外的公司,也不適用於非台北當代藝術館所僱用或管理的人員。
3、台北當代藝術館在你註冊台北當代藝術館帳號、使用台北當代藝術館的產品或服務、瀏覽台北當代藝術館網頁、參加宣傳活動或贈獎遊戲時,台北當代藝術館會收集你的個人識別資料。台北當代藝術館也可以從商業夥伴處取得個人資料。
4、當你在台北當代藝術館註冊時,我們會問及你的姓名、電子郵件地址、出生日期、性別、職位、行業及個人興趣等資料。你在台北當代藝術館註冊成功,並登入使用我們的服務後,我們就會認識你。
5、台北當代藝術館也自動接收並紀錄你瀏覽器上的伺服器數值,包括互聯網協定位址 (IP Address) 、台北當代藝術館cookie中的資料及你要求取用的網頁紀錄。
6、台北當代藝術館會使用資料作以下用途:改進為你提供的廣告及網頁內容、完成你對某項產品的要求及通知你特別活動或新產品。
7、台北當代藝術館不會向任何人出售或出借你的個人識別資料。
8、在以下的情況下,台北當代藝術館會向政府機關、其他人士或公司提供你的個人識別資料:與其他人士或公司共用資料前取得你的同意。
9、需要與其他人士或公司共用你的資料,才能夠提供你要求的產品或服務。
10、向代表台北當代藝術館提供服務或產品的公司提供資料,以便向你提供產品或服務 (若我們沒有事先通知你,這些公司均無權使用我們提供的個人資料,作提供產品或服務以外的其他用途)。
11、應遵守法令或政府機關的要求。
12、我們發覺你在網站上的行為違反 台北當代藝術館服務條款或產品、服務的特定使用指南。
13、其他依「個人資料保護法」或政府法令應公開之資料。
14、為了保護使用者個人隱私, 我們無法為您查詢其他使用者的帳號資料,請您見諒!若您有相關法律上問題需查閱他人資料時,請務必向警政單位提出告訴,我們將全力配合警政單位調查並提供所有相關資料,以協助調查及破案!
15、 台北當代藝術館會到你的電腦設定並取用台北當代藝術館cookie。
16、台北當代藝術館容許在我們網頁上擺放廣告的廠商到你的電腦設定並取用cookie。其他公司將根據其自訂的隱私權保護政策,而並非本政策使用其cookie。其他廣告商或公司不能提取台北當代藝術館的cookie。
17、當台北當代藝術館進行與其產品及服務有關的工作時,會使用 web beacons 進入我們的網站網絡,提取cookie使用。
18、台北當代藝術館賦予你在任何時候修改個人台北當代藝術館帳號資料及偏好設定的權力,包括接受台北當代藝術館通知你特別活動或新產品的決定權。