作品
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藝術史之終結
張英海重工業：張英海 + 馬克 · 沃治，2022，文本與配樂、原創與擷取的影像片段｜4分38秒
Young-Hae Chang Heavy Industries: Young-hae Chang + Marc Voge, The End of Art History, Original texts and music soundtracks, original and found documentary footage HD video｜4 min 38 sec
數位藝術團體「張英海重工業」主要以南韓首爾為創作據點，並透過網站來發表作品。本件作品《藝術史的終結》由三段影像組成，分別為：「藝術史的終結、這是錯誤的，不真實的、DIRECT ACTION」（直接行動）。其作品中多半以簡練的3D電腦動畫搭配滿版的粗體字，以及帶有強烈節奏感的音樂，透過融合不同的文本，探討數位科技、網路媒體及政治權力在全球化世界中的相互關係。
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原野
李來福，1969，油彩畫布｜130x161.8cm
Lee Lai-fu, Field, 1969, Oil on canvas｜130x161.8cm
《原野》為藝術家李來福就讀國立臺灣藝專（今臺藝大）美術科時期的畢業創作，這件油畫作品表現一片原野風景，連綿的山巒以紅綠相間的用色呈現高低重迭，中間層湧入一碧萬頃的湖水。原野的風光旖旎，飽滿的色澤中「嵌入」許多黑色線條構成的細節，它們重複、平行、蜿蜒、迴圈，描繪出蕨類、瓦狀和鱗片般的肌理，縝密的結構如同巨大的數據匯流成一個平臺，這些細微的「圖像資訊」堆疊出更大的「風景」，隱晦地鋪陳出另一片「原野」。
@有章藝術博物館典藏品詮釋資料
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原野
李來福，1969，油彩畫布｜130x161.8cm
Lee Lai-fu, 1969, Oil on canvas｜130x161.8cm
Field is Lee’s senior capstone artwork from when he was studying in the Fine Arts Division of the National Taiwan Academy of Arts (now NTUA). This oil painting shows a wilderness landscape with rolling mountains overlapping in red and green with a vast blue lake in the middle layer.
The gorgeous landscape is exquisite in its fullness of colours, while embedded with multiple details consisting of black lines. These lines are repeated, parallel to one another, winding or circling, depicting textures reminiscent of ferns, tiles, and scales.
The meticulous structure is like the confluence of immense data into a platform with tiny pieces of pictorial information stacking up into a larger landscape as they ambiguously lay out yet another "field".
Yo-Chang Art Museum Collection: Description Materials
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白山
艾瑪．查爾斯，2016，16mm膠片轉為HD影像｜20’56
Emma Charles, White Mountain, 2016, 16mm transferred to HD video｜20'56
《白山》是一部使用16毫米電影底片拍攝的錄像，內容記錄瑞典的「皮奧寧數據中心」（Pionen data centre），其地點位於斯德哥爾摩市地下岩層的一座核掩體中。建築前身為民防中心，在2008年由建築師阿爾伯特．法蘭西-蘭諾（Albert France-Lanord）重新設計並參考了眾多科幻電影場景，因此裡頭除了數據機房，還另外設有溫室、人造瀑布、模擬日光、大型海水魚缸等特殊造景，並以兩臺巨大的德國潛艇引擎作為備用發電機。而作品名稱沿用了冷戰時期數據中心的軍用代號「Pionen White Mountains」。艾瑪．查爾斯透過數據中心上方的岩石表面以及機房內部所收集到的震動與電磁音，探討數據空間與地質時間的相互作用，體現掩體所在的地層、岩石之流變。
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白山
艾瑪．查爾斯，2016，16mm膠片轉為HD影像｜20’56
Emma Charles, White Mountain, 2016, 16mm transferred to HD video｜20'56
White Mountains is a video shot on 16mm film of the Pionen data centre in Sweden, located in a nuclear bunker in the rocky underground of Stockholm.
Formerly a civil defence centre, the building was redesigned by architect Albert France-Lanord in 2008 with reference to many science fiction movie scenes. For this reason, in addition to data rooms, there are greenhouses, artificial waterfalls, simulated daylight, large seawater fish tanks and other special landscaping, as well as two enormous German submarine engines that are used as backup generators. The title of the work follows the Cold War code name "Pionen White Mountains" of the data centre. Through the vibrations and electromagnetic sounds collected on the rock surfaces above the data centre and inside the data rooms, Charles explores the interaction between data space and geologic time, embodying how the strata and rocks have changed in the bunker.
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徘徊的幽靈
陶亞倫，2020，3D數位影像、VR虛擬實境、動力裝置｜尺寸依空間而定
Yalun Tao, Wandering Ghost, 2020, 3D digital image, VR, Kinetic installation｜Dimensions variable
《徘徊的幽靈 No.4》摘引舊約聖經《創世記》中記載的「巴別塔」（Tower of Babel）寓意，並呈顯人類對這前所未及的「烏有之地」之尋覓。在本件VR作品中，陶亞倫搭建一座博物館，其外部看似由石頭堆砌的巴別塔，但裡頭卻矗立高聳的鋼架結構，觀眾能體驗從空間中緩慢上升、平移與穿越。而這猶如廢墟遺址的意象，隱喻著人類因語言紛亂引起的崩解與離散。
而《徘徊的幽靈No.9》則是以塔特林（Vladimin Tatlin）於1919年的建築計畫「第三國際紀念碑」為雛型，又稱「塔特林之塔」（Tatlin's Tower）。其計畫理念不僅體現了前衛主義提倡的「進步」宣言，同時亦顯露當時的社會感召與政治裡想。陶亞倫借「塔特林之塔」喻指當代的巴別塔，透過當今的VR數位技術，這項止於模型的建築計畫得以座落於虛擬世界的地平線上，恆久留存。觀眾能遊歷其中，將渺小的身驅逼近這宏偉碩大的碑體。 -
徘徊的幽靈
陶亞倫，2020，3D數位影像、VR虛擬實境、動力裝置｜尺寸依空間而定
Yalun Tao, Wandering Ghost, 2020, 3D digital image, VR, Kinetic installation｜Dimensions variable
Wandering Ghost No.4 draws on the allegory of the Tower of Babel as recorded in the Book of Genesis in the Old Testament, which represents mankind's search for this type of unreachable "nowhere land".In this VR work, Yalun Tao constructs a museum with an exterior that appears to be like the stone tower of Babel. However, inside stands a towering steel structure that allows viewers to slowly ascend, move across horizontally, and traverse the virtual space. The image of the dilapidated site is a metaphor for the disintegration and separation of human beings caused by the chaos of language.
Wandering Ghost No. 9 is based on Vladimir Tatlin's 1919 architectural project plan, the Monument to the Third International, also known as "Tatlin's Tower". The plan not only embodies the avant-garde movement's "progressive" manifesto, but also reveals the social appeal and political ideals of the time. Tao uses "Tatlin's Tower" as a metaphor for the contemporary Tower of Babel. With today's VR digital technology, this architectural project, which was only a blueprint, can stand on the horizon of the virtual world where it will last forever. Viewers are able to wander through the monument and approach the massive structure through their tiny avatar figures.
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高速落海
吳其育，2017，錄像裝置，Full HD，雙聲道｜15分鐘
Chi-Yu Wu, Nosedive, Video installation, Full HD, colour, stereo｜15’
Nosedive illustrates the 1996 Taiwan Strait missile crisis that can be said to have changed Taiwan's history. Wu draws upon Japanese scholar Masahiro Wakabayashi's view on the crisis in the book "The 'Republic of China' and the Politics of Taiwanization: The Changing Identity of Taiwan in Postwar East Asia", pondering what the island would have looked like to the missiles if they had flown over Taiwan's main island instead of falling into the sea. From there on, Wu explores the non-human perspective of the missiles and the island's mythology, political wrangling and colonial history. Through cameras installed on various types of vehicles, including boats, trains, cars and drones, these views from different speeds provide another way to observe and imagine crossing over the island. At the same time, they reflect the visual principle of refraction and deviation of light where effects differ based on the medium. The dual-channel video installation is set up with one small projection screen at the front and the other bigger one at the back, in which the narratives are intertwined so what the audiences see may be overlapped and misaligned images – depending on different standing points. Such arrangement adds a twist to the viewing experience.
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無鏡
李尉郎，2022，電視、玻璃、錄像｜尺寸依空間而定
Wei-Lang Lee, Mirrorless, 2022, Television, glass, video｜Dimensions variable
李尉郎從事產品設計、展示設計，並擔任文化性展覽的策展人，他的作品多應用於生活物件，帶有豐富的文化色彩，透過本次展出的作品《無鏡》呈現人類過度仰賴網路平台、社群媒體的當代現象。在數位資訊的洪流中，手機螢幕不但成為連結虛擬世界的窗口，同時亦如同一面時時自我檢視的鏡子。李尉郎以現代人從不離身的手機來借喻鏡面，進而反映出 「窺視」與「被窺視」的模糊關係。我們同時是自我揭露的分享者，亦成為暗中窺探的關注者，樂此不疲地將情感投入這層數位媒介中，自我成為了被他人凝視的對象，而他人亦成為了形塑自我的媒介。
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無鏡
李尉郎，2022，電視、玻璃、錄像｜尺寸依空間而定
Wei-Lang Lee, Mirrorless, 2022, Television, glass, video｜Dimensions variable
LEE is specialised in product and display design, and he's also a curator of cultural exhibitions. His works often involve household objects and hence are full of cultural references. Through his work Mirrorless, Lee presents the contemporary phenomenon of mankind's excessive reliance on online platforms and social media. With the flood of digital information, the smartphone screen is not only a window to the virtual world, but it is also a mirror for self-examination at any given moment. Lee used a modern-day essential which never leaves one's side, the smartphone, as a simulacrum for a mirror, reflecting the ambiguous relationship between watching and being watched in his work. For Lee, we are at the same time self-revealing sharers in the light and prying observers in the shadows. We are more than happy to share our feelings on these digital platforms, where the self becomes the object of others' gaze and where others become the lens through which the self is shaped.
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微生綠洲
卡佳．諾維茨科娃，2021，數位印刷、聚氨酯樹脂、投影｜尺寸依空間而定
Katja Novitskova, Microbial Oasis, 2021, Digital print, polyurethane resin, projection｜Dimensions variable
微生物可適應極端環境的特性被人類視作利用價值，其生命正如任何可開採的自然資源，成為人類社會經濟成長的來源。卡佳．諾維茨科娃透過「後網路」（Post-Internet）的藝術實踐，體現當代的科學技術對生物體的想像與支配。《微生綠洲》由單頻道錄像與八件懸吊的影像裝置組成，藝術家自網路上的開放平臺「蛋白質資料庫」（Protein Data Bank）採樣，從中抓取12000 多張蛋白質、酶和病毒的結構圖形。並將這些科學模型圖檔送入人工智慧的圖像生成器中進行訓練，合成出近真實微生物結構，但又形似外星人臉譜的科幻圖像。觀眾在圓形的投影幕前，彷彿窺見顯微鏡之下的清晰成像，變形的蛋白質結構與對應胺基酸代碼的字母如細菌般，在培養皿中不斷地流動與變異。
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微生綠洲
卡佳．諾維茨科娃，2021，數位印刷、聚氨酯樹脂、投影｜尺寸依空間而定
Katja Novitskova, Microbial Oasis, 2021, Digital print, polyurethane resin, projection｜Dimensions variable
The ability of microorganisms to adapt to extreme environments has been valued by humans just like extractable natural resources, which are viewed as a source of socio-economic growth. Through her post-internet artistic practice, Novitskova embodies the domination of contemporary science and technology over living organisms. The work consists of a single-channel video and eight suspended video installations from which the artist sampled more than 12,000 structural images of proteins, enzymes and viruses from the open platform Protein Data Bank on the internet. These scientific model images were fed into an AI image generator for training, resulting in images of synthesised structures resembling real microbial structures while also shaped like sci-fi alien faces. The image on the circular projection screen appears to the audience like the clear image under a microscope, where the deformed protein structures and the corresponding amino acid code letters are constantly flowing and mutating like bacteria in a petri dish.
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錯了
張英海重工業：張英海 + 馬克 · 沃治，2022，文本與配樂、原創與擷取的影像片段｜9分36秒
Young-Hae Chang Heavy Industries: Young-hae Chang + Marc Voge, This Is Wrong, Original texts and music soundtracks, original and found documentary footage HD video｜9 min 36 sec
Based in Seoul, South Korea, the digital artist group Young-Hae Chang Heavy Industries publishes their works through their website. Consisting of three videos - The End of Art History, This Is Wrong, Untrue and Direct Action - The End of Art History series features simple 3D computer-generated animation, bold fonts covering the whole screen and music with strong beats. By integrating different contexts, this series explores the interrelations between digital technologies, online media and political power in the globalised society.
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微生綠洲
卡佳．諾維茨科娃，2021，數位印刷、聚氨酯樹脂、投影｜尺寸依空間而定
Katja Novitskova, Microbial Oasis, 2021, Digital print, polyurethane resin, projection｜Dimensions variable -
CHECK IT！CHECK IT！2022
林子傑，2022，現成物件、輸出品、喇叭單體、聲音、錄像｜尺寸依空間而定
Tzu-Chieh LIN, CHECK IT！CHECK IT！2022, 2022,Found object, printing, loudspeaker drivers, sound, video.｜Dimensions variable -
CHECK IT！CHECK IT！2022
林子傑，2022，現成物件、輸出品、喇叭單體、聲音、錄像｜尺寸依空間而定
Tzu-Chieh LIN, CHECK IT！CHECK IT！2022, 2022,Found object, printing, loudspeaker drivers, sound, video.｜Dimensions variable -
倘佯於海
【倘佯於海】Wander into Our Sea
AR擴增實境APP An Augmented Reality(AR)APP
李俊逸 Chun-I LEE、潘妍希 Yen-Hsi PAN、陳柏安 Brian CHEN -
高速落海
吳其育，2017，錄像裝置，Full HD，雙聲道｜15分鐘
Chi-Yu Wu, Nosedive, Video installation, Full HD, colour, stereo｜15’
《高速落海》描述1996年堪稱足以改變臺灣歷史的幾枚關鍵飛彈。吳其育援引日本學者若林正丈的《戰後臺灣政治史：中華民國臺灣化的歷程》一書，其中評議「臺灣海峽飛彈危機」的觀點，並設想：倘落當時導彈飛越臺灣本島上空，而非落入海中，將以何種視角一窺島嶼的樣貌？以此延伸，探討「導彈」的非人視野及其影像背後的島嶼神話、政治角力與殖民歷史。本件作品透過將攝影機裝置於各類型的載具上：船隻、列車、車輛與空拍機等，這些來自不同速率的視角，給予另一種穿越島嶼的觀察方法與想像，同時呼應光因介質而產生折射、偏差的視覺原理。現場的影像裝置採用一前一後的投影屏幕，前小後大的雙頻道設置，裡頭的敘事交錯併呈，觀眾的視線亦因各種站位而產生疊合與錯位，增添影像閱讀的視覺旨趣。
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沃羅諾伊的猜想2
李家祥，2019，珍珠波羅紙、投影機、電腦主機｜180cmx180cm
Chi-Yu Wu, Voronoi Conjecture 2, Nosedive, Video installation, Full HD, colour, stereo｜Textured pearl paper, projector, computer system unit
同時兼具工程師與藝術家身分的李家祥，運用程式設計的專業背景並結合對摺紙藝術的興趣，以純粹的幾何造型為媒介，創造數學與藝術的謀合。「沃羅諾伊圖」（Voronoi diagram）是一種空間分割的演算法，劃分後的區塊相互維持等距平衡的關係。作品《沃羅諾伊的猜想2》便是以此作為創作手法，分割出137個不同角度的多邊形，再藉由手工摺曡而成緊密的紙盒結構，同時利用光雕投影（mapping）技術將幾何色塊投映在暗室中，產生如彩繪鑲嵌玻璃般的透光效果。造形藝術與數理邏輯的結合，既是一種猜測，同時亦是實驗及辯證，體現了萬物形態的基本秩序，顯露出人類對自然世界中滿懷的各種猜想。
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沃羅諾伊的猜想2
李家祥，2019，珍珠波羅紙、投影機、電腦主機｜180cmx180cm
Chi-Yu Wu, Voronoi Conjecture 2, Nosedive, Video installation, Full HD, colour, stereo｜Textured pearl paper, projector, computer system unit
As an engineer and an artist, Lee utilises his professional background in programming and his interest in origami art to create a synergy of mathematics and art through pure geometric shapes. The Voronoi diagram is a spatial partitioning algorithm that maintains an equidistant equilibrium relationship between blocks after partitioning. The work Voronoi Conjecture 2 was created by generating 137 polygonal shapes at different angles and folding them by hand to form carton structures. Projection mapping techniques were also applied to project geometric blocks in a dark room, creating a translucent effect similar to stained glass. The combination of form-making art and mathematical logic is not only a kind of guesswork, but it is also an empirical study, embodying the basic order of all forms and revealing the various assumptions that humans have of the natural world.
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沃羅諾伊的猜想2
李家祥，2019，珍珠波羅紙、投影機、電腦主機｜180cmx180cm
Chi-Yu Wu, Voronoi Conjecture 2, Nosedive, Video installation, Full HD, colour, stereo｜Textured pearl paper, projector, computer system unit -
夢的支撐，物的表面
Supports of Dreams, Surfaces of Things
Volume DAO 策劃 Curated by：Volume DAO
藝術家 Artists：
王新仁｜ileiv oivm (Aluan Wang)
林逸文｜Yi-Wen Lin
林友達（古睖．久古）｜Yu-Ta Lin
林經堯｜Jinyao Lin
莊馨怡｜Hsin-I Chuang
許雁婷｜Yenting Hsu
Volume DAO是臺灣第一個立基在泰卓（Tezos）區塊鏈，由NFT藏家組成的去中心化自治組織 (decentralized autonomous organization，簡稱DAO)。除了致力於蒐藏、投資加密藝術（Crypto Art）作品，同時亦策劃展演、關注公益與社會議題。本項計畫《夢的支撐，物的表面》以1970年代的藝術運動「表面支架」（Supports / surfaces）為命名的支點，探討表面與其支撐物間的空間關係，以此延伸出另類的觀點：NFT不只作為一張扁平圖像，顯示作品的螢幕亦非僅是發光的載體，而是轉譯視覺與空間的容器。本計畫藉由六位數位新媒體、裝置及聲音創作者：王新仁、林逸文、林友達（古睖．久古）、林經堯、莊馨怡、許雁婷，重新開啟我們對物質、螢幕、空間等關係的混合感知。
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實際行動
張英海重工業：張英海 + 馬克 · 沃治，2022，文本與配樂、原創與擷取的影像片段｜16分21秒
Young-Hae Chang Heavy Industries: Young-hae Chang + Marc Voge, Direct Action, Original texts and music soundtracks, original and found documentary footage HD video｜16 min 21 sec -
夢的支撐，物的表面
Supports of Dreams, Surfaces of Things
Volume DAO 策劃 Curated by：Volume DAO
藝術家 Artists：
王新仁｜ileiv oivm (Aluan Wang)
林逸文｜Yi-Wen Lin
林友達（古睖．久古）｜Yu-Ta Lin
林經堯｜Jinyao Lin
莊馨怡｜Hsin-I Chuang
許雁婷｜Yenting Hsu
Volume DAO is Taiwan's first decentralized autonomous organisation (DAO) based on the Tezos blockchain and formed by NFT collectors.
In addition to collecting and investing in crypto artworks, the project also curates exhibitions and focuses on charity and social issues. The project Supports of Dreams, Surfaces of Things is named after the 1970s art movement "Supports/Surfaces" and explores the spatial relationship between surfaces and their supports, thus extending an alternative viewpoint: An NFT is not only a flat image, nor is the screen displaying the work simply a carrier of light as the latter is more like a container for translating vision and space. Through the six artists working on new digital media, installation or sound – ileiv oivm (Aluan Wang), Yi-Wen Lin, Yu-Ta Lin, Jinyao Lin, Hsin-I Chuang and Yenting Hsu – the project reignites our multi-sensory perceptions on the relationships between matter, screens and space.
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夢的支撐，物的表面
Supports of Dreams, Surfaces of Things
Volume DAO 策劃 Curated by：Volume DAO
藝術家 Artists：
王新仁｜ileiv oivm (Aluan Wang)
林逸文｜Yi-Wen Lin
林友達（古睖．久古）｜Yu-Ta Lin
林經堯｜Jinyao Lin
莊馨怡｜Hsin-I Chuang
許雁婷｜Yenting Hsu -
夢的支撐，物的表面
Supports of Dreams, Surfaces of Things
Volume DAO 策劃 Curated by：Volume DAO
藝術家 Artists：
王新仁｜ileiv oivm (Aluan Wang)
林逸文｜Yi-Wen Lin
林友達（古睖．久古）｜Yu-Ta Lin
林經堯｜Jinyao Lin
莊馨怡｜Hsin-I Chuang
許雁婷｜Yenting Hsu -
幻聲態
謝瀞瑩，2022，沉浸多聲道、3D影像、AI肢體感測分析技術｜沈浸表演模式15分鐘，觀眾參與式空間15分鐘
Olifa Hsieh, (Aural)Embodiment, 2022, Immersive Audio, 3D Video, AI Motion Capture｜Immersive performance mode: 15 min. Audience-engaging space: 15 min.
作品《幻聲態》為謝瀞瑩在111年文化部「Arts@ITRI藝術家進駐工研院」計畫中，進駐期間執行的科技藝術實驗成果。結合沉浸聲場、VR虛擬實境、互動裝置，以及AI肢體感測分析等技術，並以「拉邦運動分析」（Laban movement analysis）作為理論基礎。在無形的數據空間中，實體參與者與虛擬表演者的身體動作化為數位媒介，重構出肢體、關節之間各種力的作動及能量轉換。探索空間、身體與聲音三者間異質的關聯性，藉此向人類如何在虛擬空間中對肉身進行感知提出詰問。
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幻聲態
謝瀞瑩，2022，沉浸多聲道、3D影像、AI肢體感測分析技術｜沈浸表演模式15分鐘，觀眾參與式空間15分鐘
Olifa Hsieh, (Aural)Embodiment, 2022, Immersive Audio, 3D Video, AI Motion Capture｜Immersive performance mode: 15 min. Audience-engaging space: 15 min.
The work (Aural) Embodiment is the result of a technological art experiment conducted by Olifa Hsieh during her residency in the Arts@ITRI programme under Taiwan’s Ministry of Culture in 2022.
Combining immersive audio, VR, interactive devices and AI motion capture, Hsieh uses Laban movement analysis as her theoretical foundation. In the virtual data space, the movements of physical participants and virtual performers are transformed into a digital medium, reconstructing the various force movements and energy transformations between the limbs and joints. By exploring the three-part relationships between space, body and sound, Hsieh challenges how humans perceive the physical body in virtual spaces.
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上船．上傳
黃嘉俊，2022，影像、嬰兒床、單人木床、病床、泳圈、船槳、螺旋槳、無線傳輸天線｜尺寸依空間而定
Chia-Chun HUANG, On Board, 2022, Video, crib, wooden single bed, hospital bed, swimming ring, oar, propeller, wireless transmission antenna｜Dimensions variable
黃嘉俊為臺灣導演，同時身兼編劇與作家之職。「船」有「乘」著希望航向未知之意喻，而「床」則在人們熟睡時織造了夢境，兩者唯一的不同僅在於：在夢裡，我們無需防備駭浪沖擊與自然的險惡，而是能相對安穩地悠游在無邊無際的湛藍深海中。不論是夢、是醒，對這片未知的境域而言，「人」終究是滄海一粟。《上船．上傳 》以三張床、三顆心臟以及三段夢境為視覺導引。其中，三張床代指生、老、病；而三顆心臟則象徵了夢想及能力，這些賦有海洋意象的工具與物件，伴隨著大航海時代的背景音，一併呈展在海洋影像的投影之下。將自己的奇思異想上傳至他人織造的故事裡，飄遊在宛如夢境一般的雲端海域之中。
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上船．上傳
黃嘉俊，2022，影像、嬰兒床、單人木床、病床、泳圈、船槳、螺旋槳、無線傳輸天線｜尺寸依空間而定
Chia-Chun HUANG, On Board, 2022, Video, crib, wooden single bed, hospital bed, swimming ring, oar, propeller, wireless transmission antenna｜Dimensions variable
Chia-Chun HUANG is a Taiwanese director, screenwriter and writer.
A boat is a metaphor for sailing into the unknown future with hope, while a bed is where dreams are created while we are asleep. The only difference between the two objects is that in our dreams, we do not need to brace for storms and the dangers of nature. Instead, we are allowed to swim peacefully in the endless deep blue sea. However, whether we are dreaming or are awake, an individual is still simply a drop in the ocean to this unknown realm. Therefore, On Board uses three beds, three hearts and three dreams as the visual clue. The three beds represent birth, old age and sickness, while the three hearts symbolise our dreams and abilities. These tools and objects that carry marine imagery are presented under the projection of marine images along with the background sounds reminiscent of the Age of Discovery. The work invites viewers to upload their fantastic ideas into other's stories and drift in the dream-like sea on the cloud.
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上船．上傳
黃嘉俊，2022，影像、嬰兒床、單人木床、病床、泳圈、船槳、螺旋槳、無線傳輸天線｜尺寸依空間而定
Chia-Chun HUANG, On Board, 2022, Video, crib, wooden single bed, hospital bed, swimming ring, oar, propeller, wireless transmission antenna｜Dimensions variable -
率
陳乂，2022，多媒體裝置｜尺寸依空間而定
Yi Chen, Rating |||||| ||, 2022, Multimedia device｜Dimensions variable
NFT系列作品《率》透過「區塊鏈」（block chain）技術將加密貨幣市場的交易脈動予以視覺與聽覺的多重感知。《率》以一百柱光體作為視覺基調，並對應了前百大交易總量的加密貨幣，共計100枚NFT。光柱外散著絢麗的色彩與閃爍的光線，皆來自加密貨幣市場上每筆交易項目金額、幣值升貶等脈動所實時生成的數據。這些神秘光柱仿若懸浮在暗濤洶湧的數位海浪之上，相應連動藝術市場中「慾望」交換與「價值」流動的複雜網絡，在人與人的社會關係之間載浮載沉、來回波盪。
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率
陳乂，2022，多媒體裝置｜尺寸依空間而定
Yi Chen, Rating |||||| ||, 2022, Multimedia device｜Dimensions variable
The NFT series Rating |||||| ||creates a visual and auditory sensation of the pulse of cryptocurrency market through block chain technology. Rating |||||| || uses one hundred light pillars as its visual base, which corresponds to a total of 100 NFTs in the list of the top 100 most traded crypto currencies in terms of total volume. The brilliant colours and flickering light scattering from the light pillars come from the data generated in real time by each transaction in the cryptocurrency market and fluctuations in currency values. These mystical light pillars look as though they float above the dark waves of the digital sea, echoing the complex network of "desire" and "value" that flow through the art market where social relationships of people fluctuating back and forth.
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世界即時統計數據
亞歷山德拉．多馬諾維奇，2021，椴木、樹莓派電腦、LED風扇｜世界即時統計數據20，94.5×52cm｜世界即時統計數據21，74×52 cm｜世界即時統計數據22，43.5×52 cm
Aleksandra Domanović, Worldometer, 2021, Lime wood, Raspberry Pi computer and LED fan｜Worldometer20, 94.5×52 cm｜Worldometer21, 74×52 cm ｜Worldometer22, 43.5×52 cm
《世界即時統計數據》作品名稱取自一個網站「Worldometers」，此網站提供世界各種數據的實時統計資訊，尤其在新型冠狀病毒流行期間，彙整了各個國家的每日確診、死亡及康復人數。面對這個時代變革的關鍵時刻，亞歷山德拉．多馬諾維奇掌握了時時跳動的數據流，以較為詩性的視覺語言映射出當今懸而未決的疫情。在表面刻有軸狀紋路的木柱上裝設LED全息投影風扇，透過高速旋轉之力產生視覺暫留現象，扇葉上不僅形成光彩炫目的動態影像，同時顯示所在地區每日更新的疫情數據。數字與影像的交疊，呈現傳染病在全人類之間傳播、突變、爆發和消退等種種難以預測的景況。
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率
陳乂，2022，多媒體裝置｜尺寸依空間而定
Yi Chen, Rating |||||| ||, 2022, Multimedia device｜Dimensions variable -
風聽 -2021-P
王仲，2021，不鏽鋼、薄纖紙、玻璃、木、鼓風機｜高95cm x直徑180cm、高110cm x直徑200cm、高115cm x直徑200cm
Chung-Kun Wang, Sound of the Wind -2021-P, 2021, Stainless steel, thin fibre paper, glass, wood, blower｜Height 95cm x diameter 180cm, height 110cm x diameter 200cm, Height 115cm x diameter 200cm
王仲本次展出的兩件動力雕塑，並非透過電流使機械作動，而是回歸動力的原始狀態，以自然的微風賦予裝置自主運動、隨機發聲的節奏變化。《風聽 -2021-P》系列作品由一座鏡面底盤以及三面紙造扇葉所組成，鐘擺與核心結構維持了雕塑整體的平衡。當觀眾行經時所掀起的氣場流動將觸發扇面旋轉，中央環繞的壓克力管同時奏出鳥鳴音響，人與無形的氣流在此起彼落的笛音中相互共振。
而《與風對話 -2021-P》則藉由懸吊如風帆的纖薄白紙捕捉不可預期的微風，在紙張的擾動之下，吊線牽引著木蓋開合，使兩支管風琴木笛產生即時連動的音頻，聲音的堆疊如風一般，偶發的聲響旋律喚起身體、空間與聲響之間的對話關係。 -
風聽 -2021-P
王仲，2021，不鏽鋼、薄纖紙、玻璃、木、鼓風機｜高95cm x直徑180cm、高110cm x直徑200cm、高115cm x直徑200cm
Chung-Kun Wang, Sound of the Wind -2021-P, 2021, Stainless steel, thin fibre paper, glass, wood, blower｜Height 95cm x diameter 180cm, height 110cm x diameter 200cm, Height 115cm x diameter 200cm
Chung-Kun Wang's two kinetic sculptures in this exhibition do not move mechanically through electricity. Rather, they symbolise a return to the primitive form of kinetics with a natural breeze giving the installation autonomous movement and rhythm composed of random sounds. Sound of the Wind-2021-P series consists of a mirror base and three paper fan blades, with the pendulum and core structure maintaining the overall balance of the sculpture. As the audience walks through the passageway, the flow of air will trigger the rotation of the fan, and the acrylic tubes around the centre will play sounds of birdsong as if people and the invisible air flow resonate with each other through the sound of a flute. Dialogue with the Wind-2021-P captures the unpredictable breeze by hanging thin white paper like wind sails to allow observation of the air flow. With the movement of the paper, the hanging wire leads the wooden cover to open and close. The two pipe organ recorders therefore produce instantaneous sound overlapping like the wind, and the occasional acoustic melody evoking a dialogue between body, space and sound.
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與風對話 -2021-P
王仲，2021，木、銅、繩索﹑滑輪、薄纖紙、電子設備｜H96cm x W60cm x L25cm
Chung-Kun Wang, Dialodue with Wind -2021-P, 2021, Wood, copper, rope, pulley, tissue paper, electronic equipment｜H96cm x W60cm x L25cm -
與風對話 -2021-P
王仲，2021，木、銅、繩索﹑滑輪、薄纖紙、電子設備｜H96cm x W60cm x L25cm
Chung-Kun Wang, Dialodue with Wind -2021-P, 2021, Wood, copper, rope, pulley, tissue paper, electronic equipment｜H96cm x W60cm x L25cm -
角色扮演檔案
迪娜．卡拉曼、弗拉基米爾．納登
2022-，文字印刷於紙張、三頻道錄像、有聲｜28分鐘
Dina Karaman, Vladimir Nadein
Role Play Archive, Text on paper(A3), Three-channel video, sound｜H96cm x W60cm x L25cm
迪娜・卡拉曼與弗拉基米爾．納登組成電影製片雙人組「Paracollec-tive」，共同展開《角色扮演檔案》計畫，研究一款經典的線上電子遊戲「俠盜獵車手」（GTA）的非官方修改版「罪惡俄羅斯」（GTA: Criminal Russia）。電子遊戲中的虛擬世界成為電影製作的實驗場域，藝術家在YouTube搜尋及擷取大量的遊戲影片，將現成影像透過剪輯手法轉譯為獨特的電影語言。畫面中以俄羅斯為場景的敘事主軸，玩家在角色扮演中完成一系列暴力施行任務，並獲得遊玩快感。諷刺當今俄羅斯社會中暴力合法化及空間軍事化的相似景觀，模糊政治現實與遊戲體驗之間的界限。作品《祭壇》則揭露了二戰中帝國主義與獨裁政體的野心，數十年來俄羅斯政府在東正教教會的認可之下，將這場全球性的軍事衝突歌頌為一場偉大的衛國戰爭。
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角色扮演檔案
迪娜．卡拉曼、弗拉基米爾．納登
2022-，文字印刷於紙張、三頻道錄像、有聲｜28分鐘
Dina Karaman, Vladimir Nadein
Role Play Archive, Text on paper(A3), Three-channel video, sound｜H96cm x W60cm x L25cm -
祭壇
迪娜．卡拉曼、弗拉基米爾．納登
2022-，循環播放錄像、有聲、遊戲攝影｜尺寸依空間而定
Dina Karaman, Vladimir Nadein
Altar,Endless loop video, sound. In-game photography｜Dimensions variable
The film production duo Paracollec-tive is formed by Russian artists Vladimir Nadein and Dina Karaman. In their Role Play Archive project, they researched GTA: Criminal Russia, the unofficial modification of the popular online game Grand Theft Auto (GTA). The virtual world of the video game became the realm of experimentation for the duo's film production. The artists searched and collected a substantial amount of gaming videos on YouTube and translated the ready-made images into a unique film language through editing. The main story of the game is based in Russia, in which players will complete a series of violent missions through role-playing to enjoy the thrill of the game. It satirizes the similar landscape of legalised violence and militarisation of spaces in today's Russian society, blurring the line between political reality and a gaming experience. Alter reveals the ongoing ambition of the empire's dictators ever since the World War II. With the recognition of Eastern Orthodox Church, Russian government has, for decades, painted the global conflict as a great war defending their country.
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狗知道自己正在上鏡頭嗎
陳彥成、陳琮皓，2022，錄像與複合媒材裝置｜尺寸依空間而定
Yen-Chen CHEN, Tsung-Hao CHEN, Does the Dog Know that It's On the Camera? 2022, Videos and mixed media installations｜Dimensions variable -
狗知道自己正在上鏡頭嗎
陳彥成、陳琮皓，2022，錄像與複合媒材裝置｜尺寸依空間而定
Yen-Chen CHEN, Tsung-Hao CHEN, Does the Dog Know that It's On the Camera? 2022, Videos and mixed media installations｜Dimensions variable
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世界即時統計數據
亞歷山德拉．多馬諾維奇，2021，椴木、樹莓派電腦、LED風扇｜世界即時統計數據20，94.5×52cm｜世界即時統計數據21，74×52 cm｜世界即時統計數據22，43.5×52 cm
Aleksandra Domanović, Worldometer, 2021, Lime wood, Raspberry Pi computer and LED fan｜Worldometer20, 94.5×52 cm｜Worldometer21, 74×52 cm ｜Worldometer22, 43.5×52 cm
The title of the work is taken from the website "Worldometers", which provides real-time statistics on the world, including the number of confirmed COVID-19 cases, deaths and recoveries in each country during the pandemic on a daily basis. In facing critical moments of change in this era, Aleksandra Domanović holds a grasp on the current state of affairs through data streaming to make sense of today's unresolved pandemic in a more poetic visual language.
LED holographic projection fans were installed on wooden columns with axial lines on the surface. The force of high speed rotation creates persistence of vision that not only produces a dazzling moving image on the fan, but also displays the daily updated pandemic data of the region. The overlap of numbers and images presents the unpredictable picture of the spread, mutation, outbreak and remission of the infectious disease throughout the human population. -
世界即時統計數據
亞歷山德拉．多馬諾維奇，2021，椴木、樹莓派電腦、LED風扇｜世界即時統計數據20，94.5×52cm｜世界即時統計數據21，74×52 cm｜世界即時統計數據22，43.5×52 cm
Aleksandra Domanović, Worldometer, 2021, Lime wood, Raspberry Pi computer and LED fan｜Worldometer20, 94.5×52 cm｜Worldometer21, 74×52 cm ｜Worldometer22, 43.5×52 cm -
一把與N把椅子
菲托．薩格雷拉，2017，LCD螢幕、電腦、網際網路連線、數位相機、椅子、人工智慧與定製軟體｜尺寸依場地而定
Fito Segrera, 1 & N chairs, 2017, LCD screens, computer, internet connection, camera, chair, artificial intelligence and custom software｜Dimensions variable
《一把與N把椅子》以觀念藝術家約瑟夫．科蘇斯（Joseph Kosuth）1965年的經典作品《一把與三把椅子》（One and Three Chairs）所探討的命題為創作起點：關於實存、再現與概念間相互指涉的辯證關係。但與其不同的是，本件作品透過一套人工智慧的圖像辨識軟體，對圖像進行重新拆解與詮釋，並以「數學」計算替代了「哲學」思辨的過程。作品由四個物件所組成：一把木椅、兩臺顯示器及一臺相機。相機記錄木椅並擷取照片的局部，接著將此圖像上傳至圖像辨識軟體，再透過演算法轉譯為文字描述，最後顯示於右側螢幕上；同時，圖片的文字描述亦能即時作為網路搜尋的關鍵字，其搜索的圖像則顯示於左側螢幕上，不斷重複上述的過程。而作品名稱中的「N」代表自然數中的任何數字，意指編程系統對圖像、詞彙的無止盡搜尋與再譯。
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一把與N把椅子
菲托．薩格雷拉，2017，LCD螢幕、電腦、網際網路連線、數位相機、椅子、人工智慧與定製軟體｜尺寸依場地而定
Fito Segrera, 1 & N chairs, 2017, LCD screens, computer, internet connection, camera, chair, artificial intelligence and custom software｜Dimensions variable
1 & N Chairs is based on conceptual artist Joseph Kosuth's 1965 classic One and Three Chairs and explores a dialectical relationship between reality, reproduction and concept. However, this work differs from that of Kosuth's in that the images are reinterpreted through an AI image recognition software, replacing the process of philosophical discourse with mathematical calculation. The piece consists of four objects: a wooden chair, two monitors and a camera.
The camera records the wooden chair, and then the artist captures a part of the photo and uploads the image to the image recognition software in which the image is translated into textual descriptions by algorithms and get displayed on the screen to the right. At the same time, the textual descriptions of the images are to use as keywords for internet searches in real time, and the searched images are displayed on the left screen. These processes go on and on in the exhibition venue.
The "N" in the title of the work represents any number in the natural number, referring to the endless search and retranslation of images and words by the programming system.
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一把與N把椅子
菲托．薩格雷拉，2017，LCD螢幕、電腦、網際網路連線、數位相機、椅子、人工智慧與定製軟體｜尺寸依場地而定
Fito Segrera, 1 & N chairs, 2017, LCD screens, computer, internet connection, camera, chair, artificial intelligence and custom software｜Dimensions variable