真實世界 AUTHENTIC WORLD

展覽時間:2020/10/30. Fri - 2020/12/31. Thu

開放時間:11:00~17:00(每週一休息)

開幕:2020/10/30. Fri 14:00

地點:藝大藝術聚落/九單藝術實踐空間

  

  真實世界(AUTHENTIC WORLD)

 

「世界為一片無垠的平面[1]。」

 

詩人畫家威廉·布萊克(William Blake, 1757-1827)筆下一位從天堂返來的旅人米爾頓(Milton)[2]在他不朽的旅程中途經地球,發現日升、殘月與星辰蒼穹環繞其左右,大地的本質便是無邊無際的平面。沿著時序進展,以及科技作為世界觀視之重要媒介,地圓說已然成為科學真理,支配著我們對世界的認知,儘管如此,世界在人文與藝術領域中,仍秉續著歷史巡禮各種殊有的形象展現其身,無論是創世紀描繪其空虛混沌[3]、接著在話語中顯影、希臘諸神的鬥爭場、柏拉圖的理型國度(Republic)、蓋婭假說(Gaia Hypothesis[4])下的有機體,抑或是爆炸後的碎片彼此碰撞後繞行於寰宇,不同的世界圖像鋪陳平行的世界觀,世界是多義的,同時以宇宙、地球、大地等多位一體的型態存在,世界既是情境也是方位;是物理也或許是南柯一夢指涉時間也呈展空間,那麼,在這些看似對立的命題(proposition)中,何為真實?

 

第三屆大臺北當代藝術雙年展,立基於「真實世界」(Authentic World),向世界各領域專家、藝術家、詩人、產業機制、機構、研究單位發出邀請,各司其職的他們從民俗、歷史、宗教、自然、科學、科技、文學、藝術、視覺文化等領域給予不同的視域(horizon),共同聚焦於本原式的真實世界對話,這些面向世界的視域在觸及真實之際偶然地融合、相依、互斥或並存,然而,某種本質性的真實可能被遮隱著,大臺北當代藝術雙年展將揭開屏蔽之幕,照亮那些視域未及之處,顯露出世界的「本原」(arche)。每一件展出作品與合作成果閃耀著每個場域的勞動狀態、合規訓的過程性與實踐思緒等種種日常,這些日常便作為藝術對話與創造的材料,其中,或許去規訓、創造性將逐漸提呈,亦或許各場域所呈現的創作,將有著某種神話般的和整體思維的藝術性。而各領域的力行隨著時間流逝在現實中留下殘影,逐漸凝結於藝術場域中,層層凝固的殘影隱然若現,暗示著藝術世界的真實。如同科學世界中諸多的公式與定論,看似獨立運算,卻彼此交織構成人類賴以為存的物理世界。然而,我們仍要探問的是,如何意識真實?

 

時空旅人米爾頓繼續著他奇妙的旅程,在布萊克的敘述中,米爾頓隨著漩渦(vortex)翱翔天堂、穿越大地,一位世界引遊人壓縮移動的進程,展示世界全景,吟唱世界的福音,旋律連結彼端與此端的世界。因此,藉由策展以及整體鋪陳,我們可以在此聆聽響徹山谷的音符,來自布農族詩人沙力浪·達岌斯菲芝萊藍《用頭帶背起一座座山》[1]:深山「領路人」(sanadan)哼唱著部落曲調,頂著頭背帶(tinaqis),背架(patakan)中裝載著族人的歷史,踏足祖居地,即便路途遇見崩塌的古道,仍可憑藉對山林的智慧而直行崩壁,循著領路人的步履,隨著音律,迴盪於山林世界。

 

「世界引遊人」有著來自人類學與文學的學養領域,其生活足跡橫跨法國到歐洲,縱躍美國加州到最北的阿拉斯加,作為「世界引遊人」他們透過不同媒介的書寫和再現帶領我們一起進行一段旅程,起點可能是詩人愛倫·坡(Edgar Allan Poe, 1809-1849)的《烏》(The Raven[2]),可能是愛斯基摩人的近北極圈人類學田調,探索的內容既真實亦令人驚嘆不已。

 

世界引遊人們開展了視域的幅度,如同一群天文學家觀測著遙遠的星系,模擬著宇宙的運作模式,探究一條由光和能量(熱能、磁力、重力等)築起的時空隧道,經由跨學科的協作,讓太空異域(如黑洞)的物理真實影像傳送呈現在世人眼前。引遊人或是領路人也許有著不同任務和使命,但同樣在真實世界中開闢道路,或許是出於對世界的身體(corporality)之本原的好奇,開展了真實世界的探求渴望,隨著他們的步伐,我們將體驗世界既真實又異質的原型。

 

對世界本原的各式探問交疊出雙年展的創作能量:不僅是日常,甚至是「常軌」將作為藝術的對話主體,以及現實中的殘影幢幢,勾勒不可及的世界之輪廓線,那麼世界真實便如其所顯示地如其所是。世界引遊人遨遊其中,漫步於「臺藝大藝術聚落」、穿梭於「九單藝術實踐空間」。於此同時,一項藝術家居計劃點綴著雙年展,身處一座承載在地歷史的建築中,六位邀請藝術家分別提呈與雙年展共存的家居世界,摻合地域的敘事脈絡以及藝術家自身所處情境,構建出不同時代的居家風景,呈展藝術伴隨的起居世界,觀者將透過對周遭的感知,投入一種真實的生活狀態。

 

作品的定義為一個動態過程,雙眼所視也僅是「真實世界」的某個「面向觀看」(aspect-seeing[3],大臺北當代藝術雙年展提供一個場域以提呈、詮釋某些面向的真實、擬像真實、虛構真實、辯證真實、再現真實,如此,我們便能藉由視域的交融,越過原有知識體系法則,逐步完整所有的「面向」而透視本原世界,立足於此人本主義之大纛、領悟感知世界的真實,並寓居於時代不斷轉動的世界

  

 


[1] 原文為 : « Thus is the earth one infinite plane… » 

[2] William Blake, Milton:A Poem, 1804, CreateSpace Independent Publishing Platform(2015)

[3] Genesis 1:2 « The earth was without form, and void…»

[4] James E. Lovelock, "Gaia as seen through the atmosphere", Atmospheric Environment, Volume 6, Issue 8, 1972, p. 579-580

[1] 沙力浪,《用頭帶背起一座座山:嚮導揹工與巡山員的故事》,健行文化出版社,2019

[2] Edgar Allan Poe, The Raven, 1845, CreateSpace Independent Publishing Platform(2013)

[3] Ludwig Wittgenstein, Philosophical Investigations, 2001, Basil Blackwell Publishing, 1953 First  published, p. 193.

 
有章藝術博物館 - 2020大臺北當代藝術雙年展
┆官網┆ https://www.gtbca.com/
┆臉書┆https://www.facebook.com/AMNTUA
┆IG┆@ ourmuseum_official
┆聯絡┆02-2272-2181 #2454

指導單位|教育部、文化部
主辦單位|國立臺灣藝術大學
執行單位|有章藝術博物館
協作單位|一串小米族語獨立出版工作室、中央研究院天文及天文物理研究所、台灣獨立書店文化協會、打開-當代藝術工作站、立聯合建築師事務所、全美戲院、池上禾榖坊、板橋慈惠宮文物展覽館、浮光音像工作室、國立中山大學旗津社會開創基地舢舨文化保存中心、國立臺北科技大學建築系、森嵐工作方圖、樂土、繹境設計/陳建廷建築師事務所、ALMA Sounds、oqLiq
媒體夥伴|帝圖科技文化-非池中藝術網、新北市藝遊、ShoppingDesign、ArtTouch典藏、BigIssue
合作夥伴|寶豆咖啡、Jag這個浮洲、書店、cowbanana臺藝大店、浮島日常、良師塾
 
 
大臺北當代藝術雙年展 ┊ https://www.gtbca.com/

   


藝術家

廖偉立 Wei-Li LIAO

未來美術館

2020 | 建築模型

 

「藉由觀察自然,了悟建築之道;透過生活於建築,平衡與自然之相處。」

臺藝大有章藝術博物館新館由建築師廖偉立設計,這座《未來美術館》將成為時間與空間的交匯處,融合在地歷史與未來展望,如同廖偉立所著重的與自然、環境、歷史、文化等系統「耦合」,《未來美術館》回應著臺藝大特殊的環境條件與人文特色,也體現廖偉立的「渾建築」美學:奠基於渾沌原初的包容性,實踐過去、現在與未來兼容並蓄的建築空間,思辨大學美術館的教育意義與文化價值,同時追尋自然、人文與建築三者的平衡結構。

 

 

Future Museum

2020 | Architectural model

 

“People get to understand the rule of architecture through observing nature, and they learn to live in harmony with nature through their staying in architecture.“

The new gallery of Our Museum at National Taiwan University of Arts was designed by architect Wei-Li LIAO. LIAO thought about the actions about architecture and whether the architecture of high cultural value can be developed in Taiwan. He then embarked on developing the university museum that is in line with the future while taking into consideration education and innovative usage as well as the use of existing buildings.He pursues the “original” understanding of the architecture. As a result, the core of the architecture lays a foundation for the changing relationship between humans and nature through the presentation of structure, constructability, materiality, and spatiality.

 

more

藝術家

工作屋(曾徐良、洪聖雄)。藝術協作:羅景中

工作屋

2020 | 裝置,尺寸依場地而定

 

藝術家的工作室可能是作品最合理的擺放空間,在其中不僅使作品處於創作中的活絡狀態,也空間本身也作為展呈的開放場域。而當博物館的工具間成為「藝術作品」,包含堆積的布展材料、工作機具,以及物件擺置設計等整體佈局,展呈既是雙年展的幕後,也成為一座供人觀看的鏡框式舞台。

《工作屋》由木工師傅與藝術家共同協作呈現。

 

The Work Room

2020 | Installation. Dimensions variable

 

An artist’s studio is probably the most ideal place for their works as it keeps the works in a dynamic condition. In the contemporary art world, displaying and creating art are often happening at the same time, so one may begin to wonder if the museum work room can support the creative energy of the art sector. Based on the image of the work room, this work was developed, and it includes real-world materials and equipment for installing an exhibition. With the overall space layout, not only is it a scene behind the biennale, but it’s also a proscenium stage for the audience to come and appreciate.

The Work Room was jointly created by carpenters and the artist.

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藝術家

中央研究院天文及天文物理研究所(王為豪、陳科榮)+ALMA Sounds+徐嘉駿+板橋慈惠宮文物展覽館。藝術協作:邵慶旺 ASIAA (Wei-Hao WANG, Ke-Jung CHEN)+ALMA Sounds+Jared XU+Banqiao Ci-Hui Temple Cultural Artifacts Exhibition Hall+Ming-Shan TUNG+oqLiq. Art Collaborator: Ching-Wang SHAO

造物線索

2020 | 影像裝置、聲響裝置、文物,尺寸依場地而定

 

透過各式的探問使我們得以溯源世界的本質:藉由天文學解析大爆炸論點以及星宿的奧秘,從浩瀚宇宙中探索那些與人類緊密連結的點點繁星;也藉由造訪文物,探究人類的文化澱積。

《造物線索》串起這些領域:包含天文學家王為豪的天文攝影,和陳科榮的研究成果──超新星模擬動態圖;以及ALMA Sounds解碼獵戶座星雲後得到的聲響,再藉由聲音藝術家徐嘉駿運用「聲響回饋」(audio feedback)進行轉繹的創作;同時,來自永和保福宮捐贈的文物將離開原有的空間語境被重新展呈,另外,板橋慈惠宮文物展覽館的典藏品──媽祖神盔也將展出,透過凝視這些物件感知當代藝術、天文圖像與常民信仰文化交織的迷人美學。

 

中央研究院天文及天文物理研究所 ASIAA_ https://www.asiaa.sinica.edu.tw/index_c.php

 

Creation Clues

2020 | Image Installation, audio installation, artifacts. Dimensions variable.

 

ALMA Sounds_ http://almasounds.org/

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藝術家

洪耀輝+林銀城+樂土(郭文毅) Yao-Hui HONG+Yin-Cheng LIN+Lotos (Wen-Yih KUO)

傳說原型

2020 | 裝置,木雕雕塑、紙糊作品、糊紙工具、文物,尺寸依場地而定

 

木雕工藝與紙紮技藝體現傳統文化資產的價值,無論是蘊含生命力的飛禽走獸雕刻,抑或是祭祀儀禮與民間祭神的紙紮,承載著人類的思念、祝福與願望,如此的物件刻畫那些傳說描述的諸多原型。

 

《傳說原型》在一處經過特殊處理的空間中,展現民俗技藝與文物的本質:參展者木雕藝師洪耀輝,師承福建泉州的木雕師海萍司,曾參與三峽清水祖師廟重建工程十五年,在他細膩雕工下,賦予雕刻作品超於形貌的靈性。另一位參展者糊紙師傅林銀城,則藉著紙張與竹枝再現神獸的氣韻。而專門研究水庫淤泥材料的團隊──樂土,將展場地板進行乾裂處理,鋪成大地的某種質地,另有諸多文物以不同語彙展呈,邀請觀者在異質的空間脈絡中感知職人手作的巧奪天工。

 

樂土施作團隊|郭文毅、呂建民、徐宇全、張神瑋、張雅鈞、郭秋玉、陳圳彥、陳政賢、陳聖鈞、陳韻淳、湯正偉、馮蓓曦、黃天虎、黃俊瑋、黃建穎、黃思穎、董珮儀、鄭志鴻、鄭韋苓、鄭琴樺

 

 

The Archetypes of Legends

2020 | Installation, wood sculpture, paper bird. Dimensions variable.

 

When looking into folk culture and history, woodcarving techniques and Taoist paper art both showcase the religious and ritual customs concretely. Back to then, people developed these skills due to the everyday needs, and over time these were established as part of the local culture. These traditional art pieces give us a sneak peek at part of the archetypes of human legends. “The Archetypes of Legends” aims to answer certain groups of people and highlight the psychological remnants of the prevailing experience right at the place.

Yao-Hui HONG and Yin-Cheng LIN have years of experience in traditional art. HONG, the woodcarving master, learns from a woodcarver, Pingsi HAI, from Quanzhou, Fujian. He has participated in the reconstruction work of Sanxia Zushi Temple for fifteen years, and under his exquisite craftsmanship, human figures and animals seem to come alive. LIN, the paper art master, specialising in making birds and beasts, can capture the animals’ spirits and make them come to lives merely with paper and bamboo sticks. As for Lotos, it is a team that studies the silt trapped in dams. Lotos is responsible for the cracked floors in this work.

 

Lotos Team|Wen-Yih KUO , Jian-Min LU, Yu-Chuan HSU, Chen-Wei CHANG, Ya-Chun CHANG, Chiu-Yu KUO, A-Fat CHEN, Cheng-Hsien CHEN, Sheng-Jun CHEN, Amanda CHEN, Stanley TANG, Pei-Hsi FENG, Tien-Fu HUANG, Chun-Wei HUANG, Voss HUANG, Szu-Ying HUANG, Pei- I TUNG, Chin-Hung CHENG, Wel-Ling CHENG, Ching-Hua CHENG

 

 

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藝術家

林強 Giong LIM

之間 

2020 | 影像裝置、聲響裝置,尺寸依場地而定

 

音樂工作者林強將透過真實與北側聚落居民的互動,建立我們與他們之間連結的可能性,並重製由在地居民提供的舊相片,輔以音樂的渲染,召喚一種他者故事與個人記憶的重疊,往返於過去與現在,模糊《之間》的界線,從凝視中回憶,從想像中聽見。

 

 

Between

2020 | Photography Installation, audio installation. Dimensions variable.

 

The musician Giong LIM is going to interact with local residents living in the north of the Village so as to build connections between us and them. At the same time, he is going to reproduce and score for the old photos provided by local residents, exploring whether one’s personal stories overlap that of others’. The stories travel between the past and the present, blurring the boundaries “in-Between”, so we can recall memories by gazes and listen through imagination.

 

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藝術家

森嵐工作方圖+蔡國傑 C&G Art Group, Guo-Jie TSAI

森嵐工作方圖-邱杰森

翻牆者

2020 | 5部單頻道錄像, 54秒、1分09秒、31秒、36秒、2分17秒,創作者森嵐工作方圖-邱杰森

 

透過第一人稱的翻牆者鏡頭,邱杰森記錄身體翻越障礙、跨越一棟棟聚落房屋和庭院的軌跡。對藝術家而言,身體是藝術最原初的創作媒材,當身體穿行於改建中或半拆除的聚落中,身體的能動性破除建築體的障礙,並以親身勞動解除空間的阻隔。

此作品由幾個錄影畫面紀錄構成,分別為:「大觀路一段31號」、「大觀路一段29巷4弄5號」、「大觀路一段35巷12號」、「大觀路一段37巷6號」、「大觀路一段39巷1號」。

 

 

森嵐工作方圖-莫珊嵐

線上新北市

2020 | 彩色單頻道投影、3分鐘、攝影輸出,尺寸依場地而定,創作者森嵐工作方圖-莫珊嵐

 

藝術家莫珊嵐的線上城市系列源自2016年,她對城市地景進行全面性的普查,在城市內所有捷運站出口的道路中央,以「單點透視」構圖攝影採樣,再將數個採樣透過蒙太奇手法重新組構成作品影像,顯示出棋盤狀的大道及高聳入天的大廈,形塑一種現代城市的景緻。

 

 

蔡國傑

+1

2020 | 鑑界複丈報告、土地劃分書、3D打印地籍模型、鋼筋牆、界釘、噴漆,4.6公尺、尺寸可變,創作者蔡國傑

 

《+1》是延續藝術家蔡國傑《半田計劃》一項土地銷售創作計畫的新實踐,而兩者皆在於探索空間的「權力場」。《+1》從土地界分的概念為思考起點,猶如地籍圖上的土地界分,以土地界標進行地域的劃分。蔡國傑將以「界線管理師」的身份,為展場制造一條地籍線,透過鑑界複丈、土地劃分等繁複的程序,以及空間中鋼筋膝牆、地籍沙盤模組的置入,標示出該空間的範圍及權能。

 

 

C&G Art Group

The Man Over the Wall

2020 | 5 single-channel videos (54 seconds, 1 minute 9 seconds, 31 seconds, 36 seconds, 2 minutes 17 seconds). Created by Chieh-Sen CHIU (C&G Art Group).

 

With a video documenting the climbing of walls with the first-person perspective, Chieh-Sen CHIU presented the process of human bodies overcoming obstacles, going over houses and courtyards. For the artist, human body is the primary medium of arts. When people move around the settlements undergoing reconstruction or are semi-demolished, the dynamic character of the body breaks down obstacles imposed by buildings and personally removing the barriers between spaces.

This piece constitutes multiple documentaries, namely, “No. 31, Section 1, Daguan Road”, “No. 5, Alley 4, Lane 29, Section 1, Daguan Road”, “No. 12, Lane 35, Section 1, Daguan Road”, “No. 6, Lane 37, Section 1, Daguan Road”, and “No. 1, Lane 39, Section 1, Daguan Road”.

 

C&G Art Group

New-Taipei on Line

2020 | Colour single-channel projection (3 minutes) digital photography prints. Dimensions variable, created by Margot GUILLEMOT (C&G Art Group).

 

The online city series created by artist Margot Guillemot originated in 2016. She conducted a comprehensive research about the city landscape and used a “single-point perspective” to photograph the centre of roads outside the exits of metro in the city. The multiple samples were then reconstructed into an image using montage. Through a single-point perspective, the checkerboard-like boulevards and towering buildings are highlighted, and together, they form a scene similar to modern cities.

 

Guo-Jie TSAI

+1

2020 | Boundary resurvey report, land division report, 3D printed cadastral model, reinforced wall, boundary marker, spray paint, 4.6 meters. Dimensions variable, created by Guo-Jie TSAI

 

The work +1 is the continuation of Half Field Plan, a different perspective to implement the land sales plan, while the two works both aim to explore the “power field” in arts. +1 is a concept based on the land boundary – just like the cadastral boundaries that divide the land based on landmarks. TSAI attempted the role of “a boundary manager”, creating a cadastral line in the gallery and mark down the rights of the space through the entire process of boundary resurvey and land division as well as the introduction of a reinforced wall and cadastral sand table in the space.

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藝術家

林安芃+王俞文+胡貝東.卡蜜拉 An-Peng LIN, Yu-Wen WANG, Houberdon Camila

林安芃

「不是這邊,也不是那邊,是中間連結的線」

2020 | 錄像、影像輸出、PLA、電子零件、燈泡,尺寸依空間調整,創作者林安芃

 

《不是這邊,也不是那邊,是中間連結的線》(Il s’agit pas d’ici, ni nulle part. Il s’agit d’un lien entre deux.)由三位分別位於臺灣與法國的藝術家共同合作,這段因地理位置與文化差異而形成的距離,成為三人對話的焦點,三件同名作品,立足於兩地,重塑「溝通」與「通道」的概念。

此件作品呈現兩座連動的檯燈,分別位於兩個生活的空間,彼此連結、彼此感應。

 

王俞文

「不是這邊,也不是那邊,是中間連結的線」

2020 | 文本、聲音、PLA,尺寸依場地而定,創作者王俞文

 

三位藝術家在個別所處的「此地」,談論著未及的「地方」,他們傳送並接收彼此的訊息,因此,「此地」與「他方」之間便形成一個訊息流通的「場域」。透過文字、話語牽起此端與彼端,體現缺席卻又真實的連結。

 

胡貝東.卡蜜拉

「不是這邊,也不是那邊,是中間連結的線」

2020 | 紙、鋼、木、石頭,尺寸依場地而定,創作者胡貝東.卡蜜拉

 

若「這邊」與「那邊」解構了語言線性的書寫結構,那麼僅存的便為中間的連結。

 

 

An-Peng LIN

“It’s not here, it’s not there, but the ties somewh

2020 | video, print, PLA with wood fibers, electronic parts, light bulb, dimension variable, created by An-Peng LINere in between.”

 

 “It’s not here, it’s not there, but the ties somewhere in between.” (Il s’agit pas d’ici, ni nulle part. Il s’agit d’un lien entre deux.) is a collaboration amongst three artists based in Taiwan and France. Three pieces of work of the same title were proposed individually but brought together by the three artists, exploring the distance between the two places, between people, and between people and the exhibition venue, as well as discussing the concepts of “construction”, “communication” and “channel” from the perspective of the distance.

The two lamps are linked together and located in two separate living spaces.

 

Yu-Wen WANG

“It’s not here, it’s not there, but the ties somewhere in between.”

2020 | Text, sounds, PLA wood. Dimensions variable, created by Yu-Wen WANG.

 

 

Houberdon Camila

“It’s not here, it’s not there, but the ties somewhere in between.”

2020 | Paper, steel, wood, stone. Dimensions variable, created by Houberdon Camila

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藝術家

溫晉豪+伊麗莎白.卡多佐+西蒙.喬布 Ching-Hao WEN, Elizabeth Cardozo, Simon Job

溫晉豪

戀人

2020 | 裝置,LED顯示器、鐵支架,尺寸依場地而定,創作者溫晉豪

現實總是以一種意想不到的方式令人感到驚訝。《戀人》透過跑馬燈顯示文字,挪用一段描述地域關係的文字,將「兩岸」二字替換為「男女」。地域與權力的複雜關係,因此轉換為兩性的互動。藝術家溫晉豪的作品時常將影像與文字,拆分為不同的內容指涉,藉著兩者的衝突並置,聯繫出特定的意義。

 

伊麗莎白.卡多佐

物體紀念碑

2020 |由在臺灣拾得的材料製成,尺寸依場地而定,創作者伊麗莎白.卡多佐

在消費主義社會中,生活充斥著消費物品,這些物品突顯當地的生活型態,以及存在於社會中的價值。藝術家伊麗莎白.卡多佐將這些物品視為當代民族誌的研究依據,將臺灣的日常消費物品,以反常的方式置入展呈空間,添增一種儀式性與劇場性。

 

西蒙.喬布

輸送帶

2020 | 植物標本、平板電腦、三腳架,尺寸依場地而定,創作者西蒙.喬布

螢幕是否可以真實地呈現世界?時疫下,訊息的傳遞與接收比以往更依賴手機、電腦等載體,藉由訊息的散佈、流通與傳播網狀交織成我們感知的世界,然而這卻是二進位機制創造的真實,將世界的模樣顯影於螢幕之中。作品《輸送帶》試圖製造一種0與1構築的世界,呈現真實與虛擬平行的雙世界。

 

 

Ching-Hao WEN

Lover

2020 | Installation, LED monitors, iron shelves. Dimensions variable, created by Ching-Hao WEN.

Reality always amazes us in a surprising way. With images, the artist transforms the process of butcher separating meat and the bone into a loving and intimate interaction in “Seductive Meat”. The artist also separates the image from the texts so that they could refer to different things. The two seemingly conflicting entities can actually be connected to form witty meanings.

 

Elizabeth Cardozo

The Object Monument

2020 | Local materials found in Taiwan. Dimensions variable, created by Elizabeth Cardozo

In the consumerist society, our lives are filled with consumer goods. The good highlights the local lifestyle and is closely linked to its social value. Elizabeth CARDOZO views these objects as the basis of modern ethnography. She is also concerned about monuments and classical building’s pillars which are rich with ritual significance in London and around the world. The artist places Taiwan’s consumer goods in a space in an abnormal manner, adding a theatrical and ritual feeling to the original space.  

 

Simon Job

Conveyor(s)

2020 | Plant specimens, computer tablet and tripods, dimension variable, created by Simon Job

Can the screen support the entire world? In the pandemic era, information relies on the binary computer system more than ever. The artist proposed the following thought: The reality that we know relies on the transcription and transmission of information, and the binary system creates a new version of the reality. Hence, “Conveyor(s)” attempts to create a new reality with the new medium. Is it a gradual betrayal of reality, or is it moving towards another kind of reality?

 

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藝術家

陳宇如+西蒙.塔蘭達 Yu-Ju CHEN, Šimon Talanda

持續運行保持旋轉及循環的持續運行

2020 | 複合媒材,尺寸依場地而定

 

不斷旋轉的手搖玉米脫粒機、將羊毛紡成線而重複轉動的紡紗機、使日子持續而循環的日升與日落、推演大地運作而不斷重複的四季,這些旋轉、循環與重複是一種能量上的累積及無盡的真實體現。

藝術家陳宇如走訪捷克時,途經一個名為莫爾科維採-斯利扎尼(Morkovice-Slížany)的城鎮,在城鎮的郊區農場與當地藝術家西蒙.塔蘭達以能量循環的概念為發想創作,該農場裡由於毗濕奴派(Vaishnavism)的思想 - 一個印度教的分支,匯聚了擁有相同理念的人,他們大多為二十至四十幾歲的青壯年,希望回歸到工業革命之前的生活,重新探尋古法以復興自然,反而更像是開啟一項全新的研究。

 

 

Endless rotating and cycling

2020 | Mixed media. Dimensions variable.

 

The manual corn sheller that are constantly rotating, the spinning machine that keeps running to weave wools into threads, the sunrise and sunset that push the days forward, as well as the four seasons that contribute to the running of earth – Such cycles, rotations, and repeats showcase the infinity and accumulation of energy.

Artist Yu-Ju CHEN visited a suburb farm in Morkovice-Slížany, the Czech Republic, and worked with a local artist, Simon Tarata to create this piece of work inspired by the local belief in cycles. People gathered in the farm due to their mutual belief, Vaishnavism, a branch of Hinduism, and they are mostly youths between 20 and 40 years old, rather than grandpas and grandmas. These young people hope to return to the time before industrialization, developing minimum reliance on technology and industrial works and pursuing a self-sufficient life. However, they are not completely cutting off from modern society, but rather they are revisiting the traditional methods as if they are conducting some brand new researches.

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藝術家

神之米(魏瑞廷)+沙力浪.達岌斯菲芝萊藍+浮光音像工作室(陳嘉壬、林芝如)Rice Valley (Jui-Ting WEI)+Salizan Takisvilainan+Glimmering Multimedia Studio (Chia-Jen CHEN, Chih-Ju LIN)

整備

2020 | 錄像、物件

 

人類與自然相互依存,當雙足踏入田野,感受滋潤的大地;當雙腳攀爬步入山林,聽見響徹山谷的音律,手上的工具、頭上的背帶,以及肩負的網袋等整備使我們得以存於自然世界。

展覽現場模擬一場即將前往自然勘查的情境,展示現代農夫行於田野的耕作工具,以及高山嚮導的背帶、網袋等裝備,加上第一手影像的播映,使我們體驗真實的臨場感。參展者青農魏瑞廷於臺東池上栽種有機稻米,加入區塊鍊技術,使消費者得以溯源種植的資料:共享從耕種、採收至碾米、運送包裝等過程的資訊,體現稻米生產至產銷的新機制。

另一位參展者布農族詩人沙力浪.達岌斯菲芝萊藍跟隨著山林「領路人」,以豐富的山林知識,調查留存山間的碑石與荒廢的遺址,領略族人積累百年的山林智慧,並透過文字書寫族人的記憶。

 

 

Preparation

2020 | Video, objects provided by Rice Valley and Salizan Takisvilainan

 

Whether it is possible for humans to strike a balance between the production and consumption of resources on Earth is determined by the long-term effort that we made, which is a journey for us to know each other and to be able to coordinate with each other.

The exhibition presents the scene that mountaineering coordinators see at the start of their exploration, showcasing the tools that modern farmers use to cultivate their lands. First-hand videos and images as well as the tools the farmers employ and the information they collected are displayed in the venue, showing various adjustments made with the natural environment. Jui-Ting WEI grows organic rice in Chishang, Taitung, and he introduces the concept of block chain so that consumers can trace the source of their food. The tools and technology he employed demonstrate the transformation of the production of rice. Salizan-Takisvilaninan follows the guide/baggage shipper, or the “mountaineering coordinator” in his tribe, investigating the monuments and relics lefts in the mountains, studying the wisdom of his ancestors, and writing down the changes of their lifestyles.

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藝術家

顏振發 Jhen-Fa YAN

羅根、奇異博士、亂世佳人

2017, 2017, 2020 | 油漆、畫布

 

電影看板畫師顏振發,持續實踐著一項隨時代變遷而逐漸失傳的手繪志業,曾是電影院門口常見的風景,如今全臺僅剩零星戲院保有這項傳統。從打格子構圖、描繪電影主角的神韻,到標準的文字體設計與書寫,在其中除了感受手繪的溫度之外,也驚嘆於時間淬鍊下職人精湛的技術。

 

 

Logan, Doctor Strange, Gone With the Wind

2017, 2017, 2020 | Paint, canvas

 

Jhen-Fa YAN, a movie billboard artist. This is an industry that has been eliminated by the times. It was a common scene outside movie theatres in the past, but now there are only a few theatres preserving such tradition in Taiwan. Starting from composition, drawing the charm of the main characters to writing the texts, the movie billboard artist showcases not only the exquisite technique but also the accumulation of time and labour that he has invested in.

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藝術家

鷹波(賀奕修、陳研伍)。藝術協作:盧詩潔 Hawk & Poe (Kevin HUO, Yan-Wu CHEN). Art Collaborator: Shih-Chieh LU

世界旅程

2020 | 多媒體材,尺寸依場地而定

 

創作者們從加州、巴黎等地啟程,並於臺北相遇,他們的對話跨足不同領域,從藝術、哲學到文學,透過分享彼此的經驗與視野,從而解開自身對世界的疑問,以迎接下一場旅程。《世界旅程》展出不同的風景影像,以及對談的聲音,透過圖像與詩歌交叉於場域之中,航向未知卻真實的世界一隅。

 

 

World Journey

2020 | multiple media, dimension variable

 

The creators began the journey from California, Paris, etc. and met each other in Taipei. They discussed matters from various fields including arts, philosophy, and literature, sharing their experiences and perspectives to resolve their doubts about the world. This helps them prepare for the next journey and experience various matters and culture around the world. In World Journey, the images of scenes and the voice of conversation come across each other in the form of poetry, to sailing to a corner of the unknown but real world.

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藝術家

雜夥共事所(黃榮智、盧建銘、黃同鋒、賀孝華、高迪華) Work with My Fellow Professionals (Jung-Chih HUANG, Chien-Ming LU, Tung-Feng HUANG, Hsiao-Hua HO, Tek-Wa KO)

生態機制–棲地.轉移.循環

2020 | 土壤、植物、水、牆面、門牌、鋁盆、燈箱、環氧樹脂、家屋、影像,尺寸依場地而定

 

雜夥共事所集結藝術家、生態設計師以及建築設計師等夥伴,藉自身專業的植物種植經驗,觀察臺藝大藝術聚落的植物景觀,修整環境並介入在地生態系統,模糊自然、人類居屋與藝術展場三者的界線,並達至一種美好的平衡。

《生態機制–棲地.轉移.循環》試圖將在地聚落的建築檔案化融入展場,放置建築模型與木棧供予觀者行走,步入雜夥共事所構築的生態世界,同時移轉植物的棲地,再轉移至不同的生長地而達至一種平衡的循環系統。

 

 

Ecological Mechanism–Habitat.Transfer.Cycle

2020 | Soil, plant, water, wall, house number plate, aluminum basin, light box, epoxy, houses, images. Dimensions variable.

 

By bringing plants into the exhibition venue, we attempt to integrate nature with the existing living space in the exhibition venue.

Work with My Fellow Professionals consists of artists and other members with backgrounds in ecological education and architecture. The team attempts to return to the human body that is in the ecological situation and prompts us to inquire about the state of our body through ambiguous exhibition venue, organic housing, and plants that grow with vitality.

 

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藝術家

築角(王宥涵、林江承、李云瑄、邱意庭、黃慧真、歐冠廷、葉素伶)Architecture Role Corner (You-Han WANG, Jiang-Cheng LIN, Yun-Hsuan LEE, Yi-Ting CHIOU, Hui-Chen HUANG, Kung-Ting OU, Su-Ling YEH)

築角

2020 | 建築

 

築角團隊由國立臺北科技大學建築學系師生組成,共同參與臺藝大藝術聚落一棟建築的設計規劃。在藝術聚落舊宿舍的格局框架下,保留在地人文歷史的景致,融入新的建築語彙,為藝術聚落構築新的入口意象。整建計畫包含競圖、施作討論至建築完工,最後於2020年7月正式落成啟用。

此計畫由國立臺灣藝術大學與財團法人云辰文化基金會及統創建設開發股份有限公司共同合作

 

 

Role Corner

2020 | Architecture

 

The Architecture Role Corner consists of students and teachers from Department of Architecture, the National Taipei University of Technology, who participated in the building design project and the planning of the Art Village at National Taiwan University of Arts. The team took the layout of the existing dormitory into consideration, retaining the cultural and historical values of the buildings while incorporating new architectural techniques and concepts in the design. By doing so, they stitch together the imagery of the village and utilise such imagery at the entrance. Starting from blueprint competition to construction and then completion, the building has finally opened in July 2020.

* This plan was a joint collaboration amongst the National Taiwan University of Arts, Everspring Cultural Foundation, and Tong Chong Construction and Development Co., Ltd.

 

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藝術家

顯影(oqLiq、馬維元、汪紹綱) Develop (oqLiq, Wei-Yuan MA, Shao-Gang WANG)

顯影

2020 | 裝置、表演,尺寸依場地而定

 

「是瞬間紀念了恆久,而恆久記憶了瞬間。」

《顯影》由台灣服裝品牌oqLiq與藝術家馬維元、汪紹綱共同合作,嘗試超越展呈型態的可能性,透過表演以及服裝設計與藝術展覽相互指涉、彼此依存。著重於當下細微的感知,尋思生命純粹且不變的兩個概念:腐朽與存在。在展場與居住空間重疊的場域中,演出一場生活的情境,並超越表演時長的限制。

 

 

Developing

2020 | Installation, performance. Dimensions variable.

 

“It is the instant that commemorates eternity, and it is eternity that commemorates the instant.”

Developing attempts to challenge the spatial limits of exhibitions, emphasizing the subtle feelings in the present as well as focusing on the simple and eternal concept of life – decay and existence. By presenting the life as a performance as well as terminating the state of performing, Developing overlaps the exhibition space and the living space, attempting to break through the physical limits and time constraints of a performance or an exhibition.

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藝術家

董明山。藝術協作:邵慶旺

2020 | 舢舨船

 

造船師董明山在不借助新科技,亦無設計圖和實物的參考下,憑藉著一張1954年所拍攝的舢舨船影像,輔以實務經驗、口訣與傳統工具,真實再現一艘已在高雄港消失四十多年的尖頭舢舨船。瀕臨失傳的技藝,將透過職人的智慧重現於藝術雙年展現場。

 

 

2020 | sampan boats

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藝術家

打開-當代藝術工作站 Open Contemporary Art Center

一隻蒼蠅飛入海洋無垠的吐納

2020 | 多頻道錄像裝置,尺寸依場地而定   

 

“我想知道是否一個近距離的輕微噪聲會與一聲遠處的巨大聲響聽起來一樣響亮?”

— 李奧納多·達·芬奇

 

“一隻飛了進來的蒼蠅,不管是過去還是將來,一直都是一個重要的發聲者,牠是人類不受歡迎的夥伴。牠發出的聲音像是一場無意義的閒聊,但他代表那種我們難以捕捉,卻又遵循自身規律而進行著中斷或重啟的聲音。”

— 《聲音》,米歇爾·希翁

 

《一隻蒼蠅飛入海洋無垠的吐納》為一項以實驗聲響與噪音為主軸的聲音交流計畫,以行動探討聲響是否能重啟我們的身體感官。邀集臺灣與東南亞如印尼、菲律賓、泰國等地四位策展人/研究者以及多位聲音創作者,共同發起多場聲音行動。這項計畫以蒼蠅與海洋為喻,對比微小與無限遼闊之意,當單獨的個體連結成群,體現微薄的聲音綿延循環成廣闊的聲音圖景(soundscape)。

 

 

A Fly Enters. Immense Breath of the SEA.

2020 | Multi-channel video installation. Dimensions variable.

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藝術家

台灣獨立書店文化協會+20家台灣獨立書店。藝術協作:莊哲瑋 Taiwan Association for Independent Bookshop Culture+20 Independent Bookshops . Art Collaborator: Che-Wei CHUANG

林中路

2020 | 裝置,書籍20本、印刷布,尺寸依場地而定

 

書寫是否能再現真實?文字是否能指涉世界?當閱讀者的思緒隨著書寫者的筆墨,邁入文字鋪成的路徑,無論是人跡罕至之境,或是人群聚集之地,透過閱讀彷彿親臨作者建構的不同世界。

《林中路》由二十間獨立書店選書以回應「真實世界」的命題,並分別為讀本撰寫絮語,作為導讀邀請觀者/閱讀者踏入多本選讀構築的文字林,如同海德格所述「林中多歧路,而殊途同歸。」當我們踏足迂迴的路徑,探索各式風景,將會領略那多義又真實的世界。

 

20家台灣獨立書店 : 三餘書店、月讀書咖、台灣的店、瓦當人文書屋、有河書店、見書店、孩好書屋、南崁小書店、紅絲線、南方書店、晃晃書店、浮光書店、晨熹社、無論如河、詩生活、邊譜、繫。本屋、讀字書店、曬書店、MOKU旅人書店)。

 

台灣獨立書店文化協會 : https://www.indiereader.org/

 

 

Holzwege

2020 | Installation, 20 books, printed fabric. Dimensions variable.

 

TaKao Book, Moon Reader, Taiuan-e-tiam, Wadam Books, YouHe Book, Sea To See, Goodforkid, NanKan1567 Bookstore, Text Apartment, NanFang Bookstore, SuSu Bookstore, Illumination Books, Asahikari Books, Gutta Books, Poetry in Life, Bien Books, Akauw Books, DuZu Books, Book Site, Traveler Bookstore.

 

Taiwan Association for Independent Bookshop Culture :  https://www.indiereader.org/

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藝術家

劉季易+郭聖潔 Ji-Yi LIU, Jade KUO

平庸史

2020 | 鋁版,尺寸依場地而定

 

 

「假如我在這次的展覽裡,想方設法幫你做出你說的那一件作品,如何?」

藝術家向友人們提出如此的假設問題,《平庸史》計畫奠基於藝術家劉季易在工作歷程中遇見的四位友人,他們各自屬於20、30、40、50歲的世代,分別在不同情形下,向藝術家提及藝術創作的念頭。

作品呈現某種訕笑與嘲弄的調性,節錄出一段段「不可行」的《平庸史》,並將一些與心理諮商師的私密對談,公告於臺藝大聚落家屋的牆面上,可能真實還原,也可能僅是虛構一句句關於等待、遲疑、困擾以及痛苦的喃喃絮語。

 

郭聖潔 :  https://jadekuo63.wordpress.com/

 

 

A History of mediocrity

2020 | Aluminum plate. Dimensions variable.

 

“What do you think if I try to make a piece of work that you had mentioned before for this exhibition?”

The artist, Ji-Yi LIU, proposed this hypothetical question to four friends of his. The mediocracy plan was inspired by them as LIU met them during his 7 or 8 years of professional career. These friends are in their 20s, 30s, 40s, and 50s, and they proposed the idea of creating some artworks for LIU under different circumstances.

This piece uses ridiculing and mocking questions to form an “unfeasible” History of Mediocracy. The sincere confession and dialogue with the psychological counsellor are displayed on the walls of the house. By using the fictional characters of narratives, the actual conversation can be either reconstructed or fictionalized once again, demonstrating the possible impossibility, the concerns about art, about waiting and about hesitation, as well as the pain resulting from rejection.

 

 Jade Kuo_ https://jadekuo63.wordpress.com/

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藝術家

藝術家居計畫 Artistic Dwelling Project

《藝術家居計畫》邀請六位藝術家,重新審視在地舊建築,並提呈與雙年展共存的家居世界,摻合地域的敘事脈絡與藝術家自身所處情境,構建出不同時空的居家風景,呈展藝術伴隨的起居世界,觀者將透過對周遭的感知,投入一種真實的生活狀態。

 

  • 太認真,《浮城河事》,2020
  • 周育正,《昭和時代男子漢》,2013
  • 陳昶志,《日常櫃》,2020
  • 黃耀陞,《梅》,2020
  • 蔡年玨,《Bathroom I》、《Bathroom II》、《山在/居中》、《旋轉門》,2020
  • 簡麗庭,《野人椅》,2020

 

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策展人

團隊 Executive Team

總策展人 : 陳志誠博士 

計畫主持人 :  羅景中 

策展執行 /執行團隊 : 莊哲偉 、陳彥伶  / 有章藝術博物館團隊

 

Chief Curator : Dr. Chih-Cheng CHEN

Project Director : Jing-Zhong LUO

Exhibition Coordinators / Project Team :

Che-Wei CHUANG  、 Dr. Yen-Ling CHEN / Our Museum Executive Team

   

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