展覽單元 Exhibition programs
8 月 26日 (SAT)– 9月 3日(SUN) 11: 00 – 17:00/ 免費參觀
地點/ Location：台電板橋新民大樓1樓/ 1F- Shin Min building
開幕/ Opening: 8/26 (SAT) 13:00 pm
策展人/ Curators :王文琪 Wen-Chi Wang
藝術家/ Artists: 洪韵婷, 鄭先喻, 吳宜曄, 王連晟, 樊智銘, 致穎
洪韵婷
《世界是平的》LED 機械動力裝置，2016
作品中字幕棒上的文字透過高速的擺盪，方能讓「We do shorten the time, go through space, measure all the things」得已顯現。我們創造速度也依賴速度，速度縮短時間；我們發展科技改變空間向度，然後穿越空間；我們對萬物進行測量，探知自然並建檔複製，如同湯馬斯·佛里曼Thomas L. Friedman所提及的概念「這正被抹平的世界是我們的生活縮影」。
《The world is flat》LED installation，2016
The high-speed oscillation of the LED stick in the work, reveals the text “We do shorten the time, go through space, measure all the things.” We generate speed but are also dependent on speed. Speed condenses time. Our technological development alters and crosses the dimensions of space. We measure all things; observe, archive, duplicate, and quantity nature, as Thomas L. Friedman refers to in concept, “this leveled world is now a microcosm of our lives."
樊智銘
在雲霧中-被遺忘的城市
2016,雙頻影像投影,07’34”,HD,16:9,彩色,立體聲
2016年作品”在雲霧中-被遺忘的城市”中,作者透過遊戲引擎製創造出一個虛擬且想像的戰爭遊戲過後的場景,影像的內容是戰爭過後被遺棄的的領土,或者我們可以稱它為是被人們遺忘的孤立島嶼城市,它看起來是那樣的荒蕪及荒無人煙,與世隔絕。
在影像中充滿著殘破不堪的建築物,但我們依然可以想像到這城市過去的樣貌,是個有許多現代高樓的繁榮城市。但現今剩下的只是土地崩裂及雜亂不堪,而這些荒廢且殘破不堪的建築物,與災難發生之後產生的自然環境,長滿樹叢與雜草在同一場景中,這兩者在畫面中的結合是如此協調,像是融合為一體般,看似熟悉但又陌生的場景,鏡頭時而帶著冷靜視角來看虛擬世界。
作品的靈感來源是來自於線上的戰爭遊戲,試圖創造出一個非現實樣貌的風景,這題材也延續了2012年作者的影像創作”Landscape”。
是一個以線上遊戲里戰爭過後的場景為主題,讓場景它有延續性與發展性,不再因為遊戲的結束後,它就消失了。作者且認為場景是有生命的,雖然它已沒有任何遊戲主角存在,且不再受重視,它也不是遊戲里的主角,但它應該就像真實世界一般能繼續生存。雖然它可能曾經被視為在遊戲里只是背景,但它也可能更多的可能性,能賦予更多想像空間。
對於這樣的虛擬場景作品,透過雙頻道投影在展覽空間的牆上,兩個不同的角度來觀看這城市風景,時而從作品的畫面中可看出這城市的材質的,時而是模型般的,表面的,空心的,也由於這樣的嘗試展現,觀眾也可以看到虛擬城市的另一面貌。
Chih-Ming Fan
In the Fog - The Abandoned City
Color/ Stereo/7 min 34 sec/ HD/ 2016/ Germany
In the Fog - The Abandoned City, the artist creates a virtual and imaginary post-war-like scene through a game engine system, which presents an abandoned territory after warfare, seen as an urban island forgotten by people. It appears quite barren, uninhabited and isolated.
王連晟
閱讀計畫
書、木板、鐵柱、伺服馬達、電子零件、LED燈 , 2016
閱讀計畫是一個裝置藝術的作品。我設計了23台的自動翻書機放置在展場中，當人們靠近時，那些機器就會開始自動翻書，並且朗讀書本的內容給觀眾聽。最新的數據顯示，在台灣平均國小每班人數是23個人，所以這件作品有一個教室的隱喻在裡面。
在我們的國家，人們在就學時，不能決定自己閱讀什麼內容，就像是被一個巨大的齒輪控制著。國家對於教育的方向，是以產值與競爭為主，他們想要創造了一批賺錢的機器，而不注重對於自我的探詢與人本主義的思考。而我選擇閱讀的書籍是論語，因為論語影響了亞洲好幾千年，就像是一個教條式的經典嵌制著我們的思想。
這兩者放置在一起，創造出一種空間，討論在地化、教育、思想和國家機器的問題。
Lien-Cheng Wang
Reading Plan
Books, Wooden board, Iron pillar, Servo motor, IC chips, LED, 2016
Reading Plan is an interactive artwork with 23 automation book flipping machines. When audiences enter the exhibition room, these machines will start to turn pages automatically and read the context at the same time. The updated figure to show that average student numbers per primary school in years 2016 in Taiwan is 23 students. I included a metaphor classroom in this artwork.
In Taiwan, when people go to school, they don’t have much decision power to decide what they want to read and study. It is like being controlled by a huge invisible gear. The education direction led by authorities always prioritizes industry value and competitiveness. They want create a money-making machine instead of self exploration and humanism thinking.
“The Analects of Confucius” is the context read. This book affected asian countries for thousands years in ethic, philosophy and morality. It controlled our thoughts.
I put these two elements together to create a space of discussing localization, education, thoughts, and state apparatus.
致穎
《攝像機（36）》，2016，35釐米黑白底片轉2K數位，1’10”，單頻道錄像
《奧林匹亞》是一部記錄了1936年德國柏林夏季奧運的經典宣傳片，由德國導演萊尼·里芬斯塔爾所製作。由於當時韓國仍然被日本帝國所控制，因此當韓國運動員孫基禎贏得馬拉松賽事金牌時，他事實上是日本代表選手。為了拒絕自己的被殖民身份，在頒獎典禮時他故意以手中屬於冠軍的小型橡樹擋住胸前的“日之丸”日本旗圖案，而這個動作也被里芬斯塔爾記錄在她的作品《奧林匹亞第一部：國家的慶典》之中。這樣一個遮擋的動作象徵著孫基禎抗拒著攝像機那正要開始的主觀定義傾向，他將自己在影片中處於被拍攝的被動形象改置於主動位置。藉由在事件原場地柏林奧運會場重新製作虛構的紀錄影片，作品《攝像機（36）》嘗試具現化這樣的權力轉移，在那一分鐘日本國歌演奏的頒獎片段，透過孫基禎的視角，里芬斯塔爾製作影片的過程在作品中被重新演繹。
Musquiqui Chihying
35mm B&W film transfer to 2K digital format 1 min 10 sec on loop, 2016
Olympia, one of the most prestigious propaganda films produced by German director Leni Riefenstahl, documented the 1936 Summer Olympics in Berlin, Germany. As Korea was controlled by the Japanese Empire at the time, when Sohn Kee-chung won the gold medal in the marathon, he was actually a member of the Japanese delegation. To reject his colonial nationality, during the award ceremony while the Japanese anthem played, Sohn intentionally hid the “Hinomaru (日の丸)” on his shirt, the symbol that represented the Japanese flag. His action was also recorded in the first part of Riefenstahl’s film: Olympia 1. Teil - Fest der Völker (Festival of Nations). As a filmed object, Sohn tried to resist the dominant narrative power of the camera by hiding the national flag, transforming a passive position into an active image in Riefenstahl’s film. The work The Camera (36) attempts to materialise this capacity of power reversal, by remaking the moment in a fictional documentary in the Olympic Stadium in Berlin. The work envisions through Sohn’s perspective how Riefenstahl made her famous shot of Sohn during the performance of the Japanese anthem.
吳宜曄
Falling_002, 3頻影像裝置,2016
Wave,單頻道錄像裝置, 4'40", 2016
國立台灣美術館原本就有一個由12個螢幕所組成的電視牆。我寫了一個程式，讓單個螢幕不時地產生看似墜落的錯覺。大部份的時候，藍色 螢幕看似沒有接上任何的影像訊號。當螢幕突然開始墜落的同時你會聽到卡通般的墜落音效。而當螢幕墜落的畫面超出電視牆的範圍時， 你可以藉由聲音繼續完成墜落的想像，直到最後聽見螢幕撞擊地面然後破碎的聲音。稍後，墜落的螢幕又會悄悄地再次浮現在其原本的位置上，週而復始。
I-Yeh, Wu
Falling_002, 3-channels video installation, dimensions variable, 2016
Wave, Single-channel video installation, 4'40", 2016
Originally, there is a Multi-Screens Display in National Taiwan Museum of Fine Arts, which consists of 12 screens. I wrote an algorithm to produce images of a screen that appeared to be falling randomly. Most of the time, the blue display looks like doesn’t have any image input. When the screen suddenly begins to fall, you can hear a cartoon style sound effect of falling. You can imagine the screen in continued free fall accompanied by the sound effect, when the footage of the falling screen exceeds the display. The sound completes that mental picture, until finally the screen is heard to make impact with the ground and then shatter. After a moment the fallen screen quietly resurfaces, whole and in its original position, and the process repeats.
