匯聚或離散成為一種城市意象,「進城」、「下鄉」諸如此類的詞彙,代表著一種流動關係,而這樣的變動狀態,是在不穩定中的平衡,正如當代地理學與社會學者大衛‧哈維(David Harvey)在〈空間是個關鍵詞〉(Space as a key word)中,透過都市群聚中集體記憶所具有的政治力量,來解釋這種關係性的空間所具有移動的能量;其中,關係性的空間(relational space),指稱所有外部的影響都會內在化,形成單子特殊的時空過程,包括外部的物理事實、相關訊息、理性計算的可能,以及在內部形構的思考模式、夢想與衝動和經驗累積,這些多樣的個別影響,旋轉縈繞在過去、 現在與未來的空間裡,最後凝聚,界定時空的性質,成為關係性的空間移動狀態。
此次展覽兩件作品分別由王詠翔、林意翔共同創作的《緩緩移至他方》以煙霧形塑出一種模糊狀態,再利用光與動力機械,試圖打破既定空間關係的框架,穿梭在十個不同的展櫃中,呈現凌晨時分的歇息城市,有別於晨間忙碌繁雜,通向寂靜的探尋;陳亭宇、林瑜亮合作的《當風吹過》,以十組不同的模型場景,利用小型風扇吹動產生干擾,試圖捕捉生活中稍中即逝的片段,呈現一幕幕城市之中現實與虛幻的微觀風景,進而指涉『日常』景象不僅於表象形式,而是成為城市狀態的部分結構。藉由這兩件作品訴諸的動態、不穩定性,呼應本次展覽場域為花博空間的半戶外廊道以及在台北城市中的人潮來往、穿梭、置留或遷移的關係,展名中「他方」所指的除了別於都會的城鎮,同時也是在自身生活中的細微感知與自我覺察之地。
0 評論
台灣當代一年展 Taiwan Annual 展覽日期 :2019.08.31 - 09.08 展覽時間 :11:00 - 19:30 開幕時間 :2019.08.31 15:00 閉幕時間 :2019.09.08 16:00 展覽地點 :台北花博爭艷館 展覽入場 :免門票 由「社團法人台灣視覺藝術協會」(簡稱「視盟」)主辦的「台灣藝術家博覽會」(簡稱視盟藝博),自2002年創辦起,每年皆不斷自我挑戰、嘗試不同的展出內容與形式。2010年,視盟首度踏出台北,更於隔年以巡迴展的方式,先後將視盟藝博帶到高雄、台中、台南等城市,提供台灣藝文觀眾更為親近方便的參與形式;除此之外,也試圖在不同場地展現不同的面貌,陸續於各地文化創意園區、博物館、百貨公司等跨域空間登場,希望藉此讓創作者及觀眾展開新的對話可能。
邁入第十五屆的2016年,視盟為能更貼近當代潮流,也希冀與所謂「藝術博覽會」做出區隔,選擇與國際藝術展會經常使用之雙年展、三年展彼此呼應,將「藝術家博覽會」更名為「台灣當代一年展 TAIWAN ANNUAL」(簡稱一年展),自此,視盟藝博不僅突破地理位置與場域的限制,於展出邏輯上也能與當前藝術發展產生更深刻的關係。 接續上述展覽形式的轉化與改變,近年的一年展也努力創造與其他藝文活動的鏈結,例如與中山區藝術造街計畫「中山好融異」、台北國際藝術村的「混種現場」藝術季等大型活動進行串聯,去年更加入由台北市政府主辦的「白晝之夜」,兩場藝術盛會的聯動,吸引大量民眾共襄盛舉。同時,展覽也延續視盟重視藝術推廣的精神,舉辦各式國際藝術沙龍、講座、工作坊等活動,其中不乏親子同樂的內容,盼能拉近與各年齡層民眾的距離。 2019年的一年展,將包含「主題策展區」、「台灣替代空間/藝術團體」及「國際當代藝術空間」,其中「國際當代藝術空間」將再度與視盟「西亞南亞交流計畫」結合,持續探索東亞之外的藝術機構/空間。此外,去年廣受好評的「異業結合區」及「微型策展」,也預計納入於本屆的展區規劃之中。 最後,回到一年展舉辦的初衷——藝術平權,仍然會是今年的核心徵件計畫,其中包含自2015年設立的「創作計畫區」徵件,以不拘形式、更無設限的展出形式為訴求,召集天馬行空的當代藝術創作;以及承襲視盟藝博時代以來的「藝術平權區」,持續提供藝術家開放的展覽平台。
過渡城市 - 工地解構學
展 期|2019.12.21 - 2020.01.12 開 幕|2019.12.21 15:00 策展人|田名璋 陳益村 藝術家|田名璋 陳益村 王詠翔 吳瓊華 呂迦諾 卓俊佑 周凱葳王豫雯 林哲志 范晏暖 郭慧禪 陳泳丞 陳瑞鴻 傅寶智 黃勝鳴 顏才琦 顏鵬峻 寧芮潔 騆瑜 張菀玲 陳裕凱 盧文德 張碩鴻 開放時間|週三~週日 13:00~20:00 地 點|新樂園藝術空間 台北市中山區中山北路二段11巷15-2號 本次策畫展將延伸「2018台灣當代一年展」之「工地秀」創作,深入探討建築工地的人、事、物,由藝術家直接至工地或相關空間進行訪談、調查、互動、合作等,進而從中選擇創作的題材,將社會基層的勞動人力、環境、社會、遷移等議題,透過創作而開展對話,讓「工地」此一議題進入不同的探索世界,由微觀的世界來探討藝術創作、跨領域合作、以及所衍伸的工地相關議題。 工地代表著生產與製造的場所,也是工人們工作的地方所在,藝術創作者面對工地此一對象,需要透過高度的接觸與互動來深度的了解工地的不同面向議題,在工地建構的同時,我們也同時用我們的方式來解構工地議題。工地的「進行中」狀態也是一種創作的能動性,透過彈性的對話,讓互動成為創作的養分。此計畫不冀望以某一概念來涵括參與者的創作內容,但期待創作者透過雙向互動,讓工地的多樣性議題可以被展現,也開展對話的可能。 本次展出不只靜態的壁面懸掛之作品,也在當中加入跨領域元素,結合平面繪畫、裝置藝術、攝影藝術、錄像藝術、觀念藝術並跨藝術領域與建築產業進行跨界交流,激發藝術思考的新可能性,並透過不同層次的體驗互動進行深度的交流。
桃園地景藝術節為桃園市重要的大型藝文活動之一,宗旨為透過藝術介入空間,讓藝術更貼近環境與常民生活,並推廣桃園獨特的自然景觀與人文風貌,自2016年起,更確立了藝術節的三大主軸─「地方覺醒」、「社區風動」、「藝術打樁」,與四大價值─「社區參與」、「在地特色」、「環境永續」、「循環經濟」,打造桃園地景藝術節的在地化品牌象徵。 延續此主軸與價值,今年「2017桃園地景藝術節」持續深耕藝術與在地的關係,以「秘境找地景」為概念,結合觀音區引人入勝的白千層林道與周邊陂塘,藉由藝術創作與在地參與,激發不一樣的環境新觀點,探索值得玩味的「地景秘境」,而副展區崙坪的「聲音地景」與八德竹霄的「藝遊八德」亦圍繞此概念,帶給大家充滿驚奇的祕境之旅! 藉由豐富的藝術作品宣傳桃園境內的特色地景,並結合在地社區投入,讓地景藝術節不僅是觀光媒介,更成為桃園人的地方盛典。 大湳展區
週一至週四10:00~20:00 週五至週日10:00~20:30 兒美館 ‧ 西坡展區 藝遊八塊厝展區 週一至週日10:00~18:00
第一屆由94藝術發動之「內湖光影遊戲藝術節─『光/作用』」將延伸「藝術大眾化」的概念,與「娘釀」團隊、蕭希如、林哲志、王詠翔等藝術家合作;結合獨立開發之密室脫逃遊戲─「徒層」,期待為今年冬季的內湖營造遊戲與藝術交融的氛圍以及醞釀些許「微醺氣息」,與民眾同樂。
遊戲(game)就其英文字源來說,是人群聚集之意。這意味著集體的重要性,換言之,「人」的參與才能開啟有趣的遊戲。 啟動一場五感藝術盛宴,讓視覺、聽覺、嗅覺、味覺,多重感官媒介,接收以多元形式呈現的藝術訊息。94藝術期待大家一同體驗, 沉浸其中並獲得樂趣。帶起內湖區文藝風氣,讓今年有個不一樣的內湖冬季!
*展覽與座談皆採預約制 Both exhibitions and events are reserved. 報名網址 sign up:https://goo.gl/forms/BLuGJqTgHqij5gSj2 活動連結 information:www.facebook.com/events/187947801863054/ 展覽論述 當策展概念從博物館學進入到美術館,逐漸被認可為另一種創作模式。作品的角色也從作品本身更附加上補充論述和理論驗證的成分。觀者進入展間所產生的預期心理,透過大敘述對作品抱持期待;間接,策展論述能力的好壞已潛在的決定展覽質地的基調。 策展人或藝術家透過創作宣示某種「主張」,但是當創作本身超越觀眾既能理解時,則成為不友善的冷冽靜物。於是,又再透過語言形塑,試圖使觀眾理解。然而這種矛盾是作品與說明之間的問題,也是我自2016年開始的創作中試圖去挑戰的。其次,台灣文化環境,文化工作有一大部分仰賴政府的補助案,不過其中的申請、審核的重要指標往往指向」「觀看人口」以及「普及程度」,顯而易見,這並非對文化發展是完全正向的機制,但是若展覽去除觀者,如何檢視一場展覽的成果? 本次展覽選自2016至今的作品和其背景為敘述核心,並利用影像再現和座談的對話,試圖讓『展覽』背離『物件』,離開展間;徒留下語言論述和辯證,透過單純的「主張」,抽離物件,去除形式,當展覽即是展覽本身,藉此一談我對藝術與社會的理解。 Exhibition discussion
When the curatorial concept entered the museum from museology, it was gradually recognized as another creative mode. The role of the work is also added from the work itself to the components of the supplementary discussion and theoretical verification. The expectant psychology created by the viewers entering the exhibition hall, through the large narrative, holds expectations for the works; indirectly, the ability of the curator's discourses has potentially decided the tone of the exhibition's texture. The curator or artist declares a certain “proposition” through creation, but when the creation itself can not only comprehend the audience, it becomes an unfriendly, cold and still life. Then, they again shaped the language and tried to make the audience understand. However, this contradiction is a problem between the work and the explanation. It is also an attempt I have made to challenge in my creation since 2016. Secondly, a large part of Taiwan’s cultural environment and cultural work relied on the government's subsidy case. However, the important indicators of application and review often pointed to “viewing population” and “degree of penetration.” Obviously, this is not entirely positive for cultural development. The mechanism, but if the exhibition removes viewers, how can we examine the results of an exhibition? The exhibition is selected from 2016 to the present and its background is the core of the narrative. It uses the dialogue of image reproduction and discussion to try to make the “exhibition” deviate from the “object” and leave the booth. The disciplinarian left the language discussion and dialectic through the simple "Advocates", withdrawing objects, and removing forms, when the exhibition is the exhibition itself, to talk about my understanding of art and society.
活動連結 Exhibition Website:https://www.facebook.com/events/159961867943121/?active_tab=about 展覽論述 身體作為日常主體向外交織的媒介,是知覺產生所依賴的集體脈絡器官,亦是意識判斷的參考對象,而身體感正是當中身體變異不變的身體感受。 誠如梅洛龐蒂,我們從未停止生活在知覺的世界中,卻在理性上超越了世界,這類超越其實是種否定,我們異化為一種類機械式的身體模式,以被動式接受的先驗存有模式中斷了作為主體主動實踐的身體參與,亦即處於僵化的、被動的、有悖於身體圖示的意向性身體狀態。 我們又如何自覺,使自覺不限於只是發現的階段,而是透過作品顯現或誘發『如何』展現於整體,這裡的整體所指的既是主體在互動中所發展出的各自『屬我性版圖』,亦是(誘發如何)中,不斷被顯現出的多重領域之結合互動之必要性,達到身體優先於理性抑或喚醒身體的直覺意向性。 Exhibition discussion
The body as a medium for the daily subject to diplomacy is the collective context organ on which consciousness is dependent. It is also the reference object for consciousness judgment, and the bodily sensation is the body experience in which the body variability remains unchanged. Like Merleau Ponty, we have never stopped living in the world of perception but have surpassed the world in reason. This type of transcendence is actually a kind of negation. We alienate ourselves into a kind of mechanistic physical model and passive acceptance. There is a pattern of auditing that interrupts physical participation as the subject’s active practice, ie, an inflexible, passive, intentional physical state that contradicts the body's graphical representation. How do we self-consciously make conscientiousness not just limited to the stage of discovering, but show or induce "how" to be displayed in the whole through the work. The whole body here refers to the "my self" domain that the subject develops in the interaction. It is also (inducing how) that the need to combine and interact in multiple fields that are constantly being manifested, to achieve the intuition that the body takes precedence over reason or to awaken the body.
活動網站 Event website:https://www.origlifeart.tw 展覽論述
花東的人順應著大自然的節奏,發展出一套在地的生活哲學,與自然共存的關係與律動延續至今。花東原創生活節以花東元素出發,串連藝術家、表演工作者及工藝師,共同展現花東引以為傲的原創實力。花東地區被視為「台灣最後一片淨土」,有壯麗的太魯閣峽谷、一望無際的太平洋、多元豐富的部落文化,往往這些美好伴隨著外地觀光客的誤解,以為這裡的人們生活步調緩慢,過著安逸舒適的生活。事實上,很多在花東勞動的人們,順著大自然的節奏生活,早上5點就起床,迎接一天忙碌的開始。 在沒有格林威治標準時間之前,祖先依循著日月、星晨、潮汐,或是傳統作物生長的時序來作息。卑南族在芒草花開時舉辦大獵祭、噶瑪蘭族在刺桐花開時,迎接新年和飛魚的到來,生活作息與大自然有著密不可分的關係。住在東海岸的人們,每年更要面對大自然變幻莫測的考驗,早已發展出一套在地的生活哲學,如此與自然共存的關係與律動,仍然延續至今。 現今,在資本主義和資訊爆炸的年代,現代人追逐著24小時的鐘錶時間奔忙,人們不再理會時間發展過程的軌跡。或說,過去人類從過程的流逝中抽象出時間概念,而現代人只計算著時間,忽略去體會其中的過程。花東人更多時候是在「看不見的時間」裡過生活,有時為了守護自然生態環境,有時更為了延續傳統文化而忙碌,這樣的忙無法以分秒計算,也不是一般人所能看見。正因為如此,豐富了在地創作的素材、滋養了創作者的靈魂,就在這片土地上有了最原生的創造力。 策展主題「看不見的時間」探討著文化和時間認知的差異,是誰來定義花東的生活?又花東人的時間觀如何影響著城市的脈動、自然環境和族群認同。策展同時包含了「編織」及「釀造」子題,無論是編織的圖紋,或是經由發酵所釀造出來的酒,都不再只是靜止物,而是一個創造和發展的過程,在看不見的時間裡,我們循著日出與花開,牽起老人家的手,刻畫當代的生活。
更多資訊 more Info: http://www.artistvillage.org/event-detail.php?p=3895
線上報名 Online Registration/https://goo.gl/urRNAX *此座談以全英文進行 The talks will be conducted in English. 台北∣寶藏巖國際藝術村作為國內外藝術家進駐的基地,不單是提供創作與生活的空間,更重要的是能夠與在地民眾產生更多藝術創作或生活體驗上的交流互動。為此,我們將於7/21周五晚上六點半至九點於台北國際藝術村幽竹廳舉辦第三季的第一場Friday Night Talks,邀請本季於台北國際藝術村駐村的藝術家金兌妍、王詠翔、山田哲平、鄭勝、美琳娜・亨尼克&麥可・史密特、金秀衍進行藝術家座談會。由獨立策展人,同時也是獨立藝術刊物—HAGAI創辦人與總編輯的李彥儀主持,以輕鬆的對談方式讓駐村藝術家和大家聊聊創作旅程中的點滴風景,並分享從異地進駐台北的計畫心得,歡迎Friday Night來台北國際藝術村「異」起聊「藝」下。 As the base for domestic and foreign artists to enter, Taipei’s Sichou Tibetan Rock International Art Village not only provides space for creation and living, but more importantly it can interact with local people to create more artistic creations or life experiences. To this end, we will host the first Friday Night Talks in Season 3 at the Bamboo Lounge of Taipei International Art Village from 6:30 to 9:00 on 7/21 Friday and invite artists from this village in Taipei International Art Village this season. Jin Duan, Wang Yixiang, Yamada Teppei, Zheng Sheng, Melina Hennec & Michael Schmidt, and Jin Xiuyan conducted an artist symposium. Li Yanyi, an independent curator and independent art journalist, HAGAI founder and editor-in-chief, hosted the village artists to chat with everyone on the creative journey and share the information from different places in Taipei. With regard to the project, we would like to welcome Friday Night to the Taipei International Art Village and call it “Art”.
更多資訊 More Info: http://www.mocataipei.org.tw/index.php/2012-01-12-03-36-46/past-exhibitions/194-exhibition-review-2017/2298-hiding-in-the-island 展覽論述 花東縱谷的小鎮玉里,舊名「璞石閣」,意為「風塵之巷」或「灰塵世界」,據說原住民深居山林,忘形打獵之際,不知不覺走出森林邊緣,望見一座小鎮,其間風塵飛揚,景像荒疏,異於山林,因而得名。仲夏初秋之際,秀姑巒溪總是一片風沙滾滾,偶爾還捲起小龍捲風。那個無聊的年代,下午坐在半山腰上,望著無人出沒的小鎮,只有載甘蔗的黑火車,無聲無息的冒著白煙從山腳下緩緩駛過。縱谷大塊的雲朵,山形色彩的變化,都輕如它們自己的影子。 島嶼東部的開發比西部晚兩百年,一般人印象中,這裡是原住民群居的蠻荒之地,狂野的太平洋帶來無情的颱風,活躍的菲律賓海板塊帶來恐慌的地震。這裡的人「如四季花草榮枯由他」般活著,不知不覺。如果說殖民時期帶來自卑,威權時期帶來平庸,被遺忘的島嶼邊緣,就更加莫名的卑微,過著反智的生活。確實,島嶼的邊緣,遙遠的化外之地,注定被孤立、被遺忘,但也有些避亂保真、隱身內觀、孤獨創作的人,受不了都市也住不久鄉下,總是來來去去。時光飛逝,曾幾何時被稱做「後山」的臺灣東部,變成了「臺灣最後一塊淨土」,這其中沒有什麼邏輯,只是一種存在的悖論。 新時代的來臨,西部的進步帶來生活的矛盾與價值牴觸,使得島嶼東部出現另一種可能。壯闊的大地、無情的自然、簡單的人文,必定有它的意義。康德(I.Kant)在他的《判斷力批判》(The Critique of Judgment)中提及崇高與壯美,他說由於自然對象的巨大體積或力量超過想像力所能掌握時,於是在人心中會喚起一種要求對對象予以整體把握的「理性理念」來掌握和戰勝對象,從而對對象的恐懼、畏避的痛苦,轉化為對自身(即人)尊嚴、勇敢的肯定而生快感。這種審美特質在於它不是和諧優美那種,而是在愉快中包含痛苦,痛苦中又含有愉快。 這是東部藝術家面對的第一個悖論,也是創作的來源,對抗巨大空虛無聊、原始的自然力量而產生的整體把握之野心與批判力度。另外,那些離開再回來,一直處於隱身避世與豪邁開創之中來來去去而形成第二種悖論,在價值兩極之間巨大擺盪的體力與精力所帶來的生命力量。第三個悖論即原住民山林世界與漢人灰塵世界,是關於始原的探索與存在的警覺。每一個悖論都有它的社會議題以及矛盾勢力,創作者必須不斷保持活躍的心靈與創造的喜悅,又不斷重回寧靜與穩實,才能獨自在前無古人後無來者的洪荒之地為這個世界命名;無權過問世事卻有清晰的思考能力;身處資本主義卻保有社會良心,與自然的、形而上的原始的契約不曾間斷,這就是隱身島嶼的性格。本展覽「島嶼隱身」希望透過這三個悖論,探討一種特殊美學與存在之真,邀請深居東部的藝術家,以及外地來來去去求學的青年創作者,就他們生活實踐與自我探索,彰顯「任何一個地方都有大地與世界,自由與文明」的思緒及其藝術。 Curatorial Statement
The small town Yuli in East Rift Valley was previously known as “Pu Shih Ko,” which means “the ally of dust” or “the world of dust” in aboriginal languages. It is said that on one occasion, the indigenous people who lived deep in the mountains were so immersed in hunting that they found themselves walking beyond the edge of the forest. The people saw a small town surrounded by dust, a deserted scenery that looked different from the mountains, hence the name “the world of dust” come out. Xiuguluan River is often surrounded by dust with occasional small tornadoes during midsummer and early autumn. In the early days, people would take the train halfway up the mountain and look on to the empty town while black trains carrying sugar cane slowly pass by the foot of the mountain, quietly puffing smoke. The changing contours and colors of the mountains and large clouds throughout the rift valley are as light as if they were shadows of themselves. The development of East Taiwan started 200 years later than West Taiwan. Most people have the impression that East Taiwan is an undeveloped place with indigenous tribes, confronted with ruthless typhoons brought by the wild Pacific Ocean and earthquakes created by the energetic Philippine Sea Plate. Just like seasonal flowers and plants, the habitants of East Taiwan live passively under the impact of nature. If colonialism brings a sense of inferiority, authoritarian leads to banality. The margins of this island, forgotten by others, have become even more insignificant and represent a life of anti-intellectualism. The edges of this island and remote locations are indeed destined to be isolated and forgotten; however, there are exceptions. Some manage to avoid the chaos of the outside world and preserve authenticity, hiding and nurturing the inner scenery, creating art in solitude. These people are unable to live in the city nor in the country for long, constantly traveling back and forth. As time goes by, East Taiwan, previously known by many as “Back Mountain,” has now become “the last pure land of Taiwan.” This phenomenon does not contain any logic and is merely a paradox of existence. With the dawning of the new age, contradictions in life and values that result from the advancement of the West have led to a new possibility for East Taiwan. The spacious land, ruthless nature, and simple culture, all have their unique value. In “The Critique of Judgment,” Immanuel Kant mentioned “the sublime,” a sensation that arises in the heart when one encounters overwhelming size or force in nature. The sensation induces reason to grasp and conquer the phenomenon, which results in the pain of fear or recoil. This pain further transforms into a pleasing sensation of dignity and courage towards the self (human). This unique quality of aesthetic judgment does not arise from harmony or beauty, but from an intertwined and mixed sensation of pleasure and pain. For artists of East Taiwan, this contradiction is the first paradox and an inspiration for creativity, the ambition and judgment of grasping the enormous emptiness of boredom and ancient forces of nature. In addition, artists who have returned and are moving back and forth between secluding quietly and creating boldly, form a second type of paradox, a life force that sways between the two extreme poles of different values with physical and mental energy. The third paradox lies between the indigenous world of the mountains and the dusty Han Chinese world, a vigilance of exploring origin and existence. Each paradox involves social issues and contradicting forces. In order to identify this world, alone and without forebears and followers, the artist must continue to preserve the liveliness of the mind and the joy of creating while also enable the return to serenity and seclusion. These artists have no right to enquire about the incidents of this world but are blessed with a clear mind, living in our capitalist world while maintaining social conscience. The ongoing connection with nature and the metaphysical is the temperament of living in seclusion on this island. Hiding in the Island is an exhibition that aims to explore this unique aesthetic and authenticity of existence through these three paradoxes. Artists who live deep in East Taiwan and young artists who arrive during the travels in their studies come together to share their mindset and work, hoping to highlight the idea that “any location is a place for nature and the world, freedom and culture.”
活動簡介 自由應是一個使自己變得更好的機會。 我們打造一個平台,破除所有限制,讓藝術自由的在這裡發生。來自世界各地的藝術家、藝術團隊,沒有任何負擔的盡情創作、自由交流。等待被發掘、被看見的年輕創作者,給國際藝術家、策展人及藝術媒體都看見。當我們創造出最大的自由,期待所有可能都實現。伊日美學生活基金會作為藝術生活的實踐者,從2014年開始舉辦一年一度的台北藝術自由日,試圖開啟一個對話性的場域、視覺界域之外的想像空間。 About
Freedom is nothing but a chance to be better. We created Taipei Free Art Fair to create a platform without restrictions, promoting artistic freedom. Artists and groups from around the world, creating and interacting freely. Uncovering gems, unleashing potential, a space to be seen. Realize our greatest expectations in a place without limits.
由台北市文化基金會藝術村營運部主辦「混種現場」藝術祭將於9月10日至9月16日為期7天,在台北花博爭艷館、台北國際藝術村、寶藏巖呈現系列相關展演活動。「混種現場」自2012年舉辦迄今已邁入第五個年頭,延續「跨界」的主要精神概念,今年活動內容共分為「視覺混種」、「聲響混種」、「表演混種」、「國際藝文空間」、「幽竹小塾X ON SITE」、「週末微小聚X ON SITE」六大區塊,各類藝術領域在此交集激盪,迸發出嶄新驚豔穿透觀眾的五感體驗。 Organized by Department of Artist-in- Residence, Taipei Culture Foundation, On Site Artfest will take place in Expo Dome, Taipei Artist Village and Treasure Hill from 10th to 16th October, 2016. Started from 2012, this art festival will continue its “crossover” spirit in the fifth year, represented by On Site Visual, On Site Sound, On Site Performance, International Art Space, TAV Talks × On Site and Weekend Fun Together × On Site. An array of art genres will cross over here, inspiring an all-new and exciting physical experience for visitors.
策展論述 藝術家在現實社會中的處境,對我而言是一種浮游不定的狀態。用精神分析理論來解釋藝術家創作的過程,意指將本我(id)中激動翻滾的慾望,藉由昇華(Sublimation)作用經過自我(ego)意識突圍而出,他們從外在環境尋獲新刺激,交給敏感細膩的內在世界一層一層不斷轉化後,才能產出迷人的符號密碼。藝術家們必須不斷在現實與內心來回穿梭,在社會洪流中維持個人浮游,醞釀力量在夾縫找到自我定位,進行一場溫柔的抵抗。 創作者對於個人處境的知覺,完全表露於創作,將不定的浮游狀態固著於作品上,其中不乏社會與自身的衝撞。田名璋對於人為僵化制度的倦怠,透過暫時逃離日常生活融入自然,依循野性的呼喚找回自我存在,而作品本身則是一種行為影像的概念。香港雨傘革命發生時,身處異鄉的龔正荇,藉由創作表達對故鄉遠距離的關切,畫面中暗藏的小木頭人,代替她彌補無法親身參與香港公民運動的遺憾,看似親密確有無能為力的淺層焦慮。李瑜芳受到海洋教育的啓發,作品中充滿對於海洋生物的悼念,美麗之下隱藏著對生命的憐憫,盼望人類意識到對於鯨豚的傷害後能產生同理心。林哲志的雙胞胎系列,思索生命中無限可能性的焦慮,雙胞胎有著先天相似的基因結構,但有可能因為遭遇不同的社會歷練而各自發展成不同的樣貌,反應自身對於創作或生命探索的苦悶,視作品為宣洩出口。黃祈霖的創作是對於觀眾觀看自身作品的印象,透過自己反思觀看,微型嘲諷觀眾的反應。在花蓮的許多獨處時間裡,王詠翔看清了許多物件所發酵出的情感氛圍,透過裝置手法再現出來。 一群來自花蓮的藝術創作者,因為地緣關係,對於自我與環境的衝擊有著更敏銳的洞察力,他們訴說著不同的故事,但都聚焦在一種浮游情感之上,一種情感的狀態,透過藝術,積極展現。 Curation Concept
The artist's situation in the real world is a floating state for me. The use of psychoanalytic theory to explain the artist's creative process means that the desire to thrill in the id is exiled by sublimation through the ego consciousness and they find new things from the external environment. Stimulation, to the sensitive and delicate inner world, is gradually converted layer by layer to produce a charming symbolic code. Artists must constantly shuttle back and forth between reality and the heart, maintain individual floats in the flood of society, brewing power to find self-positioning in the cracks, and perform a gentle resistance. The creator's perception of the individual's situation is fully revealed in the creation, and the indefinable floating state is fixed on the work, among which there is no lack of social and self-impact. Tian Mingji’s burnout of the artificially rigid system, through the temporary escape from daily life into nature, followed the call of the wild to recover the existence of the self, and the work itself is a concept of behavioral images. When the Hong Kong Umbrella Revolution took place, Gong Zhengyu, who was living in a strange land, expressed his concern about the long distance of his hometown through his creations. The hidden little woodman on the screen replaced her regret of not being able to personally participate in the Hong Kong Citizens’ Movement. It seemed that intimacy was incompetent. Tier anxiety. Li Yufang was inspired by marine education. His works are full of thoughts of marine life. Under the beauty, there is a pity for life. He hopes that human beings will realize empathy when they are harmed by whales and dolphins. Lin Zhezhi’s twin series, thinking about the infinite possibilities of anxiety in life, the twins have a genetic structure that is innately similar, but may develop different appearances due to different social experiences and reflect their own angst for creation or life exploration. Depending on the work, it is exported. Huang Chin-lin's creation is an impression of the audience watching their own work. Through self-reflection and watching, the miniature taunts the audience's reaction. In many independent time in Hualien, Wang Xixiang saw the emotional atmosphere that many objects fermented and reappeared through installation methods. A group of artistic creators from Hualien, because of their geographical relationships, have a keen insight into the impact of the self and the environment. They tell different stories, but all focus on a floating emotion, an emotional state, through art, Actively show.
策展論述 「 極限(limit)」是以超越常態性時間、空間,「逼近」邊界的模糊點,可以以「觀念」界定此名詞的想像,而「四維」則是超越以往三維空間角度,在時間軸中探視其不可見的面向。藉以兩者概念,藝術爆發、交錯、座落於銜接點而達到創意極限。 以「暫時性」貫穿整個主題,超越以往此名詞等同於「滯留」觀點,而是以時間、空間、文化場域或身體邊界交錯…「逼近」此名詞的訴說。以遊牧的文件敘述與游擊行動突擊,藝術家是以混雜視覺、身體、空間與時間界限,思考與想像「暫時性」的極限衍生意外性結果,以其視野反轉時間與空間的定律而產生第四維面向。 在混沌理論中藉以巴塔耶論述,人類潛藏著想從日常井然有序的狀態回歸到無狀態的慾望,而這種欲望獲得解放時,能夠獲得巨大的快樂。藉此,遊牧與游擊場域便以兩子題方式: PART I:遊牧超極限、PART II:游擊超極限,前後場域形式以白盒子空間與外部空間介入,制式與外放相對能衍生出藝術家對於空間形式的極端跳脫、作品與環境的直接性呼應、訊息即時性傳閱……。從場域自由性轉換,引發創作者對於空間、時間極致限度的想像。 Curation Idea
“Limit” transcends the norms of time and space, “closing” the blurriness of boundary points and using “concepts” to define imaginations of this term. Thus “four dimensional” goes beyond the typical three dimensional point of view. Along the time axis, one discovers an invisible side. This work sits between two schools of thought - an explosion of art, interlocked and situated at the point of convergence to push the limits of creativity. Using “temporality” to penetrate the entire theme, the idea is to go beyond typical associations with the term “retention”, thereby using time, space, the cultural arena or the interlocking of physical boundaries to “approach” this term’s definition. Using nomadic wandering documentary descriptions, and intervening actions, the artist is using mixed visuals, the body, thoughts, space and time limits, and the imaginative “temporal” limit to derive unexpected outcomes. It uses this perspective to reverse the stated laws between time and space, and produce a fourth dimension. In George Bataille’s discourse on chaos theory, he states that people have a hidden potential desire to swing from a state of daily routines to a statelessness of desires. When one is liberated from this desire, one can receive great joy. Thus, the wandering and intervening stage is introduced through a two-part process - Part I: Wandering Hyper-limit and Part II: Intervening hyper-limit. The front and back stages are formed by white box spaces with intervention from outside spaces. By comparing the structure and the openness, one can derive at the artist’s extreme escape from spatial form, the piece and the environment’s direct call and answer, the way a message is instantly circulated….From the liberal changes in the field, the creator’s imagination towards the extreme limits of space and time are invoked.
更多訊息more information : https://www.facebook.com/DHCAF/?fref=ts 活動介紹 「第二屆東華角落藝術節」即將於2015年12月9日盛大開幕,延續去年「角落,發現藝術的美好!」此一理念,今年東華角落藝術團隊進一步招攬各系學生、邀請各界人士參與此活動,共同讓校園成為一座「活的美術館」。 今年的東華角落藝術節,是由「東華角落藝術團隊」策展同學們共同規劃,這群策展同學來自於各個不同的系所,帶著對創作的熱情前來,自主策辦這場特別的展覽。承接上一屆東華角落藝術節的創作理念,創作者皆為東華校園的師生,只要對藝術創作有興趣、有熱忱,每一個人都可以是創作者,讓自己的作品點綴東華每一個角落。 此次東華角落藝術節還舉辦了「藝術家講座」,邀請藝術家張恩滿分享創作經驗,藉以讓創作者們在創作過程中迸發出不同的思考。本次展出近九十件作品,展覽場地遍及各學院及校園各個角落,策展團也設計出一張獨一無二的「藝術地圖」,讓參觀者們可以拿著這份地圖尋找展覽作品,彷彿尋寶遊戲一般,尋找與每個作品相遇的機會,或許需要花費一些時間,但在過程中,參觀者也一步一步與東華校園有了接觸與互動。這也是東華角落藝術團隊的另一個理念──讓創作者、參觀者再次認識東華這一美麗的大學,發現東華的多個不同面貌。 我們感受這塊土地,用心用腳,踏遍整個校園角落,尋覓一個可能的相遇,妝上我們的話語。參展者可以是任何人,只要有想法就得以前來參加,打破我們對於「創作」的刻板想像,跨系級、年齡及身分的,目的是渴望將藝術創作更能散佈於校園內,並打造一個行動及公共藝術充滿的美麗校園。 我們在思考著一件事情,就是校園有著各類藝術活動,大家一起欣賞藝術的美好,藝術其實就近在身邊。但也思考,是否有更貼近藝術的想像,那就是我們來創作屬於我們自己的故事,教職員生皆可參與其中,在優雅的環境裡,讓我們「腳落」東華校園,將創作實踐在各個「角落」裡。我們「落腳」在此,做我們自己的藝術,開拓藝術的自由,實踐自由的藝術。 希望在自由學風的東華校園裡,透過此活動可以讓更多人參與藝術創作,創作來自於東華教職員生,而展覽空間遍及東華的各角落!人人都有創作的自由與能力,希望透過如此的策展活動,喚起大家對於創作的慾望,在自己的將來,持續創作,當成人生的一部分。 如果您報名成為我們的參展創作者,展覽期間東隅工作室會為您製作一份藝術藏寶地圖,讓大家拿著地圖去尋找散落於東華各個角落的作品,您的創作將成為他們尋找的目標,是不是很有成就感呢?此外,您可以在創作前期參與創作論壇,與其他參展創作者交流,把您的創作理念跟大家分享,我們工作室也會邀請本次展覽顧問到場,老師會分享藝術品如何與空間呼應的實際案例,以及給予您在創作上的建議,所以第一次創作的朋友們不用害怕沒有方向喔!我們的徵件類別沒有限制,舉凡視覺藝術、雕塑、文學、表演藝術……等,都可以報名! Activity Description
We feel this land, use our feet, and walk through the corners of campus to find a possible encounter and makeup our words. Exhibitors can be anybody. If they have ideas, they must come to participate in the past and break our stereotypes about “creation”. The purpose is to cross the departmental level, age, and identity. The purpose is to aspire to spread artistic creation more effectively on campus and build A beautiful campus filled with action and public art. We are thinking about one thing, that is, the campus has various kinds of art activities. Everyone appreciates the beauty of art together. The art is actually close by. But also thinking about whether there are more art-like imaginations, that is, we come to create stories that are our own. Staff members and students can all participate in it. In an elegant environment, let's “step down” on the Donghua Campus and put the practice into practice. "in the corner. We are here to “settle our feet” to be our own art, to open up the freedom of art and practice the art of freedom. It is hoped that through this activity, more people can participate in the artistic creation on the Donghua campus of the liberal study style. The creation comes from the Donghua staff, and the exhibition space covers all corners of Donghua! Everyone has the freedom and ability to create. He hopes that through such curatorial activities, he will arouse everyone's desire to create. In their own future, they will continue to create and be part of adult life. If you sign up as our exhibiting creator, during the exhibition Tung Hei Studios will create an artistic treasure map for you so that everyone can use the map to find works scattered in every corner of Tung Wah. Your creation will become what they are looking for. Is the goal a great achievement? In addition, you can participate in creative forums in the pre-creation period, communicate with other exhibitors, share your creative ideas with others, and our studio will invite the exhibition consultants to be present. The teacher will share how the artwork echoes the space. The actual case, as well as give you advice on the creation, so the first time the creation of friends do not have to fear no direction! There is no limit to the categories of our requisitions. Visual arts, sculpture, literature, performing arts, etc. can all be registered!
第三屆國際大學拍片運動,日前舉行開拍儀式,所有團隊必須在十小時內,完成一部三分鐘內的短片,且必須包含三項元素:遙控、一支遺失的鞋、魔術。好比是鐵人三項的拍片運動,挑戰學生的影音創作功力及創意的即興表現。 今年共有來自於6個國家155個隊伍參與,全球約700多位學生報名,臺灣則有18所大學參加。該活動目的是期望讓各校與各國的大學生相互溝通與交流,達到資訊互惠的目的,並透過實際的製作經驗,瞭解到影音媒體的影響力,也擁有獨立的思考與判斷力。 本活動將於3月25日晚間6點至8點,於崑本校圖書資訊館前廣場,舉辦全球首映會。活動邀請到龍華科技大學盧大為老師、樹德科技大學練維鵬老師、長榮大學吳宏翔老師、文藻大學吳青蕙老師、本校曾惠青老師、台南應用科大John Maloney老師、以及美國Cinemasports主席Jin Joo先生,擔任本屆的評審,將從110多部短片中,挑選出30部優秀影片於首映會播映。 首映會當天,將頒發獎項給優秀團隊,作品題材豐富,精彩可期!播映會全程免費,歡迎各界人士,共同欣賞傑出作品。 The third international university filming ceremony was held recently, and all teams must complete a three-minute short film within ten hours and must include three elements: remote control, a lost shoe, and magic. It is like the triathlon filming movement, challenging students' audio and video creation skills and improvisational expression of creativity.
This year, a total of 155 teams from 6 countries participated in the program. More than 700 students from around the world signed up, and 18 universities from Taiwan participated. The purpose of this activity is to expect the schools and college students of each country to communicate and communicate with each other to achieve the purpose of mutual benefit of information. Through actual production experience, they will understand the influence of audio-visual media and have independent thinking and judgment. This event will be held on the evening of March 25 from 6:00 to 8:00 in the Kunming school library information center square, hosting the world premiere. The event invited Prof. Lu Dawei from Longhua University of Science and Technology, Prof. Wei Peng from Shuter University of Science and Technology, Prof. Wu Hongxiang from Evergreen University, Prof. Wu Qingxi from Wenhua University, Teacher Zeng Huiqing from the University, Teacher John Maloney from Tainan University of Applied Sciences, and Mr. Jin Joo, President of Cinemanesports, USA. In this year's judging, 30 outstanding films will be selected from more than 110 short films to be screened at the premiere. The On the day of the premiere, awards will be given to outstanding teams. The themes of the works are rich and wonderful! The broadcast will be free for the whole time. All people from all walks of life are welcome to enjoy the outstanding works. |
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