2016 美錯了? A Beautiful Mistake?
策展論述
延伸朱光潛〈我們對於一棵古松的三種態度〉一文中實用的、科學的與美的三種態度,時至今日,我們的日常無法脫離數位科技帶來的便利,在享受便利的同時,也影響了上述三種態度的判斷與想像。本展試圖強調兩種概念,首先是無論是何種態度,「日常生活」是最容易親近且可以共同經驗的場域;而三種態度也並非是完全的涇渭分明,藝術家透過動員或是揚棄的動作來實踐三種態度,體現自身的藝術理念,觀者藉由作品的觀看,並回頭思考自身與藝術家共同生活的日常異同。在本展中,將日常生活視為一種能感卻時常無感的存在,而「美」是一種將日常生活事件化方式的代名詞,藉由「美」更趨向藝術的可能。第二種概念在上述的基礎下重新檢視現階段對「數位藝術」的想像;數位藝術不完全是科技技術的藝術,而科技技術的藝術回應的藝術問題不全然是關乎數位命題的,更多時候,所朝向的是關乎再現、模仿等古典的藝術命題。本展「美錯了?」試圖將「數位生活」視為「日常生活」的一部份,重新檢視日常生活中,被忽略的數位經驗,以及數位生活中被忽略的日常體驗。
策展人:張乃仁、劉星佑 Curator: CHANG Nai-Ren, LIOU Sing-You 展出藝術家:張湛、張乃仁、陳漢聲、徐叡平、黃仲瑜、黃偉軒、賴宗昀、李冠宜、李俞萱、湯羽彤、彭奕軒 Artists: CHANG Chan, CHANG Nai-Ren, CHEN Han-Sheng, Rae Yu-Ping HSU, HUANG Chung-Yu, HUANG Wei-Hsuan, LAI Tsung-Yun, LEE Kuan-Yi, LEE Yu-Shuan, PENG Yi-Hsuan, TANG Yu-Tong |
The exhibition is an elaboration based on the three attitudes – practical, scientific, and aesthetic – proposed by Chu Kuang-tsien in his article “Three Ways of Looking at an Old Pine Tree.” Nowadays, our daily life is dominated by digital technology and its convenience in every aspect. While we enjoy the convenience, we experience a change of the attitudes mentioned above in terms of judgment and imagination. Therefore, the exhibition attempts to emphasize the following two concepts: first, no matter what attitude we have, “daily life” is the most perfect and friendliest space to experience it with each other, while the three attitudes are sometimes overlapped too, adopted by artists (either through their mobilization or rejection) to practice and to embody their individual artistic concepts. By viewing the artworks, viewers are encouraged to reexamine themselves and to discover the similarities as well as the differences of the “daily life” lived by the artists. In the exhibition, daily life is thus defined as something perceivable but often ignored, while “beauty” becomes the pronoun to make our daily life into events as a way to approach “art.” The second concept is to rediscover the imagination of “digital art” based on the ideas mentioned above. Digital art is not necessarily equivalent to the art made by technology, while the latter does not always respond to digital issues. In most of the cases, it shows a greater concern over how classical themes are represented, reinterpreted, and appropriated. The exhibition A Beautiful Mistake includes “digital life” as a part of our daily life to reconsider the much ignored digital experience in the daily life, and vice versa.
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作品介紹
李俞萱〈我是一個皮卡丘〉LEE Yu-Shuan, I am A Pikachu
Cartoon is essential in our childhood memory. The invention of computer makes it possible for viewers to play a more active role rather than passively watching the cartoon broadcasted on TV. In other words, computers allow viewers to become editors, projectionists, and even cinema critics, releasing them from the dominant TV. The artist’s obsession with cartoon has encouraged her to start a dedicated collection of Pikachu. Since cartoon finds itself a channel on computer rather than TV, the artist thus reverses the “collected items vs. original cartoon” relation, turning the video into the object of reception. Her collection began with her cartoon fascination, but her dedication to the collection soon prompted her to search for the video which may “verify” the items’ authenticity. Through the comparison between the collected items and the screenshots of cartoon scenes, the pirated or non-mainstream images/mascots of Pikachu become the first-hand video without prior broadcast.
李冠宜〈樂園〉LEE Kuan-Yi, Paradise
藝術家的作品僅由兩個物件構成,一個是米老鼠造型的舞台玻璃球燈鏡面球,另一個是被藝術家比喻為米老鼠的人偶,現場用投影機播放著迪士尼卡通,當卡通透過鏡面球的折射,彷彿星斗般的折射在空間中,如同藝術家所訴:「抵達不了的樂園,來不及傾訴的哀樂,終將消沒沉浮於漫漫星點中。」三個圓形所組合成的米老鼠造型,幾乎是多數人對迪士尼的第一想像,這樣的造型可以是影像,更可以是商業識別標誌,米老鼠從卡通變成商品識別符號,再從商品識別符號變成影像的載體。我們所看見的星光,是幾萬年以前星星所發射出來的光芒,而暗室的牆上環繞的星點折射的是記憶中的卡通影像,彷彿是遙遠的兒時記憶,不忍批判,當你批判,那已是遙遠的過去,徒增感懷。
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The work consists of only two objects: the Mickey-Mouse-shaped disco mirror ball and the doll described as the “Mickey Mouse” by the artist. Disney cartoons are projected on-site, with images refracted through the mirror ball around the space as if it were a starry night. “The unapproachable paradise and the unuttered sentiments both dissolve into the starlight,” says the artist. The three-circle Mickey Mouse is almost the equivalent of Walt Disney in most people’s minds. The sign is not just an image but also a logo. The cartoon character Mickey Mouse first becomes a logo and later turns into the medium of images. The starlight we see with our naked eyes was emitted long before thousands of years ago, while the sparkles here on the dark walls refract the long-gone memory of our childhood cartoons. No one has the heart to criticize. When you do, you only lament the stories buried deeply in the past.
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徐叡平〈後庭花〉Rae Yu-Ping HSU, Falling Out of Love
Hair trimming is a common experience for everyone, and the hairstyle, long or short, layered or not, is for the “hair owner” to decide. Since a hairstyle somehow influences the person’s psychophysical state, what to do with our hair thus demonstrates how we exercise our free will. In the artist’s imagination, hair becomes a disposable string instrument. There are 48 strands of hair stretched vertically, while each of them is tuned to a different note from the National Anthem. As the engine rotates, the blade not only “plucks” but also “cuts” the hair-strings, making it impossible to play the tune for again. The debut of the National Anthem becomes its swan song. “The girls have no thought of a perished kingdom; gaily echo a song of ‘Courtyard Flowers.’”[1] – although the artist sings the song alone, nothing will stop her from playing the anthem. The one-song-only instrument refuses to be made silenced, unless it is an intentional choice. Viewers may recognize Falling Out of Love as a political metaphor, which poetically transforms Taiwan’s political situation into an out-of-tune musical instrument, national anthem exclusive, and an installation video deprived of its sound and image after its debut.
張乃仁〈永別了,愛德華〉CHANG Chan, Beautiful Natural Landscape in the City
A spotted deer is listening to the soundtrack and dialogues of a computer game, just like what the artist has been doing throughout the making of the work. The artist is merely an observer, witnessing the whole art-making process with viewers. The significance of the “green screen” in video postproduction is that it both separates and connects reality and imagination after an absolutely real animal breaks in. The dramatic sounds and subtitles come from a scene of the game Assassin's Creed III – the near-death dialogue when the characters are killed. The well-developed cinematic structure also reveals the thick, muddled authenticity of media and its relation with postproduction. Perhaps the green screen is the nostalgia of images, gazing into the past as well as the future...
張湛《城市中美好的自然風景》CHEN Han-Sheng, The Mnemotechnics of Green Object
The function of transformer boxes is to convert high voltage current into low voltage current to provide electricity to regular households. In the cement jungle, a transformer box is what urban residents “walk by” rather than “live on.” Under the government’s policy, “beauty” is finally considered practical while landscape painting becomes a way to practice it. Humans are always attracted by nature. The artist rejects any aesthetic painting standards and devotes himself to a somewhat ridiculous open-air landscape painting, allowing viewers to reflect on the relation among nature, non-nature, and the represented nature. The grand beautiful landscape depicted on transformer boxes is a rapid sketch for us to witness and to experience. The ridicule is underscored by the ridicule, bringing rich and beautiful natural scenery to the city.
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陳漢聲〈綠體記憶術系列〉
The theme of the artwork, “plants,” is not merely a representational sculpture carefully created by the artist, but also a microcosmic symbol revealing its momentum from inside the glass frame. The artist adopts an apocalyptic metaphor to imply that artificial objects gradually replace the dying Nature. When artificial objects become our nostalgia for nature, the momentum is thus made the spirit of the plants. The artist foresees the warning ahead: “what have we lost in a world overly obsessed with progress? When evolution and development no longer serve the basic survival needs, do we banish the residents only to profit a small group of us?
彭弈軒〈死亡之光〉PENG Yi-Hsuan, The Light of Death
A mosquito killer lamp is a single, ordinary, but yet practical tool. When a large number of them are intentionally and meticulously arrayed in a museum, it becomes a sculptural installation. However, if the unwelcome “guests,” mosquitoes or other insects, find their way to the exhibition space, the artwork will reactivate its original function, killing these guests in the most ordinary, even pleasant, manner. The faint blue-purple light is the sentinels guarding households in their sleep, while the “pop” sounds here and there signify the victory on the battlefield. Without the unwelcome guests, light is nothing but light – the light of technology we have been so familiar with. However, the artist takes the liberty of the mosquito-free space to imagine how the light can be turned into an interactive installation.
湯羽彤、賴宗昀〈十八饒曲-轉轉〉TANG Yu-Tong & LAI Tsung-Yun, Early Adulthood Bitch Voice: Spinning
“Lucky stone water fountain” is a common tabletop installation believed by Taiwanese to bring good fortune. The traditional fengshui practice, alone with its philosophical symbols, is condensed into a commodity of modern fengshui, being rapidly manufactured and mass reproduced in a capitalist market. Soon, we make us believe that consumption can change our destiny… The two artists, in their collaboration, combine installation and video to make the practice of fengshui visible and imaginable as a way to render a vision of female sexuality. Through the embodiment of lust and desire, the artwork further reverses and transforms the (sexual) consumerism in contemporary society.
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黃仲瑜〈水〉HUANG Chung-Yu, H-O-H
畢業於物理系的藝術家非常清楚的明白,在數位技術的輔助下,科學之眼才得以成為方法,甚至是「美」的,世界的不同來自於不同的媒材所觀看到的影像。本次作品〈水〉,即是透過高速攝影機來捕捉那些我們肉眼無法看見的世界,藉由光子的顏色捕捉,與水的表面張力。當水撞擊到物體表面時,才會拓印出物體的型態,並構成影像的形成。而這種觀看的方式,如同將人轉化為以量子的角度看待這個世界,世界是虛無的,充滿了隨機性與不穩定的狀態,卻構築了當今我們生活的宇宙。
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With an undergraduate degree in physics, the artist knows it well that only with the assistance of digital technology can the eye of science be defined as a “method,” or even an aesthetic perspective. All the differences of the world are the results of the images we see through different media. The artwork H-O-H captures the world invisible to our naked eyes with a high-speed camera, such as the colors of photons or the surface tension of water. When water crashes into the surface of an object, the form of the object is printed on it to create images. Such a way to view the world is like to transform the human perspective into a quantum’s perspective. The world is void. In its instability and randomness, the Universe we are living in is built.
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黃偉軒〈那些不曾離開的風景〉HUANG Wei-Hsuan, Scenery Never Left
We often use the phrase “a sudden look back” to describe a realization of mind. In our daily life, however, to make a turn or to take a glance will be valid only when they blend the gaze of the moment and the existing memory together – if we wish to “sustain” the landscape which we once believed disappearing. The photographic landscape is almost a like reality, but it is sometimes too real to be real, integrating the artist’s depiction of realistic scenes and the visualization of one’s memory. The 3D drawing techniques are no longer tools for representation and life sketches, but the rhetoric conversation between the virtual and the real landscape. The dialogue turns the landscape into a digital file, where it stays forever to serve the blueprint in the heart of the artist.