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創作說明|

後現代時期以後,藝術的物件化演變使藝術品從崇高無疑的狀態成為一種去神聖化、與身體同在的生活物件,變得可以被客觀檢視分析、多元解讀甚至重新定義的對象,這多少體現了藝術領域的自由自覺、自我反思、推陳創新的能動性特質。

今以當下的藝術觀念再度回首關照宗教這個主題會是怎樣的狀態? 此展隱約在做一個藝術與宗教間平行位移的思考,相對於崇高藝術品的日常化、物件化概念,將宗教圖像以一種台式平民居家生活中常見的違章建築語彙展現出世俗化、物件化的樣貌呈現。

在擁擠的亞熱帶島嶼城市環境中,半透明的浪板透光明亮、防水通風、日暖夜涼、搭蓋簡易…廣泛被用於架構臨時性遮風避雨的材料,成為本展作品的主要視覺元素,多少靈魂生命就在它的最低限的呵護下得以存在、成長、茁壯。

宗教是人們一種無形的精神靈魂指標,在此將不同宗教的圖像構造為有形的、熟悉的、(看似)有機能的組構或器具…成為一種類似精神性的外在器官,它彷彿結合了現實的實用與超克的祝禱想像,使精神得以支撐;生活得以延續。

展覽資訊|

展期Duration|2017.8.16-9.23
開幕Opening|8.19(六) 15:00
座談Forum|9.1(五) 19:00 陳文祥與杜偉對談
時間Time|每週三到六 3pm~9pm Wed-Sat
地點Venue|海桐藝術中心 Haiton Art Center

活動專頁Event Page

展覽介紹|

本展為「違和之地」系列展,本次以《源氏物語》中「生魂」與道家「魂魄出竅」作為概念,邀請的藝術家一為探討藝術家自身與意識疏離產生的違和感,另一是生理女性在不同時空(如從乙未戰爭開始到台灣日本時代、美軍駐台時期到現今國民政府時期)中關於性/別認同與處境的狀態。透過這兩類作品的交織,進而隱喻一段在國家機器、社會意識與戰爭相互作用中,台灣近代中對於壓迫女性身體使之產生記憶解離的歷史隱喻。

This exhibition is the series exhibition of “An Unnatural Place” which’s concept is about the “living spirit” and “astral projection”. The works in this show talk about two topics- one is the unnatural feeling out of the separation of self and consciousness. Others are about the situation and identity of sexual and gender that (physiological) females have been facing during the past centuries ( As Japanese ruled period, America’s Army stationed and Chinese Nationalist Government till now) Between the interweave of two kinds of artworks, metaphoring the time while state apparatus, social consciousness and war interact the modern history of Taiwan’s woman’s body which has been coerced and engender the dissociation of memory.

張美陵的攝影作品以 1895 年乙未戰爭的歷史照片作為創作文本,展示女性與其親族在前線頑強抵抗侵略者的幽魂,另份圖像為光緒時期的《點石齋畫報》的插圖,則出現有乙未戰爭客籍女性抗日的圖像;黃子明的攝影作品關懷台籍慰安婦在戰爭時期作為作為日本軍事性奴隸的歷史,台灣慰安婦受害人逾 2,000人,但目前僅剩 2 位尚在人世,時至今日,日本政府尚未向台灣提出道歉與賠償。

The photography of Chang Mey-Ling use the history photo of the soul of woman and their kinsfolk who fight at the front line to resistance the aggressor of Japanese invasion of Taiwan in 1895, to become her create source. The other image is about the “Tian-Shi-Zhai Pictorial” in Guangxu of the Qing Dynasty. And the photography of Huang Zi-Ming which solicitude the history of Taiwanese comfort woman became the sex slave of Japanese army. Which reach over 2000 of victims, only two woman still alive. Japanese government hasn’t apologize to Taiwan till now.

黃孟雯的攝影與裝置作品先是顯示了美軍駐台時期因美軍有駐外法權,對待女性工作者身體的殘酷對待,對於虐殺輪暴事件,台灣因外交弱勢而使自己的人民無法得到正義的政治現實;另件作品則以女性酷兒的日常生活田調為基礎,談到了日本時期到現代,女性酷兒對於婚後身分認同在社會上生活的狀態。勸世美少女娃娃與翁会長的MV作品則談到以金錢交換身體,將自我、身體與現實感觀切割的狀態,另外又延伸到性/別暴力(家暴)的問題。

Orlando Huang’s photography and installation works first involved the time when America’s army stationed in Taiwan, while they treat the female workers ruthless. Because the weakness of political, people in Taiwan can’t get their justice on those killing and rape by America’s army. The other work basic on the field research of normal life of female queer. Talk about the Japanese ruled period till now, female queer’s identity in life of society after marriage. And Wawa and Wong Kai Cho from Trancezone Family. Their music video works is about the self-objectifying of the women exchanging money with their body. Also extend the sexual/gender violence issue.

勸世美少女娃娃與翁會長的 MV 作品則談到以金錢交換身體,將自我、身體與現實感觀切割的狀態,另外又延伸到性/別暴力(家暴)的問題。鄧雯馨的 MV 則以自身經驗,來談一段白天與夜晚截然不同的生活。她在白天將自己作為國家機器的一部分,這種異化使她產生了某種人格分裂的違和感。

Trance beauty girl Wawa and Wong Kai Cho from Trancezone Family. Their music video works is about the self-objectifying of the women exchanging money with their body. Also extend the sexual/gender violence issue. Wen-hsin Teng made the music video by her own experience. Talk about the huge different of live between day and night. She turned herself into the state apparatus by day. The difference makes she feels split personality.

Maria Papi的影像作品與勸世美少女娃娃的MV作品,重視性/別暴力與女性身體。本次展出的 Maria Papi 以女性身體與水之間的關係,用抽象的詩意方式隱喻,讓人得以重新審思女性的身體。

在現今國際化時代中,이수진Soo Jin Lee 的作品談到了在異地生活,身為一個女性對於自身狀態與空間、環境疏離的違和感,她以塑膠布包起自己,成為一個絕緣的狀態。

Maria Papi’s video work and Trance beauty girl Wawa’s music video witch pay attention on the sexual/gender violence and female body. Papi’s work focus on the connection between female body and water, and let audience again contemplate on female body in An abstract, poetic and metaphoric way.
In the contemporary era of globalization, 이수진 Soo Jin Lee’s work talks about a female’s awareness of an uncanniness within her state in a stranger’s life. She covered herself by plastic fabric, turned into a insulation situation.

김소영 So Young Kim 的作品談到了在各種媒體(包含繪畫、雜誌、廣告、漫畫)中,女性身體其實是由男性目光所決定的,那些姿態、身體都是一種男性視野觀看的角度,將女性視為慾望的單純物件,顯示身體與其意識是一種切割的狀態。
作為意識疏離隱喻的部分,她的另件作品說了一個孩子在衣櫃裡面對世界進行虛構與想像的敘事編造的歷程,另件談到了事件若僅從記憶去回溯時,往往混雜了自身情感,這使得記憶如宗教信仰一樣,與他的原始狀態無關,成為一種變形的存在。

So Young Kim’s work talk about in each media (including illustration, magazine, commercial, comic) which woman’s body all decide by man’s vision. Those postures, body are a kind of vision angle by man. Seen woman as a single object of desire. Shows that body and consciousness are in a situation which can be apart.
As a metaphorical part of alienated consciousness, One of the work is talking about a kid in the closet imagine the world and make up story. The other is about when things remind with only by memory, usually mixed with self emotion. It makes memory like religion, nothing about it’s original shape. It’s a deformation exist.

鄧雯馨的實驗影像與音樂呈現一個意識漫遊,抽象的精神狀態,Carlos Martins 的黑白實驗電影呈現一個意識的紛雜;Juan Miceli 的錄像源自一次意外,藝術家本人因傷而使對自己身體進行日常行為感到陌生。Rodrigo Etem 的錄像則將自我外星人化,成為一個人類外星人,在一個荒涼的地方現實但又不真實的活著的狀態。

Wen-hsin Teng’s experiment video and music shows a consciousness roam, abstract spirit condition. Carlos Martins’ monochromatic, experimental movie expresses a situation of complexity. Juan Miceli’s video is originally inspired by an accident, in which artist felt a sense of unfamiliarity with his own body in everyday behavior because of the injury. Rodrigo Etem’s video tries to alienated himself to become an E.T. (or alien from outer space), whose life in a desolate land is in a realistic yet not real status.

展覽資訊|

日期 Duration|2017.8.19(Sat)~9.10(Sun) 12:00-19:30
開幕 Opening|2017.8.24(四) 17:00
策展人 Curator|楊雅翔 Ya-Siang Yang
阿根廷藝術家 Argentina Artists|Carlos Martins、Juan Miceli、Maria Papi、Rodrigo Etem
韓國藝術家 Korean Artists|김소영 Kim So Young、이수진Soo Jin Lee
臺灣藝術家 Taiwan Artists|翁会長 Wong Kai Cho、張美陵 May-Ling Chang、黃子明 Tzu-Ming Huang、黃孟雯 Orlando Huang、葬詩人 You Object Poemer、鄧雯馨 Wen-Hsin Teng 、勸世美少女娃娃 Trance beauty girl Wawa

主辦單位Organizer|水谷藝術 Waley Art、VideoBardo International Videopoetry Festival
贊助單位Sponsor|文化部Ministry of Culture、台北市文化局Department of Cultural Affairs, Taipei City Government
指定輸出Print|Avocado 數位微噴輸出
設備/技術Equipment/Tech|地下車庫裝置設計工作室 、 幽谷響 YUGU

活動專頁Event Page

 

 

展覽介紹|

「Tell Me What You Want」是關於一段旅人和異地文化之間的視線、慾望、友誼及需求的交換。這個交換關係起始於David於馬尼拉馬拉提(Malate)的街上,以一個外來者的身分與當地街道上活動的「Marketing」們從陌生的交遇發展出交友關係,從拍攝影片的需求所產生的各種交涉和交易,這當中所發展的數種交換關係及過程,交錯著Malate的地方現實、人情網絡、跨文化的不同種欲望和想像的凝視與錯視。自2015年11月到2017年6月,David持續飛往馬尼拉,在旅人、友人及影片製作人的身分之間穿梭著,這些曖昧的角色經歷投射出跨文化呈現底下複雜的多重內涵。

“Tell Me What You Want” is about the exchanges of the gazes, desires, friendship, and wanting in between a traveler and an exotic culture. This relationship of exchange started when David was on the street in Malate, Manila. He engaged with the “marketings” on the street as a foreigner, and from this strange encounter, they developed friendship. Owing to the needs of shooting the films, the negotiation as well as transaction came along. The various relationship and processes of exchanges are intertwined with the reality, the social network, the diverse desires and imaginative gaze and illusion across cultures local to Malate. From November 2015 to June 2017, David constantly flied to Manila, shifting his identities as a traveler, a friend, and a film producer. Via these ambiguous narratives, the complex multiple meanings underneath the cross-cultural appearance is thus revealed.

在本次展覽中,藝術家以四部仿紀錄片(Mockumentary):「Malate」、「David」、「Joara」、「The Shop」組織成展出內容,這四個影片彼此有所交織卻又獨立存在,也各自象徵著在不同的族群、文化、觀點、視線和慾望需求下的產物。透過這四個影片中所暗示的交會點「David」這個外來角色的鏡射,反映出展覽的許多核心問題。「Tell Me What You Want」這個街道招呼句,指向Malate街道上的交結構,藝術家也在影片製作的過程中融合當地街頭的交涉形式,他不斷實驗著這個交換關係下的人情及經濟架構,同時也嘗試從中勾引出在不同文化面對友誼交流與交易行為的定義,以及彼此國族間存在的既定印象,和在觀光娛樂及跨國交易背後所隱藏的階級意識。

In this exhibition, the artist arranges four mockumentaries: “Malate”, “David”, “Joara”, and “The Shop”, which are intertwined and yet independent from one another. Each film respectively symbolizes the products deriving from various peoples, cultures, viewpoints, gazes, and wanting. Through the mirror of this alien character “David”, who is the intersection point implied in the four films, many of the core issues of this exhibition are exposed. “Tell Me What You Want”, a greeting on the street refers to the transaction structure on the street of Malate. The artist incorporated the negotiation on the local streets into the production of the films. He kept experimenting with the social and economic frameworks beneath this exchange relationship. At the same time, he tried to draw out the definitions of friendly exchange and transaction from the viewpoints of different cultures, disclose the bias rooted among different nations, and uncover the hidden class consciousness behind the tourism entertainment and international transaction.

筆記Note 01|https://www.youtube.com/watch?v=4VyNlH9FoWo

筆記Note 02|https://www.youtube.com/watch?v=4TkkI4ZccF0

筆記Note 03|https://youtu.be/jIDC5e3DYoA

展覽資訊|

展期Duration|2017.07.29~09.17
開幕座談Talks|2017.07.29 Sat. 3pm
開幕同樂會Videoke Party with Merienda|2017.08.06 Sun. 1pm-5pm
地點Location|鳳甲美術館 Hong-gah Museum

指導單位Advisor|文化部、台北市文化局
贊助單位Sponsor|國藝會
指定投影Projection|奧圖碼科技Optoma TW
展場影音、燈光技術整合執行Administer|千鳥藝術

活動專頁Event Page

展覽介紹|

國際知名攝影雜誌 GUP 首次來台,於8月26日起於 VT 非常廟推出荷蘭攝影新秀展,同時舉辦專家見面與座談。GUP 攝影雜誌為 “Guide to Unique Photography” 的簡寫,攝影媒體 Oitzarisme 將其評為「死前必買的雜誌之一」,與荷蘭 FOAM、紐約 Aperture 並列為當代最重要的攝影雜誌!此次活動是歐洲攝影雜誌首次在臺灣完整的推廣與呈現。GUP 的來台由雜誌編輯 Erik Vroons 親自領軍,展出歷年獲選「荷蘭新秀攝影師」(New Dutch Photography Talent)的攝影作品。荷蘭新秀攝影師的選秀是 GUP 雜誌舉辦的年度盛事,為荷蘭攝影界高度重視,每年選出最優秀的 100 位攝影藝術家的作品,收錄在年度出版的專輯之中。

‘New Dutch Photography Talent’ is an annual catalog established by GUP, an international magazine on photography based in Amsterdam, The Netherlands. Since 2012, 100 emerging photographers who are within the first five years of their career are presented in these catalogs. Most of them are Dutch by origin, but some non-natives are also included when they have completed their studies at one of the many art academies or photography schools in The Netherlands.

來台的攝影作品來自 Eva Roovers、Iris van Gelder、Justine Tjallinks、Marike Groeneveld、Rutger Prins、Sander van der Bij、Lonneke van der Palen、Lizette Schaap 8 位歷年獲選荷蘭新秀的攝影師作品,其中更包括東京國際攝影獎(TIFA)、鏡頭文化(LensCulture Portrait)、西恩納(Siena)國際攝影獎、Gosee 攝影獎等國際重要獎項的得主,堅強的陣容也顯示出 GUP 對首次來台展出的重視程度。

For this exhibition, Erik Vroons (editor-at-large for GUP Magazine) has selected 8 outstanding New Dutch Photography Talents: Iris van Gelder, Marijke Groeneveld, Eva Roovers, Lonneke van der Palen, Rutger Prins, Lizette Schaap, Justine Tjallinks, Sander van der Bij.

除了一系列以荷蘭攝影藝術為主題的活動外,VT 更爭取到與 GUP 合作推廣臺灣藝術家的難得機會。兩個單位將在 2018 年持續合作,於 GUP 的平台上推出臺灣攝影藝術的專題。這個活動首先在今年 8/29-30 以專家見面會的方式公開徵選可能躍上版面的潛力藝術家,對於喜愛攝影藝術和專職的創作者來說都是不可能放過的好機會。

All these emerging photographers have established, in an early stage of their career, a distinctive and distinquished style of working with the medium of photography. More than merely pushing the button and thus ‘recording’ what is to be seen, they all have a tendency to intermediate and to compose their own, unique way of looking at the world.

GUP 源自攝影蓬勃發展的荷蘭,雜誌專門刊載攝影相關的社群、觀念、評論與觀察內容。自 2005 年開創以來,GUP 一直在國際攝影藝術界扮演重要的角色。雜誌從實體紙本雜誌的發行開始,之後擴張到網站及社群網路的經營。透過網路社群每日更新的內容,GUP 得以與讀者保持緊密而且即時的關係。目前 GUP 的專業顧問來自 100 個以上的國家,並且持續在增加,以確保 GUP 是當前最專業、最即時的知識傳遞者。GUP 實體雜誌在美洲、澳洲、亞洲等超過 28 個國家裡擁有通路,每一期發行約 15000 本,在台灣網路與實體平台也都能找到這本雜誌,擁有 2000 多個固定訂閱戶,是對於當代攝影藝術具有可觀影響力的媒體

‘Highlights: New Dutch Photography Talent 2012-2017’ at VT Artsalon gives a comprehensive sample of the various directions in which the medium of photography is moving in The Netherlands: from portraiture to landscape, and from installations to collages, all the works on display are a clear expression of the autonomous approach of each of these young visual artists.

展覽資訊|

展期 Duration|2017.08.26~09.23
開幕茶會 Opening|2017/08/26 (六) 15:00 -19:00 (當日提早休館)
策展人 Curator|Erik Vroons
藝術家 Artists|Eva Roovers, Iris van Gelder, Justine Tjallinks, Marike Groeneveld, Rutger Prins, Sander van der Bij, Lonneke van der Palen、Lizette Schaap
展覽地點 Location|VT ARTSALON (台北市新生北路三段56巷17號B1)

活動專頁 Event Page

 

展覽介紹|

此展概念來自電腦語言中的「巨集」概念。此展ㄧ開始形成的方式就如同「巨集」般,同時集聚某ㄧ交接處開始形成另ㄧ種展覽生成的合作和產出。所謂電腦語言中的「巨集」,以電腦科學的角度來詮釋,是指某種特定將序列輸入以規則或是樣式的型態於程式中開始分佈,並重新取代電腦輸出序列。

既然藝術性的產出是根據情境式或實際狀況於策展人、空間和藝術家之間不斷地推擠衝撞,關於巨集的型態可以被瞭解為ㄧ種重要的方法論,以便在ㄧ般肖像研究中儲存更多敏感的意義。作為ㄧ個策展單位,我發現此巨集概念的方法論在布蘭登和仁達作品上以及從中與他們合作的過程中似乎可應用其中,尤其是針對過濾ㄧ連串的資訊以及體驗在來回不斷場合碰撞出的單一特質。但是,像這樣的情況,不是說馬上就直接可以被詳細說明的(由於不定期的展期或是說明),相反地,因為這樣的不定性,在記憶中風的情況下,捕捉到並儲存在被經歷狀況下那種加密的情況。我之所以稱之為加密,是因為被儲存的資料跟事件發生的地點ㄧ點關聯性都沒有,因為這樣,像這樣加密的情況反而ㄧ開始就很容易被凸顯出來。最後,當有了機會可以展出此產出品,這樣的方式製造出某種不規則配方,因為藝術家和策展單位已經累積聚集多數被巨集化的情況,每種情況皆包含ㄧ連串殘酷剖開的感官知能資料。

由此清楚可見,這樣的生成品,並非拼貼,也不是裝貼,更不是模仿品。在某種程度的包容性當中其實是在屏除在外的,而為了能夠接收察覺各種不同情況下的(資訊接收/理解/傳達)正確性而犧牲了熟悉性的口語。在這裡精確性的形容此合作的作品可說是「在兩種不同的佈景(setting)中彼此互動」,所有可調節點(包括速度、高度、溫度、大小等)在怎樣的承載機器、裝置或軟體中可以被調整至得以操作啟動,然後被認知做為ㄧ個開幕活動 (佈景/場佈(setting),如同在某種場景或是物件如何在不同環境的種類下被置放,或是某個活動或事件發生的地點),像這樣的轉化,讓前者得以加入ㄧ起互動,也因為如此,而抵銷後者曾經加入或正在加入互動的情況。

FOGSTAND Gallery & Studio is pleased to announce Beholder, a two person exhibition including Glasgow-based artist Brandon Cramm (his first exhibition in Taiwan) and Taiwanese artist Jin-Da Lin. Macroing acts as the indented point toward which this exhibition begins to gather. A macro in computer science is a rule or pattern that specifies how certain input sequences are mapped to replacement output sequences, according to a defined procedure…….this is not collage, nor is it assemblage or pastiche. It is excommunicative to the degree in which inclusivity and colloquial familiarity are sacrificed for a perceived situational accuracy. An accuracy brought into play through the interplay between two types of settings, the thresholds of modulation (speed, height, or temperature, scale, etc) at which a machine, device or software can be adjusted to operate and the perceived opening (setting, as in the place or type of surroundings where something is positioned or where an event takes place) that allows the former to come into play, and by so doing, cancels out the later ever having been so.

關於藝術家|

布蘭登∙葛蘭 (1986出生,美國) 目前生活及工作於蘇格蘭格拉斯哥市. 布蘭登於2013年畢業於格拉斯哥藝術學院藝術碩士。精選展覽及作品計劃如下: Self-Titled Group Show, Market Gallery (2016), The Grind, Voidoid Archive (2015), God Only Knows, The Tip (2015), Untitled, Sequences Festival (2015), Summer Vids, Sadie Halie Projects (2014). Select Publications and writing include: ‘Flavour Text Annotations’ commissioned by Transmission Gallery (2017), The Breadeaters, commissioned by Aniara Omann – Hybrid, Celine Gallery (2016), Let it Go, Gnommero (2015), Words Don’t Come Easy, Nylistasafnið (2014).

關於布蘭登的藝術創作實踐來自於反照觀眾的角色和綴飾對於影像和媒體之合作關係。他個人喜歡研究物件、媒體、工具及社群平台,當這些東西聚集在ㄧ起時形成某種限制以及偏見,尤其是針對某特定行為、過程以及內容,而這些生成物卻反而塑造我們所看見的現實。(如果不是為了想像其他前後文脈絡及重複敘述的能力的話),這樣的組合其實是會有潛在性的限制程度。「工具使用的法則」上來說,如果你們全部都是鐵鎚,那麼怎麼看大家看起來就像是鐵釘ㄧ樣。可預見的問題是,在此陳述文中,從觀察者能力所得到的假設狀況,其實是已經識別出這些工具捲入其中的前提。也許對此陳述文另種說法是,「如果你們有的都只有是鐵釘,那麼所有的工具看起來都只是鐵釘。」或者,甚至可以捲入更多的工具,「如果所有的鐵釘被釘下時僅是個鐵釘,鐵釘釘釘子時就像個鐵釘。

當媒體化行為分解在具有使用者經驗的背景下,這些工具捲纏在ㄧ起的情況其實不是這麼容易被發現。這也許會促就開始對於修辭或雄辯以及手上的使用工具引發關注,不管是宣稱為是鐵鎚還是語言。從觀察者的角度,練習反覆不斷的察覺也許會帶來更多質疑,不單單只是從物件表演的世界中發現,也會從糾纏其中的個體當中以主觀性的方式察覺。在他的創作實踐中,他利用某種經濟便利化方式,除此之外,也可以說是運用某種自我消抹的設計修辭學:為了要展現以及質疑主體性同化的存在,而專注於在內在製成中動作示意的品質。

林仁達 (1983出生,高雄台灣)目前生活及工作於台灣。國立臺南藝術大學造形藝術研究所碩士畢。精選個/群展如下:《月台電影》,月台電影公寓,台北台灣(個展, 2014)。《打洞機》,中央研究院,台北/台灣(個展,2004)。《破碎的神聖》,台北當代藝術館,台北/台灣(群展,2017)。《繹域》,駁二倉庫,高雄/台灣(群展,2014)。《南國.國南,台越藝術家交流計畫》,齁空間,台南/台灣(群展,2012)。《TAIWANALE》,tamtamArt  gallery,柏林/德國(群展,2011)。《里昂福爾摩沙台灣電影節》,6e  CONTINENT,里昂/法國(群展,2010)。 《亞洲學生與年輕藝術家博覽會》,首爾火車站舊大樓,首爾/韓國(群展,2008)

林仁達通過錄像,在一些得以寄生記憶的地點與風景,重新凝聚自身記憶深處中的「某處」。也就是說,藝術家並非用水平的空間移動來再現兩個地點之間的類似性,而是不斷地將某個新地點虛構為記憶中的過往地點,這種虛構使得他能夠在旅行的記錄中不斷生產出敘事,而這些敘事又會回返連結上藝術家對於某些記憶片段的重新思考。林仁達是一個製造「縱深」的藝術家,從山野到城市、海港,從台北到高雄,他在這些地點之間編造(fake)著記憶的景深。

About artists|

Brandon Cramm (b. American, 1986) currently lives in Glasgow, Scotland. Cramm has an MFA from Glasgow School of Art, 2013 and a BFA from The University of Wisconsin – Stout. Select exhibitions/projects include: Self-Titled Group Show, Market Gallery (2016), The Grind, Voidoid Archive (2015), God Only Knows, The Tip (2015), Untitled, Sequences Festival (2015), Summer Vids, Sadie Halie Projects (2014). Select Publications and writing include: ‘Flavour Text Annotations’ commissioned by Transmission Gallery (2017), The Breadeaters, commissioned by Aniara Omann – Hybrid, Celine Gallery (2016), Let it Go, Gnommero (2015), Words Don’t Come Easy, Nylistasafnið (2014).

The focus of his practice originates from a reflection on the role of the spectator and addressing a collective relationships to images and media. He is interested in how all objects, media, tools and social platforms have coded limits and bias toward certain types of actions, procedures, and content; all of which shape our versions of reality. Potentially limiting (if not for the ability to imagine other contexts and iterations), the ‘law of instrument’ warns, “If all you have is a hammer, everything looks like a nail.” A foreseeable problem could be in the statement’s assumption of the observer’s ability to recognise the tool they are already so entangled with. An alternative statement might read, “If all you have is a nail, everything looks like a nail.” Or, even more deeply entangled, “If all a nail nails is a nail, nails nail like a nail.”

This entanglement is far less obvious when the act of mediation dissolves into the background of our user-experience. This might promote a greater attention toward the rhetoric and tools at hand, whether it be hammers or language. From the position of the spectator, a practice of recursive observation might brings into question, not only a world of performing objects, but also the subjectivity of the individual intertwined in it. Within his practice he employs an economic use of, otherwise, self-effacing design rhetoric: emphasising a gestural quality innate in production, in order to display and question the presence of an assimilating subjectivity.

Jin-Da Lin (b. Taiwanese, 1983) currently lives in Taiwan. Jin-Da has an MFA from the Tainan National University of The Arts of Graduate Institute of Plastic Arts. Select exhibitions/projects include: Platform Movie-Platform Movie apartment,Taipei/Taiwan (solo show, 2014), Perforator-Academia Sinica,Taipei/Taiwan (solo show, 2004), Shattered Sanctity-MOCA Taipei /Taiwan (group show, 2017), What We Are Mapping-The Pier-2 Art Center,Kaohsiung /Taiwan (group show, 2014), South country, South of Country-Hol gallery,Tainan/Taiwan (group show, 2012), TAIWANALE-tamtamArt gallery,Berlin/Germany (group show, 2011), Formose Cinema – Rencontre du film Taiwanais-6e CONTINENT,Lyon/French (group show, 2010), Asia Students and Young Artists Art Festival-Seoul Railway Station Old Building/ Korea (group show, 2008)

Jin-Da re-condenses “somewhere” of his deep memory through shooting video image of location and landscape that memory has been placed. In other words, the artist is not reproducing similarity between two locations by shifting spaces horizontally, but is constantly taking a new location at a fictional spot in past memories. This kind of fiction allows him to produce narratives in a trip recorded without end. Furthermore, these narratives can be reassembled to connect to some fragmented memories which are deliberated anew by the artist. Jin-Da is an artist of “depth-making”. From a mountain to a city and a harbor; from Taipei to Kaohsiung, he has faked the depth of memory field in between these locations.

展覽資訊|

展期Duration|2017.7.22~10.1
參展藝術家Artist|布蘭登∙葛蘭Brandon Cramm、林仁達Jin-Da Lin
開幕Opening|2017.7.22 13:00
地點Venue|Fogstand Gallery & Studio

活動專頁Event Page

展覽介紹|

達三件委託製作的影像裝置作品,分別回應台灣1990年代的三個文化史檔案,包括台北空中破裂節(1995)、台灣渥克劇團早年劇碼,與文化評論雜誌《島嶼邊緣》中一場酷兒身體的對談。展覽重新凝視當時以身體官能為基底的文化實踐──關於破敗的身體、踰越的感官、未竟的烏托邦。

The three commissioned video installations by Hsu Che-Yu, Su Hui-Yu and Yu Cheng-Ta in this exhibition respectively echo three archives of Taiwan’s cultural history in the 1990s, including the Taipei Breaking Sky Festival (1995), the plays by the Taiwan Walker Theatre in its early days, and an article featuring a discussion on the queer body in Isle-Margin, a magazine of cultural criticism. This exhibition gazes again at the physical function-based cultural practices shaped by wrecked body, sensual pleasure and unmaterialised utopia during that period of time.

三件作品背後的歷史文本乍看是零散而不規則的計畫,卻不約而同地涉及了某種遊戲的、干擾的、混雜的、庶民的文化實踐,遙遙相對於當時主流場域中雄辯、系統化的論述。在解嚴與野百合學運之後蓬勃發展的地下文化場景中,破敗的身體性化為各種小敘事,在大寫政治的解放周邊如影隨行,並被武裝為一種反文化的戰略,也形塑了當時對於邊緣與反叛的想像。

The historical texts underpinning the three works were somewhat unorganized at first glimpse, yet they coincidentally embodied a kind of playful, interfering, hybridised and vernacular cultural practices that contrast starkly with the eloquent, systemised discourses of the mainstream culture. In the exuberant underground scene after the lifting of martial law (1987) and the Wild Lily Student Movement (1990), the broken corporeality metamorphosed into various little narratives. They have crept up on the liberation of Politics as its shadow, and have been transformed into a counter-culture strategy, which also inspired the imagination about periphery and rebellion throughout the 1990s.

「破身影」的展題,指涉了1990年代台灣地下文化關鍵字的「破」,也是對「Brocken Spectre」(布羅肯鬼影)的訛譯與誤讀,該詞指稱登山者在頂峰時背對陽光,身體在前方雲霧中投射出的巨大陰影,舊時常被誤認為幽靈。這個橫亙在我們視線前方如鬼魅般的身影,在展覽中變成了一個歷史隱喻──它是我們自身的投影,卻又像是一個如幻術般溢出了主體的幽靈。

Broken Spectre, the title of this exhibition, not only refers to the keyword  (broken / to break) of Taiwan’s underground culture in the 1990s, but also insinuates the term “Brocken Spectre,” a phenomenon which occurs when the sun shines from behind the climbers who are looking down from the peak into the mist. The sunlight projects their shadows that are enlarged through the mist, which had been mistaken for spectres. This exhibition managed to turn this huge, ghost-like silhouette erecting in front of us into a historical metaphor—it is a projection of the human body like yours and mine on the one hand, and resembles a ghost summoned out of the physical body by necromancy on the other.

展覽並不著力於再現歷史,更像是試圖捕捉文化史的鬼影。三件作品是破敗身體的歷史迴光,也是對於晚近文化檔案的改編、致敬與再想像。

This exhibition is dedicated not so much to representing historical facts as to capturing the spectre of cultural history. In addition, the three commissioned works are not simply the terminal lucidity of the broken corporeality, but also the tribute to as well as the adaptation and re-imagination of Taiwan’s modern cultural archives.

展覽資訊|

展期Duration|2017.07.01~2017.09.17
地點Venue|臺北市立美術館 Taipei Fine Arts Museum
開幕Opening|2017.06.30 14:00
參展藝術家Artists|余政達YU Cheng-Ta、許哲瑜HSU Che-Yu、蘇匯宇SU Hui-Yu
策劃Curator|游崴Yu Wei
策畫團隊Curatorial Team|在地實驗計劃論壇 Etat Forum

活動專頁Event Page

與社會交往的藝術—香港台灣交流展

近年台灣與香港的藝術家與非營利組織體認到藝術具教育、讓人重新思考生活態度的功能,積極投入對公民意識、社群生活、文化資產等議題的關注,發起多項具創意的倡議和行動聯結。媒合兩地的「與社會交往的藝術」,期望透過展覽、工作坊、論壇的對話,深入認識此藝術表現在各自社會所代表的意涵與影響。

In recent years, artists and non-profit organizations in Taiwan and Hong Kong re-focused on the functions of art as a form of education and a way to enable viewers’re-examination of their outlooks on life. These communities also actively engage in the discussion of issues such as civil awareness, community life, and cultural capital by launching various creative projects, coalitions, and calls to action.

“Art as Social Interaction: Hong Kong / Taiwan Exchange” expects to connect the two places and deepen the understanding of the influences and meaning of this particular art form in the specific social context of each community through exhibitions, workshops, and dialogs in forums.

 

資訊Information|

策展人 Curator|吳瑪悧 Wu Mali
協同策展人 Co-curators|張晴文 Chang Ching-Wen、梁美萍 Leung Mee Ping
主辦單位 Organizers|社團法人台灣視覺藝術協會AVATKaitak 啟德
協辦單位 Co-organizers|高雄市政府文化局國立高雄師範大學跨領域藝術研究所
合作單位 Partners|民間博物館計畫好多樣文化竹圍工作室 、馬祖東莒社區發展協會、高雄市關懷台籍老兵文化協會、婦女救援基金會MaD 創不同聲音掏腰包
贊助/資助單位 Sponsored/Subsidized|國藝會NCAF春之文化基金會、普瑜投資股份有限公司、香港藝術發展局
場地贊助 Venue Sponsor|1a space

參展藝術家/機構(香港)Artists/Organizations (HK)|CoLABMaD 創不同、文晶瑩 Man Ching Ying, Phoebe、方韻芝Vangi Fong、民間博物館計畫、何國強+胡家偉+影行者 Ho Kwok Keung+Kelvin Wu+v-artivist、迷彩研究所(李曉華+張子軒+張蓉+陳穎斯+葉建邦+羅至傑+黎朗生)Scattered Camouflage (Li Xiao Hua+Cheung Tsz Hin+Cheung Yung+Chan Wing Sze+Yip Kin Bon+Lo Chi Kit+Sunday Lai)、活化廳繼續工作組&街坊 Woofertening group & Kai Fong、楊秀卓  Yeung Sau Churk、鄭炳鴻+啟德河綠廊社區教育計畫 Chang Ping Hung, Wallace+Kai Tak River Green Corridor Community Education Project、聲音掏腰包、簡梁以瑚 Liang Kan Yee Woo, Evelyna

參展藝術家/機構(台灣)Artists/Organizations (TW)|台灣國際勞工協會+陳素香 Susan Chen、弗耐‧瓦旦 Baunay Watan、吳耿禎 Jam Wu、阮金紅 Nguyen Kim Hong、周靈芝Julie Chou、呼提克團隊-拉馬默提司/奇古切拉古 HOOTIKOR- Lamamotis / ChekuChelagu、侯淑姿 Lulu Shur-tzy Hou、姚瑞中+失落社會檔案室、高雄市關懷台籍老兵文化協會 Colonized Warring Taiwan Society、黃博志 Huang Po-Chih、黑手那卡西工人樂隊、廖億美 Yi-Mei Liao +好多樣文化、劉國滄 Liu Kuo-Chang、澎葉生+蔡宛璇 Yannick Dauby+Wanshuen Tsai、蔣耀賢 Chang Yao Hsien/社團法人台灣金甘蔗影展協進會、吳瑪悧 Mali Wu+竹圍工作室、蘇育賢 Su Yu-Hsien、觀樹教育基金會

 

|與社會交往的藝術—香港台灣交流展 線上閱覽:

https://issuu.com/artassocialinteraction/docs/asi_ebook

 

強力徵求喜愛藝術、對策展及視覺藝術有興趣的你!
年滿18,不限科系,不需經驗。

「2017台灣當代一年展」於9/16至9/24,在「圓山花博爭豔館」盛大展出。
視盟邀請您成為年度展覽的最佳助力,這將是接觸視覺藝術產業的大好機會!

|台灣當代一年展簡介|
由台灣視覺藝術協會(視盟,AVAT)主辦的藝術家博覽會,自2002年開辦以來,希望在一般以畫廊為單位的藝術博覽會機制之外,提供另一種開放的展覽平台。台灣藝術家博覽會自2016年起更名為「台灣當代一年展」(Taiwan Annual),名稱上以國際藝術大展經常使用之雙年展、三年展作為呼應,在內容上則保持初衷,服務藝術家,為藝術界培養新興人才。

|報名日期|
即日起至8/10。

|面試&培訓|
面試時間:8/19(六) 13:00~17:00。
培訓時間:預計9/2 (六) 13:00~17:00。請務必參加。
地點:福利社FreeS Art Space(台北市中山區新生北路三段82號)

|值勤組別&時間|
a.收件組:9/ 9 (六)、9/10(日)|11:00~19:00(全天)
b.佈展組:9/14(四)、9/15(五)|排班制
c.展場組:9/16(六)~ 9/24(日)|排班制(9/24撤展)

*排班時段:早班11:00~15:30 晚班15:00~19:30

|工作地點|
收件組:福利社FreeS Art Space(台北市中山區新生北路三段82號B1)
佈展、展場組:花博公園爭艷館(台北市中山區玉門街1號)

|工作項目|

【收件組】
1.匯集作品、拍照分類。
2.協助作品搬運。
3.其它交辦事項。

【佈展組】
1.展品、文宣品處理。
2.補牆、粉刷牆面。
3.展場環境清潔。
4.其它交辦事項。

【展場組】
1.導覽現場協助與開幕協助。
2.顧展、維護展場品質。
3.教育工作坊現場協助。
4.其它交辦事項。

立刻點擊連結填寫志工報名表

 

台灣當代一年展 TAIWAN ANNUAL(簡稱一年展)多年來聚焦於藝術平權、多樣開放及國際交流,致力於提供一般以畫廊為單位的藝術博覽會機制之外,另一種開放的當代藝術展覽平台,展現台灣當代藝術界的多元可能性。

台灣當代一年展 TAIWAN ANNUAL在 2002 年以「台灣藝術家博覽會」為名創立;2016 年更名為「台灣當代一年展」。去年適逢一年展二十週年紀念,遇上 COVID-19 疫情全球爆發,藝文展演的傳統型態受到衝擊和挑戰;以此作為承先啟後的契機,一年展採「虛實整合、數位轉型」的概念,轉型為新型態展覽,努力為策展人與藝術家開創不同以往的表現可能,也為觀眾帶來更多全時性觀展機會。

過去三年,疫情不分國界、跨領域、跨產業地影響了全人類的生活方式與發展,不論是食衣住行,或是創作與展覽的舉辦方式,整體世界趨勢顯現了網路科技與人類生活的連結,各方面都變得更深、更廣。如今進入了「後疫情時代」,世界積極因應新的生活型態,思考如何與病毒和科技所帶來的改變,共存共榮。為了持續以藝術紀錄當代浪潮、以創作傳達思想意志,2022台灣當代一年展 TAIWAN ANNUAL期望藉由與數位科技結合,來延續創作的當代性格,也同樣擴展藝術與生活結合的更多可能。

在人類日常生活產生劇變之時,同樣也刺激了我們再次反思,生態環境與文明發展的相互關係;於此,2022台灣當代一年展 TAIWAN ANNUAL也積極關切、參與永續議題的討論。我們期望串聯創作者和藝文產業工作者,透過會展轉型的實踐,讓藝術與環境發展取得平衡、讓藝術的精神源遠流傳。

多元變化的可能性、以及包容的精神,一直是當代藝術之所以迷人的原因之一。2022 台灣當代一年展 TAIWAN ANNUAL做為下一個二十年的開端,誠摯地邀請各位共同打開心胸,在環繞科技和永續的思考和創意激盪中,發掘人文藝術轉向、轉型發展的無窮潛質。

 

2022台灣當代一年展  展覽期間
✸ 主展場|線上展 9/3 ~ 9/30
✸ 評審團獎入圍特展|臺灣當代文化實驗場 通信分隊展演空間 9/10 ~ 9/18
 

指導單位:文化部

主辦單位:社團法人台灣視覺藝術協會
合辦單位:臺灣當代文化實驗場

 

▷ 更多展覽資訊請關注
一年展 FB:facebook.com/tw.annual
一年展 IG:instagram.com/tw.annual
Art On Air 藝術放送中 FB:facebook.com/artonairbyavat

 

 
 
 
 

贊助辦法


台灣視覺藝術協會歡迎認同協會理念之一般消費大眾,或是產業從業人員與企業業主,以各種方式贊助協會經費或器材設備。視盟是正式向中華民國內政部登記在案的社團法人,多年來致力於台灣藝術文化圈的發展,每年皆會舉辦藝術家博覽會,並不定期地舉行藝術工作坊、藝術教育活動。財務及各項制度均受政府之督管,任何贊助款項一定開立正式收據,協會非常歡迎各方朋友的捐助,敬請與秘書處聯絡。

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傳真: +886-2-2585-7679
Email:avat.art.tw@gmail.com

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戶名:社團法人台灣視覺藝術協會

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