acopyofacopy

 

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街道上的交易結構，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.

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 pò (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

2017年3月至6月，文化部將於臺灣南中北東四區舉辦分區論壇，討論六大議題。為讓各區皆能討論到六大議題，每區將選擇三場地，每場地主要分上午場、下午場討論兩大議題，並安排開放議題時段與針對文化基本法草案討論的時間，歡迎民眾參與。同時，文化部亦將於6月17日舉辦青年論壇，邀請青年與會一起討論六大議題，並將彙整所有論壇討論，於9月2-3日，分兩天舉辦全國文化會議，具體歸納未來文化政策的施政方向。歡迎進入活動專業了解各場次詳細資訊，並進行場次報名。所有論壇會議均提供現場直播，會後也提供會議記錄提供民眾參閱 。