acopyofacopy

展覽介紹｜

藝術如何存在而被感知？你是否曾在空氣中感受著空氣的存在？而當藝術如空氣般圍繞在我們周圍時，你該如何的沈浸其中？抑或是保持著疏離姿態？

近年來沉浸式劇場以及各種科技虛擬實境的穿戴式裝置，讓沉浸式體驗的魅力受到關注。展演的體驗也從過往單向式的提供開始往更加多向式的發展，進而轉往場域沈浸式的觀賞體驗，觀者參與其中，互動於其中，玩樂在其中，也充分體現著要怎麼感受先怎麼投入的特性，看得到多少、體驗多少取決與你投入的程度，也可以不斷透過參與來累積體驗。

觀眾不再像是被動地接收參與原地不動，這樣的概念吸引著許多有著稀奇古怪想法的創作者投入其中，也因應著不同場域而有了不同的挑戰。雖然在戲劇形式、科技形式提供了類似沉浸式戲劇的觀展體驗，然而作為視覺藝術為出發，新興沉浸式展覽想必還是有很大的發揮空間。

自由人藝術公寓 x 鬧空間的首檔展覽Wallpaper，這次試著將五位不同領域創作者的作品，以一種沈浸式的觀賞體驗做呈現，讓觀眾可以在展演之中遊走。

綜觀當代藝術近來的發展，不僅僅符合多媒材、複合媒體的多樣性，而且在表現形式與內容上往往強調藝術與其他領域的整合，包含視覺藝術、設計、多媒體影像、裝置、科技、時尚、經濟學等等的知識形態。所以說，藝術生產強調其概念性的運用，它會朝向一種開放論述而發展其基本樣態。

展覽資訊｜

展期 Duration｜2017.07.12 – 09.15
地點 Location｜鬧空間 NOW space (台北市延平南路58號3F)
展出藝術家 Artists｜李蘄高、高昌湧、安地羊、張傑、劉士齊

開幕茶會 Opening
開幕時間 Time｜2017.07.14(五) 18:30-20:30
開幕表演 Perform｜2017.07.14(五) 19:30
表演嘉賓 Perform Guest｜KJ Tien 田廣潤

策劃單位 Plan｜自由人藝術公寓 Freedom Men Art Apartments
協辦單位 Co-organizer｜鬧咖啡 NOW coffee、集人文化藝術ARTOGATHER、框外視覺設計 Kuang Wai Visual Design、藝術家工作室 Artist Studio

展覽介紹｜

尊彩藝術中心即將展出台灣藝術家許常郁的個展「一座森林的完成」。此展為藝術家自2016年旅居在瑞士後全新的系列創作。在瑞士的風景繪畫，所畫的森林沒有指涉特定地點的，有些是她曾於住家周遭散步過的，有些則是對一般森林的記憶或既定印象。

Liang Gallery is pleased to present “Accomplishing a Forest,” a solo exhibition of new work created in Switzerland by Taiwanese artist Una Ursprung. The sceneries she painted in Switzerland do not refer to any particular locations. Some of these forests are near the place she resides, and some of them derive from the memories or impressions of forests seen before.

從法國、台灣到瑞士，藝術家經常式的移居豐富了她的創作形式，也對森林的探尋歷經了幾個不同的階段，她把這個過程寫成一種如詩般的民族誌，並自稱是土地盡頭的漫遊者。許常郁不是蒐集景點的遊客行旅，而是真正親身參與觀察，生活在他方，並變成他方居民，而心中一直保存著像韓波（Arthur Rimbaud，1854-1891）那種醉舟「Le Bateau Ivre」式的航行，一種交錯浪漫主義與象徵主義的形式表現。

From France, Taiwan to Switzerland, Ursprung’s frequent travels have enriched her artistic expressions and divided her exploration of the forests into different stages. The artist transforms this journey into a poetic ethnography by naming herself “the flâneur at the end of the earth.” She travels not to make a checklist of tourist attractions, but personally observe and experience the life of the faraway land until she becomes one of the locals. Her travels are hallucinatory and anesthetic Le Bateau Ivre, an expression blending the forms of Romanticism and Symbolism, as in Arthur Rimbaud’s (1854-1891) poems.

藝術家以媒材和技法來探索繪畫的空間與視覺體驗，以具象繪畫的技法處裡風景的空間感。之後也更直接地以抽象線條方式呈現兩種空間產生的空氣感。在「一座森林的完成」系列中，關於抽象線條的表現則結合了油畫和噴漆，強烈的反差感，造成了視覺差距的效果。抽象的噴漆線條、色塊或看似文字的密語像是漂浮在油畫前，猶如森林裡漂浮在空氣中的蟲子、葉子、光線或灰塵定格在畫面上。噴漆讓畫面的張力與視覺被強化及轉譯，彷彿跟著藝術家進入了真正的森林，看到了真正充滿動能與熱鬧活力的森林，這個森林已經不是哪個文明的反面與焦慮的出口，而是自然的一種本質。

The artist enjoys a greater freedom to deal with media and techniques to study the spatial and visual experiences in her painting. Figurative painting techniques allow her to manage the space of landscape, and abstract lines allow her to represent the sense of air produced by the dual spaces more directly. In the Accomplishing a Forest series, abstract lines are combined with oil painting and spray painting. The combination of spray paint and oil paint draws a vivid contrast, creating a diverging visual effect. Spray-painted abstract lines and color blocks resemble secretive texts hovering over the surface of the oil painting, freezing a fleeting moment of floating bugs, leaves, light, and dust in a forest. However, in this case, the landscape in the oil painting and the spray-painted forest intensify and translate the visual tension of the images. We seem to follow the artist to walk into the real forest. The artist enters the forest, blends in with it, and sees the real forest which is energetic, active, and dynamic. The forest is no longer the reverse of civilization or the escape from one’s anxiety, but a natural essence.

油畫與噴漆的筆觸交錯成一種二重奏的結構模式，噴漆讓森林不可見的訊息被開顯出來，它既是敘事也是描述，對許常郁來說，噴漆不是一個破壞畫面的動作，而是一個完成風景的動作。

The oil-paint strokes followed by the spray paint form a duet. To narrate and to describe, the spray paint uncovers the invisible message of the forest. Ursprung does not recognize spray paint as destructive, but a necessary step for a complete piece of art.

藝術家簡介｜
許常郁，1985年出生於台北，2007年國立台北藝術大學畢業，2011年歐洲布列塔尼坎陪爾高等藝術學院畢業，取得法國國家高等藝術表現文憑，並獲頒國家評委會最高榮譽，現居住及創作於瑞士。作品曾於台北、倫敦、巴黎展出。善用媒材和技法來探索繪畫的空間與視覺體驗。2016年起定居瑞士鄉下，突破以往的繪畫方式，抽象線條的表現結合了油畫和噴漆，呈現強烈的反差感，風景畫的視覺訊息在噴漆過程中並未崩解，只是由外顯轉向內蘊，讓乘載身體與潛意識訊息的筆觸由內藏漂浮向表層，也轉化與重建新的視覺訊息。

Artist Biography｜

Born in Taipei in 1985, Una Ursprung (Hsu Chang-Yu) graduated from the Taipei National University of the Arts in 2007, and Ecole Européenne Supérieure d’Art de Bretagne site Quimper in France in 2011 (from which she received Diplôme National Supérieur d’Expression Plastique, the highest honor awarded by the National Arts Councils and Culture Agencies). Currently, she lives and works in Switzerland. Her works have been exhibited in Taipei, London, and Paris. Since 2016, Ursprung has been residing in Swiss countryside where she developed new methods of painting. She employs abstract lines to create a vivid contrast through the combination of oil painting and spray painting. The visual message conveyed through the landscape does not collapse with the spray painting process but is rather expressed from the inner instead of the outer intentions. Moreover, brushstrokes that carry the body and subliminal messages float across the surface, transforming and reconstructing the visual message.

展覽資訊｜

展期Duration｜2017.09.02 Sat. – 2017.10.01 Sun.
媒體預展Press Preview｜2017.09.01 Fri. 3:00pm
開幕Opening｜2017.09.02 Sat. 3:00pm
地點Venue｜尊彩藝術中心 Liang Gallery

活動專頁Event Page

黑天鵝效應 – 何孟娟個展

双方藝廊將於7月29日至9月3日展出何孟娟「黑天鵝效應」個展，本次展覽含括了藝術家過去四年來持續進行的「魏絲貝斯」以及「我的牡丹亭」之全新系列作品。兩系列作品看似兩極，青年與老人、東方與西方，然而系列之間相異的題材卻內藏著何孟娟一直以來關注的社會與文化議題。「魏絲貝斯」系列取景紐約的「魏斯貝絲藝術公寓」（Westbeth Artist housing），何孟娟費時四年記錄居住於內的年長藝術家與他們的日常居所。「我的牡丹亭」系列作品則呈現並融合中國傳統的崑曲及韓國流行音樂K-POP，在不同的時空背景下卻運用相似的流行文化元素，同步地展示女性對於自身的認同。而本次展名「黑天鵝效應」旨在說明我們認為理所當然的日常，可能因為一個資訊的出現而全然反轉；在1697年探險家於澳大利亞發現了黑天鵝，人們才知道過去的認知是片面的——並非所有的天鵝都是白色的。在本次展出的兩系列作品中，藝術家想讓觀者理解，即便是過往認知的事實在經過新的角度觀察後，也會因為新的資訊產生全然不同的意義，這也成為串聯「黑天鵝效應」展出作品的共通詞。

Not The Chelsea Hotel – Isa Ho Solo Exhibition

Double Square Gallery is pleased to present Not the Chelsea Hotel – ISA HO solo exhibition, on view from July 29 to September 3. The exhibition will showcase Isa Ho’s ongoing series of the “Westbeth” project and the newly developed serial work “My Peony Pavilion.” While the subject matter of the two series seem to sit on the opposite end of a spectrum: the young and the elderly, the East and the West; the difference between the series embodies Ho’s continual focus on socio-cultural issues. The “Westbeth” series was inspired by and shot at the Westbeth Artists Housing in New York, where Ho spent over four years documenting the senior artists living there, their daily lives and environment. “My Peony Pavilion” utilizes and blends the traditional Chinese Kunqu Opera and Korean popular music K-pop to picture female self-identity in two juxtaposed temporal and spatial frameworks, by leveraging similar pop culture element. The exhibition title Not the Chelsea Hotel (Chinese Title: The Black Swan Effect) points to a key concept: the everyday mundaneness taken for granted might be overturned by a new piece of information – just as when a black swan was “discovered” by an explorer in Australia in 1697, only then people started to realize not all swans were white and their understanding was partial. The concept of the Black Swan Effect becomes the connecting thread: through presenting the two series together in this show, the artist wants to inform the audience’s preconceived notions of facts having the possibility to formulate utterly opposing meanings, once approached with a new angle with a new piece of information presented.

展覽資訊｜

展覽日期Duration｜2017.07.29-2017.09.03
展覽地點Venue｜Double Square Gallery 双方藝廊
展覽開幕Opening｜2017.07.29（六） 3:00 pm
藝術家導覽Artist Guided Tour｜2017.08.12（六）3:00 pm

活動專頁Event Page

創作者自述｜

某天看希區科克1956年的電影《擒凶記》（《The man who knew too much》），關於家庭，信仰，人性和陰謀，故事從北非摩洛哥開始，碾轉到英國，最後刺客在劇院的交響樂裡墜樓，女主角和被綁架的小孩重聚，因為很多場景在摩洛哥拍攝，所以電影裡很多畫面都是濃烈的色調，喜歡那樣的色調，因為帶著溫度。我沒有去過摩洛哥，想像中那裡應該是一個關於顏色，溫度以及衝突的地方，當然還有著名的沙漠，大概是在15，16歲的時候我開始著迷沙漠，為了它，我去了敦煌，內蒙和新疆，當然，這顯然不夠，甚至怎麼都是不夠的，它是我自己不知家鄉是何處的某種寄望，2013年的時候我搬到柏林，在柏林的生活與我在國內創作時一樣非常簡單，或者說這是我目前想過的一種生活，在柏林，我的生活半徑都能在15分鐘內解決，超市，健身房，喜歡的餐館，漸漸地我喜歡上這種生活，它能讓我大部分的時間能夠獨處與思考，由於在工作室工作的時間比較久，有時就會覺得屋子裡的世界才是一個現實世界，而屋外的世界是不真實的，常在出門之後我的腦子開始自動成為一個字典記錄所見圖像，它有時會自動連接到我的夢境，有的來自現實生活，常常單個圖片可以隨時跳出來與其它的圖片進行配對，有時帶著疑問，有時這種尋找與思考似乎大過我對自己作品畫面上思考的時間，它們更多的關於非同類物質的相似屬性，日漸久了，慢慢地我覺得這很有意思，並想在我的作品裡呈現出來，通過一個大Drawing方式，但這一年沒有改變的是，我依然在做縫補，紙上，布上，或者牆上，我依然還在縫補我自己，因為我無法完整。我希望我的作品能夠打動你內心深處被隱藏起來的那一部分。

小華，2017年6月於柏林

Information｜

I once watched the 1956 movie, The Man Who Knew Too Much, directed by Alfred Hitchcock. With a story about family, faith, human nature and conspiracies, the setting starts in Morocco in North Africa before continuing to England. At the end of the movie, the assassin character falls from a ledge inside a concert hall, and the heroine is finally reunited with her kidnapped son. Because a lot of scenes were filmed in Morocco, much of the movie imagery exudes strong color tones. I like such colors because they bring a certain temperature. I have never been to Morocco, but I imagine it as a place of vivid colors, high temperatures, conflict, and, of course, the famous desert. My fascination with the desert probably began when I was 15 to 16 years old. Due to it, I travelled to Dunhuang, Inner Mongolia, and Xinjiang. But, this was not enough. It will actually never be enough. Deserts are a kind of place I look forward to when not knowing where I belong. In 2013, I moved to Berlin, and my life here is as simple as when I was working in China. Or, I should say, this is the kind of life I want to have now. In Berlin, everything is placed within a 15-minute distance from home: the supermarket, gym, and my favorite restaurants. Little by little I fell in love with this life. It allows me to spend most of the time alone, thinking. Because I spend many hours working in my studio, it sometimes feels like what is inside the house is the real world, and that the world outside my building is unreal. After going outside, my brain often starts to automatically record the images I see, forming a dictionary. Sometimes it will automatically connect with my dreams, some of which are based on real life. Often a single image suddenly springs out of my mind, pairing with another. Sometimes I am in doubt, while other times this kind of seeking and thinking seems to last longer than the time I spend reflecting about the images on my own works. My paintings are more about the similar properties of different materials. Day by day, I gradually found this to be interesting. I wanted to show it in my works through large drawings. But, what hasn’t changed this year is that I am still sewing: on paper, canvas, or walls. I am still mending myself because I cannot be whole. I wish my works will touch that part of your heart which remains hidden.

Xiaohua, Berlin, June 2017.

展覽資訊｜

展覽日期Duration｜2017.8.19-2017.10.7
開幕酒會Opening｜2017.8.19（Sat.） 18:00-21:00
開放時間Time｜週二Tue-週六Sat 13:00-19:00
展覽地點Venue｜十方藝術空間 GALERIE OVO（台北市中山區德惠街51號）

活動專頁Event Page

 

展覽簡介｜

「若世界是一個巨大的投影，那麼我們接觸到的真實是由不同人心境所投射組成；如果將手指圍起一個圈，我們透過這個圈看到的世界也可能是幻想世界」

本次展覽以「城鄉」「建築」「空間」做為展覽概念，邀請臺灣本地，以及來自日本、韓國、尼泊爾、香港、澳門與西班牙等國家的藝術家一同展出，作品橫跨插畫、設計、藝術與新媒體等視覺領域，包含：插畫手稿、CG 輸出、VR 應用、動畫、大型藝術裝置、文創品與刊物等，透過作品讓民眾對於空間、都市、城鄉與生活周遭的複雜關係有進一步的了解。

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西方早期插畫集中在宗教書上，19世紀因版畫與印刷術，閱讀人口大增，報紙雜誌多以插畫作為評論政治與社會的方式。東方可追溯到西漢馬王推出土的〈導引圖〉帛畫，宋代同樣因印刷與出版工業進步，大量將插畫應於小說話本、技術著作等書籍。當代插畫在各種技巧中，衍生不同的風格與表現形式，與圖像小說、美術角色設定、繪本、漫畫、廣告、藝術、設計、天文動植物、醫學、建築等關係密切，其美學類型被歸類在時序藝術(Sequential art)項目。

本展從《維摩詰經》中「芥子納須彌」、全像宇宙論做為發想，以「城鄉」「建築」「空間」為策展概念：若世界是一個巨大的投影，那麼我們接觸到的真實是由不同人心境所投射組成；如果將手指圍起一個圈，我們透過這個圈看到的世界也可能是幻想世界作為概念。邀請來自日本、西班牙、尼泊爾、韓國、香港、澳門、臺灣等國內外藝術家的虛構原創與寫實教育作品，橫跨插畫、設計、藝術與新媒體等視覺領域，以敘事插畫的方式表達、解讀、提高選定文本段落的意義，或以補充的方式創造一種戲劇性，表達心情、氣氛、觀點、事件與情境。

本展規劃三部分，一是在視覺與思惟上探索虛擬想像與真實世界的界線，以三維的空間描述，再現或創造不同的虛/實/異/質世界，藉以呈現各式街景、建築立面、空間巷弄、異世界的地景肌理等，邀請作品分別在插畫、繪本與設計、視覺/跨領域藝術兩部分呈現。第三部分是將插畫元素應用於社造、文史保存、弱勢族裔的議題上，透過插畫形塑的世界觀，重新開啟讀者對空間細微敏感的關注與想像，藉以反思現代人對於空間、城鄉與生活周遭的複雜關係的人文主題。

展覽資訊｜

展期 Duration｜8/8 – 9/10 (周一公休)
開放時間 Time｜09:00–17:00
開幕活動 Opening｜2017.8.12 16:30
開幕表演 Perform｜新媒體藝術表演 幽谷響 YUGU
地點 Location｜國立臺灣藝術教育館 (臺北市南海路 43 號)
策展團隊 Curate Team｜水谷藝術 Waley Art
策展人 Curator｜楊雅翔

參展藝術家 Artists｜

61Chi Art、 IC4DESIGN(日本)、Kim Hyung Gwa (韓國）、Nacho Fc Monereo (西班牙)、 Nuomi ‘s 諾米、Roya Bom (韓國)、Sujan Dangol (尼泊爾)、WADASI延平北路789、丁柏晏、王春子Wang Chuen Tz、田島大介 (日本) 、李御齊、周明誼、林旺廷、林書楷、建築大叔 Uncle Architecture (澳門) 、 飛天豬 Flyingpig (香港)、島的地景量度 + 詹益忠、徐至宏、 迷走工作坊 Teenage Riot、張致中、陳沛珛、黃九子、鋸子女孩、圖文不符、薛光成

活動專頁 Event Page

展覽介紹｜

熱蘭蔗城紀事以大航海時代下的史料和遺跡為考掘起點，透過不同民族在福爾摩沙島的交易活動，回溯跨國貿易在不同情境下所展開的歷史座標與經濟脈絡。在交疊和對立的歷史視角中，思考經濟地理景觀的形塑過程。

Starting from historical materials and remains from the Age of Discovery, “Zeelandia” traces the historical coordinates and economic context under different circumstances through trading activities conducted by different nationalities in Formosa, and considers the processes involved in the forming of economic geography from an overlapping and antithetical perspective.

作品〈蔗牆〉將十七世紀荷蘭東印度公司建造的熱蘭遮城（現稱安平古堡）的城牆殘跡，以甘蔗纖維製作成的紙張拓印下來，包覆絕對空間的外牆建築，成為一件戶外裝置。透過拓印舊城址上的磚紋，歷史的痕跡成為一個陰性的顯影，並以不同的形態在現代建築上復生。

Built by the Dutch East India Company (Vereenigde Oostindische Compagnie, VOC) in the 17th century, the remaining walls of Fort Zeelandia is the source for the work “Z Walls” – a crayon rubbing made of actual walls on paper made from from sugarcane fiber. The rubbing is made into an outdoors installation and covers the outer walls of the Absolute Space for the Arts. Through this rubbing, the pattern of the old walls and this trace of history becomes a negative development reproduced on modern architecture with different forms.

展場內以〈鹿革〉和〈蔗物〉兩件作品，呼應《熱蘭遮城日誌》中，荷蘭人與中國、日本多次出現的交易物品，和一件透過文本描述而模擬製作成的農具，開啟對話與想像的空間，連帶勾勒出台灣原住民與此經濟體系的隱性關係。

In the exhibition space, “Deer Rug” and “Z Tools” are reminiscent to the traded items that the Dutch exchanged with Chinese and Japanese traders recorded in De Dagregisters van het Kasteel Zeelandia. In addition, the farm tool displayed is made according to the description from this book. The concept of creation opens a space for conversation and imagination which reveals the recessive relationship between Taiwanese aboriginals and this economic system.

展場最深處呈現作品〈熱帶蒐藏〉，是一系列以台灣產業地景為主軸的木製屏風。透過對歷史檔案和照片的搜集與影像再製，耙梳台灣自海權時代以降對外出口的天然資源與原物料產地，拼貼出台灣在全球化體系中的位置與經濟縮影。

 

At the end of the exhibition the visitor is greeted by “Tropical Collection” which is a series of wood screens based on the industrial landscape in Taiwan. Through the collection and image reproduction of historical archives and photographs, the work arranges the data of exported natural resources and sourcing areas since the Age of Discovery in Taiwan representing the epitome of Taiwanese economics in the global world.

展覽資訊｜

展覽日期Duration｜2017.8.11~9.10
開幕茶會Opening｜2017.8.11 15:00
藝術家座談Forum｜2017/8/19 15:00
藝術家Artist｜羅懿君
與談人Forum Panelists｜林書楷Shu-Kai LIN、賴依欣Yi-Hsin LAI

主辦單位Host｜絕對空間Absolute Space for the Arts
贊助單位Advisor｜文化部Ministry of Culture、台南市政府文化局Culture Affairs of Bureau Tainan City、國藝會NCAF

活動專頁Event Page

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