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
