0312 開幕茶會&藝術家座談0312 Opening & Artist Talk
Time: Saturday, 12 March, 2016, 14:00
Venue: Changee Cafe, Digital Art Center, Taipei
Curator: Liou, Sing-You
Attendee: Tseng, Yu-Chuan
Artists: Wu, Chien-Yi; Wu, Ssu-Hsuan; Lee, Kuan-Yi; Tu, Hao-Chin;
Hsu,Che-Yu; Chen, Han-Sheng; Zhang, Zhan; Tang, Yu-Tong; Lai, Tsung-Yun
Text/Curator Liu, Shing-You
We have undoubtedly entered a world comprised of massively reproduced images created out of nothing. Such a world has the power to shape our lives, yet it can be shaped by external powers as well. The run-of-the-mill, seriously flawed and untraceable characteristics of the world ushered in an era of legerdemain in which people take delight in authentication. In face of digital images, viewers have metamorphosed from connoisseurs into participants who must use and coordinate their five senses with skill. Widespreadness, synchronicity and immediacy collectively constitute the rhythmic pattern of the emergence of today’s images. Influenced by the rhythmic pattern, however, the human body has reached a new state distinct from adaptation. Or, the human body has never actually adapted to anything. In fact, we tend to rely heavily on personal supplementary imagination in addition to the feeling of déjà vu.
The term “déjà vu” refers to “the phenomenon of having the strong sensation that an event or experience currently being experienced has already been experienced in the past;” to wit, “a feeling of familiarity.” Nowadays, digital media spread digital images across the world, making the result of the interaction between sensory system and memory system of human brain more than déjà vu but also supplementary imagination. If déjà vu represents the intersection in chronological disorder, supplementary imagination may be an image-making action in such disorder, if you will. Viewing is the departure and terminal of engagement in déjà vu, while the full-use of human senses offers supplementary imagination various approaches and endless possibilities. Images ergo become the blueprints and finished pieces in this continuous movement, a repeating cycle of transmigration.
Admiring the Tower of Babel built with images, be it a mirage or real scenery, the viewers tend to undergo the Zen process of “perceive as you see, believe not what you perceive, then accept what you see as they are,” in which they take delight in finding something like the Möbius strip and never get tired of it. An image has a riotous profusion of derivations, such as form, memory, recollection, picture, projection, impression, visualization and imagination. In the derivative process, the moment at which an image has been made before its appearance will be supplemented by personal imagination. Our yearning for synchronicity and immediacy has emancipated images from their task of legerdemain, making them unbridled and sweep along on the waves of art history. Even though we have no way of reaching synchronicity and immediacy, our bodies are unlikely to go so far as to be disoriented. The emergence of images not only increases viewers’ visual participation, but also exacerbates the paucity of their physical participation. Such paucity has made it possible for the “supplementary imagination to come” to thrive as a budding field of creation. Nonetheless, artists still have many things to do before the arrival of the very moment.
Employing different approaches, the participating artists focus on their respective “supplementary imagination to come” within their own physical contexts. Images therefore exude a paradoxical aura of predestination and unknownness. The interpretation of the predestined and unknown images relies not simply on the visual sense but on the physical inertia developed by extensive experiences of digital life. In this sense, supplementary imagination is no longer the imagination of plots that bear resemblance to the reality; nor does it treat suspension as its effect on viewers, prompting them to reflect on the real state they live in. Rather, it dances to the reality’s tune, moving the unclear supplementary imagination from bench to the starting lineup.