台灣數位藝術中心

7/9(六)現場表演〈我的生活沒有我〉及座談會 Performance “Ma vie sans moi” & Talk
表演〈我的生活沒有我〉
時間：2016/07/09(六) 14:00
地點：台北數位藝術中心
表演者：野孩子肢體劇場姚尚德
我的生活沒有我我是房間，我是家屋，我是椅子，我是角落。陰影是牆堵，傢俱是圍欄，踩踏的地板是陷阱，捕捉到的是 — 生活。最終，生活成為一道空間的詩，我努力撞擊，寫出另一首。
※本場表演未滿6歲之兒童不得觀賞，6歲以上12歲未滿之兒童須父母、師長或成年親友陪伴輔導觀賞。
座談會
時間：2016/07/09(六) 15:00
地點：台北數位藝術中心噪音咖啡廳
藝術家：杜珮詩
與談人：陳泰松、王柏偉、孫松榮
Performance
Ma Vie Sans Moi
Time: Saturday, 7 May, 2016, 14:00
Venue: Changee Cafe, Digital Art Center, Taipei
Performer: SUNTECK YAO
Talk
Time: Saturday, 7 May, 2016, 14:00
Venue: Changee Cafe, Digital Art Center, Taipei
Artist: Pei-Shi Tu
Attendee: Tai-Song Chen, Po-Wei Wang, Song-Yong Sing

展覽論述 Curatorial State
在世界影像史中，我們較為熟悉的是實景電影的脈絡。取自真實場景，現實的再現，甚或寫實主義的概念，過去往往做為攝影史、電影史、錄像史發展上的決定性本質。然而早期十九世紀前電影時期影像多數透過手繪而製，此分支而後發展為動畫，卻少唯人所論述。杜珮詩對於動畫的本質問題相當感興趣，自2007年起，透過定格動畫與拼貼的創作方式，持續關心動畫在脈絡上不同的可能性。在影像與敘事的關係中思考動畫的想像特質，並間接表達對社會與歷史的觀察。
本次於台北數位藝術中心的個展《抽象系列》是藝術家自2015年起持續發展的脈絡，展覽探討影像的邊界以及錄像與動畫的定義：是否能有錄像作品符合真人動畫的邏輯，視覺上是一部抽象動畫，而拍攝手法是定格的方式呢？
在單頻道動畫作品《抽象與真人動畫的“射入亞洲美眉的騷穴”》中，藝術家透過定格拍攝的方式重製了一部來自pornhub.com的網路A片“射入亞洲美眉的騷穴”。首先，依照原始影片的影格數量將影片還原為六千張影像，圖片印出後，依時間軸重新置於相機前拍攝，但鏡頭放大四十倍，聚焦在性交的重點部位。完成後的動畫視覺上有著瑰麗的抽象動態，同時內容使用了真人作為角色。另一部四頻道同步動畫作品《抽象與真人動畫的“2014年10月18日戈洛夫金大戰鲁比奥”》也以相同方式重拍YouTube上的拳擊戰況紀錄片。四個頻道分別包含兩場拳擊賽、選手戈洛夫金勝選後的訪談、以及開場前拳擊台的緊張氣氛。
兩件作品的原始文本皆有強烈的肢體搏鬥與臨場感，藝術家在展期間也邀請肢體表演者於展覽現場現地創作，期待能開啟多樣的可能性。
In the moving image history, people are more familiar with life action, which are made in real settings to represent reality. For a long time, realism dominated the development of photography, cinema and video. However, the moving images in the early 19th century were mostly hand-drawn. This type of art later developed as animation, an aspect of the history that has rarely been discussed. Pei-Shih Tu is fascinated by the essence of animation. Since 2007, she has continuously explored the contextual potentiality of animation through the art of stop motion and collage, and reflected on the imaginative quality of animation and implicitly expresses her observation on society and history through exploring and fabricating the relationship between video and narrative.
The solo exhibition, The Abstraction Series, at Digital Art Center (DAC), Taipei showcases video works Tu has developed since 2015. The exhibition explores the boundary of video and the definition of animation, and poses a question: could any video work fit the logic of pixilation, meaning it would be an animation that is visually abstract but made with stop motion?
In the single-channel animation, Abstraction and Pixilation of “Cumming Inside Her Asian Pussy”, the artist uses stop motion to reproduce a pornographic video, titled “Cumming Inside Her Asian Pussy” from pornhub.com. First, she restored the video into six thousand images, which was the frame number of the original video. Then, she printed out these images and photographed them according to the video timeline by a 40-times optical zoom and focusing on the main body parts in sexual intercourse. The completed animation is brilliantly abstract in its visual representation; and the animation content is based on real people. Another synchronized four-channel animation, Abstraction and Pixilation of “Gennady Golovkin vs Marco Antonio Rubio 18 10 2014”, is also created in the same manner with a boxing match documentary on YouTube. The four channels individually display two boxing matches, a post-match champion interview of Golovkin, and a pre-match documentation of the intense atmosphere in the ring.
The original texts of the two videos convey a strong sense of physical interaction and presence. During the exhibition, the artist will collaborate with performers to create performances onsite in the hope of producing more diverse possibilities.