EXHIBITION
陶亞倫曾應數位藝術基金會之邀，2009年於台北數位藝術中心開館時，展出現地製作的動力機械作品《終結歷史之光》。在這個作品中，藝術家以「光的物理性」為題，透過雷射光機、煙霧機、電腦程式、背景音效等，在特定空間中營造身體感官經驗。
2018年「概念美術館」開館並提出「科技藝術典藏基礎計畫」，希望重新思考現代主義式博物館在典藏、展覽與教育上的功能劃分。過去博物館關注的典藏，圍繞在物質的真實性（authenticity）與原件性（originality）；新博物館學以人為本，提出典藏策略若無法滿足於任何時刻再現的能力，則喪失典藏的意義。然而，數位科技藝術創作立基於機械複製時代的來臨、美學觀念的解放和科技媒體的更迭出新，從根本轉變了創作媒介與媒材的獨一性。
「概念美術館」開館展選擇在不同的時空背景與問題意識上，邀請陶亞倫一起重新思考《終結歷史之光》。這檔展覽之所以名為「穿越光牆－Archive or Alive（是檔案化亦或是再現）?」，首先就在於我們對於起始點的探問：這到底是另一個版本、是重製、還是典藏？
In 2009, Tao Ya-Lun was invited by Digital Art Foundation for the inaugural exhibition of Digital Art Center, Taipei, at which Tao exhibited a site-specific kinetic installation, The Light of Historical Ending. He addressed “the physics of light” and created physical and sensory experiences in the specific space by using laser projectors, smoke machines, computer programming, and sound effects.
In 2018, Concept Museum of Art is inaugurated and launches “Save Media Art,” hoping to reform the taxonomy of the purposes of collection, exhibition, and education in the system of modernist museums. Museums’ focus on collections used to revolve around the authenticity and originality of the material, while the new museology has steered its way to be people-oriented, arguing that if an acquisition strategy fails to demonstrate its viability to represent, the purpose of the collection acquisition is unfulfilled. Nevertheless, thriving in the age of mechanical reproduction, the liberation from traditional aesthetics, and the advance of media technologies, techno/digital art has fundamentally expanded the realm of media for artistic creation.
For the inaugural exhibition, Concept Museum of Art invites Tao Ya-Lun to reimagine The Light of Historical Ending in a different milieu and with a new problematic. The exhibition is titled as Archive or Alive? – Crossing Through the Light Wall for that we want to probe into the essential question: Is this exhibition to be deemed as another version of work, a reproduction or archive of the original?