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Vol.1 | 穿越光牆-Archive or Alive?

概念美術館 ARThon 官方頻道

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?

填寫預約參觀表單 Book online in advance

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?

概念美術館是在知識層面上為未來世代的知識與學習,以不同的技術方案思考知識架構的嘗試。

Concept Museum of Art is an attempt to cogitate on the matter of knowledge structure with varied technical solutions, for the sake of knowledge and learning of the next generation.  



聯合國教科文組織早於2003年第32屆大會中就提出數位文化資產(Born-Digital Heritage)的概念,並呼籲數位文化資產受到科技汰換與物理衰敗的影響,事實上處於急迫(in danger)的保存狀況之中。科技藝術作品除具有數位文化資產的特質,更需考量於特定時間、空間下藝術的表現性;反觀歐美國家過往30多年的科技藝術保存研究經驗,台灣才正開始尋找延續藝術家作品壽命的方法。敬請大家持續關注「科技藝術典藏基礎計畫」與「概念美術館」。

As early as 2003, UNESCO has recognized the concept of Born-Digital Heritage during its 32nd General Conference in 2003, and draw the attention to the preservation of digital heritage that is in danger due to the rapid obsolescence of technologies and physical deterioration. Techno art has the intrinsic properties of digital heritage, and its artistic expressiveness is to be gauged with the consideration of a specific time and space. In contrast to the experiences of the preservation of techno art accumulated in Europe and the United States, Taiwan has just started to look for ways to extend the life of the artworks. Your continuous attention to “Save Media Art” and “Concept of Museum of Art.”

策展人 Curator / 陳禹先 Chen Yu-Hsien

 

科技藝術能被典藏保存下來嗎?我們嘗試透過VR虛擬重現的優勢,處理科技藝術保存的問題,然而經由VR原始作品能有多少比例被保存與再現,又有多少是無法處理的,戴上VR之後,我們又會看見什麼?透過實際案例的操作與展演,拓展可向前挖掘的方向,同時也期望帶起相關議題的討論。

Can techno art be collected and preserved?  We attempt to take advantage of VR to tackle the issue of techno-art preservation. Nonetheless, how much veracity of the original work can be preserved and represented through VR, whereas how much is left unaddressed? And what can we see with VR glasses on? Through practical exercise and exhibition, it is attempted to further the exploration and also hoped to raise the awareness of the related discussions.

策展人 Curator / 林子荃 Lin Tzu-Chuan