《他／牠》

Animal and Us

𓃘 展期 Duration：2016/10/22 (六)～2016/11/27 (日)

𓃘 開幕 Opening：2016/10/22(六) 14:00

𓃘 地點 Venue：台北數位藝術中心 噪音咖啡廳　Changee Cafe, Digital Art Center, Taipei  

𓃰 展覽介紹

由花開第五期《他／牠》為主軸，討論人與動物的關係的定義與演變。從自然的存在，到現代化以及都市化之後將動物隔離，爾後又試圖將動物以馴服的方式作為寵物。對於動物的稱謂與從屬關係也不斷地在改變中，動物作為與人類生活相較於其他物種稍微接近的情況下，似乎也反映了人類試圖馴化其他物種的過程，像是透過命名，透過豢養，透過暴力征服⋯⋯等方式，其中也呈現了權力的制定與展現。

而有趣的是，人類對動物施予的行為，又往往在一段時間後，又被應用於人類之於自己較低社會地位、弱勢的人類身上。而當我們將這樣的演變點明之後，又會對我們之於動物，或是其他物種，甚至是人類自己之間的關係，能夠有什麼樣的道德得以被改變或是建立呢？

𓃰 Exhibition Introduction

This exhibition is developed from the fifth edition of HAGAI which explores the evolving relationship between humans and animals.

In the contemporary society today, would our relationship with other species reform when we both pursue coexistence in a society? Before urbanism started, animals were part of human life and later with more regulations and developments, animals either have been slowly forced to leave the urban area, or tamed by human beings, as pets. It also shows the establishment of power through naming, taming and feeding in the process.

“This reduction of the animal … is part of the same process as that by which men have been reduced to isolated productive and consuming units. Indeed, during this period an approach to animals often prefigured an approach to man.” – John Berger.

Once we have highlighted such marginalisation of animals that is also being done to our lower class, inferior human fellows, how would it change the relationships between us and other species, or even amongst ourselves to re-establishing new ethic to navigate in between.

𓃰 關於藝術家

丁俊心，生長於台北台灣，2012畢業於紐約視覺藝術學院（School of Visual Arts）插畫系，取得藝術學士。2011系列作品Poison Apple and Smoking Lamp : Cinderella Costume Fantasy入選年度傑出作品，於曼哈頓SVA Chelsea Gallery展出。返台後身兼平面設計師及插畫家繼續從事藝術創作，好於運用圖像意境闡述對社會現象及人文思想的個人觀點。2015 Creator Is Nobody入選寶藏巖台北國際藝術村『混種現場』視覺藝術展，於台北市中山創意基地展出。www.tinghelen.com

許智翔，專業隱形人、電影宅、小鳥胃的大食怪、沒穿襪子不出門的藝術家，目前居住在台北。事情沒有邏輯絕對，嘗試便有無限可能；喜愛觀察所有事物的枝微末節，並用童心未泯/成熟但不老練的靈魂，去創作與解釋周遭的一切。

畢業於聖馬丁藝術學院Graphic Design動畫組，以「Pigsy in Space」動畫入圍英國D&AD設計獎，作品收錄於D&AD年鑑中。

台灣藝術家吳權倫，畢業於台南藝術大學造型藝術所，創作中一直廣泛跨越各種媒材，包含電腦影像、攝影、雕刻、平面繪畫等。其創作也一直對於「自然」與「人為」之間的關係提出了許多問題，從先前的《標本博物館》系列透過3D平面影像創作，透過看似立體的動物畫框與動物群像影像，對照著真實與虛擬、攝影與電腦繪圖、真標本與假3D間的關係；〈你是我的自然〉系列從動物小模型的獸臉雕琢出人臉來，呼應米開朗基羅將人形從大理石裡解放出來的說法；於2014年台北雙年展展出的〈沿岸採礦〉將一類在海邊遭受人為焚燒及自然風化而生成的「礦物」藉由立體掃描，重組成為平面影像，「人造」或「天然」的分類越趨模糊；而〈馴養〉作品系列，則是再繪製了網路上人與自然環境的照片，指出了我們現代人經常是透過數位影像去看到自然景象的，也呼應著網路時代的混種美學形式體現。http://wuchuanlun.com

于佳琳，為多媒體藝術家。多運用數位媒材進行創作，如Processing、Kinect體感互動等。 其作品除探討動物議題外，亦嘗試以當代的新媒材詮釋宇宙起源與存在等古老大哉問。於國立台北教育大學語文與創作學系畢業後曾擔任廣告文案、行銷企劃等職。2015年於舊金山藝術大學(SFAI)修得Studio Art副學士學位，目前為專職藝術工作者。

顧廣毅現在於荷蘭恩荷芬市工作居住，並且於恩荷芬設計學院就讀設計。畢業於於國立陽明大學臨床牙醫學研究所以及實踐大學媒體傳達設計研究所，具有牙醫師與視覺創作者的雙重身分，並且也是台灣生物藝術社群的共同創辦人，透過「生物藝術」跨領域創作與推廣，試圖拓展藝術與科學結合的可能性。他以陰莖口交改造計畫獲得了2015台北數位藝術獎，此計畫中包括了身體改造、性別研究、酷兒理論以及牙醫醫學。他的作品常常與人類身體、性向、人類與動物的互動以及醫學科技，致力於研究科技、個人與環境之間的關係。

𓃰 About the Artist

Helen CH Ting considers creating images to be strategy to express visions and philosophies. In 2012, Ting obtained a BFA degree from School of Visual Arts in New York. Back to Taipei in 2013, Ting is a freelance illustrator and artist, and currently experiences rule-breaking execution in international art projects. She is currently based in Taipei. www.tinghelen.com

Johnny Hsu,Pro-chameleon, cinephile, monster eater with the appetite of a bird, and an illustrator who won’t leave the house without his socks on, currently based in Taipei. He thinks the future is how you see it, with no set logic, as long as you try, there will be endless possibilities; he likes to observe the most insignificant details, explore and interpret the world with a childlike yet mature rather than sophisticated soul, and then realize it in his creations.

Chuan-Lun Wu, born in Taiwan and trained at the University of the Arts Tainan, holds an MA in Design and Applied Arts. Chuan-Lun Wu’s previous works used a variety of materials, from computer generated images, photography, carving to painting. His pieces are often infused with the idea of modularization, and mostly revolve around “how nature is observed and delineated in present day”, which involves a continuing dialectic between nature and our current digital age. http://wuchuanlun.com

Angela Yu is a multimedia artist. She works with digital medium such as Processing, Kinect to create interactive artworks. Her works mostly explores topics on animal, the origin of universe and other questions. She graduated from National Taipei University of Education with Creative writing and literature degree, and San Francisco Art Institute with Studio art with Associate degree.

Kuang-Yi Ku recently is based in Eindhoven, Netherlands, studying in Design Academy Eindhoven. He  has graduated with double master degrees with Dentistry from National Yang-Ming University and communication design from Shih Chien University. He is a practicing dentist as well as a new media artist. He also co-founded TW BioArt (Taiwan bioart community) to stimulate the fields of BioArt and Science+Art in Taiwan. He has won the 1st prize of Taipei Digital Art Awards in 2015 with “The Fellatio Modification Project”, where he involves body modification, gender studies, queer theories, and dentistry all together. His work often deals with human body, sexuality, human-animal interaction and medical technology, aiming to investigate the relationships among technology, individual and environment.

𓃰 作品介紹 1

藝術家：丁俊心 Helen CH Ting

作品名稱：〈丟，臉〉（Skin Off）

高等生物脫離了自然食物鏈，接而創造屬於自己的食物鏈。僕僕道塗的走著平坦的馬路，在勞勞塵夢之中追尋自我本質。距離越遙遠，一絲線拉得更直更緊。轉身回看已遠離的那一圈鏈，為何身還惦記著那塊綠地？直到衝過頭線已超載過多俗媚，於臨界點ㄎ一尢硬生斷裂、臉面垮了，原始的內餡湧湧拍打回岸。拉下臉皮，我丟。我還是一隻動物，你呢？

〈丟，臉〉（Skin Off） 是一系列以臉皮與動物為主題的粉水彩畫。創作者為「丟臉人」們設計，採用他們的精神連結動物作為丟臉後的真面目。

𓃰 Works 1

Higher organisms broke away from the natural food chain, and then created their own establishment of food chain, stumbling along the flat roads, pursuing the seldom in a dust storm of this humdrum existence. As the distance in between deepens, there comes a bind that tightens. Turning back to glimpse at the natural cycle we left behind, why does the body still yearn for the green fields? Overloaded with the vulgar and phoniness, you crack under the strain, ripping the faces off, collapsing. You feel waves being made in gut and washes you back to shore. Skin off, you toss your face aside. I am still an animal inside, what about you?

“Skin Off” is a series of combinations of portraits and animals paintings. The artist customized each work, using the animals of their choice to represent their spiritual selves.

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𓃰 作品介紹 2

藝術家：許智翔 Johnny Hsu

作品名稱：〈奇美拉降臨〉（The Chimera）

傳說中的奇美拉(Chimera)，是希臘神話中會噴火的怪物，也被認為是「獅面龍尾羊」，而我心中默默的小願望是有生之年或許可以看到實體的誕生。當初畫的想法是想把奇幻的動物們放在一個城市中，而奇美拉便猶如動物裡的皇族一般，君臨動物物界的生物。大概就像是動物界的巨星一般吧。

𓃰 Works 2

The legendary Chimera is a fire spouting creature from Greek mythology, and has also been described as “a lion, with the head of a goat arising from its back, and a tail with a snake’s head.” And a tiny dream of mine is to maybe someday see this mythical creature brought to life in reality. When I was doing this drawing, I envisioned a city where mythical creatures reside, and the Chimera is of course the royalty of them all. I think the Chimera is definitely the rock star of all living or mythical animals.

﹉﹉﹉﹉﹉﹉﹉﹉

𓃰 作品介紹 3

藝術家：吳權倫 Chuan-Lun Wu

作品名稱：〈你是我的自然〉（You Are My Nature）

塑膠、玻璃罐｜尺寸可變｜2011-2014

每個人從小到大都會有過塑膠動物玩具吧。明明原生在幾萬公里遠的異國生物以一種拙劣的、簡化過的造型填補了我們的獵奇慾，從小引導者身為萬物之靈的你想像一個合乎文明的烏托邦；當然也有可能你只是覺得動物都好可愛。他們有些材質不那麼好的還會帶著好像有毒的塑膠氣味；活體動物混合著草木糞尿的原始氣息也許都還比較好聞。但那好像才是屬於我們環境的味道－現實的味道。

這一批玩具是來自大陸工廠的瑕疵商品，塗裝粗劣或是因為被擠壓變形根本無法站立。我將塑料視為一塊未經雕琢的大理石，以眼睛為座標刻出他們底下的臉，這過程是全然的減去，然而就結果而言反到像是將一張違和的面孔額外加了上去。

雖然你不人不獸，但你可能是我的自然。

𓃰 Works 3

Plastic, Glass jar｜size variable｜2011-2014

Everyone must have his or her own plastic animal. The roughly simplified exotic animals filled our senses of curiosity, and guided you – the intelligent part of the universe ‑ to imagining a civilized utopia. Or you simply like their cuteness. Some of them are made of poor quality plastic smells like toxic. Even the wild scents combined with living animals, excrements, and plants might not be worse. However the plastic smell seems to be the smell which belongs to our environment ‑ a smell of reality.

Those toys are flawed products from the factories in China. They are covered with rough paintings and out of shape. I took those plastic toys as a not yet carved marble and set eyes as starting point to carve out faces. The process is erasing. However in the end it seems that I added a new strange faces on them.

You are neither a human nor an animal, but you may be my nature.

﹉﹉﹉﹉﹉﹉﹉﹉

𓃰 作品介紹 4

藝術家：吳權倫 Chuan-Lun Wu

作品名稱：〈Untitled〉（Debris 系列）

金屬相紙、水晶裱褙（壓克力、鋁框）｜2011-2016

「Debris」泛指各種破壞毀棄後遺留的殘骸物質，並且多為人造。直觀上形容了作品畫面中破碎的造形。更企圖重新檢視當代生產過程中從數位到達實體與可用和不再可用。使用產品設計前端過程中的3D軟體，直接建構出殘骸化的3D模型，卻跳過實體階段的生產，留下殘骸影像。產品生命史中設計（初始）、製造（過程）、丟棄（終結）的流程重新排序，讓初始無異於終結。「成為無所用的殘骸」即是製造的意義。

在視覺經驗上表現3D軟體／影像作為一種工具／材料的純粹性，看似抽象繪畫的質感，於軟體內操作的過程近似雕塑，然而最終剩下的卻是一張記錄了各式材質模擬和光影渲染的相紙。介於數位計畫與影像物體之間模糊了空間維度，將當代中的身體壓縮入了二點五維度。

繼承了〈Debris〉系列中使用建模軟體製作影像的基礎。 〈Untitled〉將摸索的方向從相較單純的多邊形造型轉往更為有機，更具身體感的型態。將操作3D建模工具的態度重新定義為解剖，繼而在參考了人體器官模型與病理圖片後重新揉捏出一具不明骸體。

𓃰 Works 4

Metallic photo paper, Diasec (acrylic, aluminium frame)｜2011-2016

“Debris” is referred to the discarded remains after destroyed. Intuitively, it describes the broken and incomplete models built in the works. It is further intended to re-examine the production process from digitization to materialization, and the usable and the unusable. The front-end developing 3D software is employed to build the wrecked 3D model, and, with the production stage skipped, the only thing left is the images composed of fragments. The sequence of design (the beginning), produce (the process), and discard (the end) is re-arranged to the make the beginning no difference from the end. In this sense, “becoming the unusable debris” takes over the meaning of manufacturing.

The purity of 3D software/images as a tool/medium, presented in the visual experience, embodies in the texture similar to abstract painting, and the process of using the software is like sculpturing; yet, the final result is a piece of photo paper that records various kinds of material simulations and rendering of light and shadow. Space dimension is blurred in between a digital project and a visual object, in which a modern body is compressed into 2.5 dimension.

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𓃰 作品介紹 5

藝術家：吳權倫 Chuan-Lun Wu

作品名稱：〈鳳凰賊〉（Phoenix Thief）

我在黑暗的房間裡放出一隻電動鳳凰鳥，這種玩具一邊發出吵鬧的音樂一邊揮舞著翅膀前進，在撞到物件時會轉彎。對我來說他有種奇異的生物感，不只是因為他的造型，而是遇上障礙物時遲疑，然後轉身的那種哀傷姿態。而偏偏他又被做成一種通俗到陳腔濫調的神話形象；雖然鳳凰明明不存在於三次元，卻在我們的認知中如此的被熟知。被設計成廉價玩具似乎與他不可侵犯的形象有些落差，但借助著這種不端莊的中國製造似乎又回應到了一點現實。

這件作品我借用了一個網友的房間，我跟他並不熟，所以我對這個空間的陌生感不會比這隻電動鳥少一些。我讓鳥像是夜賊般地掃過地面，探索這個空間，藉著頭頂的光照亮角落的細節。這過程以電腦視訊攝影機的低畫質紀錄，看起來就像是從某個網路空間偏偏降臨這個世界的神鳥，在一個黑暗又四處碰壁的未知空間遊蕩。

𓃰 Works 5

I let an electronic phoenix out of the packaging box in a dark room. This toy flutters its wings while playing noisy music, and it turns around when it hits objects. To me, it has a kind of exotic animal feature, not merely for its appearance, but for the hesitance shown when it encounters obstacles and the tinged sadness while turning around. However, it happens to be made into a common or even cliche mythological figure. Although a phoenix doesn’t exist, it is so widely known among us. The fact that it is being designed into a cheap, mass produced toy contradicts with the sacred value we assign to phoenix, but this kind of imprudent concept of “made in China” seemingly responses to the reality.

For this work I used the room of a person I met on the Internet, and he is a stranger to me, so I feel just as strange as the electronic phoenix. I make the bird skim over the floor, exploring the space, with the light on its head brightening some details of the corners. This process was filmed by webcam with low quality resolution, and it looks like a holy bird descending to this world from somewhere on the Internet, wondering in a dark enclosed space.

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𓃰 作品介紹 6

藝術家：于佳琳 Angela Yu

作品名稱：〈神畸寶貝〉Pokemon

寶可夢是近期的流行事件。在卡通中，人類以訓練師的名號，將寶貝球作為禁錮神奇寶貝的道具，明白展示了動物與人類間的主僕關係。現實中，假設有朝一日發生大規模生態危機，有毒的突變生物於全球異常增生，屆時，回收這些動物的工作者應會扮演類似訓練師的角色踏上征途，只是寶貝球將換成防毒容器，人類亦將承受自然反撲的惡果。每個生態系統的毀滅都正在消弭著我們的世界，人類不該再優越地以主人自稱，而是該謙虛地恢復生態平衡，才能永續共生。

𓃰 Works 6

Pokemon is one of the most popular topics recently. In its story, people call themselves “trainers”, and use Pokemon balls to cage Pokemons. This is a clear demonstration of superiority versus inferiority, showing how we are used to think animals’ existence is to follow our command. In reality, if one day a massive ecological crisis occurs, causing toxic mutated animals to emerge around the world. The workers who are sent to collect these animals would also be like those “trainers” in the cartoon, but only their Pokemon balls will be replaced with anti-toxic containers, and we’ll all suffer from consequences we caused by damaging nature. We should no longer think us as masters. Instead, we should be modest, try our best to balance the ecosystem, and rescue our planet together.

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𓃰 作品介紹 7

藝術家：顧廣毅 Kuang-Yi Ku

作品名稱：〈寵物情慾研究計劃〉（ Pet’s Pettings）

此計畫是由四個來自不同領域的人所共同創作，分別是牙醫師/藝術家顧廣毅、工程師吳倚伶、建築師陳姿延與影像工作者蔡汶瑜。來自不同背景的四個人，從科學、藝術與設計等多個面向切入寵物情慾這個命題，試圖透過這樣多領域的共同協作，提出一個新型態的思考模式。同時也藉由這樣的合作去打破原本僵化的領域疆界，在這樣更具彈性的創作研究狀態中去探索動物性權這種複雜的哲學問題。

𓃰 Works 7

This project is a residency project at FACT and is co-collaborated by four people—Kuang-Yi Ku, a dentist/artist; Yi-Ling Wu, an engineer; Tzu-Yen Chen, an architect; Wen-Yu Tsai, a film maker—respectively from different backgrounds. These four people, with their varied backgrounds, deal with the proposition of pet sexuality from various perspectives. Through this interdisciplinary collaboration, they propose a new way of thinking, by which they can break the ossified boundaries between distinct fields, and subsequently, in this more flexible research environment, explore philosophical subject as complex as animal sexual rights.

Project website: http://www.petspettings.com

𓃰 相關活動

開幕茶會：2016/10/22(六) 14:00
地點：台北數位藝術中心 噪音咖啡廳
開幕座談：李彥儀（策展人／HAGAI 花開藝文誌主編）、于佳琳（參展藝術家）、許智翔（參展藝術家）、丁俊心（參展藝術家）

𓃰 Events

Time: 2016/10/22(Sat) 14:00
Venue: Noise Kitchen, Digital Art Center, Taipei (MRT Zhishan Station Exit 2)
Guest speakers: Yen-Yi Lee(Curator/HAGAI chief editor)、Angela Yu(Artist)、Johnny Hsu(Artist)、Helen Ting(Artist)