EXHIBITION
《將至的腦補》
Got it – Not Yet
展期 Duration：2016/03/05 (六)～2016/04/24 (日)
開幕 Opening：2016/03/05 (六) 14:00
地點 Venue：台北數位藝術中心 噪音咖啡廳 Changee Cafe, Digital Art Center, Taipei
展覽介紹
文/策展人 劉星佑
時至今日，不可否認地，我們正處在一個大量複製、無中生有、空穴來風，可以形構與被形構的影像世界之中；了無新意，處處破綻，無從溯源卻又開啓鑑定般愉悅的欺眼法時代，面對數位影像，觀者已從眼力的培養，變成參與者式的，需要五感交互搭配使用。鋪天蓋地、同步即時是今日影像顯現的節奏，然而在鋪天蓋地與同步即時的節奏下，身體已從「適應」邁向另一種狀態，或者說，是從未真正的適應過，除了「既視感」（Déjà vu）的出現，更多時候仰賴著「腦補」的方式進行調節。
「既視感」意指「曾於某處親歷某個畫面，或者經歷一些事情」的感覺，也就是「似曾相識」，然而這個大腦中知覺系統和記憶系統相互作用的結果，在數位影像乘著數位媒介的今日，不僅止於「既視感」的萌生，更有著「腦補」的狀態出現，倘若「既視感」是時序錯亂當下的影像交集，那「腦補」或許可以說是面對時序錯亂時的造像運動，觀看是參與既視感的起點與終點，而感官的全面啟動讓腦補充滿各式的途徑與可能，影像成為運動過程中的藍圖與完稿，不斷的生滅增減、修正增生。
影像築構的巴別塔，無論是蜃景還是實景，觀者總能在「見山是山，見山不是山，見山還是山」的禪語中找到梅比烏斯之環的狀態，樂此不疲，前仆後繼，形象、記憶、回憶、圖像、映像、印象、觀想、想像，上述種種是影像的自我衍生，而衍生過程中，尚未顯影，卻已成像的片刻是將至的腦補，對於同步即時的嚮往，讓影像的欺眼法任務，在藝術史的浪潮中被失速的解放了，即便同步與即時永遠只能是嚮往，身體也不至於因此毫無向性可言；影像的網羅，增加了觀者的觀看式參與，增加了身體式參與的匱乏，因為匱乏，讓這將至的腦補有機會成為新的創作領域，藝術家在將至的腦補之前有更多的作為。
參與本展的藝術家利用不同的方式，專注各自身體的脈絡下將至的腦補，影像成為一種預設，亦成為一種未知，而預設與未知的「影像」判讀不僅止于眼睛的觀看，而是各種數位生活經驗下的身體慣習，至此腦補不再只是一個服膺現實的情節想像，亦非將懸置視為腦補的效果，讓觀者重新思考自身的現實狀態，而是亦步亦趨的利用現實，讓尚未清晰的腦補永遠候補，終成先發。
Exhibition Introduction
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.
關於藝術家
策展人─劉星佑
1985年高雄出生，來自甲仙滴水坑，熱愛第一代神奇寶貝，熟悉庫洛牌使用方法。對明清書畫格外有感，追索浙派之餘偶爾臨摹碑帖，重視養生與抗老化。情有獨鍾蔡明亮的歌舞電影，真理就在對嘴高歌的「心印」之中。目前關注電影、數位媒體影像的跨領域特質，挑戰該跨領域特質「作品」的書寫，嘗試賦予古代書畫當代詮釋，努力朝策展與藝術評論方向前進。
吳芊頤
1987年生於台灣台中，擅長拼貼藝術與複合媒材裝置創作，多以身邊所觀察的生活現象為創作來源，以一種保持形式、改製內容、模擬效果等手法，打破日常現象原有的意義，並以反觀的思考模式觀看我們所熟悉的日常狀態，這種看似與現實相似的狀況，營造出相對於現實的感知落差。作品曾獲「2012新北市創作新人獎」、「2015台灣美術新貌獎-平面創作第一名」、入選「台北美術獎」，並參與「台灣雙年展」展出，2014年獲邀參與「台北mt博」。
巫思萱
1989年出生於臺北，擅長程式設計與互動裝置開發，作品多以資料庫等網路媒體素材出發，以不同的互動轉化方式應用，讓觀者能夠透過不同的體驗，觀測到數據語言及影響。現職ArtionStudio前端程式設計師。 014 TIFA─舞蹈空間 × 進念‧二十面體《如夢幻泡影》多媒體助理。
李冠宜
指甲掐肉，竄流的腦細胞，在文字、影像與聲音的起滅間浮沈，一粒粒，一顆顆，層層交疊囊覆。虛幻的生息奔走在眼所視的現實之中；昇華於創作冥想間。波光粼粼，創作悠游於影像與聲音之間：追溺影像裡隱晦不彰的藏聲；聲響裡迴盪游離之殘影。現為臺灣聲音藝術活動「失聲祭」策展人之一。
涂皓欽
1982年出生於高雄，人森工作室創辦人兼設計師，過去參與金馬獎動態影像製作、高雄電影節主視覺統籌、高雄青春設計節主視覺統籌、五月天演唱會影像製作、MTV瘋流行節目頻道包裝、台灣前衛文件展書籍與網站設計等。
許哲瑜
1985年出於臺北，畢業於國立台南藝術大學造形藝術研究所。擅長以錄像裝置、新媒體創作探討媒體異相，並透過媒體介面反思真實與虛擬間交錯辯證性。，過去曾獲「高雄獎」、「全國美展」、「桃源創作獎」等競賽首獎。2015年個展「麥克風試音」於臺北市立美術館展出，展題靈感來自黃國峻辭世前集結的短篇散文集《麥克風試音》，作家以黑色幽默的風格，呈現各種經由科技與生命體融合，所誕生出的孤立生物，這些具有人型的結合體，在電視、電腦，監視螢幕及千變幻化的延伸器材餵養下，勾勒出一張張光怪陸離的畸形面貌。
陳漢聲
1988年出生於臺灣高雄，畢業於國立臺北藝術大學新媒體藝術研究所。擅長實驗動畫/複合媒材與動力裝置，並從自身家庭背景、身份延伸至創作，關注農業、自然、人與環境間彼此共存卻緊張的關係。作品曾獲「臺南新藝獎」首獎、「MATA獎」銀獎、入選「桃園創作獎」、「深圳獨立動畫雙年展」。近年因對於性別議題的關注，因而組織「多元成展」計劃，並策劃展覽，試圖在創作、藝術與展覽間，尋找延續對話的可能。
勾勒出一張張光怪陸離的畸形面貌。
湯羽彤
1988年出生於桃園，現就讀國立臺北藝術大學新媒體藝術研究所，對於古籍中追求的道理充滿「性」趣，對於追求「性」趣的方法，充滿自己的道理，堪輿學、地理學、中醫理論在此不是一種實踐後的結果，而是用來測繪與對話的對象。試圖將難得的性歡愉，變成一種方法，以便經常實踐與分享。過去曾獲「高雄獎」入選。2015年「聲音圖譜計畫I─音景考古」個展。
賴宗昀
擁有工業設計背景的年輕藝術家賴宗昀，就讀於臺北藝術大學新媒體藝術學系研究所。同時爲「失聲祭」聲音藝術活動策展人之一。創作以音像為始，對於生命狀態意義的追尋。近年作品開始聚焦於資本主義社會中生產/消費行為模式的操作，試圖透過翻轉消費者與生產者的關係，創造出一種再生產的可能。
張湛
1988年生於台灣台北，不喜歡出門，沒什麼自我但又怕出糗，現在連寫個自我介紹都還要去google其他藝術家是怎麼寫的。
About the Artist
Liou, Sing-You
Liou lives in Taiwan, born in 1985. He is into Tsai Ming Liang’s musical films. When Liou has free time, he paints landscape. Lious’s personal interests lie in the paintings and calligraphy of Ming and Ch’ing period, and he is also dedicated to curation.
Wu, Chien-Yi
Born in Taichung, Taiwan, Wu Chien-Yi specialises in collage art and mixed media installations. She received her M.F.A degree from the Graduate Institute of Plastic Arts in Tainan National University of the Arts. Known as the winner of 2012 The Arising Artist Award of New Taipei City for her “5100 Mini Store Project”, Wu is also on the finalist of the 13th Taoyuan Contemporary Art Award in 2015, the reputable Taipei Arts Awards in 2011 as well as 2010 Kaohsiung Awards. She has also been invited to exhibit in numerous exhibitions, among which are the 2014 MT Expo and the 2012 Taiwan Biennial, and her artworks have been collected by The National Taiwan Museum of Fine Arts and Cultural Affairs Department of New Taipei City Government.
Wu, Ssu-Hsuan
Born in Taipei, 1989, Wu is currently a front end programmer in ArtionStudio. She is good at programming and the development of interactive devices. Wu conceives her works from internet media materials, such as database, and applies various ways of interaction to let her audience observe the programming language and its influence through different experiences.
Lee, Kuan-Yi
Attaining a BA of Performance Design and Practice from Central Saint Martins College of Art and Design, Lee is currently pursuing a graduate degree in New Media Art at Taipei National University of the Arts. Fields of her works span from images to sounds, and she looks for the hidden sounds in images as well as the echoing images that resonate in sounds. She was one of the curators of Lacking Sound Fest., a sound art event held in Taipei, Taiwan.
Tu, Hao-Chin
Born in Kaohsiung, 1992, Tu is a designer and the founder of Human Forest Studio. He has participated in the making of motion pictures for the ceremony of Golden Horse and the video of Mayday’s concert, and also managed the main visual design for Kaohsiung Film Festival and Kaohsiung Youth Design Festival. He also designed for MTV music channel, and books and websites of Taiwan Avant-Garde Documenta.
Hsu, Che-Yu
Born in Taipei, 1985, Hse graduated from the Graduate Institute of Plastic Arts of Tainan National University of the Art. He is good at dealing with issues of the media phenomenon through recording devices and new media art. Hsu ponders the dialectic between truth and virtual nature by media interfaces. He has been awarded the first prize of Kaohsiung Award, National Art Exhibition Award, and Taoyuan Creation Award.Chen, Han-Sheng
Born in 1988, Kaoshiung, Taiwan, Chen graduated from Taipei National University of Arts. He works with experimental animation and mixed media kinetic installations, incorporating his own background and identity. His themes often include agriculture, nature and the coexistence between human beings and our environment. His works have garnered many positive responses, including the first prize of Next Art Tainan, silver medal in the MATA prize, selected for the Taoyuan Contemporary Arts Award and the Shenzhen Independent Animation Biennale. Responding to gender issues that have been accentuated in recent years, he organized the project “Coexist+Exhibition”, searching for different means of conversation through curation and art production.
Tang, Yu-Tong
Born in Taoyuan, 1988, Tang now studies at the Department of New Media Art in TNUA. She is interested in viewing the principles in ancient books from a sexual perspective and interpreting with her own theories about how to pursue the pleasure of sex. For her, geomancy, geography and the traditional Chinese medicine theory are not results of a practice, but a tool to conduct measurements and dialogue.
Lai, Tsung-Yun
Lai, Tsung-Yun, a young artist with industrial design background, is a graduate student at Department of New Media Art, Taipei National University of the Arts. Currently, he is one of the curators of Lacking Sound Festival.
Zhang, Zhan
Born in Taipei, 1988, Zhang likes to stay at home and hopes that he could make art works merely by computer. The main forms of his works are video and mixed media. He has been awarded the first prize of Kaohsiung Award. His works were selected by Taoyuan Creation Award and collected by the ArtBank.
His personal website: http://changchan.weebly.com
作品介紹 1
附加價值 – 5100微型百貨
形式：影像、文件空間裝置
年份：2011
長度：10’00” 循環
尺寸：視展覽空間調整
媒材：電腦、喇叭、錄像與拼貼文件
藝術家：吳芊頤
5100 微型百貨，2011年1月成立，以「網路圖標商品」為出發點，結合透明的製作過程、網路社群互動、實體展覽等形式組成。利用不同的介面使同一件作品產生兩種不同的面貌與意義，並以其外型的複製性作為與外界連結溝通的可能。透過獨一性與複製性，手工的生產體現沒有身體的世界，製造價值認定的公平真理。
〈5100微型百貨購物網站〉，是反應網路消費時代下所產生的視覺現象，並透過網購平台，測試大眾對於商品的辨識程度與消費習慣。
Work 1
Added Value – 5100 mini store
Form: image, spatial installation of documents
Year: 2011
Duration: 10’00” loop
Dimensions: dimensions variable
Media: computer, loudspeaker, video and collaged documents
Artist: Wu, Chien-Yi
Founded in January 2011, 5100 mini store treats “products of Internet icons” as its point of departure, ingeniously combining transparent manufacturing process and online social networks with physical exhibitions. It not only creates Janus-faced works with different interfaces, but also channels its products to the external world by virtue of their formal reproducibility. Such exquisite craftsmanship radiates a paradoxical aura of uniqueness and reproducibility, which not only embodies a world without body but also lays down objective criteria for measuring values.
The online shop of 5100 mini store serves as a reflection of the endemic visual phenomenon in the era of online consumption. The online shop is also employed to investigate its brand identification and consumer propensity.
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作品介紹 2
CLICK
形式：聲音裝置+聲音雕塑，聲音-影像裝置
年份：2014
尺寸：250cm X 300cm
媒材：鋁、壓克力、伺服馬達、電腦、網路
藝術家：巫思萱
隨著社群網站於社會發展脈絡中的影響地位日趨顯著，本裝置作品由五十顆不同形狀、大小的被使用過之滑鼠與五十隻機械手指組成，透過程式分析計算在社群網站（Facebook）上的按讚數據資料之後，將資料傳達到各顆聯結著機械手指的馬達上，驅使機械作點擊滑鼠的動作，呈現出這一股股微小力量的群聚累積所產生之持續性影響的強大力量，甚至形成對於社會主流意識有所宰制的巨大權力結構。當指尖點擊滑鼠，傳遞「讚」這個動作之後，其情感透過一行行程式碼轉譯成資訊，透過這般傳輸，其中蘊含純粹人性的溫度逐漸失溫，終至冰冷，這項互動已經不是人之於人，而是網路之於網路。本裝置作品不只是社會之下的產物，更希望透過作品進行針對社群網站於今時今日之影響力的反思。
Work 2
CLICK
Form: sound installation + sound sculpture, audio-visual installation
Year: 2014
Dimensions: 250 cm x 300 cm
Media: aluminum, acrylic, servomotor, computer, the Internet
Artist: Wu, Ssu-Hsuan
In view of the increasing influence of social network sites on the context of social development, this installation comprises of fifty robot fingers and fifty second-hand mice of different shapes and sizes. Using computer programs to analyze the data on the number of “like-clicking” on Facebook, the installation then transfers the analyzed data to the motors that power the robot fingers to click the mice, thereby unleashing the tremendous power as a result of a gradual accumulation of trivial actions, and even constructing a Leviathan-like power apparatus that dominates the mainstream ideology of the society. When a user clicks the mouse to show that he/she “like” a given post, such a sentiment is immediately translated into a piece of information made of executable code. The warmth of humanity this action radiates is gradually reduced to nothing. This is not so much a person-to-person interaction as a computer-to-computer one. This installation is not only represented as a product of the contemporary society, but also expected to encourage the viewers’ reflection on the influence of social network sites on the contemporary world.
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作品介紹 3
荒唐影像製造機
形式：影像裝置
年份：2016
長度：循環 Loop 尺寸：視展覽空間調整
媒材：風管、鐵桿支架、平板
藝術家：李冠宜
這是一件具象化影像/數位資訊在今日傳輸進人體感官過程中所牽涉到的種種經由過去視聽經驗累積而先於當下的直射反應通道。
微微發光的通道，僅限於人體頭部的探入。那對向的彼岸是光與聲的集合，「吸引著人們墜入幻化綺麗聲光的同時，荒唐驚悚不可思議的事件通過此通道，也都將合理於日常中。」
Work 3
The Crazy Wacky Corridor !
Form: image installation
Year: 2016
Duration: loop
Dimensions: dimensions variable
Media: wind pipe, iron-pole holder, tablet computer
Artist: Lee, Kuan-Yi
This work serves as a channel of sensory communication established with visualized image/digital information that evokes a feeling of déjà vu.
The entrance of the glimmering channel is so small as to have only a limited capacity of a human head. The viewers may poke their heads into the channel and gaze at the other side, a mesmerizing mélange of sound and light. “This work not only snares the viewers with fantastic, gorgeous audio-visual effects, but also disembogues ludicrous, thrilling and incredible events into the real world where they begin to make sense.
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作品介紹 4
被遺棄的房間
形式：實驗動畫、影像裝置
年份：2015
長度：05’00”
尺寸：140(w)x180(d)x75(h)cm
媒材：電視、數位動畫、木箱
藝術家：涂皓欽
只要懦弱存在，這房間就存在。你隨時會在無意識中進來這裡，卻無法自由離開。他也沒注意，這些身體停止過的地方，都沉澱了痕跡，遺失了看不見的部分。一邊厭惡一邊討好的往前，一邊自傲一邊卑微的往前，製造著壞掉的重量，任由它在房間裡置放。如同傢俱覆滿灰塵，它們一點一點的堆積著，有了厚度，成了形狀。等他發覺，房間裡到處都是渺小的固體了，連同自己也只是被擺放著的物體而已。在這個被他所遺棄的房間，在這個與懦弱共存的房間。
Work 4
The abandoned room
Form: experimental animation, image installation
Year: 2015
Duration: 05’00”
Dimensions: 140(w)x180(d)x75(h)cm
Media: television, digital animation, wooden box
Artist: Tu, Hao-Chin
This room exists on condition that cowardice lingers. You may check in this room unconsciously, but you can never leave. He has left traces of his presence in this room without noticing them. The traces have precipitated out, while the invisible parts have faded into insignificance. He subsists on abhorrence and ingratiation, as well as on smugness and abasement. He produces the sheer weight of a miserable life and mothballs it in the room. The weight increases piece by piece, just like the dust alighting upon the furniture. Gradually these pieces of weight gained thickness and took shape. It was not until the room is rife with tiny solids that he came to his senses. Even he himself has become a picayune object like so much flotsam in this room he has abandoned, a room where he and his cowardice co-exist.
﹉﹉﹉﹉﹉﹉﹉﹉
作品介紹 5
1970年11月11日
形式：投影
年份：2012
長度：08’01”循環 Loop 視展覽空間調整
尺寸：視展覽空間調整
媒材：錄像 Video
藝術家：許哲瑜
這是一則台灣1970年於中山公園塑立孫中山銅像的老新聞。我到中山公園拍攝場景，以動畫的方式示意出這段新聞。我從未經歷過這個時代，因此對我而言，它 僅以鬼魅的方式（不）存在，卻魂牽夢縈的。我在片尾中直接將新聞播報的口白以字幕呈現，但刪除了「國父」字樣，因為此時現實世界的「國父」已然無關緊要， 他只是像夢裡的一種幻影而已，然而對我來說，這種幻影，已經取代了歷史成為現實的了。
Work 5
November 11th, 1970.
Form: projection
Year: 2012
Duration: 08’01” loop
Dimensions: dimensions variable
Media: Video
Artist: Hsu, Che-Yu
This is an old anecdote about the erection of a bronze statue of Dr. Sun Yat-San in Zhongshan Park around 1970. I shot the scenes of the park, and then represented the news in the way of animation decades later. I did not experience that period. It exists ergo as a ghost that continues to haunt me. I added subtitles to the coda of the news broadcasting and deleted the term “pater patriae,” since the man it refers to has become immaterial in the real world. In other words, he is nothing but a phantom in the dream. As far as I am concerned, however, such a phantom has replaced recorded history and become a reality.
﹉﹉﹉﹉﹉﹉﹉﹉
作品介紹 6
小屁蟲系列
形式：攝影、實驗影像
年份：2016
長度：循環 Loop 尺寸：視展覽空間調整
媒材：數位輸出、電視
藝術家：陳漢聲
「bug」是數位產品、軟體等科技工具使用中，無法完全避免的自然狀態。好比我有一隻iphome5，我在購買新機使用開始，就偶爾會遇到相機功能當機的狀況，它並非完全地停擺，我知道它仍在執行某些功能，同時也知道它正常使用下會是什麼樣的影像，但對於超過我理解與想像的結果中生產的影像，卻讓我格外著迷。本計劃是在日常生活中，使用故障的科技產品或是演算中錯誤的狀態，來進行動態與平面的影像創作，例如影像後製軟體After Effects中，當檔案連結的位置改變或是遺失，軟體中該物件的編輯位置便會變成color bar，軟體依然會保存所有的動態設定，並在color bar身上執行。這些毫無意義的影像，其實都完成了我所設定的步驟，只是部分的功能bug而已。
Work 6
Bug orz
Form: photography, experimental image
Year: 2016
Duration: loop
Dimensions: dimensions variable
Media: digital output, television
Artist: Chen, Han-Sheng
We may discover “bugs” in almost all technological tools such as digital products and software. For example, I bought a new iphone5 and began to use it. Its camera may malfunction from time to time. I know clearly what the images it would produce if it functions well. Yet the images beyond my understanding and imagination are particularly enchanting to me. This project aims to create moving or graphic image artworks with malfunctioned digital products or algorithms. Take the image post-editing software After Effects as an example. No sooner is a file link relocated or removed, than its editing position in the software becomes a color bar, while the software still saves all the dynamic settings and executes them on the color bar. The resultant meaningless images are actually produced according to the settings I made, though with minor bugs in its functions.
﹉﹉﹉﹉﹉﹉﹉﹉
作品介紹 7
轉轉-流水/轉轉-功夫
形式：錄像、裝置
年份：2016
尺寸：視展覽空間調整
媒材：錄像、裝置
藝術家：湯羽彤與賴宗昀共同創作
流水纏綿涓涓，靜聽潺潺之音，千言萬語，天知地知你知我知的盼望。 緩緩波濤拔起，恍如連綿無盡的慾望。 肉身取代山水，毛孔泌出感官。 殊途也可能同歸。 我們必須帶著墨黑色色相環的滿足，和迅速消失的好奇離去。
Work 7
Rolling Stones – a murmuring stream/Rolling Stones – Kong Fu
(a collaborative work by Yu-Tong Tang and Zhong-Yun Lai)
Form: video, installation
Year: 2016
Dimensions: dimensions variable
Media: video, installation
Artist: Yu-Tong Tang and Zhong-Yun Lai
The murmur of a trickling stream is worth a thousand words said in a subtle undertone. The lapping of the waves reflects our unquenchable desires. Our physical bodies replace landscapes, and overwhelming senses spill out of our pores. We may reach the same goal by different means. Anyway, we must leave by bringing the gratification of endless inkiness and ephemeral curiosity with us.
﹉﹉﹉﹉﹉﹉﹉﹉
作品介紹 8
壞脾氣餅乾店
藝術家：張湛
形式：跑馬燈裝置、數位圖像、錄像
年份：2016
長度：循環 Loop
尺寸：視展覽空間調整
媒材：數位輸出、跑馬燈、投影
「今天來到號稱美食之都的台南，聽說中正路的巷內開了一間餅乾店，身為一個專業的美食部落客，怎麼可以錯過這種隱藏版的美食小店呢！
『老闆你好，請問兩種巧克力豆是哪兩種？可以幫忙推薦嗎？』
『你們有宅配服務嗎？』『天啊聖誕樹的造型好可愛喔≧ω≦這怎麼做的？？？』
『旁邊展場的藝術品好前衛我都看不懂＠＠老闆可以幫忙講解一下嗎？』
『…』
『媽的你問這麼多幹嘛？』
從此壞脾氣餅乾店聲名大噪，門庭若市。」
(づ′・ω・)づ
– 對話節錄自「壞脾氣餅乾店」作品 –
Work 8
The bad temper cookie shop
Form: zoetrope, digital graphic, video
Year: 2016
Duration: loop
Dimensions: dimensions variable
Media: digital output, zoetrope, projection
Artist: Zhang, Zhan
“Today I visit Tainan, a city known as a mecca for gourmets. I have been told that an alley cookie shop has opened recently in Zhongzheng Road. As a professional gourmet blogger, nothing tickles me more than this type of stylish shop.”
“Hello, could you introduce me the two kinds of chocolate cookies and give me your personal recommendation?”
“Do you offer home delivery service?” “Oh! This Christmas tree is so gorgeous ≧ω≦ Would you please tell me how it’s made?”
“The avant-garde artworks displayed in the venue nearby are all Greek to me ＠＠ Could you give me a rough guide to them?”
“…”
“What the heck do you have so many questions?”
The bad temper cookie shop rocketed to fame and thrived with swarms of customers thereafter. (づ′・ω・)づ
– conversation excerpted from the work The Bad Temper Cookie Shop –
相關活動
0312 開幕茶會&藝術家座談
開幕茶會與座談：2016/03/12(六) 14:00
地點：台北數位藝術中心 噪音咖啡廳
策展人：劉星佑
與談人：曾鈺涓
藝術家：吳芊頤、巫思萱、李冠宜、涂皓欽、許哲瑜、陳漢聲、張湛、湯羽彤、賴宗昀
Events
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