《迷路實地指南》

A Field Guide to Getting Lost

∇ 展期 Duration：2016/05/07 (六)～2016/06/19 (日)

∇ 開幕 Opening：2016/05/07 (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

「我曾愛過一個像沙漠一般的男人，而在那之前，我曾愛過沙漠。這不是什麼特別的事物，但談到這其中的空間，那豐富的縹緲，即是沙漠的邀請。」 ——Robecca Solnit，《迷路實地指南》。

展覽《迷路實地指南》討論將網路影像、後製、混搭、隨機的相遇是如何成為「物」。影像在網路上透過不斷的轉載與後製，離開脈絡的影像，被分割成為一個獨立的「物」，影像為「物」，將以不同的性質，在某一個面向的瞬間與未來的使用者反應，而發生的結果則無法預測。（如同當火燃燒棉花，其實並非火與棉花反應，而是棉花的易燃性與火反應）。從人類的角度來看，我們可以藉由關鍵字搜尋、念舊的感覺，或者是喜劇的效果、反映出的事實、主題標籤（hashtag），或是趨勢（trending）來與這些影像物生成關係。然而，我們卻永遠無法對這些不斷循環自動播放、永久檔案化的數據，或者是由許多匿名使用者在網路上所製造出的循環播放GIF檔，這些我們所製造出來的「物」，不論我們是否存在，它們都將依然如故地自我演進。

對於這些物質，是否還有其他我們無法探知的層面呢？對我們而言這是重要的嗎？這些影像是作為我們創造力的工具之一，或者是成為我們身份認同的一種形式呢？當「物」被化約成對於人類的功能性時，我們是否能夠有能力去想像這些物的其他面向呢？或者是我們與物的經驗只能歸為功能上的使用了呢？

在藝術家、服裝設計師，以及音樂人的作品中，一會兒抽絲剝繭，一會兒穿鑿附會，他們如何將這些媒材化為感覺與接收完成的感知。一旦這個過程完成之後，我們的文化是否就能夠了解這些物了呢？而，我們必須要了解嗎？這是否又回到功能式的使用與有用呢？難道我們能夠與物的反應與交換，將永遠只停留在表面上的相遇嗎？既然如此，在理解極有限的情況下，我們又如何能夠自顧自地高唱著我們能夠理解，或曾與物交流呢？

或者我們應該如一位蒸氣音樂工作者Dream Catalog所形容的：「現在文化發展之快，讓所有的音樂都近乎成為一種一瞬即過的噪音，甚至可以說是隨用即丟的，而我很喜歡這個想法。我最愛的就是在Soundcloud上，僅是聽著這些串流的音樂，同時深深地知道我將再也不會聽到這些歌，而這些歌都將在風裡消失。」

∇ Exhibition Introduction

“Once I loved a man who was a lot like the desert, and before that I loved the desert. It wasn’t particular things but the space between them, that abundance of absence, that is the desert’s invitation.”– Robecca Solnit, A field guide to getting lost.

This exhibition explores how internet images, post-production, remix, randomness encounter on the internet as a thing (Ding). How imageries that generate on internet after being taking out of its context become a thing itself, and part of it encountered with future users with its different qualities (as when fire burns cotton, it’s not the fire and cotton interact, but the caricature of the cotton and fire interact). From human perspective, the reasons for us to form relationship with such objects could be keyword search, or feelings of nostalgia, comedic factors, truth, hashtag, or trending. However, we can never have a full picture of how these auto-played, permanent archived data, or continuously in loop gifs generated infinitely by anonymous users on the internet will evolve with or without us.

Is there anything deeper than what we can perceive from these materials? Is it important to us? Does it serve as tools for our creativity or a formation of our identity? When things being reduced to what is useful to us, do we still have the power to imagine? Or we only experience these objects in its function to us?

This exhibition wishes to invite artists, designers and musician’s works to discuss how they have or attempt to aestheticise these mediums that generate in our time. Does these images-object still making any sense in our culture? Does it have to be making sense to us? Is the point of encounter does the only access we will ever get? How can we say we have experienced, or interacted, or had relationship with, when there is still so much that we don’t comprehend? or shall we experiences them just as Vaporwave artist Dream Catalog once said: “Culture is so fast paced now that all this music is just passing noise, disposable almost, and I like that aspect of it a lot. I love going on Soundcloud and just listening to the stream, knowing I may never hear these songs again, and they will just disappear into the wind.”

∇ 關於藝術家

> 策展人-李彥儀

李彥儀，獨立策展人，現居於台北。英國愛丁堡藝術大學視覺文化藝術碩士。

於國立台灣美術館策劃展覽《後福島的今天與我們的明天》，台北國際藝術村《請入歧途：情境式探索》，韓國openspace Bae“A/GENDER ISSUE”，英國愛丁堡《微型敘事Micro Storia》共同策展人，同時也擔任獨立藝術報紙──花開 HAGAI 創辦人與編輯。

> Josephine Bergqvist (瑞典)

> Max Grau (德國)

Max Grau創作的媒材包括電影、文字、表演、攝影與音樂。他的作品常試圖表達自我與社會的關係、意象轉換與傳播，以及當代的溝通形式。他在柏林的薩爾布呂肯，與美國洛杉磯學習藝術。除個人創作外，他同時是與Jan Erbelding組成的雙人組成員之一，也是以刊物為主的藝術空間Ruine München的共同編輯，自2011-2013曾經參與藝術組織Neuer Saarbücker Kunstverein，生活與居住在柏林。

曾在以下各地舉辦個展與聯展，表演與放映。澳洲伯斯的寵物計畫，波蘭波茲蘭短片浪潮電影節，葡萄牙國際獨立製片電影節，瑞士溫特圖爾短片電影節，洛杉磯巴沙迪納藝術學院，威廉士親王藝術空間（德國慕尼黑），藝術狀態藝文空間（柏林），波昂藝術協會，LOTTE（德國斯圖加特）；斯圖加特博物館，柏林Eigen + Art Lab，巴伐利亞某處的公共游泳池。

> SUPER ADD (台灣)

做裝置藝術為主的組織SUPER ADD，成立於2013年，很在乎娛樂性，所以就用派對代替了畫廊三年。未來計畫用各種方式持續探討娛樂價值。常用現成物當媒材，比起正規展覽更喜歡EVENT形式的作品，此為第一次以藝術家身份在美術空間展出。

> 林子桓(台灣)

林子桓做錄像跟裝置，打工為生。媒材不拘但現在只有錄像跟裝置。處理議題關於藝術是什麼，藝術的角色，藝術的方式。處理本質與尋找狀態呈現兩件事的韻。旅居紐約，明年（2017）將在北美館舉辦個展尋找欲望的各種狀態。http://tzuhuanlin.com

> 丹羽陽太郎 (日本/德國)

–均衡並非不變的狀態，而是對毀滅狀態的堅定信仰。
–找到正確的平衡是我們與生俱來的最終本能。
–因此，破壞正確的平衡便是我們發現重大意義事物之關鍵。

丹羽採用的媒介包括雕塑、繪畫、裝置、攝影與錄像，並以臨時裝置的形式來呈現它們。藝術家主要依據素材與環境，以及個人隨想之間的關係來選擇合適的創作素材。他透過作品所欲處理的議題包括人類認知範圍的變化，以及社會與環境的變遷。丹羽創造出的雕塑環境嘗試提供觀者各種不同的體驗。重新配置且變化多端的物件，以及出乎意料的事件，其不穩定性創造出某種模糊狀態，形成某種關係網絡，試圖混淆觀者對秩序與和諧的期待。

> YEN TECH (美國)

Yen Tech是韓籍美國藝術家Nick Newlin的別名，他至今的藝術創作可以說是一系列不停變異中的組裝零件：從實驗表演、反烏托邦式的饒舌專輯，進而到可以被收集的「粉絲」品項，以及刻意營造且自覺的流行音樂影片。

紐林（Nick Newlin）在自己所創造出的半自傳式的科幻小說裡，化身為Yen Tech「類諷刺的手法表現科技感的主流大男人主義」，藉由這個化身而恣意發揮，有時甚至連藝術家自身都不得不承認已經超出了原先藝術家的設定。在這個世界的共通點設定概念──正如同Newlin本身的作品對於名流文化、強檔製作電影、與次世代遊戲這些主題其中所涉略的後人類主義，神秘主義，或者是精神靈性。Yen Tech則是一個能夠將上述元素聚集匯流的載體，紐林形容他的新作品是「彷彿是未來型態的有聲歌舞伎，或者是數位童話故事」，「表面看起來像是某種僅僅屬於娛樂性質的表演，但是藝術家其實希望暗示其中更為粗暴、迷宮般與寓言般的內容。」

Yen Tech曾在邁阿密的Art Basel、柏林的Creamcake演出，並將在2016柏林雙年展中的合作表演中擔任特別演出。

> 尹香老 (韓國)

以遍佈在網路上的客體式圖像，藝術家尹香老掌握了代表我們當代紀元和社會的方式。她的作品基於自己對媒體大眾消費中出現的標誌和刺激所產生的興趣，特別是從這樣的過程中出現的新定義。

∇ About the Artist

> Curator: Yen-Yi Lee

Yen-Yi Lee graduated with MFA Visual Culture from University of Edinburgh, Edinburgh college of Art and works as an independent curator based in Taipei, Taiwan.

She is curator of Tomorrow Come Today in National Taiwan Museum of Art, False Start: situational exploratorium in Taipei Artist Village, A/GENDER ISSUE in Openspace Bae(Busan, Korea) and co-curator of Microstoria(Edinburgh, UK). She is also the founder and editor of independent art zine, HAGAI.

>Josephine Bergqvist (Sweden)

> Max Grau (Germany)

Max Grau (*1988) works with Film, Text, Performance, Photography and Music. His work addresses the relationship between the self and the social, the circulation and shifting of signs and contemporary forms of communication. He studied Fine Arts in Saarbrücken, Berlin and Los Angeles. Besides working individually, he’s one half of a part-time duo (with Jan Erbelding). Co-Editor of Ruine München (a print-based art space) and was a part of Neuer Saarbücker Kunstverein from 2011-2013. He lives and works in Berlin.

Various Solo and Group Shows, performances and screenings at: Pet Projects, Perth (AUS), Short Waves Festival Poznań (PL), IndieLisboa Lissabon (POR), Kurzfilmtage Winterthur (CH), Art Center Pasadena, Los Angeles (USA), Prince of Wales, München (D); State of the Art, Berlin (D), Kunstverein Bonn (D); LOTTE, Stuttgart (D); Kunstmuseum Stuttgart (D), Eigen + Art Lab, Berlin (D) and a public swimming pool, somewhere in Bavaria.

http://www.max-grau.de

> SUPER ADD (Taiwan)

SUPER ADD is an installation art collective founded in 2013. They take entertainment very serious therefore they choose to be a party organiser for three years instead of staying inside of a white cube. SUPER ADD will continues to explore the value of entertainment with different approaches. They works mostly with readymade objects, event-based art exhibitions rather than showing in regular exhibition setting. This is the first time that SUPER ADD exhibits artworks in a white cube gallery space.

SUPER ADD art studio
http://www.superaddddddd.com
https://www.facebook.com/superadd.art/

SADD SOUND音樂廠牌/頻道
https://www.youtube.com/user/saddsound/feed
https://www.facebook.com/saddsoundmusic/

> 林子桓 (Taiwan)

Working mainly on installation and video, artist Tzu-Huan Lin’s practice focuses on the roles, methods, mediums of art while questioning what it really means, he explores essences and the mode of quest that creates rhythmic changes and how it is presented. Tzu-Huan lives and works in New York City, his will have his first solo exhibition in Taipei Fine Arts museum in 2017.
http://tzuhuanlin.com

> 丹羽陽太郎 (Japan/Germany)

-Equilibrium is not a stationary state.
-Equilibrium is the conviction of the state of destruction.
-Finding the right balance is a latest and innate instinct within us.
-Breaking that balance, therefore, is key in discovering something significant within us.

Niwa works with a variety of media including sculpture, drawing, installation, photography and video, and presents them as temporary installation. The choice of materials are closely linked to its relationship between the environment and his random thoughts. Dealing with issues concerning change of the range of human perception as well as social and environmental change, his sculptural environments also explore different possibilities of experience. Variable reconfigurations of objects and unexpected occurrences, of which instability left ambiguous, form a network of relationships which attempt to confound the viewer’s expectations of order and harmony.

> YEN TECH (USA)

Yen Tech is the alias of Korean American performance artist Nick Newlin. His work to date is a mutating assemblage: ranging from experimental performance and dystopian Rap albums to collectible “fan” objects, and self-aware Pop music videos. Newlin’s “quasi-satirical take on hi-tech pop machismo” is a kind of semi-personal science fiction where Yen Tech as an avatar can operate widely – often beyond the limits of the artist’s admitted intentions. This world-building mentality is the common thread – as Newlin’s work is as likely to embrace celebrity culture, blockbuster movies, or next-gen gaming as it is themes of post humanism, mysticism, or spirituality. Yen Tech is used as a vessel to mix all this together. “It’s like a form of futuristic audio-Kabuki, or digital fairytale” Newlin says of his recent work. “On the surface it functions purely as entertainment – but at its core I want to hint at something more brutal, labyrinthian and allegoric.” Yen Tech has performed for events at Art Basel, Miami; and Creamcake, Berlin; and will be featured in a collaborative performance and video at the 2016 Berlin Bienalle.

http://yentech.net/

> 尹香老 (Korea)

By objectively images that explode across the internet, artist Yoon Hyangro grapples with ways to represent our contemporary era and society. Her works are based on her interest in the signs and stimuli that emerge from the mass consumption of mass media, and particularly in the new definitions that emerge from such process.

∇ 作品介紹 1

多元時尚族

形式 / 服裝
年份 / 2015
媒材 / 服裝
藝術家 / Josephine Bergqvist（瑞典）

〈多元時尚族〉是一系列的作品討論著全球化、文化、身份認同之間的連結，以及時尚產業是如何將所有的元素囫圇吞棗般的盡數納入──為了創造新事物而任意的偷竊象徵符號與點子。展覽中所呈現的物件為一件上衣與數位圖像的褲子。而褲子上的印刷圖像則是由系列作品中的其他作品影像所製成。這同時是整個系列中的元成份（meta-component），也是重複使用想法的一種方式。

∇ Work 1

Multiple Style Tribe

Multiple Style Tribe is a small collection which explores the connection between globalisation, culture and identity and how fashion gobbles up everything – steals symbols and ideas to create something “new”. The objects representing the collection in this exhibition are a top and and a pair of printed trousers. The print on the trousers consist of images of the rest of the collection. This adds a meta-component to the collection and is a way of reusing ideas.

﹉﹉﹉﹉﹉﹉﹉﹉

∇ 作品介紹 2

[…] 超渴望敘事

形式 / 投影影像
年份 / 2015
長度 / 23 min’
媒材 / 錄像
藝術家 / Max Grau（德國）

〈[…] 超渴望敘事〉幾乎完全是由現成影像組成，作品主要擷取電影《火爆浪子》中的23秒片段，藉由無止盡的重複播放所組成。電影最後高潮歌曲「你是我要的唯一」，被簡化為作品的第一段曲調。除現成影像外，在螢幕（或投影）下方，原是字幕出現的地方，則會出現一些文字敘述。這些敘述有時好像天外飛來一筆，或是不斷呢喃迂迴，有著自己的起承轉合。《火爆浪子》的片段在整部影片中不斷循環，呈現出兩種時間性──線性與循環──則是作品中的基本命題之一。

∇ Work 2

[…] craving for narrative

The video, […] craving for narrative, is almost exclusively based on found footage. The main clip – a 23 sec. excerpt from the movie ‹Grease› – is permanently looped. The movie’s final cathartic song ‹You’re the one that I want› is reduced to its first verse. Besides found imagery, there’s a text based narration happening in the lower region of the screen (or projection), where normally the subtitles would be. This narrative – although being at times slightly swerving or circular – has a beginning and an end. The clip from ‹Grease› is continuously looped throughout the whole piece. Those two modes of temporality – linearity and the loop – might be one of the basic concerns of the video.

﹉﹉﹉﹉﹉﹉﹉﹉

∇ 作品介紹 3

#vapor-room

形式 / 現地裝置
年份 / 2016
媒材 / 複合媒材
藝術家 / SUPER ADD（台灣）

曾幾何時，每一個現實都曾經或即將成為一張網路上的轉貼圖片。
#vaporwave裡共同構築的虛擬世界，又經由User: SUPER ADD重新物質化。
那些日常生活的房間、隨手喝的罐裝飲料、電視播放的廣告節目、著迷的電影海報、設計精美的家飾品……跟著千萬個網友的意識，一起經驗某某消費主義下的主義。

∇ Work 3

#vapor-room

Since reality has become or is about to become another newly reposted image on the Internet, a virtual world is co-created inside of #vaporwave, being materialised again by User: SUPER ADD. Daily life and bedrooms, you grab a canned drink, commercials on TV, charming movie posters, designer home furnitures…to experience some kind of principle (-ism) that holds consumerism together with consciousness of millions and thousands of online users.

﹉﹉﹉﹉﹉﹉﹉﹉

∇ 作品介紹 4

線上葬禮：死靈術

形式 / 現地裝置、錄像
年份 / 2016
媒材 / 複合媒材、影片
藝術家 / 林子桓（Tzu-Huan Lin）（台灣）

你睜開你的雙眼，在一個白色的世界。
一個導遊正在等著你。
你選擇……
[ 說嗨 ] or [ 重新開始 ] ？

時間在這裡是不相關的，旅行並不是線性而是在眨眼間。
每次你停下來，都會經歷一段關係。
所有訊息都是建立來錯誤引導，迷失是無法避免的。
不要害怕在帳篷裡的野獸，跟著杯子與水一起舞蹈。

身體像麵條
葡萄與彈珠
靈魂在吸管

線上葬禮是一個紀念你愛的人並使他們永生的方式，但是代價是他們的靈魂會永遠困在另一個世界。死靈術是一個喚醒死人的靈魂方式，死靈法師是響導，他引導著生與死以交換語言與探索未知的世界。導遊正在大廳等著，準備好去迷失。

藝術家對以模板作為元素來產生大量生產的社會現象感興趣，進而想到把這種因為方便而偷懶的事移植到人生大事葬禮上，所創作出的空間裝置與錄像。在這第二版本的作品中，藝術家化身為靈媒，在這線上數位模板中做迷失靈魂的嚮導。帶領著迷失的靈魂在這些宇宙中穿梭，談論生命，主體，虛實以及存在的意義。

∇ Work 4

Online-Funeral: Necromancy

You opened your eyes, in a world covered with white.
A tour guide was waiting for you.
You want to…
[ Say Hi ] or [ Restart ]?

Time is irrelevant here, travel in no linear but a blink.
Each time you stopped you experience a relationship.
All the signs were made for misguiding. Getting lost is inevitable.
Do not fear the animal in tent, dance with the glass and water.

Body like Spaghetti
Grape and Pinball
Soul in Straw

Online funeral service is a way to dedicate to your love and keep them alive but they will be trapped in another world eternally. The Necromancy is a way to awake the dead soul, the necromancer will be the guide for both the living and the dead to exchange the language and explore the unknown world. The guide is waiting in the lobby, be prepared and lost.

Artist is interested in research of mass reproduction and stock footage. Then he transplants this lazy culture into serious event. He uses stock footage and found footage to create an online funeral, which can be easily reproduced. Artist creates a site specific installation and video. In this second edition, the artist becomes a Necromancer to guide the lost soul in the online funeral, talking about life, subjectivity, the nature of things and questioning the meaning of life.

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∇ 作品介紹 5

物外之鏡

形式 / 物件、雕塑、燈光裝置
年份 / 2015
長度 / 視展覽空間調整
媒材 / 竹子、小喇叭、燈管、網格布料
藝術家 / 丹羽陽太郎（Yotaro Niwa）（日本╱德國）

她從未寫過一首詩。

她活在一個資訊唾手可得的世界，社會的結構日益淡化，凡事愈來愈講究效率，「想像」與「經驗」的界線日見模糊。

若詩是因遊走於「想像」與「經驗」兩個不同的領域而生，那麼，她相信，現在，是她該寫詩的時候了。

∇ Work 5

In the face of empty mirrors

– She has never written a poem –

She lives in a world where massive amounts of information can be accessed at once, the structure of the society becoming increasingly rarified. Everything is becoming progressively more efficient, and the boundary between “imagination” and “experience” is gradually dissolving.

Poems are born out of the coming and going between the separate realms of “imagination” and “experience”. If this is so, she believes that there is a poem to be created now, in this time.

﹉﹉﹉﹉﹉﹉﹉﹉

∇ 作品介紹 6

Y-3

形式 / 音樂MV、雕塑、音樂創作與表演
年份 / 2016
媒材 / 影像、複合媒材、音樂創作與表演
藝術家 / YEN TECH（美國）

從窗戶望出的橫濱車站
我百無聊賴
一杯無盡泡泡升起
積極的建設中

我們去噴泉那邊吃午餐吧
穿著我們的力量裝備
那邊有個外國人正秘密地錄著Akiko
超寫實，也魅力四射

∇ Work 6

Y-3

Yokohama Station from the window
I’m so bored
An endless glass of bubbles rise
in rapid construction

Lets take a lunch break to the fountain
in our power suits
Where an expat secretly films Akiko
hyper real and glamorous

Yen Tech – “Y-3” Music Video credits:
Preston Chaunsumlit – Director and Executive Producer
Jake Moore – Director of Photography
Patric Dicaprio – Styling
D.V. Caputo – Animation
Juan Villareal – Editor
Featuring: Jess Nha, June Downs, and Ash Foo

﹉﹉﹉﹉﹉﹉﹉﹉

∇ 作品介紹 7

第一印象

形式 / 影像、聲音
年份 / 2014
長度 / 58m30s
媒材 / 單頻錄像
藝術家 / 尹香老（Hyangro Yoon）（韓國）

過去四年Hyangro Yoon從網路上搜集一系列GIF檔案，製作成一小時的電影《第一印象》。這個標題取自珍•奧斯汀《傲慢與偏見》的原稿，而片中字幕則是她根據小說最新電影版而改編。即使劇中人物身份因GIF檔案格式不同與主題不一致而不斷改變，但劇本中的對話仍讓觀眾能跟上影片的大致進展。儘管圖像和敘事之間幾乎完全缺乏連續性或關連性，一種極佳的和諧感仍從藝術家獨特的鑑賞力中浮現。

∇ Work 7

First Impression

Yoon created her one-hour film First Impressions from an array of GIF files that she has collected from the internet over the last four years. The titled is borrowed from the original draft of Jane Austen’s Pride and Prejudice, and Yoon wrote the film’s subtitles based on a recent film adaptation of the novel. The dialogue from the script allows the viewers to follow the general flow of the video, even though the identity of the characters is constantly changing, due to the differing formats and subjects of the GIF files. Despite the almost total lack of continuity or connection between the images and narratives, a superb harmony emerges from the artist’s unique sensibility.

∇ 相關活動

5/7(六)開幕&座談

開幕茶會暨座談會：2016/05/07(六) 14:00
地點：台北數位藝術中心 噪音咖啡廳

策展人：李彥儀
與談人：藝術家/COTTON
策展人/李彥儀

∇ Events

Opening&Artist Talk

Time: Saturday, 7 May, 2016, 14:00
Venue: Changee Cafe, Digital Art Center, Taipei
Curator: Yen-Yi Lee
Attendee: (artist) COTTON
(curator) Yen-Yi Lee