台灣數位藝術中心

《光 – 遊戲場》江元皓個展 light Playground

➽ 展期 Duration：2013/07/13 (六) – 2013/08/18 (日)

➽ 開幕 Opening：2013/07/20 (六) 15:00

➽ 地點 Venue：台北數位藝術中心

➽ 地址 Address：111台北市士林區福華路180號；近捷運淡水線芝山捷運站二號出口

➽ 展覽介紹

我們透過光來觀看這個世界，而光的物理行為也直接塑形著我們，賦予各種事物色彩。科技的進步使“光”在我們日常生活中扮演越來越重要的角色。它不只是賦予顏色及除去黑暗，更成為聯絡及傳播最重要的媒介。我們能在家裡透過“光”而與他人連接、處理生活所需。它已經不只是大自然中眾多物理現象的其中之一，而更具主動性及影響力。賦予我們感官所及之事物的價值與結構，甚至構成新的世界觀，架構新的秩序。透過“發光的窗”（電視、電腦、手機…等），我們創造了一個新的空間，一個零距離、零等待的空間而徹底推翻以往的時空觀念。這樣一個空間似乎儼然成為一個擁有自我意識的“角色”。而它的自我意識卻又來自於群體意識對它的期許。乍看之下，這樣一個擁有自我意識的角色似乎實踐了群體意識的想望。同時，卻也使我們被放逐在一個“零質量的空間裏”，終於我們的官能與現實世界分道揚鑣。
這個展覽，我將它名為「光 – 遊戲場」，展現藝術家江元皓在近幾年裡對“光”的議題、光與人之間的關係以及光對我們所處空間（房間、家、城市）的觀照。我試著透過光的的行為來詮釋光的角色以及這個角色在空間裡的影響力（或侵略性）。並透過現代人的溝通連結媒介“窗”在這個時代的屬性來做為展覽的遊戲規則。作品訴說著人對“光窗”的依賴以及著迷。

➽ Exhibition Introduction

We see the world through light. The physics of light also shape us directly, and gave everything its colors. The role of light is more and more important in our daily life especially when the technology is advancing rapidly. Its function is not only for coloring things and recovering from the darkness. It also becomes the most important medium for communication and connecting people. Through “light,” we can connect with others at home, and manage our life. It is no longer just one of the physic wonders in the natural world, but more dominant and powerful. It forms the values and structures to things that our senses pick up, and it even constructs a new world perspective and new order. Via the “glowing window” (television, computer, mobile phone…etc), we created a new dimension, a new zero distance and zero waiting dimension, and it completely overturns the time and space concept of the past. This dimension somehow becomes “character” with its own identity; however, its identity was developed by the expectation of group consciousness. At the first sight, this character which has its own identity seems to realize the wishes of the group consciousness; simultaneously, it also banish us to “a space with nothing.” Finally, our sensations can be parting from our reality world.

This exhibition, I titled it “Light Playground” to express the artist, Iuan-Hau Chiang’s works focusing on the issue of “light,” the relationship between light and people, and the relationship between light and the spaces we are in (rooms, homes, cities). I tried to interpret the character of light and the impact (aggression) that this character has in the dimension through the behavior of light. This exhibition was organized by a game rule of how the window that is the communication medium for the people today meant. the works in the exhibition speaks about how the people is depending and obsessed with “glowing windows.”

➽ 關於藝術家

江元皓

畢業於法國里昂國立藝術學院 (Ecole Nationale des Beaux-Arts de Lyon)

2003, June 取得DNSEP國家最高造型藝術表達文憑

2001, June 於哈威爾美術學院取得DNAP國家造型藝術文憑/Diplome National d’Art Plastique

2000, Oct. 赴法留學進入法國哈威爾美術學院
1994, June 台北縣板橋市台灣國立藝術專科學校雕塑科畢業

1990, June 台北縣永和市復興商工美工科繪畫組畢業

美術相關獎項與展覽

2012 與劇場導演劉守曜及舞導空間舞蹈團合作科技藝術舞蹈表演”美麗新世界系列 – 世界末日那天，你會愛誰?
視覺原創 / 舞台電腦動畫設計製作 /自動控制道具設計 / 科技藝術統籌 /
演出地點：臺北藝術大學舞蹈廳

2011 與劇場導演劉守曜及舞導空間舞蹈團合作科技藝術舞蹈表演”美麗新世界 – 窗”
視覺原創 / 舞台電腦動畫設計製作 / 互動設計 / 自動控制道具設計 / 科技藝術統籌 /
演出地點：臺北藝術大學舞蹈廳

2011 與法國編舞家Christian Rizzo合作電腦動畫影片跨國巡迴展“T. T. T.”(Tourcoing-Taipei-Tokyo)
展出作品 : “il”, “FOM-1”, “Paysage”
展出地點：台北當代館- MOCA Studio創意秀場 ; 日本-法國駐東京日??院

2011 與舞者詹舒涵合作互動科技舞蹈表演作品“在雲上 Over the Cloud”
概念導演 /影像設計 /音樂設計 /服裝設計 /互動藝術設計。

演出地點：DAC台北數位藝術中心

2011 與法國編舞家Christian Rizzo合作舞蹈結合電腦動畫影片“FOM-1”
展演地點：法國Le Fresnoy國立當代藝術學院展覽名稱 : PANORAMA 13

2010 參與“中華民國建國一百年跨年慶典”美術指導 /道具設計/平面設計

展演地點：大佳河濱公園希望噴泉

2010 作品“見花又是花” (Seeing is Believing) 參與“對畫”(Drawing Out Conversations)多國藝術家聯展
展出地點：南海藝廊

2009 與法國編舞家Christian Rizzo視覺藝術聯展暨表演藝術呈現 “here we are now”

展出地點：台北國際藝術村幽竹廳

2009 與法國編舞家Christian Rizzo合作舞蹈結合電腦動畫影片il（他）
展出地點：法國Le Fresnoy國立當代藝術學院展覽名稱 : PANORAMA 11

2008 參與法國編舞家Christian Rizzo與舞蹈空間表演作品“how to say here?”之舞台電腦動畫設計製作
演出地點：國家音樂廳實驗劇場、法國安坑湖藝術中心、法國里爾歌劇院

2007 板橋市435國際藝術村藝術家聯展 “扎根．抽芽．三板橋”

展出地點：435國際藝術村藝術福州館

2007 作品“打包時空”參與“跨境”多人聯展

展出地點：南投中興新村虎山藝術館

2005 獲得“基隆市指標路燈創作競賽”金獎 – 基隆市主辦台灣創意中心協辦

2003 參與“15 NOVEMBRE 2003”多人聯展

展出地點：法國里昂市政府所有藝術家工作室展覽廳

2003 參與“labo essay/實驗室”多人聯展

展出地點：法國Venissieux市立多媒體圖書館

2011 進駐日本Tokyo wonder site國際藝術村

2008 進駐巴黎Cite國際藝術村

2007 板橋市435國際藝術村第一期駐村藝術家

2007 視覺藝術新語言, 2007國際電影與視覺藝術論壇及工作坊, 朝陽科技大學

➫ 作品介紹 1

影子

形式：電腦動畫投影 / CG animation

年份：2013

媒材：影像

長度：3’21”

空間觀念因為科技的進步及網路的發達而產生出異於以往的詮釋方式：多元多樣，卻模擬兩可。個人空間透過網路連結而超越了重重有形或無形的隔閡，挑戰著以往我們所認知的私人空間（家）、城市及國界的既有定義。乍看之下，似乎”烏托邦”的理想世界觀已在非具象的時空中實踐。而親身體驗之，卻會發現那呈現出烏托邦表象的背後其實存在著許多虛偽及高度的不安定性。
實境與非實境在我們的生活裡重疊、融合。現實世界裡的空間功能正被虛擬世界的〝烏托邦〞投射出來的虛幻影像所影響。我們在虛擬世界中開設了一個又一個公開或半公開的〝私密空間〞，並且用著格式化的模組堆疊出自我的〝個性化風格〞。每個個體的〝個性化風格〞是如此透過一貫作業量產出來。讓不同個體的個性及形象被強迫地（或被動地）趨於同步。他們有著類似的思維、相同的喜好，並產生出彼此崇拜、相互模仿的交往關係。透過複製理想標準中的他人形象以構築自我，進而讓自己也愛上該構築完成的自我形象，像似把原本隱藏在內心中的自戀因子擴張至無限大。我們每天都在複製著他/她人曾經擁有的經驗及知識，也複製著相同的錯誤，甚而複製著自我個性而迷失了自我價值。無形中，每一個自我都因著虛擬空間的框架而塑形，透過相同的表達模式來對這個世界說：「歡迎來到我的〝世界〞，我的〝房間〞，我〝這裡〞」。

Shadow

形式：CG animation

年份：2013

媒材：影像

長度：3’21”

With the advancement of technology and development of internet, the concept of space is not what we used to think in the past: it could be diverse, but still ambiguous. The personal space with the help of internet overcomes actuarial and virtual barriers, and challenges all known definitions about personal space (home), cities, and states. At the first glance, the ideology of Utopia appears to be in practice in the virtual world; however, by living in this experience, one might discover that behind the utopian facade, it is very hypocritical and with high level of uncertainty.

Reality and virtual reality collapse and fuse in our life. The world of reality is under the influence of the illusory images projected by the utopian ideology of virtual world. We open one after another open or semi-open private spaces in the virtual world, and stack different “personal styles” with systemized patterns.

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➫ 作品介紹 2

漫遊者

形式：影像裝置

年份：2013

媒材：電腦動畫投影 / CG animation

長度：6’31”

與法國編舞家克里斯．瓊赫佐共同創作 «FOM-1» 後的延伸思考 / an extended Thinking after collective art work «FOM-1» with Chiristian Rizzo

這件作品是在2011年與法國編舞家/視覺藝術家Christian Rizzo合作「Fom-1」後的延伸思考。
我們用冗長的時間在我們所存在的空間（城市、街道、家、房間、網路）中漫遊，日復一日將昨日的種種複製而成今日。我們慣性於低限音樂般的結構裡生活，這個小節比如上一個小節，相同的旋律不斷迴盪在耳際。我們雀躍於偶而細微的旋律差異，像似在一陳不變的漫遊過程中添加了一些小新異。在旅程之中似乎在許找著什麼，似乎要走向哪哩，但是不那麼確定。尋找認同、喜悅、悲傷，尋找交集、邂逅、參與？尋找“不再孤獨”？或是尋找我們已經不復存在的原來自己？

Rover

形式：影像裝置

年份：2013

媒材：CG animation

長度：6’31”

This piece was inspired “Fom-1,” a project I worked with Christian Rizzo, a French choreographer and visual artist in 2011.

We spent considerable amount of time surfing around the space we are in (city, streets, homes, rooms, cyber). Day after day, the carriage of yesterday piles on to today’s baggage. We are used to the structure of minimalist music. This bar is same as the previous. Same melody keeps ringing in the years. We are excited about the rare and subtle differences in the melody like the routinely wonders with some little twists. Throughout the journey, we seem to look for something, go to somewhere, but not so sure as well. Are we in the search of identity, joy, sorrow, connection, common interests, meets, participation? Are we in search of “no longer lonely”? Or in search of no longer existing selves of ours?

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➫ 作品介紹 3

見花又是花II

形式：電腦動畫投影

年份：2013

媒材：電腦動畫投影

長度：8’43”

空間的觀念因為科技的進步及網路的發達，更加多元多樣，而超越了文化及語言的隔閡。科技似乎已徹底改造以往人與人之間的溝通模式與關係結構。個性、嗜好、個人特質、外在形象、風格品味等都是以往拉近人與人之間距離的催化劑。但在科技改造後的今天，我們不再只是憑藉這些催化劑來與他人連結，而是更著迷於連結方式的本身。手機、電腦及具有無國界特質的網路空間，科技實踐了烏托邦的理想世界。我們開啟了一扇又一扇通往美麗新世界的窗，那裏，像似一個沒有憂鬱的國度，沒有邊界的廣大空間，沒有確切的制約與規範，這個世界為了每一個個體而構築、存在、壯大。當我們進入的一霎那，時間如同急速冷凍般凝結。這裡的一切是如此陌生、惶恐、充滿新奇，卻又如此熟悉、似曾相識，就像在自己的私密空間裡一樣自在。我們交流、分享、談戀愛，但我們卻永遠只能在窗外。

Seeing Flowers Again II

形式：CG animation

年份：2013

媒材：CG animation

長度：8’43”

The concept of space is diversified due to technology advancement and development of internet. It breaks the barrier or culture and language. The technology seems to complete transformed the communication patterns and relation structures between people. Personality, hobbies, personal characters, outlooks, and style were the catalytic agents that helps one to connect with another; but today after the technology assisted transformation, we no longer use these agents to connect with the others, but we further more are obsessed with the ways of the agents themselves. We opened one after another windows to the beautiful new world. It is a place without depression, and it is so big that is without any boundary. There is no set rule and regulation. It is a world to be built, existed, strengthened for every individual. As soon as we enter, the time is frozen with a blink of eyes. Everything here is so strange, terrifying, new, but also familiar like being comfortable at one’s priviate space. We exchange, share, and date, but we are always outside of the window.

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➫ 作品介紹 4

遊輪

形式：影像裝置

年份：2011

媒材：錄像

長度：10’00”

這是一支幾年前在巴黎左岸記錄下來的影片。載滿觀光客的遊輪己乎每十分鐘便經過我的窗前。船上投射燈金光四射照亮賽納河的兩岸，穿過兩旁的樹木，透過玻璃窗，鋪滿了整個天花板。我試圖將這樣的經驗透過作品轉移到展覽空間。這是一個有趣的“觀看關係”，在船上的遊客欣賞著岸邊的景色及居民的生活，船上的燈光照亮岸旁建築內的每一個房間，掩飾不了遊客的“窺視”。同樣身為觀光客的我被這個賽納河兩岸居民早已習以為常的異常光害所吸引，我也窺視著短暫停留窗前的遊艇。在展場裡，原本一成不變的影像忽然亮起，空氣中四逸著馬達的傳動聲，昏暗的展場空間被影像裡船上的燈照亮。觀眾（某種程度上的觀光客）被這樣的光害所吸引，注視著漂流而過的燈光，而後展場再度回到昏暗的氛圍。這樣的透過“光的窗戶”跨越時空而產生新的“觀看關係”。如同我們在電腦前透過“光的窗戶”觀看這個世界以及其他人的生活，同時我們的行為也被其他人透過“光的窗戶”窺視著。

Cruises

形式：影像裝置

年份：2011

媒材： video art

長度：10’00”

It is a video shot few years ago at Paris left bank. Every ten minutes, a cruise full of tourists went by my window. The fixed spotlights on the cruises lit up both sides of the Seine. The light went through the trees no the banks of the river, came into windows, and spread all over my ceiling. I tried to transfer this experience onto an art piece in order to make it into an exhibition space. This is an interesting relation of “watching experience.” While the tourists on the cruise enjoyed scenery and people’s lives, the spotlights lit up every rooms in buildings by the banks. The voyeurism of tourists was even more obvious with the lights. As a tourist myself, I was attracted by the strange light pollution that the residents by the Seine were already used to long time ago. I also peeped into the cruises that stayed momentarily by my window. At the exhibition space, a still image is lit suddenly, and the sound of motors filled the air around. The dark exhibition space is shined by the boat appears in the image. The audience (tourists to some degree) is attracted by the light pollution, and stares at the lights that flow by. Then, the space again goes into the dim room. The new “viewing relation” came all the way from another time and space through a “window of light.” It is the same as how we see the world and other people’s lives through computers, a “window of light.,” and at the same time, our behavior is also peeped by others through this “window of light.”

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➫ 作品介紹 5

景

形式：影像裝置

年份：2011

媒材：電腦動畫投影

長度：9’51”

與法國編舞家克里斯．瓊赫佐共同創作/ Collective art work with Chiristian Rizzo

生活裏，我們在所居住的空間裡移動著。從家裡到工作地點、購物商場或學校，由這個車站移動到其他城市或由機場移動到其他國家。身體雖然穿梭在3度空間裡，但感知卻不可能無遠弗借。或是步行，或是在一輛車子裏，也或是在一節車廂裏，移動的過程中，我們能關注的僅存在於以〝線〞構成的路徑中。一幕一幕的畫面像似舞台底部的佈景、像是攝影棚裡的景片。也許應該合理懷疑：除了這條線性的路徑以外，其他的部分也許是〝虛無〞。但這應該是驚鴻一瞥的想法，多數的時間裏我們習慣性地看著眼前滑過一幕幕的景片，僅僅偶而因為景片與景片的置換過程中一些非習慣性的畫面而出神、停留，然後繼續回到線性的路徑中。

Paysage

形式：影像裝置

年份：2011

媒材：CG animation

長度：9’51”

In our life, we move around in our living space. From home to work, shopping mall to school, from one station, we move to another city, or from airport to another country. Although our body move around in a three-dimension space, but our senses are not free without limit. Whether walking, in a car, or in a train, during the process of moving, we can only focus on the passage in the way of a “line.” Scene after scene like the backdrops on the state, or scene board in the photo studios, maybe it is reasonable to doubt that besides this linear passage, other parts might be “nihility.” However, this could be just split second thought. Most of the times, we are used to watch the scenes one after another in front of our eyes. When some usual sight between the changing scenes happened rarely, we might be distracted, and stayed for a moment, and then back to the linear passage.

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➫ 作品介紹 6

光 – 密室

形式：影像裝置

年份：2013

媒材：電腦動畫投影

長度：8’07”

與法國編舞家克里斯．瓊赫佐共同創作/ Collective art work with Chiristian Rizzo

Shining Room

形式：影像裝置

年份：2013

媒材：CG animation

長度：8’07”

➽ 相關活動

展覽日期:2013 / 07 / 13(六)~08 / 18(日)

開幕茶會:2013 / 07 / 20(六) 15:00

開放時間：每週二至週日(周一休館) 10:00~18:00
展覽地點：台北數位藝術中心
門票: 免費入場

Date：2013/07/13(Sat)~2013/08/18(Sun)
Opening Hours：Tue to Sun (Close on Mon) 10:00~18:00
Location：Digital Art Centre,Taipei
Tickets: Free Entry