EXHIBITION
《幸無在中央》駱麗真個展
Ubiquitious-Sappho Loh Solo Exhibition
➽ 展期 Duration：2013/05/11 (六) – 2013/06/16 (日)
➽ 開幕 Opening：2013/05/11 (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
2012年1月，創作者以在「在幸福的邊陲」為題，在視盟1F藝文空間舉辦錄像投影聲音裝置個展，如同過去一貫的創作經驗，創作者喜歡就同一個主題一作在作，直到感覺飽和，了無新意為止。反覆咀嚼的過程中，會依照同樣主題，運用不同的但為創作者熟悉，也一貫喜歡的媒材，一做再做。曾經發展多年的系列有： 討論螢光色彩與電音聲響的系列，作品包含：「螢光計畫-1」、「螢光計畫-2」、「螢光變奏」、「快樂地」、「快樂漫遊」、「快樂半島」。以家為符號來表現甜膩幸福之極大化後的孤獨感，那種金玉其外、敗絮其中的強烈對比與淒涼，作品包含：「甜蜜家庭生日快樂」、「豪華家庭初體驗」、「那光譜如同小小點」、「我的小小家」、「鏡花緣」以及「在幸福的邊陲」展覽。
本次個展計畫「幸無在中央」，同樣試圖將對中央的嚮往、對中央的價值認同、對中央的等距遙想…反映出需要他者才能得到認同的中心化議題，再度提出價值認同的縱向與橫向連結，價值如何被形塑的討論，這些討論可以是都會的、人文的、政治的、地理圖像的…等等。
這次個展作品以錄像投影聲音裝置作為強烈的引言。也運用夜間才能展現蠱惑姿態的燈光裝置，希望在此登場的作品，能稍稍討論自我中心與環境他者間又疏又緊，亦遠亦近的糾結感。
而展覽名稱「幸無在中央」，「幸無」即是幸好沒有的意思，雖然本初是在不斷謄打「幸福在中央」而錯置成「幸無在中央」，卻更貼近創作的基本想法。「幸無在中央」也希望對價值去中心化進行思考，核心價值的核心不等同個人價值的價值。
➽ Exhibition Introduction
I had my solo exhibition 在幸福的邊陲, a projected video installation show, at the Association of the Visual Arts in Taiwan in January, 2012. As it has always been my creative approach, I enjoy lingering on the same theme, creating works around it over and over until all ideas related to that certain topic are exhausted. During that rumination, I use various media that I am familiar with and always like to create works for the same theme.
One series I once developed for years is on fluorescence and electric sounds. Works on this theme include 螢光計畫-1, 螢光計畫-2, 螢光變奏, 快樂地, 快樂漫遊 and 快樂半島. Another series of works uses the concept of “home” to symbolize the solitude arising from happiness gone extreme, the stark contrast between a rotten interior and a fine exterior. 甜蜜家庭生日快樂, 豪華家庭初體驗, 那光譜如同小小點, 我的小小家, 鏡花緣and the exhibition 在幸福的邊陲 were developed for this theme.
Now, at this solo exhibition Ubiquitous, my attempt is to reflect people’s need of Others to attain acknowledgement, through an aspiration for the center, the recognition of the value of the center, and the equidistant pondering upon the center. By creating these pieces, I once again propose the vertical and horizontal linkage of value recognition and discuss how values are formed. The discussion can be metropolitan, humanistic, political, geo-imagery, etc.
The projected visual-audio installation at the exhibition is a prominent prelude to the show and the lighting installation is the most captivating when in the dark. I expect to explore, through these works, the entanglement between self-centeredness and the Others, the entanglement that seems alienated but close, distant but near.
The title of this exhibition Ubiquitous in Mandarin Chinese is Xing Wu Zai Zhong Yang (“Luckily Without at the Center”), and the first two characters “Xing Wu” together mean “luckily without”. “Xing Wu” are in fact a typo when I misspelt “Xing Fu” (meaning “happiness”), but the accidental twist somehow better reflects my original concept for this series of creation. Ubiquitous is a deliberation on the decentralization of values and the idea that core values do not necessarily equal to personal values.
➽ 關於藝術家
駱麗真 Sappho Loh
駱麗真，現任台灣科技藝術教育協會理事長，第七屆中華民國視覺藝術協會理事長，世新大學公共關係與廣告學系助理教授，國立台灣大學藝術與設計學程兼任助理教授，長期致力於新媒體藝術研究與創作。
駱麗真歷年來創作以新媒體藝術與錄像裝置為主，舉辦個展並積極參與聯展；博士論文以台灣新媒體藝術教育與創作發展間之相互影響為研究方向；文化政策研究以NPO組織發展、文創政策、視覺藝術相關議題為主，並擔任文化部「輔導藝文產業創新育成補助計畫」計劃委員，教育部「大專校院就業職能平台計畫UCAN」藝文與影音傳播類專業職能召集人；科技藝術教育推廣則致力於中小學科技藝術教育推廣，曾主持國藝會藝教於樂專案計劃，並將成果彙編成為「藝起動動手-互動藝術的神奇魔力」
(起迄期間、服務單位及職稱)
世新大學助理教授, 2009.08迄今
台灣科技藝術教育協會理事長，2011.04迄今
中華民國視覺藝術協會常務理事， 2011.02迄今
中華民國視覺藝術協會理事長，2009.02-2011.02
國立台灣大學，兼任助理教授，2009.02迄今
個展
2012「在幸福的邊陲」 視盟藝文空間，台北市中華路一段91巷1號1F
2009「華麗與變奏」台北信義公民會館
2003「快樂半島」台中20號倉
2003「快樂漫遊」壢新醫院藝術中心
2002「快樂地」華山烏梅酒廠
2002「螢光變奏」智邦藝術基金會
聯展
2012「2012藝術家博覽會」台中文化創意產業園區
2012「2012藝術家博覽會」松山文創園區
2011「 2011藝術家博覽會」台北剝皮寮歷史街區
2011「 2011藝術家博覽會」高雄駁二藝術特區七號倉庫
2010「台灣數位藝術脈流計畫－脈波壹身體‧性別‧科技數位藝術展」台北數位藝術中心
2010 「藝想ten開，See U Next 10─2010視盟藝術家博覽會」台中創意文化園區 國際展演館、藝文展覽館
2009 「夏藝眺─2009視盟藝術家博覽會」台北京華城
2008「工程師的兒童樂園」新竹市美術館暨開拓館
2008「小甜心─伊通公園二十週年慶」伊通公園
2008「藝．極棒─2008視盟藝術家博覽會」 信義公民會館(四四南村)
2007「簡單與複雜的吊詭」DBN創作展 台中國美館數位方舟
2007「亮晃晃，一種出神的狀態」藝術知識與創作流通平台
2006「\^o^/ SIGHT」華山園區文化園區
2006「幻遊異境-聲光影像展」中原大學藝術文中心
2006「第三屆腦天氣影音藝術祭」
2005「 Wow! 震盪音象展」元智大學藝術文中心
2005 「台灣聲視好大博覽會」 中影文化城
2005 「大同新世界」 台北孔廟
2004 「華山論劍」 華山四連棟
2003 「64種愛的欲言」伊通公園畫廊
2003 「第二屆藝術家博覽會」華山烏梅酒廠
2001 「上下沉浮的零點零零」華山烏梅酒廠
2001 「音樂＆影像 電音魔幻」河岸留言
1999 「音樂＆影像」Trance Vision 2.31Cafe
1993 「Lincoln Center」New York
1993 「80Washington Square Gallery」New York
1993 「電腦繪圖百人展」台北松山外貿協會
1992 「國際郵遞藝術展」伊通公園
➽ 作品介紹 1
《許願》
年份：2013
媒材：錄像
尺寸：1920×1080
長度：8’23”
小時候一直覺得對著生日蛋糕許願是多麼珍貴的事，可以把想要的禮物，刻在願望的翅膀上，等待成真。長大後學到wish這個字，I wish I could讓人驚訝於願望其實部分來自於“無法完成”，仿佛我們對著蛋糕許下的願望，某些成分是為了彌補無法挽回的遺憾。
本次展出的「許願」計劃，預計拍攝10組不同生長背景的人物故事，因為某階段的人生際遇，讓生命或有遺憾卻漸漸成為過去，也記錄他們在生日時會許下的願望，這小小的，個人的幸福許願時刻，無涉於主流價值判斷，每一個心靈都需要為自己的快樂高歌，為自己的幸福定義。
本次展出已記錄剪輯完成的3組生命故事，雖然3位故事主角背景大異其趣，但面對許願的特權，很一致的，大家都把神奇的願望翅膀，刻上祝福，給了他們心中最愛的家人。
《Wish》
At a younger age, I thought making wishes to a birthday cake was such a precious moment. I would include all the gifts I wanted in the wishes and hope they will come true. Later in my life I came across the grammatical usage of the English word “wish” and realized when one says “I wish I could”, it is implied that the wish is something that cannot materialize in reality. It is as if the wishes over a birthday cake are simply made to compensate the regrets for things we can never have.
In the Wish Project, I plan to shoot 10 people with different backgrounds. They all have some regrets due to unexpected twists and turns in life, and they all have wishes they make on birthdays. The moments they make those wishes are irrelevant to the mainstream values, as everyone, every soul needs to sing for their happiness, happiness by their own definitions.
Three sets of edited footage are on display at this exhibition. While the three participants have very different personal stories, they all use birthday wishes as opportunities to send blessings to their beloved family.
﹉﹉﹉
➽ 作品介紹 2
《大富翁》
年代： 2013
媒材：光場變焦相片
尺寸：1080×1080，11光場解像度
大富翁是許多人兒時回憶的重點戲之一，享受遊戲的過程中，模仿成人戰場，運用機會、運氣，買下房產田地學校甚至城鎮，遊戲之中，無關真實人生，廝殺更甚，慾望更多，貪婪刺激著無限掠奪，遊戲追求終極的輸贏。
當成人的世界也如大富翁實境秀般上演，終究只是謀略下一場變焦的遊戲，輸掉的卻都是和魔鬼交換的靈魂。
《Monopoly》
A board game reminiscent of many people’s childhood, Monopoly allows players to enjoy competing on a simulated battlefield of life, where they use a Community Chest Card or a Chance Card to buy properties, land, schools or even towns and cities. Monopoly is clearly a game and not real life, but the competition and aspirations involved are so fierce that they are larger-than-life. The overflowing greed drives players to seize the more the better and pursue a final win.
When one plays life as in Monopoly, what one cares is an out-of-focus game, and what one loses is the soul traded with the devil.
﹉﹉﹉
➽ 作品介紹 3
《天際線》
年代： 2013
媒材：光場變焦相片
尺寸：1080×1080，11光場解像度
大富翁是許多人兒時回憶的重點戲之一，享受遊戲的過程中，模仿成人戰場，運用機會、運氣，買下房產田地學校甚至城鎮，遊戲之中，無關真實人生，廝殺更甚，慾望更多，貪婪刺激著無限掠奪，遊戲追求終極的輸贏。
當成人的世界也如大富翁實境秀般上演，終究只是謀略下一場變焦的遊戲，輸掉的卻都是和魔鬼交換的靈魂。
《Skyline》
“Newer, faster and more” is the indicator of modern development. Human beings rely on these global values when shaping cities and deciding the way we live. When skyscrapers compete to reach a higher elevation, the happiness index of people ironically drops on a yearly basis. In this world, more comparisons, more social ranks, more labels and more desires together lead to more chaos.
People living in the city have little time to look up to the sky, probably because the skyline nibbles away the sky itself and the buildings trap the clouds with over-reaching floors. Under the bright sky, every building metamorphoses into a man-eating monster. But the sky remains as calm and usual as it is. Does our happiness reside in a secured spot in one of those skyscrapers or does it exist anywhere but that spot? As one lives under the sky, one dies and becomes ashes returning to earth. At the times we tilt our heads and look up, everyone’s sky is the same, and it doesn’t matter if it rains.
﹉﹉﹉
➽ 作品介紹 4
《城市田園》
年代：2013
媒材：錄像
尺寸：1920×1080
長度：1’43”
城市的開發由片片山林中慢慢成形，山林與農地褪成模糊的邊陲，畸零地帶遂成為都市農夫的鄉愁。都會城市裡，或因嚮往田園生活而不可得，或因都市規畫不得已而納入生命中的變遷，總有一塊小小的空間，獨立、自耕、無涉於城市價值，或許是城市自耕農的畸零地種植，或者城市邊陲地帶的開墾，都是城市田園的風景，城市田園與都會的心靈對比。
《Urban-Rural》
The development of cities is made at the expense of natural resources. Arable land recedes to the blurry borderline of cities, and deformed land becomes a source of nostalgia of urban farmers. In urban areas, there is always a piece of small, independent, self-sufficient space that is free from the domination of urban values. It may be a deformed land which urban farmers grow plants on or a land lying on urban outskirts waiting for cultivation. Whichever it is, such a space is part of the urban-rural landscape, and a contrast of the hearts and souls between those in the urban-rural areas and those in the metropolis.
﹉﹉﹉
➽ 作品介紹 5
《噪影》
年代：2013
媒材：燈光投影裝置
總是如此忙碌，不知誰為了誰的利益，努力斡旋; 不知誰為了誰的正義，大聲疾呼。城市治理引來一堆建設，因為開發之名，良田便可以被摧毀，老樹也可以被拔起，古厝更可以被剷平，本是全民的海岸與夕照，都可能成為昂貴代價後才能短暫擁有的景觀消費。
我常常幻想這些嘈雜之音，過去被深埋的歷史殘骸，其實已幻化成另一種不滅的能量，繼續存在夜晚薄翳，昏暗燈光下，忽近忽遠的繼續呢喃耳語。
《Noisy Shadow》
Busy like a bee knowing not for whose interests; hooting out loud like an owl knowing not for whose justice. To govern a city means to promote its development. As a result, arable land is destroyed, old trees uprooted, and historical houses demolished, all in the name of development. The beautiful coastline and sunset once belonged to the people are now only accessible (and for limited time, too) if you pay the price.
I imagine that the noise, the deeply buried remains of history, has transformed into eternal energy to live on forever. Under an indistinct bright patch and dim light in the night, the whisper of noise continues from far and near.
﹉﹉﹉
➽ 作品介紹 6
《爆炸爆炸101》
年代： 2013
媒材：不鏽鋼，LED，感應裝置
尺寸：130x350cm
每年跨年前夕的台北城，車與車，人與人，前往101擠進好位子等待炸城般的煙火秀，已經成為年年上演的定幕劇，人們如宗教狂熱般，伴隨著塞車、採買、煙火的高度刺激，在節慶之時，半強迫的團聚、約會、餐敘…劇碼一一呈現。
爆炸爆炸101以感應裝置啓動夜空中的101與台北城，呈現101金融權力中心與每年煙火短暫的絢爛，所建構出如泡沫般奇幻虛假的幸福感，不斷擴散炸開的LED煙火，正如荒誕的經濟奇蹟，在都會的夜空，一閃即逝。
《Exploding 101》
The New Year’s Eve in the Taipei City is an annual repertory theater, when cars and crowds flood in around the landmark Taipei 101 for the year-end fireworks show. During what is similar to a religious frenzy, traffic is jammed, people part with hard-earned money in buying spree, and the fireworks serve as the greatest stimulus for these all. At such a festive time, people are forced, at least partially, into gatherings, dates and dinners, all of which scenes from a grand, metropolitan theater.
In Exploding 101, a sensor is used to light up Taipei 101 and the City of Taipei against the night, showing the skyscraper as a center of financial power and the transient dazzle of the fireworks. They structure a bubble-ish perception of happiness, magical and yet hollow. The LED lighting that mimics the fireworks explodes and expands, as if the absurd economic miracle the island celebrates, and then quickly vanishes into the metropolitan night sky.
➽ 相關活動
開幕茶會：2013年5月11日 15:00
開幕表演：魏曉婕 陶笛表演
開幕座談：2013年5月11日 16:00
主持人：胡朝聖
與談人 | 胡永芬 吳介祥