電影「一個人的收藏」裡,提到了某一年Art Basel會談現場中,講者曾開完” Do Not Touch the Art. ” 而在這場展覽裡,你可能分不清什麼是藝術品,而什麼是生活中每天會碰觸的東西。

This year, 《Arena》, curator Jo Hsiao from Taiwan, and the Curator at Gwangju Museum of Art, Lim Jong-Young. Ultimately, through its works “Arena” presents a real-world scenario to its viewers, allowing them to act as the protagonists. The denouement may be a state of ever greater openness and inclusion or one of disorder, but undoubtedly it will push the situation toward a hidden arena of social interaction.

今年,展覽《社交場》,由台灣策展人蕭淑文和來自韓國光州市立美術館策展人任鍾榮共同策劃。通過一件件藝術作品,向觀眾提出一個現實世界情境,讓他們參與這些情境,由自已擔任了主角,一切都指涉我們最熟悉的人的活動模式。整個展覽把臺北市立美術館美術館展間的情境推向一個隱形的社會場域,而每一個觀眾都身在其中。

20170707-_FX_1740

Snow Huang’s large-scale “graphical notation” installation is also a musical instrument.

再拒劇團+黃思農〈年度考核協奏〉Concert of Performance Review,再現現實情境下人的勞動處境,對於資本主義結構底下,人們的勞動價值發動攻擊。 全面商品化的消費社會裡,最終,我們都在看似如此自然的物化過程中成為商品。〈當我們都不在了, 記憶如何存在而不過渡於寂靜之中。〉

20170707-_FX_2036

再拒劇團+黃思農〈年度考核協奏〉Concert of Performance Review,2017。

20170724-Press conference0707_089

再拒劇團+黃思農〈年度考核協奏〉Concert of Performance Review,2017。

20170724-Press conference0707_098

再拒劇團+黃思農〈年度考核協奏〉Concert of Performance Review,2017。

0d30ba_ecc2b0f83e4841a0ab26d517f87de995~mv2_d_6603_4402_s_4_2
再拒劇團+黃思農〈年度考核協奏〉 Concert of Performance Review,2017。

The exhibition try to build the scene of the daily life that people get throw every day. The huge scene just like a stage with so many different kind of activity of human being, Sang-hwa Park’s art, as Gwangju residents’ eternal haven, Mudeung-san Mountain is comparable to a mother’s embrace, and mudeung means “no hierarchy,” constantly reminding locals of egalitarianism.

展覽嘗試把世界、人們每天生活的社會場景,想像成一個舞台,在這個社會、生活舞台存在著各種人類活動,有個體、有公眾;有自然、有非自然;有秩序、亦有無秩序。

朴相華〈無等異想〉裡的無等山,是光州居民的永恆避難所,等同於母親的懷抱。「無等」意味著「無等級制度」,不斷提醒著當地人,重視平等。

0d30ba_f7dcc5e85c3f4155b329e0e40b034486~mv2_d_5760_3840_s_4_2

朴相華〈無等異想2〉Mudeung Fantasia,2017

20160822-朴相華〈無等異想2〉Mudeung Fantasia 2_01

朴相華〈無等異想2〉Mudeung Fantasia,2017

Shang-chi Sun, Choreographer,  reconsiders the body itself. Dancers pass through a variety of spaces, their actions seeming to collectively interpret a series of events. Visitors moving freely through the spaces also seem to be incorporated into some kind of happening. At the same time, the space is furnished with metal sheets, metal rods, beds, pillows, blankets, sheets and other commonplace objects, suggesting a sense of suffering arising from daily life.

編舞家孫尚綺回歸身體本身,舞者穿梭在各個空間,他們的動作好像在演繹一連串事件的組合。還有自由走動的觀眾,就像是同時進行的一場行動。同時,空間裡擺設鐵皮、鐵條、床、枕頭、 棉被、床單等不顯眼的日常物件,暗示一個來自生活中的苦難。

20110503-孫尚綺〈透明〉Perspicuum(概念照)06_Photo Credit_ Dr. Achim Plum

孫尚綺〈透明〉Perspicuous,2017。

Dock11

孫尚綺〈透明〉Perspicuous,2017。

0d30ba_ee0fa5cbe3574c67a4a802a52e2d1f77~mv2

孫尚綺〈透明〉Perspicuous,2017。

The artist Yi-wei Keng is presenting a metaphor about time, to determine its paradoxical symbolic meaning. The philosophical contradiction is that table football is a collaborative competition, requiring the participation of eight people. In this work the artist implies that participatory behavior is mastered through “collective action,” and such collective action is founded not on self-interest but on cooperation with others.

Only in this way can one respond to Hans-Georg Gadamer’s proposition regarding the artistic experience – that play cannot take place in isolation but is a whole formed by participants and viewers, and that only when the viewer has entered into a work does it truly exist.

耿一偉作品,〈去年夏天你不在,我來過〉。恰如其分的回應高達瑪(H. Gadamer)關於藝術經驗的,他認為遊戲本身,不能孤立自居,它勢必是由參與者和觀看者才能所組成的整體,只有觀看者也進入其中感同並且身受,藝術作品才真正存在。

20170707-_FX_1663

耿一偉,〈去年夏天你不在,我來過〉,2017。

0d30ba_76493cf4d7314c48b0ddb8ba9cfba49e~mv2

耿一偉,〈去年夏天你不在,我來過〉,2017。

Indeed, after injecting the drug of technology, we have become ever more dependent on the world produced by technological infrastructure. We collectively live in a “technological landscape” through which we interact with the world. This is the new motive force to which we look and upon which we build our lives. And the cruelest reality is that our new faith has pulled us into a collective imagining of the world, and we have lost the ability to communicate and dialogue with the real world, resulting in collective social dysfunction.

奇觀社會裡集體化的群眾,一如台灣策展人蕭淑文說:「我們嗑了『科技』這帖藥方後,就越來越仰賴由科技結構所產生的世界。我們集體生活在「科技景觀」裡與世界交往,這正是我們看待和打造自己生活的新動力。

然而,而最殘酷的事實是,這股新的信仰把我們拉進集體想像的世界,而喪失與真實世界溝通、對話的能力,最後導致產生了龐大、且集體的社交失能症。」

20170724-Press conference0707_030

陳萬仁〈午夜憂鬱〉Midnight Blue,2017。

0d30ba_bf256c206ead4b61b545a92b874e35c4~mv2_d_8000_4500_s_4_2

陳萬仁〈午夜憂鬱〉 Midnight Blue,2017。

0d30ba_44949418d11c4930a051121d023be21d~mv2_d_8000_4500_s_4_2

陳萬仁〈午夜憂鬱〉Midnight Blue,2017。

Yong-hyun Lim is pointing to the commonality shared by Coca Cola and art- global universality and expansiveness. Art and colas also both provide catharsis and pleasure. Yong-hyun Lim created his work wishing all of humanity will indeed be able to enjoy art, just like how they enjoy Coca Cola. The quick tempo of Lim’s images is sure to be as refreshing as colas to viewers.

林勇賢的〈文化符碼 C〉,由投影到空可樂罐上的影像所組成的錄像片段。可樂是全世界無所不在的飲料,林勇賢說,可口可樂就像藝術一般——普世且廣泛。

0d30ba_92d33adc33cf4dd8a960f346737be669~mv2_d_5184_3456_s_4_2

林勇賢的〈文化符碼 C〉,2017。

0d30ba_a5685d3e0d8044a99fb8f9d464c34b90~mv2_d_5760_3840_s_4_2

林勇賢的〈文化符碼 C〉,2017。

0d30ba_a0d878713c004528b5bfbd3baf780e3d~mv2_d_3544_2422_s_4_2

林勇賢的〈文化符碼 C〉,2017。

Posted by:TAP- The Art Press

TAP-The Art Press 是一個媒體組織,關注與藝術美學相關的教育與前瞻性內容。我們相信藝術、美學與教育讓世界更好。TAP-The Art Press is an media organization, fill with influential articles about Arts.

Leave a Reply

This site uses Akismet to reduce spam. Learn how your comment data is processed.