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時間 | 2016.5.7 (六) 19:00 – 21:00
地點 | 不只是圖書館 – 台北市信義區光復南路133號2F (松山文創園區製菸工廠北側2樓)
入場 | 一般觀眾NT$50(現場購票, 含CLUB-MATE一杯)不只是圖書館會員免費入場(請出示閱覽證, 含CLUB-MATE一杯)
※ 場地大小有限，額滿為止，請盡早前往
《一種當代的凝視》
在可敘與可見之間，以逐格光影轉譯一種曖昧的連續性，用畫面佈局、以結構勾勒、依情節投射，漫盪於場景、幕次與腳本之間的擺度，於是，時空的漣漪在影像斷面上，巧遇。當音像肌理的質量以其重力形塑時空曲率，而藴育波動並遞陳視覺語彙的呢喃，循著當代藝術的脈絡在線性敘事之外共振另一種可能。若說「當代」是一個時式分野、一項類別界定抑或一種態度。那麼，「當代性」則非僅關乎美學，而直指了另種結合美學與政治、歷史、文化等視域的再思考。
《一種當代的凝視》所欲捕捉的美學景深，將藉由當代錄像藝術的視角，透過藝術家內化後再輸出的思維語境，納入其敘事的參照。而藝術家於錄像作品中對於描繪時間/空間所涉的微型詭辯往返之間，循著不同層次的考掘與辯證，一探當代性影像所處的維度，開啟反身性的思考契機。 在當前影像美學的脈絡之中，當代錄像藝術座標出其觀念性的系譜框架，回顧了其從體制脫逸而出的實驗性軌跡，也洞察了所處時代中的微明幽界，以一種當代的凝視探看我們從未抵達過的現時。
〈昨日與明日〉為藝術家陳思含與印度藝術家Vaibhav Raj Shah所合作的錄像作品，概念始自一次與印度友人聊天中得知印地語的「昨天」和「明天」為同一個字「Ka-l」，因此試圖於創作中從語言學的角度思考語言和文化的關聯。在此件錄像作品中四位友人在車上不斷交換駕駛座的同時，討論著時間的概念，與印度宗教、文化、哲學之間的關係，如同在荒謬的戲碼中，一探嚴肅的人生的哲學課題。作品以社會人類學的觀點探討不同文化社會的人們是如何思考時間的現在、過去和未來？而空間如何形塑時間？時間又如何影響社會的面貌等種種問題。
藝術家林冠名的作品〈夢〉以打破線性敘事的觀看方式，並以藝術家的明星父親為主角，在其所打造虛實穿插的腳本中，以距離之外的凝視試圖寫生「父親」的形象。當「父親」不再是具時效性的代言或陪襯者，父親所扮演的非現實角色，卻似乎使得這些影像真實地敗露出長久的「失效」及「多餘」。影像之於藝術家往往在「失效」及「多餘」的背後，才真正揭示出它可能的本質，因此，藝術家以對「父親」的描繪，自此擺脫了「代名詞」的位置，真切地傾吐「自身」。
〈百代照相館〉原為藝術家區秀詒所創作的一件包含手繪地圖燈箱的雙頻道錄像裝置。作品中的百代照相館成立於1950年代並位在吉隆坡英殖民時期吉隆坡城市發展的核心區域，其所處位置相當靠近獨立廣場，而此廣場則是當前外籍移工經常出入的地點。藝術家藉由〈百代照相館〉的創作敘事從個人日常生活中遇見的這些來自孟加拉、緬甸以及中國的外籍勞工著手，在他們的工作場所（或周遭）進行訪談，除了分享離開家鄉到其他地方工作的原因、過程和經歷，並請他們述說一個想像中的或現實中的理想之地和記憶中童年或年輕時候最愛的一首歌。（〈百代照相館〉獲得馬來西亞Krishen Jit Astro Fund）
藝術家王雅慧藉由〈訪客〉這件作品，從探尋個人出生後所居住的第一個處所作為空間敘事的展開，以詩意般運鏡的穿透，鋪陳虛實交錯的時間記憶。鏡頭就一間位於台北舊街裡的老公寓開始運行，循著其長形街屋的空間場域以及微薄透光的天井結構一再探進，當外在的景物隨著時間不斷地變化，屋子也不斷地累積生活的氛圍。而藉著一朵雲悠悠地穿過房子，流洩著冗逝的時間感，個人生命歷史與記憶似乎變成白日裡的夢境一樣，影像質地裡透露著抽象性的私密寓意。
在藝術家牛俊強的諸多作品中時常可見其以陰性（在此非單指性別）主體作為描繪（拍攝）對象，而藝術家則視此對象為一種召喚及替補的載體。〈即使她們從未相見〉為藝術家於洛杉磯駐村時的創作發想，藉著腳本中主角的在場、缺席、虛構以及重構之下，以「她們見過面，並瞭解對方」為前提，由每位主角對彼此進行一段假設性的敘述為展開，並以訪談紀錄的交錯剪接，試圖打破時空對話的線性敘事。其以極具實驗的語境，開拓既定的物理距離座標之外的精神性感知路徑，以影像敘事構圖出時空當中無法用以物質所計算的那些抽象維度。
藝術家許家維的作品〈和平島故事〉拍攝的地點是位在基隆和平島的造船廠，這座造船廠有88年的歷史，日據時代期間是日本政府國境內最南端的軍事造船廠，而日本政府撤退後，這座造船廠在台灣的經濟起飛中又佔有關鍵位置，於是它高度壓縮了從二次大戰至今的時空，同時也反映了地方及其認同如何根著於歷史，國族政府熱衷於將認同感根植於國族來自何方，以及前往何處的歷史故事，為了支撐這些故事發展了繁複的傳統並不斷的創造神話，於是拍攝造船廠這真實的地點，同時也是回應這個歷史的另一個面向：傳說。
藝術家介紹
陳思含＆Vaibhav Raj Shah – 昨日與明日 2015, 10’44”
陳思含1981年生於台灣台北，2003年畢業於政治大學廣告系，2007年轉而就讀藝術創作，畢業於英國倫敦藝術大學聖馬丁藝術設計學院碩士。創作動力來自一種對當代生活中既有觀念的質疑，特別是美好生活的樣貌，反思知識和自身經驗的矛盾衝擊，努力理解不同文化和歷史演變下產生的歧異，不斷修正感受到的真實。在解決自身和環境關係的同時，尋求一種貼近現實的答案，提供非單一可議的觀點，又或浪漫的解決方案。創作手法經常透過凸顯環境中習以為常存在的事物，創造不尋常的情境事件，在一次次尋找答案的實驗過程中，形塑自身與他者溝通的界面，交換價值觀的途徑，他人參與成了作品主要的發聲。其創作著重行為過程以及參與經驗，以影像、文字、裝置等方式紀錄過程，留下曾經存在的情境故事。2009年前的作品通常由自己親身經歷體驗，而後的作品引導他人參與。2016年獲選參展香港巴塞爾光映現場展區；2009年先後於紐約 ISCP、紐西蘭奧克蘭科技大學駐村; 2014年於台北國際藝術村駐村; 2015年參與印度 KHOJ 國際藝術工作坊－浦那。目前於台灣持續生活與創作。
林冠名 – 夢 2012, 3’55’’, 9’19’’
林冠名1981年生於臺灣臺北，畢業於國立臺北藝術大學科技藝術研究所碩士班。長期投入影像創作，並視影像為觀看「時間」的想像和思考，企圖從影像生產過度的現下，來重拾影像可能的剩餘「記憶」。作品自2004年「Co4臺灣前衛文件展──媒體痙攣」展出後，便開始在國內重要聯展嶄露頭角，並曾在北京、上海、香港、巴黎、福岡、美國等地展出。2008年在臺北當代藝術館舉辦個展「靜默突襲」，同年並榮獲「臺北美術獎」。其作品曾受國立臺灣美術館典藏。
區秀詒 – 百代照相館 2015, 19’14’’
區秀詒，出生長大於馬來西亞，目前生活與工作於台北。畢業自文化大學戲劇系，舊金山藝術學院（San Francisco Art Institute) 電影研究所。區秀詒的創作主要以錄像、觀念、裝置等混合形式，探討和擴延影像與影像製造以及和歷史、政治、權力之間的關係。她近期著重於關注如何把歷史從冷戰結構的影響解放出來，重新想像尤其是馬來西亞與東南亞（和其臨近）區域的歷史問題意識。同時她也延續對影像生成機制的關注，以機械式電影放映機作現場電影（Live Cinema）表演。 區秀詒也是「燧火評論」和「數位荒原」的特約作者。
王雅慧 – 訪客 2007, 7’11”
王雅慧生於台北，目前工作、生活於台北。作品型式涵蓋錄影、攝影與空間裝置。過去曾參與的國際駐村計畫包括：2006在紐約的Location one；2007巴黎西堤國際藝術村，以及2010年於芬蘭赫爾辛基國際駐村計畫。作品曾多次參與國際的展覽及放映，如台北雙年展（台北市立美術館，2002及2010），上海雙年展（上海美術館，2006），2008鹿特丹國際電影節，龐畢度電影節（龐畢度中心，2008）。也曾多次在國內外舉辦過個展，熱帶計畫：雪人（國立台灣美術館，台中，2008），Handmade Fairytales（Cable Gallery，芬蘭，2010），新的一天又一天（中央大學藝文中心，桃園，2011），Pick up a leaf when it falls（小山登美夫畫廊，日本，2012），遙遠的與鄰近的那些事物（TKG+，台北，2012）等。
牛俊強 – 即使她們從未相見 2012, 27’00”
牛俊強畢業於國立台北藝術大學科技藝術研究所。從事當代藝術創作。目前工作於台北。牛俊強近期作品多以生命經驗出發，並且與參與者共寫敘事歷程。在這樣創作過程中，他探討人與人之間微妙的牽連、不可見的交會、個人到群體的生命意識。曾參與鹿特丹國際影展短片競賽、美國Pixilerations新媒體藝術展、紐約 cutlog NY Art Fair-Urban Illusions 、西班牙Aguilar影展、法國Tours亞洲電影節、法國ARTchSO錄像藝術節、北京夏日數位娛樂節、澳門VAFA藝術節、兩岸四地藝術交流計劃、台北金馬影展、台北美術獎、台灣國際錄像藝術展、台北電影節等國內外展覽。作品「即使她們從未相見」獲頒第35屆金穗獎最佳實驗片。
許家維 – 和平島故事 2008, 12’40”
許家維的創作經常呈現一種敘事體的形態,以一種記錄性的方式去介入現實文本,並著力在地方的特殊性,其中的關鍵組件包含了地方的記憶、想像與認同。他不斷的嘗試融合當代藝術與電影的語言去發展作品,並關注於如何透過影像創作介入現實,進而生產一種介於敘事世界與現實之間的異質敘事體。同時透過一種批判的態度,透過影像的能力,將場域帶到美術館外任何一個地方,作為影像創作在政治實踐上的可能。他的作品曾在許多的美術館及國際影展展 出,包括Jeu De Paume 美術館、39th International Film Festival Rotterdam、2012 Liverpool Biennial、 第55 屆威尼斯雙年展、2012 台北雙年展、第八屆 台灣國際紀錄片雙年展以及在Centre Pompidou Paris, Hausder Kulturen der Welt Berlin, and Reina Sofia National Museum Madrid 舉辦的Rencontres Internationales Paris/Berlin/Madrid。
《一種當代的凝視》由台北當代藝術中心策展人彭若瑩所策劃的錄像藝術之特選放映節目，此為2016 城市遊牧影展與台北當代藝術中心合作舉辦的系列影像藝術活動。
Time | 2016.5.7 (Sat) 19:00 – 21:00
Venue | Not Just Library -2F., No.133, Guangfu S. Rd., Xinyi Dist., Taipei City 110 (Songshan Cultural and Creative Park, 2fl at the north side of the Tobacco Factory )
Entry | General NT$50(Ticket by door, inc one drink of CLUB-MATE) Member of Library (Admission by membership card, inc one drink of CLUB-MATE)
※ tickets are limited.
〈A Gaze on the Contemporary〉
In part inspired by Georgio Agamben’s writings〈A Gaze on the Contemporary〉 looks at universal notions of time and space from the subjective viewpoints of 6 artists working with moving image.
If ‘contemporary’ is a tense, a definition or an attitude then ‘contemporariness’ or ‘contemporaneity’ is not merely art-for-art’s-sake but also the re-thinking of art with the spheres of politics, history, and culture. In this context, video art traces a conceptual frame from outside the systemic institutions by casting a penetrating beam of darkness out from the artists’ own time.
Between the readable and the visual, the flash frames of moving image are an ambiguous continuum running through the arrangement of pictures, the cinematic structure and their affect. Travelling among the scenes casts spatio-temporal ripples over these visual fragments. An audio-visual weight contorts from its gravitational waves raises a cosmic hum, the twittering of an aesthetic language illuminating the possibility of alternative forms of narration. The works depict various aesthetic layers in order to explore the borders of contemporary visual practice and reveal the reflexive thinking of artists’ micro-sophistries. From the perspective of contemporary video art, the programme portrays an artistic landscape built from the artists’ inner thoughts to create contextual narratives of time and space.
To have a gaze on the contemporary in this sense is ‘to return to a present where we have never been.’
KAL is a collaborative piece between the artist Chen Szu- Han and Indian artist Vaibhav Raj Shah. The Hindi word “Ka-l” stands for “yesterday” and “tomorrow” at the same time. This double entendre inspired Chen to think about the relationship between languages and life, and allowed the two artists to investigate philosophically the perception of time in Hindi as well as the deep-rooted religious practices in Indian culture. The work explores the concept of time from social anthropological perspective and reflects on questions such as “what is the concept of the past, the present and the future from people of different cultures?” and “how does space sculpture time and how does time shape a society? ”
The Dreams made by artist Lin Guan-Ming breaks the linear ways of seeing and stars his father (an actor) as the protagonist. The distance of gaze is made to portrait the image of “father” in his actual situation script. When “father” is no longer a timeliness spokesperson or foil, the unreal character he plays seems to make these moving images appear timeproof failing and redundant. What moving image means to artists always gets exposed under these “failure” and “redundance”. Therefore, by the depiction of “father”, artist frees himself from the “pronoun” position, and pours out “himself” honestly.
Pak Tai Foto is a two-channel videos installation including light boxes of hand-drawn maps made by artist Au Sow-Yee. The photo studio in the film is located in the heart of Kuala Lumpur during the 1950s. Pak Tai Foto is also near the Merdeka Square (Independent Square), a place where many foreign labours pass by. Pak Tai Foto interviewes foreign labors connected to daily lives in or near their workspace. These foreign labors came from Bangladesh, Myanmar and China. In the interview, they shared their respective reasons, processes and experiences of leaving their home country to work in other parts of the world. In addition, they also tell an ideal place (be it a place of imaginary or reality) and share their favourite songs when they were a child or teenagers.（Pak Tai Foto is supported by the Krishen Jit Astro Fund.)
Visitor is the work by artist Wang Ya-Hui to explore her first living space after she was born, located in an old street. By the poetic cinematography to depict the personal inner memory through the timeline, it revealed the relationship between artist and her living space. The old apartment in the film has a long shape and a river on the back. The world outside changed as time goes by and the inside of house gathered the atmosphere. A small cloud visits the space and goes through it in order to present that time and memory become like a dream in a daylight.
Artist Niu Jun Qiang’s works have often used feminine subject as the target for portrayal. (Femininity does not only refer to gender.) It is a vessel for subject interpellation and substitution. Even They Never Met is a film made during Niu’s residency in Los Angeles. In which the film portraits 8 people who cross lives and the characters have never met each other before. Through a few photo’s given by a stranger, they fabricate the memory of how they unconsciously met. Throughout the experimental practice to explore the distance between the physical and the spiritual in the artistic path, the moving image structures the absolute abstract in its time/space narrative which is unable to be physically measured.
Artist Hsu Chia Wei’s work The Story of Hoping Island was shot in a shipyard on Hoping Island in Keelung, which has 88 years of history. During the Japanese occupation of Taiwan, it was the Japanese government’s southernmost shipyard. After the retrocession of Taiwan, the shipyard played a key role in Taiwan’s economic takeoff. This shipyard represents a highly compressed, symbolic timeframe, from WWII to now. The shipyard reflects how the locals identify themselves based on their specific, local histories, and at the same time, how the national government encodes and directs history. To support this history, complicated traditions and myths are continually developed and developing. So Hsu, Chia-Wei shot this shipyard, a real space, and responded to the shipyard’s other historical side: the legend.
Artist Introduction
Chen Szu- Han ＆ Vaibhav Raj Shah – KAL 2015, 10’44”
Chen Szu-Han was born in Taipei, Taiwan, in 1981. She received her MFA from the Central Saint Martins College of Art and Design in 2007, and graduated with Bachelor’s Degree from the Department of Advertising at National Cheng-Chi University in 2003. Chen’s concern lies in the contradictions caused by modern living and differences in perspectives from various cultures and social classes. Through observation and re-interpretation, Chen hopes to create works in bringing awareness and attention about social issues, and proposing solutions to life, perhaps cultivating a somewhat poetic attitude toward reality. Chen explores artistic creation as a tool of communication as well as a possibility for building relationships with the audience. Her practice often involves active or inactive participation of the viewer in an unusual situation that the artist has created based on the context of unusual everyday life. The process of sharing values and perspectives matters the most. Video documentation along with photography and text is employed to represent the once constructed scenario. Chen’s video work has been selected for inclusion in the Film Sector at Art Basel Hong Kong in 2016. In 2009, she was an artist-in-residence at the International Studio and Curatorial Program in New York and at the Unitec in Auckland. She joined residency program at Taipei Artists Village and KHOJ International Workshop in 2014 and 2015, respectively. The artist currently lives and works in Taiwan.
Lin Guan-Ming – The Dreams 2012, 3’55’’, 9’19’’
Born in Taipei Taiwan in 1981, Lin graduated with a M.F.A. from the Graduate Institute of Arts and Technology, Taipei National University of the Arts. Lin has been dedicated to video art and regards video as the imagination and contemplation of “time” observation. Attempting to recollect the possible remaining “memory” of videos from the current age where videos are produced in excess. After his showing at the 2004 Media Cramp, Co4 Taiwan Avant-garde DocumentaⅡ, he has since then exhibited at many local and international exhibitions, including in Beijing, Shanghai, Hong Kong, Paris, Fukuoka, and U.S.A. In 2008, he presented his solo exhibition Silence Attacks at the Museum of Contemporary Art Taipei, and also received the Taipei Arts Award in the same year. His art is collected by National Taiwan Museum of Fine Arts.
Au Sow-Yee – Pak Tai Foto 2015, 19’14’’
Au Sow-Yee was born and grew up in Malaysia. She now lives and work in Taipei. Graduated from Chinese Culture University (Taiwan) majored in theatre arts and attained her M.F.A degree from San Francisco Art Institute (U.S.A). Her works focuses mainly in questioning, exploring as well as expanding the relation between images, image making, history, politics and power, through video installation and other mediums. Sow-Yee’s recent and future works explore the re-imagined history of Malaysia, South-east Asia and its related region aside from perceptions and ideologies bounded by the Cold War. Meanwhile, she also continues her interest in image making mechanism, creating live cinema performance using self-made mechanism and mechanical film projectors. Sow-Yee is also one of the guest writer for online magazine Promethean Fire Review and No Man’s Land.
Wang Yahui – Visitor 2007, 7’11”
Wang Yahui was born in Taipei, work and live in Taipei. She works with video, photograph and installation.Wang Yahui was born in Taipei, Taiwan in 1973. She holds a Masters Degree in Arts and Technology from the Taipei National University of the Arts. She has had solo shows at the National Taiwan Museum of Fine Arts in Taichung (2008), the Cable Gallery in Helsinki, Finland (2010), the National Central University Art Center in Taoyuan, Taiwan (2011), and the Tomio Koyama Gallery in Kyoto, Japan (2012). Her work has been exhibited at the Taipei Biennial (2002 and 2010), the Shanghai Biennale (2006), the Hors Pistes Film Festival at the Centre Pompidou, Paris (2008), the Museum of Contemporary Art in Taipei (2009 and 2012), the Helsinki International Artist Program (2010), the Műcsarnok-Kunsthalle and Ludwig Museum, Budapest, Hungary (2010), and the Herzliya Museum, Israel (2012).
Niu Jun Qiang – Even They Never Met 2012, 27’00”
Niu Jun Qiang was born in 1983. He graduated with MFA in New Media Art from Taipei National University of the Arts. His artworks mainly focus on the video, experimental film, photography and mixed media installations. Most of Niu’s recent artworks spring from the daily, ordinary life and the experiences involved in such. He has worked with many participants to narrate their past experiences for the creation of a more united, joint experience. Rather than focus on the materialism, he attacks on such a notion and looks at what can be the really persistent, unchanged, in humanity’s lifetime. Niu Jun Qiang’s artworks have been featured in the short film competition at the Rotterdam International Film Festival, held in the Netherlands, Pixilerations Tech Art Exhibition in Rhode Island, USA, the Aguilar International Short Film Festival in Spain, Tours Asian Film Festival in France, ARTchSO Video Festival in Rennes, France, Beijing Summer Digital Entertainment Festival, VAFA International Video Art Festival in Macau, Asian Students and Young Artists Art Festival in Seoul, Korea, It Takes Four Sorts: Cross-Strait Four-region Artistic Exchange Project in Taiwan, Mainland China, Hong Kong, and Macau, Taipei Arts Awards in Taipei.
HSU Chia Wei – The Story of Hoping Island 2008, 12’40”
HSU Chia Wei’s creative method adheres to a specific type of “Narrative” — a way of documenting which interferes with the text in reality, by focusing on site-specific and peculiar characteristics, such as memory, imagination, or identification. He has been continuously trying to merge the languages of contemporary art and film to originate his works, in concern of how to step into reality through film creation, fabricating a mythical narrative which lingers between fiction and reality. He maintains a critical attitude toward filming, and through the power of film creation, he strives to move art to locations beyond museums and to developing his political practice. His works have been on display in museums and international film festivals, such as Jeu De Paume, The 39th International Film Festival Rotterdam, The 55th Venice Biennial, 2012 Liverpool Biennial, 2012 Taipei Biennial, 8th Taiwan International Documentary Film Festival, and Rencontres Internationales Paris/Berlin/ Madrid at the Centre Pompidou Paris, Haus der Kulturen der Welt Berlin, and Reina Sofia National Museum Madrid.
〈A Gaze on the Contemporary〉is an artist video screening programme curated by Jo Ying Peng from Taipei Contemporary Art Center as a part of the collaboration between 2016 Urban Nomad Film Fest and the Taipei Contemporary Art Center.
主辦 Organised by 城市遊牧 Urban Nomad
合辦 Co-organised by 台北當代藝術中心 Taipei Contemporary Art Center
場地協力 Venue | 不只是圖書館 Not Just Library
贊助 Sponsor | CLUB – MATE Taiwan
TCAC Video Lounge is sponsored by Chi-Wen Huang & Bart Dekker
