works - 31 Jean-Luc Godard.png

電影筆記

Notebooks on Cinema

Artist

尚盧 · 高達 Jean-Luc Godard

電影社會主義

Flim Socialisme

1

九單藝術實踐空間
9 Art Space

Meredith Monk_血脈神殿
Meredith Monk_血脈神殿

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Meredith Monk_血脈神殿
Meredith Monk_血脈神殿

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Meredith Monk
Meredith Monk

© 梅芮迪斯.蒙克 Meredith Monk《血脈神殿》Bloodline Shrine, Photo by Peter Sciscioli

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Meredith Monk_血脈神殿
Meredith Monk_血脈神殿

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血脈神殿

Bloodline Shrine

 

2018 錄像裝置 Video installation 

高1.5m x寬1.7m x深0.8m

梅芮迪斯.蒙克 Meredith Monk

美國The United States, b.1942

《血脈神殿》為一件有聲五頻道錄像裝置,每部顯示器代表一位表演者,以其聲音、臉部五官、身體特寫、醫學圖像與家族照片等元素的並置與轉換,構成對生命的思考與探問。

梅芮迪斯.蒙克(Meredith Monk)兼具作曲家、歌手、導演、編舞家以及造形藝術家等多重身份。在作品中結合了聽覺與視覺的感知經驗。聽覺部分,以2018年創作的系列音樂劇《細胞之歌》(Cellular Songs)的部分音樂為基調,伴隨著不同表演者的歌聲和呼吸聲,創造出五位表演者之間的對話關係,同時體現生命彼此交流的狀態;而視覺方面,則是透過五頻道中圖像的並置,形成不同生命個體的相似與相異,在異與同疊加之下,展現生命殿堂中血脈交織的複雜性。

 

Bloodline Shrine is a five-channel video installation. Each monitor represents one of the five performers, whose voices, faces, body features, medical scans, and family photos are uxtapositioned and interchanged to prompt thoughts and questions about lives.

 

Meredith Monk is a composer, singer, director, choreographer, and sculptor who combines audio and visual sensory experiences together in her works. In terms of audio experience, the music in her 2018 musical series Cellular Songs forms the keynote of this work. The singing and breathing of different performers are like conversation they have with one another, which also demonstrate how people's lives are intertwined. The visual experience, on the other hand, is delivered by the images, which introduce the commonalities and differences between individuals. Similarities and differences are hence overlapped to illustrate the complex nature of bloodlines in the shrine of life.

2

九單藝術實踐空間
9 Art Space

Hsu Chen-Yu
Hsu Chen-Yu

© 藝術家思考作品的配色與圖像草稿 Colour schemes and drawings by the artist

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Hsu Chen-Yu
Hsu Chen-Yu

© 藝術家思考作品的配色與圖像草稿 Colour schemes and drawings by the artist

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景框、斷簡

Frame, Fragments of Text

2021 石膏像、木頭 Plaster casts, Wood 
依場地而定 Dimensions variable

許辰宇 Hsu Chen-Yu

臺灣Taiwan, b. 1993

許辰宇在《景框、斷簡》中透過白色的封板、天窗的藍色卡點西德與綠色的人工草皮三者建立空間與材料之間的脈絡,並營造一個極簡的空間,將「藝術創作」附著於展場原有的「景框」,場所不再只是襯托某個物件或支撐某幅畫作的背景,空間的展示成為作品本身。當觀者抬頭可見一片裝飾性的藍色色塊,原型為15世紀教堂穹頂的繪畫,藝術家簡化其繁複的設計,最後呈現的圖像成為一種裝飾性的「斷簡」。


Chen-Yu put together white ceilings, blue vinyl (as windows), and artificial grass to contextualise the space and mediums used in Frame, Fragments of Text. He created a minimal space and attached "an art piece" to the existing "frame", so that the venue is no longer a mere background for certain objects or paintings; instead, the space itself becomes an artwork. When viewers head up, they will find a blue, decorative block inspired by the dome of the 15th-century churches. The artist streamlined their complicated designs and presented them as decorative "fragments of texts".

許辰宇_景框、斷簡
許辰宇_景框、斷簡

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許辰宇_景框、斷簡
許辰宇_景框、斷簡

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許辰宇_景框、斷簡
許辰宇_景框、斷簡

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許辰宇_景框、斷簡
許辰宇_景框、斷簡

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3

九單藝術實踐空間
9 Art Space

無垢舞蹈劇場_觸身 • 有情
無垢舞蹈劇場_觸身 • 有情

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無垢舞蹈劇場_觸身 • 有情
無垢舞蹈劇場_觸身 • 有情

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Legend Lin Dance Theatre
Legend Lin Dance Theatre

© 藝術總監林麗真 汪德範攝影

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無垢舞蹈劇場_觸身 • 有情
無垢舞蹈劇場_觸身 • 有情

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觸身 • 有情 
Born Attached

2021 繪畫手稿、物件、茶器物、書籍、限地製作 Painting manuscripts, objects, tea sets, books and site-specific pieces
依場地而定 Dimensions variable

無垢舞蹈劇場
藝術總監林麗珍

Legend Lin Dance Theatre 

Artistic director Lin Lee-Chen
臺灣 Taiwan

無垢舞蹈劇場於 1995 年創立,為臺灣重要現代劇場。以空緩美學創立獨特的身體語彙,屢屢受邀於國際重要藝術節演出。1995 年「天、地、人」首部曲《醮》開創臺灣儀式劇場之先河。1998 年成為法國亞維儂藝術節五十年來第一個受邀的臺灣舞蹈團體。2002 年獲歐洲最重要的文化藝術電視台ARTE 經兩年評選為世界當代八大編舞家,林麗珍為當中唯一出身亞洲的編舞家。

 

藝術總監為舞蹈家林麗珍,團長為設計家陳念舟,有章藝術博物館本次邀請二位重要藝術家與編舞家,將無垢最純粹與沈靜的神話寓居於九單藝術實踐空間。

無垢舞蹈劇場

團長陳念舟

Legend Lin Dance Theatre 
Director Chen Nien-Chou
臺灣 Taiwan

無垢舞蹈劇場團長 / 製作人、無垢茶活創辦人。 


專長橫跨景觀工程規劃設計、杜鵑育種及栽培、茶文化器物研究設計。愛好喝茶並研究茶器物三十年餘年,2008 年投入銀壺設計,2011 年於紫藤廬第一次展出,2015 於北京舉辦茶舞人特展,深獲好評。並且是登上北京嘉德拍賣史上第四位「活人」。他所設計的銀壺驚豔全場,為他贏得「兩岸銀壺第一人」的封號。  

團長陳念舟
團長陳念舟

© 自由落體

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團長陳念舟
團長陳念舟

© 自由落體

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4

# 37.06

黃榮智_殺時間:散步/爬梯/清水池
黃榮智_殺時間:散步/爬梯/清水池

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黃榮智_殺時間:散步/爬梯/清水池
黃榮智_殺時間:散步/爬梯/清水池

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黃榮智_殺時間:散步/爬梯/清水池
黃榮智_殺時間:散步/爬梯/清水池

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黃榮智_殺時間:散步/爬梯/清水池
黃榮智_殺時間:散步/爬梯/清水池

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殺時間:散步/爬梯/清水池 

Killing Time: Walking / Climbing Stairs / Cleaning Pools

 

2021 水、鋁盆、燈箱、步道、管線、水袋、家屋、霓虹燈管 Water, aluminium sinks, light boxes, paths, pipelines, water bags, houses, neon tubes

依現場而定 Dimensions variable

黃榮智 Huang Jung-Chih

臺灣 Taiwan, b. 1967

殺時間是一種日常無聊的經驗,展覽期間藝術家重複一些日常瑣事,例如散步、爬梯和清水池,隨著時間的流逝,感知身體在展場移動的經驗。

 

延續著前一件作品《星期六的早晨:接水/掛衣/擺燈箱》,藝術家於展場地面佈滿數個鋁製容器,天花板鋪設相對應的管線,引導水不斷地向下滴落、注入容器中直到溢出,淌流一地的水暗示著時間的流動。藝術家也透過重複的行為探問時間、空間與居家物件在建築場域中的關係。

People try to kill time when they are bored. 

The artist repeated trivial tasks of everyday life during the exhibition period, such as walking, climbing up on stairs, and cleaning pools, perceiving how his body moved around in the exhibition venue. 

In his previous work, Saturday Morning: Getting water / Hanging clothes / Placing Light Boxes, the artist placed some aluminum containers on the ground and set up pipelines on top of them on the ceiling, channelling water to the containers until it overflew – Water flew all over the ground just like the flow of time. 
In line with that, the artist would like to probe the relationships between time, space, and furnishings in a building through his repeated actions in this work.

works - 4 Huang Jung-Chih.png
 
 
 
 

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# 35.10.04

許家維、李俊逸、許德彰_聖堂裡的一場演出
許家維、李俊逸、許德彰_聖堂裡的一場演出

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邱承宏_採光
邱承宏_採光

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Hsu Chia-Wei
Hsu Chia-Wei

© 許家維Hsu Chia-Wei 《聖堂裡的一場演出》影像截圖 Screenshots from A Performance in the Church

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許家維、李俊逸、許德彰_聖堂裡的一場演出
許家維、李俊逸、許德彰_聖堂裡的一場演出

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聖堂裡的一場演出

A Performance in the Church

 

2021 三頻道錄像裝置 Three-channel video installation

依場地而定 Dimensions variable

 

李俊逸 Lee Chun-I

臺灣Taiwan, b.1982

許德彰 Hui Tak-cheung

香港 Hong Kong, b.1983

許家維 Hsu Chia-Wei

臺灣 Taiwan, b.1983

藝術家許家維與臺灣藝術大學科技藝術實驗中心新媒體創作者李俊逸,以及聲響藝術實驗中心作曲家許德彰共同實踐一項創作計畫,圍繞著一場考古活動,帶領我們體驗考古之旅,藉由不同專業的知識體系打開藝術的維度,成就一場跨領域的展演。

 

《聖堂裡的一場演出》以基隆和平島的考古現場出發,過去曾是荷蘭東印度公司的北荷蘭城(Fort Noord-Holland),興建於 1642 年,三位不同領域的創作者帶著不同的知識體系,將考古物件轉譯成一種兼具科學與藝術的跨學科研究。

 

這件三頻道錄像裝置作品分別在二個空間中展呈,第一部錄像所呈現的是一場在考古現場的音樂演出,作曲家將考古過程轉化成音樂素材。其中樂器部分以考古文物為原型進行設計,例如 3D 列印骨器所製成的笛子,以及由鐵渣與鹿角所構成的打擊樂器;第二部錄像呈現的是作曲家與考古學家謝艾倫在聲音工作室中,討論音樂元素與考古的交會,穿插著排練與樂器製作的過程。第三部錄像呈現藝術家與動畫師針對考古文物製作動畫的過程。

 

另外,在和平島的考古現場,考古學家曾經淘選了一批貝殼與石頭,經過實驗室分析之後,判斷是沒有人為痕跡的遺留物。藝術家邱承宏採用這些來自遠古海岸的材料,製作成裝置作品《採光》,伴著《聖堂裡的一場演出》共同呈現。

採光

Daylighting

 

裝置 Installation

依場地而定 Dimensions variable

 

邱承宏 Chiu Chen-Hung

臺灣 Taiwan, b.1983

Chiu Chen-Hung.png

Artist Hsu Chia-Wei, new media artist at NTUA Innovation Center for Art and Technology Lee Chun-I, and composer of NTUA Center for Sound Arts and Acoustics Research Hui Tak-cheung worked together on a project centringround an archaeological exploration, bringing viewers along on an archaeological journey through the different fields of knowledge they possess. These artists opened up new dimensions of art, delivering an interdisciplinary art piece titled A Performance in the Church.

 

They embarked on the archaeological journey from Heping Island, Keelung, where Fort Noort-Holland, established by the Dutch East India Company in 1642, used to stand. The three creators translated archaeological objects into an interdisciplinary study on art and science with their different fields of knoledge.

 

The three-channel video installation is exhibited across two rooms. The first channel showcases a musical performance taking place at an archaeological site. 3D-printed flutes resembling ancient bone tools as well as percussion instruments made of iron slag and antlers were used in the performance as the composer had turned the archaeological findings into inventive ideas and created new musical instruments accordingly. The second video presents the discussion between the composer and Ellen Hsieh the archaeologist, who were talking about the intersection of musical and archaeological elements in a sound studio, with footages of music rehearsal and musical instruments production interspersing within. The third video documents the animation-making process as the artist and animators were working on the animation of artefacts.

 

Aside from theses, in the archaeological site of Heping Island, Ellen Hsieh, the archaeologist, hand-selected some shells and stones which she later analysed in labs and determined that these shells and stones are natural products without any human traces. Using these materials, artist Chiu Chen-Hung created his work Daylighting to be exhibited with A Performance in the Church. 

 
works - 8 Leverage Studio.png

7

#35.07.06

介力屋Leverage Studio

林亞岑Lin Ya-Cen

洪志霖Hung Chih-Lin

陳彥成Chen Yen-Cheng

陳琮皓Chen Cong-Hao

鄧全翔Teng Chuan-Hsiang

 

團隊成立於2021年

The team is formed in 2021.

 

複合媒材、限地製作 Mixed media (site-specific art)

依場地而定 Dimensions variable

介力屋(Leverage Studio,簡稱LS)由一群出生於1990年代末的年輕藝術家組成,以團隊創作的模式出發,同時強調成員間的個體差異與獨特性,立足於快速變化的當代社會,彼此透過作品的交融與對話,試圖建構屬於新世代的藝術世界。

 

《介力屋》為限地制作(site-specific)的創作,「介力屋」的藝術家們使用 3D 建模軟體 SketchUp 來繪製作品整體的示意圖,精準地掌握空間、作品材質以及作品間的關係,同時展現年輕藝術家思考作品的過程與模式。

《介力屋》呈現的是對「藝術世界」(Artworld)的探問,試圖重新思考藝術作品的合法性,以及藝術家的身份界定等,同時反應出年輕世代對當代生活的觀察。

Leverage Studio (LS) is formed by a group of artists born in the end of 1990s. They create artworks as a group, but they also highlight the differences and uniqueness of each member to survive in the everchanging modern society. Through the blending and interaction of their works, these artists try to build an art world for their generation.

 

Leverage Studio is a site-specific artwork. Artists used SketchUp to render the blueprints of the work, precisely addressing the interactions between spaces, materials, and their art pieces while showcasing the thought processes and models of young artists.

Leverage Studio raises questions about the "art world" by rethinking about the legitimacy of artworks as well as the identity as artist, and it also demonstrates younger generation's observations on modern lifestyle.

 

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#35.07.16

許進源實品屋

Hsu Ching Yuan Model House Project

 

2021 攝影、裝置、紀錄片、行為演出、限地製作 Photography, installations, documentaries, performances (site-specific) 

依場地而定 Dimensions variable

 

許進源 Hsu Ching-Yuan

臺灣 Taiwan, b. 1956

《許進源實品屋》以臺藝大藝術聚落中一棟尚未整建的老屋作為創作的實踐場域,由許進源及其團隊於駐地期間進行創作、施工、佈展與紀錄,延續他一貫與工人之間相互周旋的對話,轉換過去建築業的工程技術為創作方法,將老屋打造成創作實踐的「實品屋」。

 

此計畫奠基於建築原有的格局,規劃出 12 個場景,在逐步改造內部空間的過程中,不僅限地製作數件新作,也重新展呈藝術家原有的創作,包含攝影、裝置與錄像作品,許進源的創作在不同脈絡的空間中展示,形成一個獨特的語境探討著土地與資本、宗教與社會、人與自然等議題。

Hsu Ching Yuan Model House Project is based in an untouched old house in the Art Village, NTUA. It is a project created, engineered, set up, and documented by Hsu and his team during their residency. Once again engaging in dialogues with workers, Hsu integrated architectural techniques into his art  practice and turned the old house into a "model house" demonstrating his  art practice.

 

This project delivers 12 scenes based upon the existing layouts of the building. As the artist gradually renovated the venue, he produced a couple of new site-specific works, and planned to re-exhibit some of his earlier works, including photography, installations, and videos. Displaying his works in different spaces with different backgrounds, Hsu presents a special, contextualised work exploring the issues of land and capitalism, religions and society, as well as human and nature.

2F

K 求神拜佛

L 施工紀錄

城市裡一座山

三七五減租

 

1F

A 七元首

B 戰爭與和平

C 土地規劃

D 地質改良
E 南華大樓

F 大興土木

G 買房夢
H 火房

I 禪修室

J 嘉年華會

許進源_許進源實品屋
許進源_許進源實品屋

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許進源_許進源實品屋
許進源_許進源實品屋

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三七五減租
三七五減租

© 許進源 Hsu Ching-Yuan

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許進源_許進源實品屋

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開展演出|建築人

Opening Performance|The Builder

2021.10.30 Sat. 14:00

實品屋正門Model House front door #35.07.16

9

#29.04.05

拉飛.邵馬_生命的紋路
拉飛.邵馬_生命的紋路

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拉飛.邵馬_生命的紋路
拉飛.邵馬_生命的紋路

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Lafin Sawmah
Lafin Sawmah

©拉飛・邵馬 Lafin Sawmah

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拉飛.邵馬_生命的紋路
拉飛.邵馬_生命的紋路

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生命的紋路
Grain of Life

2021 木頭 Wood
依場地而定 Dimensions variable

拉飛・邵馬 Lafin Sawmah
臺灣 Taiwan,1956

阿美族藝術家拉飛・邵馬常以漂流木為創作材料,在作品《生命的紋路》中展呈多件雕塑和藝術家親手製作的傢俱,以及工作桌和一些日常物件。除此之外,也特別展示幾件半成品,這些成形中的「雕塑作品」展現了未完成的造型語彙,體現了更為迷人的創作過程。

 

展間的工作室氛圍使觀者體驗了拉飛・邵馬的創作世界,凝視這些展呈的物件,彷彿看見藝術家的生命紋路。

 

Amis artist Lafin Sawmah often uses drifting woods to create his art. In Grain of Life, Sawmah displays several pieces of sculptures, hand-made furniture, a work table, and some ordinary objects. A handful of half-mades are also included in this exhibition, and these "sculptural works" in the making are visual symbols of unfinished things, demonstrating the more charming process of creation.

 

The studio-like gallery allows viewers to explore the art-making world of Sawmah. Examining these objects are like looking at the grain of life of the artist.

 
 

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#35.08.02
#35.06.01

從窗、從靈魂的每一毛細孔、「複眼人」的痕跡

From the window from every pore of the soul, The trace of“The Man With the Compound Eyes”

 

2021 高透明投影膜装置 Anisotropic nanostructure light control film (ANSLCF)

依場地而定 Dimensions variable

 

盧卡斯.漢柏 Lukas Hemleb

德國Germany, b. 1960

works - 17 Lukas Hemleb.png

2021年盧卡斯·漢柏將臺灣作家吳明益於2011年出版的長篇小說《複眼人》(The Man with the Compound Eyes)改編並 執導成劇場作品,作品示意圖為《複眼人》劇照組合。

旅法德籍藝術家盧卡斯·漢柏作為一位劇場導演,如何以有別於劇場敘事 的時間軸線,實踐視覺藝術創作? 他在展場中垂吊三大月「高透明投影膜」,並由工研院團隊提供技術協力,共同裝置一個具有造型的影像載體,並在透明的薄膜上投放《複眼 人》的劇照影像,三片近乎懸空的薄質影像片,形塑一個靜態的「劇場」, 交織著小說文本、戲劇張力、影像氛圍,召喚那一段奇想與真實的故事, 同時解構了原有的敘述脈絡。

In 2021, Lucas Hemleb will adapte and direct the novel "The Man with the Compound Eyes", published in 2011 by Taiwanese writer Wu Ming-Yi, into a theater work. The sketch of the work is a still from The Man with Compound Eyes.

 

As a France-based German theater director, how does Lukas Hemleb practice visual art creation on a time axis that is different from the theatrical narrative?

 

 The three hanging anisotropic nano-structure light control films by Hemleb is technically cooperated with the ITRI department to jointly install a styling image carrier for the projection of the still image from The Man with the Compound Eyes. Three fine transparent films almost suspended in the air form a static "theater" intertwined with novel text, dramatic tension, and image atmosphere. It summons the whimsical true story while deconstructing the original narrative context.

 

ITRI: Industrial Technology Research Institute

盧卡斯.漢柏_從窗、從靈魂的每一毛細孔、「複眼人」的痕跡
盧卡斯.漢柏_從窗、從靈魂的每一毛細孔、「複眼人」的痕跡

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盧卡斯.漢柏_從窗、從靈魂的每一毛細孔、「複眼人」的痕跡
盧卡斯.漢柏_從窗、從靈魂的每一毛細孔、「複眼人」的痕跡

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Lukas Hemleb
Lukas Hemleb

© 盧卡斯.漢柏 Lukas Hemleb

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盧卡斯.漢柏_從窗、從靈魂的每一毛細孔、「複眼人」的痕跡
盧卡斯.漢柏_從窗、從靈魂的每一毛細孔、「複眼人」的痕跡

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盧卡斯.漢柏_從窗、從靈魂的每一毛細孔、「複眼人」的痕跡
盧卡斯.漢柏_從窗、從靈魂的每一毛細孔、「複眼人」的痕跡

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盧卡斯.漢柏_從窗、從靈魂的每一毛細孔、「複眼人」的痕跡
盧卡斯.漢柏_從窗、從靈魂的每一毛細孔、「複眼人」的痕跡

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盧卡斯.漢柏_從窗、從靈魂的每一毛細孔、「複眼人」的痕跡
盧卡斯.漢柏_從窗、從靈魂的每一毛細孔、「複眼人」的痕跡

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#35.06.02

尹洙竫 Yoon Soojung

李立中 Lee Lichung

吳尚霖 Wu Shanglin

邱國峻 Chiu Kuo-Chun

「混・地方」微駐地創作計畫

"Hun・Places" Residency-ish Project

 

2021 複合媒材裝置、限地製作 Mixed media (site-specific)

依空間而定 Dimensions variable

《混・地方》是一項微駐地創作計畫,策劃者為吳尚霖,邀請邱國峻、李立中以及尹洙竫等藝術家共同參與。計畫名稱中的「混」有混沌(chaos)、雜揉(hybrid)與複合等概念。藝術家們透過「微駐地」,提出關於居所、遷徙、鴿舍、常民信仰等概念,混合著在地脈絡,交織出複調的藝術計畫。

Hun・Places is a residency-ish project planned by Wu Shangling and delivered by Wu and artists he recruited, including Chiu Kuo-Chun, Lee Lichung, and Yoon Soojung. "Hun" means chaos, hybrid, and complex in Chinese. Participating artists proposed ideas like stays, migration, pigeon lofts, and religious belief to deliver a polyphonic art project with local vibe.

 

12

#35.04.01

蔡影澂_向逝去的時代精神致敬
蔡影澂_向逝去的時代精神致敬

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蔡影澂_向逝去的時代精神致敬
蔡影澂_向逝去的時代精神致敬

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Tsai Ying-Cheng
Tsai Ying-Cheng

© 蔡影澂繪製的草稿圖 Tsai Ying-Cheng's drafts

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蔡影澂_向逝去的時代精神致敬
蔡影澂_向逝去的時代精神致敬

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向逝去的時代精神致敬

Tribute to the Spirit of The Passing Age

 

2021 複合媒材 Mixed media

依場地而定 Dimensions variable

 

蔡影澂 Tsai Ying-Cheng

臺灣 Taiwan, b. 1974

藝術家邀請觀眾在一個櫥窗空間中,隔著玻璃向「室內」觀 看作品。展場中有座身著約束衣的雕塑以爬行的姿態示人, 約束衣象徵著行動與自由的受限,而其半透明的表面似動物 的皮層,半人獸的狀態暗指人類的精神已逐漸消逝;而一旁有另一座緩慢旋轉的裝置,上面佈滿著黑色面罩形成人類歷 史共業的黑色洪流。《向逝去的時代精神致敬》中的半人獸、 面罩、破碎的建材和沒有骨架的黃色雨傘等諸多符號,在在指涉著離我們不遠的那一方正承受著困境。

The artist invites viewers to look at the "indoor" work from a cabinet over the glass. It is a sculpture in a straitjacket – a symbol of restricted movement – which crawls on the ground with semi-opaque animal-like skin. Its half-human form implies the fading of its human spirit. The nearby rotating device, slowly swirling around, is covered by loads of black masks that speak of historical problems brought by human beings. The half-human life form, masks, damaged construction materials, and shaft-less yellow umbrellas in Tribute to the Spirit of The Passing Age are all metaphors of the suffering of those in a place not far away from us.

 

13

#35.02

13_複調神話_謝春德_還在嗎?身體 02
13_複調神話_謝春德_還在嗎?身體 02

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謝春德_還在嗎?身體
謝春德_還在嗎?身體

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Hsieh Chun-Te
Hsieh Chun-Te

© 謝春德 Hsieh Chun-Te《平行宇宙系列》 Parallel Universe

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13_複調神話_謝春德_還在嗎?身體 02
13_複調神話_謝春德_還在嗎?身體 02

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還在嗎?身體

Is the body still being?

 

2021 攝影裝置 Photographic  installation

依場地而定 Dimensions variable

 

謝春德 Hsieh Chun-Te

臺灣 Taiwan, b. 1949

《還在嗎 ? 身體》由藝術家謝春德長期以來所關注的「平行宇宙」時空觀出發,將影像作品擺置於「云辰展場」(Everspring Venue)中,該展場兼具室內與露天的兩種空間,而作品擴延了攝影的定義,疊加的影像使純粹的視覺經驗延展至身體感知,觀者穿梭其中的同時,彷彿漫步於平行的宇宙中。

 

Is the body still being?, produced by artist Hsieh Chun-Te, is a project based on Hsieh's perspective of the parallel universe. He places the photographic installation in the "Everspring Venue", which consists of an indoor gallery and an outdoor space. The overlapping images expands the realm of photography while integrating visual experience with sensual one, making viewers feel like they are roaming in a parallel universe.  

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#39.01

不義遺址 – 安康接待室 / 新店軍人監獄

Historical Sites of Injustice – Ankang Reception House and Xindian Military Prison

 

2020 攝影裝置 Photographic installation

依場地而定 Dimensions variable

 

沈昭良 Shen Chao-Liang

臺灣 Taiwan, b. 1968

200 x250 cm x1
230 x330 cm x1
110 x135 cm x4
100 x125 cm x7
80 x100 cm x4
70 x85 cm x3
280 x240 cm x1
100 x100 cm x1
100 x180 cm x1
50 x60 cm x9
50 x140 cm x1
共計33件作品 
33 pieces of work in total

Shen Chao-Liang
Shen Chao-Liang

© 沈昭良 Shen Chao-Liang

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Shen Chao-Liang
Shen Chao-Liang

© 沈昭良 Shen Chao-Liang

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Shen Chao-Liang
Shen Chao-Liang

© 沈昭良 Shen Chao-Liang

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《不義遺址 – 安康接待室 / 新店軍人監獄》是一件戶外攝影裝置,影像以沈重的歷史為題,部署於展場建築內外空間,將影像與展場兩處的空間脈絡交錯重疊。攝影師沈昭良此次近兩年的新作《不義遺址》揭示了安康接待室 / 新店軍人監獄裡可視與不可視的諸多細節。作品可見廢墟般的建物結構、附有大鎖的門已鐵銹斑駁、成排的牢房與監獄內部等場景。這些影像凝聚一股不安的氛圍,揭示著時代政治與權力社會的陰暗之處。

 

Historical Sites of Injustice – Ankang Reception House and Xindian is an outdoor photo installation illustrating heavy historical issues. The installation is located in and outside the exhibition venue, and the spatial contexts of the photos and the venue hence overlap. Photographer Shen Chao-Liang spent two years capturing the visible and invisible details of the sites in this new series, including the ruin-like building structure, the locked, rusty doors, the prison cells and their interiors. These images speak of a sense of unease, unveiling the dark side of politics and power at a certain age.

沈昭良_不義遺址 – 安康接待室 _ 新店軍人監獄
沈昭良_不義遺址 – 安康接待室 _ 新店軍人監獄

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沈昭良_不義遺址 – 安康接待室 _ 新店軍人監獄
沈昭良_不義遺址 – 安康接待室 _ 新店軍人監獄

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沈昭良_不義遺址 – 安康接待室 _ 新店軍人監獄
沈昭良_不義遺址 – 安康接待室 _ 新店軍人監獄

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沈昭良_不義遺址 – 安康接待室 _ 新店軍人監獄
沈昭良_不義遺址 – 安康接待室 _ 新店軍人監獄

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電影筆記專題

Cahiers du Cinéma

Notebooks on Cinema

電影播放場地:臺藝大藝術廣場(白廣)

Screening Venue : Hall of arts NTUA

IDEAS SEPARATE US, DREAMS BRING US TOGETHER

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電影社會主義

Film Socialisme 

2010

尚盧.高達 Jean-Luc Godard

法國 France, 1930

FILM SOCIALISM - Poster France.jpeg

《電影社會主義》為高達第一部 HD 電影,並獲選入第63屆坎城影展一種注目單元(Un certain regard)。高達的創作摒棄了穩定的敘事文法,影片的畫面和語言的關係並不相應符,甚至相悖,內容參雜許多對白、喃喃自述和畫外音等對不同議題進行哲學式的論證。

觀者隨著《電影社會主義》中一艘地中海郵輪航經埃及、巴勒斯坦、奧德薩、希臘、拿坡里和巴塞隆納,六處帶有不同神話起源之地,並透過影片中乘客的相遇和互動,交織屬於高達的新神話宣言。

 

Film Socialisme is the first HD film by Godard nominated in the Un Certain Regard section at the 63rd Cannes Film Festival. The creation of Godard discards fixed narrative grammar. The relationship in the film between the picture and the language doesn't correspond or is even contradictory. The content integrated with multiplephilosophical discourses on diverse subjects such as dialogue, muttering, and voice-over.

 

Viewers follow a Mediterranean cruise in Film Socialisme through Egypt, Palestine, Odessa, Greece, Naples, and Barcelona where the six places are the origin of carrying different myths. By encountering and interacting with passengers in the film, it weaves a new mythological declaration belonging to Godard.

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