2019年9月30日 星期一

國立臺灣美術館赴俄臺灣影像交流展「透視假面-甜楚現代性」策展論述(文/楊衍畇) Yunnia Yang's Curatorial Concept for the exhibition "Behind the Mask: Rose of Modernity"~The photography art collection from National Taiwan Museum of Fine Arts (Premiere exhibition in Russia during 2019. 09.18-11.18)


13th Krasnoyarsk Museum Biennale
The photography art collection from National Taiwan Museum of Fine Arts (Premiere exhibition in Russia) 
 "Behind the Mask: Rose of Modernity"
左起:藝術家何孟娟(左一),藝術家沈昭良(左二), 策展人楊衍畇(左三), Ms. Olga Larjushina(中) 國美館展覽組林曉瑜(右三), 藝術家袁廣鳴(右二), Ms. Valerie Kovalchuk(右一)

策展論述 Curatorial Concept

瑰麗臺灣影像藝術 思索現代性影響Considering the Influence of Modernity with the Enchantedness of Taiwanese Visual Art

文/ 楊衍畇, 共同策展人
Text/ Yunnia Yang, Co-Curator


It is said that Formosa, the Island of Beauty, is so-named for the first impression Taiwan made upon Portuguese sailors in the 16th century. Taiwan has reason to be proud of this fame: the natural scenery in this small island is wonderfully diverse; quality of life is modern and highly convenient; local food is cheap, abundantly diverse and delicious, and, when overseas, Taiwanese miss it terribly. But perhaps the greatest beauty of Taiwan is the Taiwanese themselves. Taiwanese are polite, modest and friendly above all else, and their hospitality may be the most unforgettable souvenir for foreigners. Indeed, many foreign travelers settle in Taiwan, feeling something oddly familiar, a sense of finding home in another country. For certain, in the beginning, they may face simple misunderstandings and miscommunications – there are cultural differences, after all, but even these can be taken as something to experience and enjoy. After all, "when in Rome, do as the Romans do." There are always customs and living habits that only local people can truly understand, but it is in trying to understand them that the tourist or expat is able to explore the many layers of what makes up a foreign culture.

不同於文化觀光的角度,美國社會心理學家厄文.高夫曼(Erving Goffman)以戲劇學原理提出世界是一個舞台,日常生活與劇場儀式有著交互關係,每個人在社會中扮演多重角色,人際關係社會互動如同一系列的表演,因應不同觀眾與情境調整應對,像是戴著面具,真實自我漸漸為力圖充分體現的角色所取代,後天成為的角色是第二自然,是人格的一部份,親切熱情以待外賓是待客之道,亦是好客的真性情,高夫曼在其著作《日常生活中的自我表演》表示只要人活著就是永遠在臺上,不斷上演生活的悲喜劇,「臺前」是個體表演能夠以一種普遍、固定的方式來對°觀察者°進行情境定義的部分,「後臺」可說是舞台佈景後、鏡頭以外的活動,亦是真實的自我。

In contrast with the viewpoint of cultural tourism, American social psychologist Erving Goffman puts forth the dramaturgical theory that, "all the world is a stage" (as Shakespeare himself once wrote in Hamlet). And it is true: everyday life is intrinsically steeped in theatrical ritual: everybody plays multiple roles in society. Human relations and social interactions may be regarded as a series of performances, adjusted depending on different viewers and situations. Just like wearing a mask, our true self is gradually replaced by the roles that we try our best to play. The acquired characters we become are our second natures, dimensions of our personalities. Treating visitors kindly is therefore an act of hospitality, but also our true temperament. In his writings, The Presentation of Self in Everyday Life, Goffman expresses the idea that we are always on stage in one lives, constantly staging a tragicomedy of everyday life. Our "Front stage'' is that individual performance which is able to define situations for observers in a universal and fixable way. Our "Back stage" is where all artifice is abandoned, the actor steps out of role, our true self.

紀實攝影為一種透視當代生活現實的可能途徑,關懷人文生態的攝影家長期拍攝某一特定主題,時間消融初遇的表層假面,以獨特的美學語彙突顯內在真實,以波特萊爾浪遊者(Flâneur)精神深層觀察城市文化,或以近似人類學田野研究手法深入鄉里社群,進而同理體會其生命經驗,拍出令人動容卻又直指真相的紀實攝影。攝影家穿梭於「臺前」「後臺」之間,如高夫曼所稱的「中介者」(Mediator) ,善意又巧妙地暗示「後臺」所隱藏的秘密,這些秘密是為維護「臺前」假面意象。

Similarly, documentary photography also presents a means to see through the realities of contemporary life. The photographers interested in evolutionary humanism have embarked on long-term projects on the subject. In their works, shallow first impressions of sight are dissolved by time as their unique aesthetic language highlights internal truth. In the spirit of Baudelaire's "Flâneur", they observe the depths of urban culture or dive into the countryside, meeting locals with the aim of quasi-ethnographic field research. It is the photographers' sympathy that realizes the life experience of others in such moving and revealing documentary photography. Photographers are able to travel back and forth between people's "Front stages" and "Back stages". Goffman called such people "Mediators", which implies kindness and skill in handling the hidden secrets of the "Back stages" in order to maintain the masked images of the "Front stages."


Chang Chien-Chi, the only member of Magnum in Taiwan, has long paid great attention to the society of overseas Chinese in New York. In the ritual parade of China Town, he captures from a low viewpoint the image of a man holding a billiken-like mask gazing at the camera. Chang leads us to see the "Back Stage," a man unveiling his sense of responsibility, consolidating the collective consciousness of overseas Chinese by taking part in traditional rituals. From the early documentary photography taken by Chang Chao-Tang, Liang Cheng-Chu, and Chien Yun-Ping, we remember that the Taiwanese kept themselves of a content mind and pure spirit even when Taiwan had not been fully modernized yet. Although the material life was hard, human relationships were closer and the spiritual life richer at that time. Children's imaginations were unlimited and went beyond the overwhelming visual effects of mass media. Chou Ching-Hui's Wild Aspirations shows how the children from rural Yellow Sheep River imagine a computer to be (an object they have never seen). His staged photography is rather theatrical, but nevertheless reveals the true dreams of a child. Her body gesture is slightly awkward and her clothes of rough material. We can see the gap between her dream and reality, but only her dream can change her reality.


In the second half of the 20th century, Taiwan created an economic miracle and was listed in the so-called "Four Asian Dragons" along with Singapore, Hong Kong, and South Korea. Taiwan enjoys a rich and convenient life thanks to its outstanding achievements in the process of modernization. However, social value has changed drastically in the recent decades: everything must now be done efficiently; and an attitude longing for the material over the spiritual has only deepened the estrangement of human relations. In addition, the repressions during the period of martial law has added tension to society. The strong awareness of our existence and a rebellious sense of the body are reflected in the surrealistic photographs of Chang Chao-Tang, Kao Chung-Li, and Hsieh Chun-Te. Our heart is stopped by the images of the alienated corpse. Huang Ming-Chuan expresses the idea that Taiwan is consumed by material desires, that we sacrifice the best of our youth, by means of his design approach and symbolic language.The artists use more dramatic ways to create or find unusual images in daily life, for they cannot find the appropriate images in reality. Rather, they reconstruct reality according to their own sharp and sensible insight to the secrets of the "Back Stage." Taiwanese embrace this land with love, showing their identity with courage, not just in support of some higher goal, but also to nurture the unique and diverse Taiwanese folk culture and life customs. They have curiosity about other cultures and generosity to new immigrants. The cultural impressions upon Taiwan in the 21st century have been both diverse and complicated, and it is possible to glimpse the theatricality of the cultural mask created by the collective Taiwanese consciousness. Roland Bathes believed that "Studium" created meaning, and that photography only included the details of "Punctum" by chance. This concept suggests that images always go beyond cultural universality. They allow a viewer to have a dialogue with the images according to their own personal perceptions. Just like a photographer, a viewer may travel secretly between "Front stage" and "Back stage."


It is a bitter truth that modernity is driving us away from the simple and innocent essence of a true self, making us forget how to live slowly. All manner of hegemony and mass media conspire with each other to stimulate the public's consuming desire and cement the value of entertainment. Yet, modernity is like a rose with thorns. Its beauty and fragrance are so attractive to human beings that they can't help but to pick it, to possess it, but they pay the price of being stung. Behind that sweet and happy modern life there is unspeakable trauma and lostness. Longing for the progress of technology and an improved living situation, we thought that our homeland would be more comfortable to live in. However, with the continuous exploitation of the Earth, our ignorance to water and soil conservation, the ecology of Taiwan is badly endangered. In the aerial photography of Chi Po-Lin, we find Formosa has been tainted and it is now impossible to regain its beauty as it used to be. In his Vision of Taiwan, Wu Cheng-Chang criticizes in an ironic tone the ignorance of our living situation, stuck as we are in an apocalyptic situation. Driftwood everywhere after a typhoon, or an advertising billboard standing in a rice field: these images warn us about the dangerous unbalance between modern life and nature. Chen Shun-Chu's Flower Ritual overlooks the life and death of mankind from a God's perspective: in front of a family tomb, the images of plastic flowers are placed to worship ancestors. The introspection between them shows us the absurdity and unbearableness between permanent artificial objects and ephemeral beingness, and the nostalgia attached to relatives. It seems that Taiwanese still have an emotional attachment to this land, changed as it is due to the necessity of modernization: its natural beauty and local culture still comfort our spirit.Following Martin Heidegger's notion of poetic dwelling, Yuan Goang-Ming shows us how hard it is to live in this world poetically in an age of uncertainty, as if our tranquil and peaceful living conditions could be destroyed at any moment. Even in such an uncomfortable situation, this is how Taiwanese could live at ease. Hung Cheng-Jen presents us with the phenomenon of damaged ruins, accusing the hardship of the living conditions. His expressive collage of textures shows us the emotions between ourselves and nature, and evoke in us a consciousness to the coming future disasters.


The development of democratic freedom and equal human rights in Taiwan is highly praised by international society. This road we go through is not easy. Taiwan was not released from Japanese occupation until 1945. In 1949, Chiang Kai-Shek implemented martial law as soon as his government was relocated to Taiwan. The society that prevailed did so with a deeply tense atmosphere. In 1987, we enjoyed freedom of speech rights after the end of martial law. People could show their different political positions and individual identities. Artistic creations showed conceptional criticism and multiple aesthetics. Mei Dean-E deconstructs this identity awareness of the Taiwanese. He created a puzzle of the facial images of Sun Yet-Sen and Mao Zedong. The former is the founder of the Republic of China and the latter is the founder of the People's Republic of China. The new face is seen harmoniously. Chiang's government was based in Taiwan with the plan to counterattack the Mainland and unite China. Such a paradox of rulership confused the identity of the Taiwanese: it is indeed a puzzle-like mystery. The portraits of the two great men are just an empty code. The slogan "The Three Principles Reunite China" is also a kind of collective political obedience, rather than the real expectation of all Taiwanese.In his Consolidation, Wu Tien-Chang takes a mise-en-scène image to create uncanny allegorical stills. The twin brothers suffering from down syndrome are riding a tandem bicycle. Their smiles are too mannered and stiff, and their outfits are also like a variety theatre troupe, even a kitsch-style portrait of the deceased. The sin of the past life should be compensated with the mercy of the next. The falsely vulgar beauty of Taiwanese Redneck Culture is mostly caused by the mentality of "Being a Guest'': temporary policy and provisional facilities cannot allow Taiwanese culture to take root. Their youth has gone away, but they keep their smiles and pretend to maintain a mask of beauty. It is exactly this complexity that our society was filled with before the lifting of martial law.


Deconstructing authority is a keen issue for Taiwanese artists: the idea that authority is not limited to the political aspect, but includes the medical institutions who stigmatized certain sicknesses resulting in misunderstanding, discrimination, and isolation of those patients, endangering their given human rights. Chou Ching-Hui spent a long time with leprosy patients and witnessed their life experiences. In his works, Chou shows their dignity and tenacity with an attitude of respect for life. The monetary game of capitalism has caused the uneven distribution of property, forming the M-shaped social structure. In such unfavorable economic conditions, the poor wander around the marginal zones of urban space and merely survive. Ho Ching-Tai is concerned about the reality of their everyday lives, but he never takes side shots to glimpse at their tough lives: rather, he befriends them. In front of the camera, they express their true selves in such chaotic circumstances. Their undisturbed gaze shows that they aren't cowed by their bad living conditions.
Encouraging the voice from multiethnic groups and reconstructing their cultural and maternal languages became the cultural policy of the new government after the lifting of martial law. Wang Yu-Pang and Chang Yung-Chieh went to the aboriginal tribes to take pictures of the aboriginal elders, showing their sincere gaze. The audience is moved by their dignity and confidence. Pan Hsiao-Hsia spent 25 years taking photographs of the aboriginal tribe Dawu on Orchid Island living in harmony with nature, expressing their uninhibited true temperaments. All these excellent documentary photographs prove Goffman's conception that everyone presents his own way in his own manner, and it is a kind of performance.From the perspective of psychology, human nature masks bestiality. If we want to survive in the urban jungle of modern society, we have to play multiple roles corresponding to a complicated and ever-changing lifestyle. It is hard to tell which is the true self. American Chinese artist Daniel Lee employs the hybrid metamorphosis of human beings and beast to interpret Manimals with the many forms of memory of the 21st century, unveiling explicitly internal libidos by means of digital technology. The artist integrates the cultural thinking of East and West to create this postmodern "mask" of true human nature. The younger generations are encouraged by mass culture to express themselves freely, especially in the subculture of cosplay. With the assistance of role-playing, they release the characters that they identify with in manga, animation or virtual reality video games. Meanwhile, they devote their efforts into creativity, creating costumes and settings for their new interpretations. Jonathan Kao shows the high self-confidence and unique personality of these young people among the atmosphere of the cosplay's carnival. The influence of mass media can, clearly, be positive or negative.An attractive and dynamic pop dance can also present the performance of new women who have much greater bodily confidence. Isa Ho has explored the similarities and differences between the gestures of traditional Kunqu opera's love stories and the lyrics and choreography of contemporary K-POP. In Kunqu, suggestive eye contacts and hand gestures express love and charm euphemistically; K-POP is influenced by Western pop music and the dazzling choreography of the MV. The love stories of daily life are put into theatrical practice through the medium of this sexual yet charming choreography. As we observe carefully the traditional and modern body movements, we will find many unique connections between them. The bodily aesthetics have already been fused into an oneness. Women at the age of liberation dare to chase after and enjoy the rights of physical autonomy. Yet, how is female physical autonomy not controlled by consumerism? Certainly, it is very hard for special service occupations or betel nut beauties. Some women are forced to change due to their current living difficulties, and other teenagers simply can't resist the temptations of commodities, working as betel nut beauties for a short time. Chen Chin-Pao doesn't want to take their images at the angles of desired objects, but to show the image of a true self under the sexual uniform.


In Taiwan there is limited space, and it is always full of people. Be it a noisy metropolitan avenue or nature away from the noise, the crowd can be seen everywhere. Rarely is there any empty deserted scenery, but factors such as changes of political situation, transformations in society, and relocations of industry can cause empty spaces and ruins, and this shows that modernity didn't fulfill the utopia that mankind expected, rather our lifestyles have been replaced with another. Artists leave the crowd far away to seek empty space, not only for the enjoyment of silent meditation space, but also for the observing of the absurd truths not to be seen in the "Front Stage." Yao Jui-Chung finds an escape from modern life in the ruins. He focuses on the projection of believers' great desires. He visited the temples around Taiwan to take photographs of the Gods' statues and an environment without images of humankind in order to show these mystic relations. The images of the abandoned and forgotten gods speak in a sad tone of the capriciousness of human desire. Shen Chao-Liang presents the images of the "transformer-style" traveling stage trucks that are often seen at Taiwanese Carnivals as gigantic and surrealistic stage monuments. Sunset lighting tones and the unmanned state before staging allow the artist to intrude into a moment of hyperspace, flashing images in front of the viewers that reveal how Taiwanese show their attitude to everyday life by means of a stage performance. Sheu Jer-Yu's Being There implies implicitly how human traces exist in space. He takes photographs of the projection of texts and their related space, as Réne Magritte uses texts and images to create dialectics on the absurdity and impermanence of human civilization. Sheu creates an uncanny atmosphere between reality and fantasy. The image code generator can return to the original possible truth behind the mask. A still image can recall a viewer's imagination, connecting his own experience within it, like a moving image with an endless story. The image coding of Huang Chien-Hua shows how an image of the digital age is not only served as a document witnessing its presence. Imagination is also able to create mise-en-scène of the unknown codes that only artists see, through the "Front Stage" and into and "Back Stage." With the juxtaposition of the two, viewers are surprised that the codes of the "Back Stage" have been already fused into the world of the "Front Stage. "The images of animals are the projection of human emotions and desire. They appear unexpectedly in familiar daily life. It is the allegory of a dystopia, the roles interchanging between mankind and animals.


 Lost traditional culture, the beautiful memories of the past, simple life essence: the artists of the new generation feel responsible to preserve and interpret these with innovative artistic practices and visual aesthetics. Chiu Kuo-Chun applies traditional embroideries to photographic art. In the carnival parade of daily life there comes unexpectedly Roland McDonald. The collage confuses us magically with the time and space of fantasy and reality. He mocks the contemporary phenomenon of idol worship in a humorous manner. Tattoo art belongs to a subculture. Chuang Jung-Che's Life Drawing – Four Gentlemen combines the cultural cultivation of Chinese intelligentsia and contemporary popular culture. Taking the corpse as canvas, Chuang shows the idea that plum, orchid, bamboo and chrysanthemum symbolize the four gentlemen of the flowers in Chinese culture. This self-cultivation must be practiced with action. The bloody blossoms of wounds also symbolize the eternal vows. Han Yun-Ching expresses her intimate traumatic love by means of classical photographic process. Her poetic but sorrowful images tell us that the bounds of love always come from our voluntary sadomasochistic relations. Handmade photography is developed by time; the organic and accidental character cannot be achieved with contemporary digital images. Our nostalgia for old objects is for exactly the human touch and texture of memory that advanced technology lacks. We cannot return to the past, but they trigger a craving for the happiness of the past, that is to say, a kind of introspection and counterbalance to modernization.


"Behind the mask: Rose of Modernity" selects 48 sets of visual artworks (a total of 95 pieces) from 35 Taiwanese artists based on the collection of National Taiwan Museum of Fine Arts. The public far from Siberia will observe the following: the Taiwan of an innocent age getting influenced by modernization; how the beauty of Formosa and the simplicity of the Taiwanese has changed; the identity of Taiwan in international politics; the repression and liberation before and after martial law, right up to today when we are confident about self-expression and role-play. Traditional culture is also added to with new language, the contemporary artists employing all manner of conceptual approaches to unveil the essence of modernity.

 "Behind the Mask: Rose of Modernity"
時間Time:2019. 09.18- 2019.11.18
地點Venue:俄羅斯克拉斯諾亞爾斯克美術館(Krasnoyarsk Art Museum "Ploshchad Mira", Russia)
安德列.馬提諾夫(Andrey Martynov)、楊衍畇(Yunnia Yang)、謝爾蓋.科瓦列夫斯基(Sergey Kovalevsky)


Participating Artists
CHANG Chao-Tang, CHANG Chien-Chi, CHANG Yung-Chieh, CHEN Chin-Pao, CHEN Shun-Chu, CHEN Wan-Ling, CHI Po-Lin, CHIEN Yun-Ping, CHIU Kuo-Chun, CHOU Ching-Hui, CHUANG Jung-Che, HAN Yun-Ching, HO Ching-Tai, Isa HO, HOU Tsung-Hui, HSIEH Chun-Te, HUANG Chien-Hua, HUANG Ming-Chuan, HUNG Cheng-Jen, KAO Chung-Li, Jonathan KAO, Daniel LEE, LIANG Cheng-Chu, LIU Chen-Hsiang, MEI Dean-E, PAN Hsiao-Hsia, SHEN Chao-Liang, SHEU Jer-Yu,TSAI Wen-Hsiang, TSENG Miin-Shyong, WANG Yu-Pang, WU Cheng-Chang, WU Tien-Chang, YAO Jui-Chung, YUAN Goang-Ming
國美館特展網頁(National Taiwan Museum of Fine Art official website):
俄羅斯克拉斯諾亞爾斯克美術館特展網頁(Krasnoyarsk Art Museum " Ploshchad Mira" official website):http://mira1.ru/event/827

Curators ( Yunnia Yang & Andrey Martynov) guiding the exhibition " Behind the Mask: Rose of Modernity" for Russian-speaking audience ( interview by Russian cultural media " Culture 24" from Krasnoyarsk) 

國立臺灣美術館赴俄臺灣影像交流展「透視假面-甜楚現代性」(2019.09.18-2019.11.18) "Behind the Mask: Rose of Modernity"~The photography art collection from National Taiwan Museum of Fine Arts (Premiere exhibition in Russia)

13th Krasnoyarsk Museum Biennale
The photography art collection from National Taiwan Museum of Fine Arts (Premiere exhibition in Russia) 
 "Behind the Mask: Rose of Modernity"

時間Time:2019. 09.18- 2019.11.18
地點Venue:俄羅斯克拉斯諾亞爾斯克美術館(Krasnoyarsk Art Museum "Ploshchad Mira", Russia)

安德列.馬提諾夫(Andrey Martynov)、楊衍畇(Yunnia Yang)、謝爾蓋.科瓦列夫斯基(Sergey Kovalevsky)


Participating Artists
CHANG Chao-Tang, CHANG Chien-Chi, CHANG Yung-Chieh, CHEN Chin-Pao, CHEN Shun-Chu, CHEN Wan-Ling, CHI Po-Lin, CHIEN Yun-Ping, CHIU Kuo-Chun, CHOU Ching-Hui, CHUANG Jung-Che, HAN Yun-Ching, HO Ching-Tai, Isa HO, HOU Tsung-Hui, HSIEH Chun-Te, HUANG Chien-Hua, HUANG Ming-Chuan, HUNG Cheng-Jen, KAO Chung-Li, Jonathan KAO, Daniel LEE, LIANG Cheng-Chu, LIU Chen-Hsiang, MEI Dean-E, PAN Hsiao-Hsia, SHEN Chao-Liang, SHEU Jer-Yu,TSAI Wen-Hsiang, TSENG Miin-Shyong, WANG Yu-Pang, WU Cheng-Chang, WU Tien-Chang, YAO Jui-Chung, YUAN Goang-Ming

為向國際介紹臺灣攝影之發展歷程,及推廣國美館典藏之攝影作品,本館近年規劃多項以臺灣攝影藝術為主體之交流展;其中,「透視假面-甜楚現代性」是由本館邀請Andrey Martynov、楊衍畇及Sergey Kovalevsky擔任策展人,運用本館典藏之攝影作品,呈現臺灣社會自1960年代迄今所經歷的轉變,並以心理學家厄文.高夫曼(Erving Goffman)的戲劇學原理為核心概念,探討日常生活與劇場儀式、人際關係與社會之間的的交互關係,以及攝影家如何成為高夫曼所謂的「中介者」(Mediator)角色。從策展人的選件觀之,本展映現出臺灣自20世紀下半葉開始,在追求現代化的進程中,雖經濟成長、物質生活改善,卻也逐漸背離純樸的本質與簡單的生活態度;而攝影創作者除了深入田野記錄現實外,亦藉由藝術性或戲劇性的手法,巧妙揭露現代化進程中,現實世界存在的反常、矛盾、荒謬之處。然而除了批判與警示之外,新世代的攝影創作者亦開始運用創新手法,保存我們對過去美好生活的緬懷。在此,攝影藝術家成為文化與社會、過去與未來、天與地、自然與文明、個人與大眾之間的調解者,藉由鏡頭搭建出一個呈現社會面貌的舞台,同時也透視舞台後面的悲喜生活。


To raise the international visibility of Taiwanese photographic art and promote the items in NTMoFA’s photographic art collection, the museum has staged several exchange exhibitions on this subject. “Behind the Mask: Rose of Modernity” is the latest exhibition organized for this purpose. Employing a two-pronged strategy, the three guest curators—Andrey Martynov, Yunnia Yang, and Sergey Kovalevsky—on the one hand channel the museum’s photographic art collection to chart Taiwan’s social transformation since the 1960s, and on the other hand draw on psychologist Erving Goffman’s dramaturgical theory to investigate interpersonal relationships, social intercourse, and the interplay between everyday practice and theatrical gesture. The question as to how photographers become “mediators” in Goffman’s analysis is also addressed in this exhibition. In terms of the entries selected by the three curators, this exhibition is tantamount to a mirror of Taiwan’s modernization since the second half of the 20th century that the pursuit of economic growth and material well-being gradually urges people to deviate from their homespun philosophy of life. Apart from faithfully documenting realities through in-depth field surveys, photographers also ingeniously uncover the abnormalities, contradictions, and absurdities around the real world with artistic or theatrical techniques. By way of comparison, budding photographers do not simply criticize or fire a warning shot across the bows, but also apply innovative methods to the commemoration of our halcyon days. Photographers are quoad hoc mediators between our culture and society, our past and future, Heaven and Earth, nature and civilization, as well as between individuals and the multitude. To put it another way, they represent the society in all its manifestations on the photographic stage, and meanwhile unveil the vicissitudes of life behind the scenes.

The exhibition “Behind the Mask: Rose of Modernity” features a fine selection of 48 sets of brilliant works (a total of 95 pieces) by 35 Taiwanese artists to be displayed at the Krasnoyarsk Museum in Russia, which coincides the 13th Krasnoyarsk Museum Biennale whose theme serendipitously echoes that of “Behind the Mask,” both highlighting the roles of contemporary art as a mediator and a negotiator in the two societies. 

國美館特展網頁(National Taiwan Museum of Fine Art official website):
俄羅斯克拉斯諾亞爾斯克美術館特展網頁(Krasnoyarsk Art Museum " Ploshchad Mira" official website):http://mira1.ru/event/827

Curators ( Yunnia Yang & Andrey Martynov) guiding the exhibition " Behind the Mask: Rose of Modernity" for Russian-speaking audience ( interview by Russian cultural media " Culture 24" from Krasnoyarsk) 

2019年8月10日 星期六

«浮動心境»2019國際錄像藝術展覽暨巡映會(德國-拉脫維亞-斯洛維尼亞-匈牙利-羅馬尼亞)/"The In-Between State of Mind" International Video Art Exhibition and Screenings in 2019 (Berlin-Riga-Ljubljana-Budapest-Bucharest)


"The In-Between State of Mind" 
International Video Art Exhibition and Screenings in 2019 (Berlin-Riga-Ljubljana-Budapest-Bucharest)

Poster Design : Vadim Zakharov

「浮動心境」(The In-Between State of Mind) 國際錄像藝術展為策展人楊衍畇於2018年獲第36屆義大利阿索洛國際藝術影展(Asolo Art Film Festival)邀請為「金磚視野」(BRICS Art)單元策劃東歐/俄羅斯錄像研究專題「浮動心境」一展即是獻給在共產政權終結後經歷遽變並見證到人民如何擁抱新的資本主義生活方式的藝術家,感受到在這二元體制下的另類發展,以視覺詩意、慧黠諷喻與創意想像回應後社會主義情境2018年阿索洛影展發表後獲得廣大國際影人與觀眾的好評迴響,後續便著手計畫將此一錄像計畫展覽/巡映至東歐/俄羅斯等國家,獲得柏林自由之家(Freehome)里加拉脫維亞當代藝術中心(Latvian Centre for Contemporary Art,簡稱LCCA)Survival Kit當代藝術節20196月邀請映演盧布里揚納當代藝術中心(SCCA-Ljubljana)布達佩斯「東方議題」當代藝術平台(Easttopics)與布加勒斯特國立當代藝術館(MNAC Bucharest)邀請於20197-8月展覽/映演,其中拉脫維亞當代藝術中心2019524日至6 30日所主辦的「生存之道」(Survial Kit)當代藝術節,為波羅的海地區最大規模的當代藝術節,今年邁入第十屆,以「境外」(Outlands)為藝術節主題探討西方中心/邊陲的地理政治與文化認知,筆者所提「浮動心境」策展概念正切中此一主題,規劃於629日期間作為藝術節閉幕特別映演活動。此外,布達佩斯當代藝術平台「東方議題」(Easttopics)所邀請「浮動心境」錄像展覽計畫(201975日至8 3),是由前匈牙利前路德威希當代藝術館策展人Rona Kopecky 主持,「東方議題」自 2013年以普及中東歐當代藝術知識與訊息的研究階段,作為中/東歐藝術社群非營利性智庫,其作用在於中/東歐國家深入研究當代現況的線上資料庫能促成各種跨領域與跨地區的合作計畫。值得一提的是,本展在7月17日巡映於布加勒斯特國立當代藝術館(MNAC Bucharest),位於羅馬尼亞國會建築群內,當代藝術見容於政治體制中,可見時代變遷下的藝術力量。

"The In-Between State of Mind" 
International Video Art Exhibition and Screenings in 2019

策展人Curator:楊衍畇Yunnia Yang
參展藝術家Artists:  Milos Tomic (塞爾維亞)/ Katrina Neiburga(拉脫維亞)/ AES+F(俄羅斯)/Goran Radovanović(塞爾維亞)/Šejla Kamerić(波士尼亞)/Nika Oblak &Primoz Novak (斯洛維尼亞)/Vlad Buzaianu(羅馬尼亞)/Anastasija Piroženko (立陶宛)/Boris Kozlov(塞爾維亞)/Marius Gherasim(羅馬尼亞)/Katarzyna Kozyra(波蘭)/Ciprian Mureşan(羅馬尼亞)/Zaneta Vangeli(馬其頓)/Mina Mileva & Vesela Kazakova(保加利亞)/Călin Dan, Iosif Király and Dan Mihălţianu(羅馬尼亞)/Blue Noses(俄羅斯)/Igor Grubić(克羅埃西亞)/Jan Pfeiffer(捷克)/Gentian Shkurti(阿爾巴尼亞)/Olson Lamaj(阿爾巴尼亞)

展覽/放映日期暨地點Exhibition Dates&Venues:
1. 2019623(放映會):柏林自由之家Freehome(德國)
Site: https://www.facebook.com/freehome.mvz/

2.   2019629(放映會):里加拉脫維亞當代藝術中心(Latvian Centre for Contemporary Art,簡稱LCCA)Survival Kit當代藝術節(拉脫維亞)

3. 201973(放映會)SCCA-LJUBLJANA盧布里揚納當代藝術中心(斯洛維尼亞)

4. 201975日~8月3(展覽):布達佩斯Easttopics當代藝術平台(匈牙利)
Site1: https://www.easttopics.com/
Site: https://www.facebook.com/pg/easttopics/photos/?tab=album&album_id=2371308706458694&ref=page_internal

5. 2019717(放映會):布加勒斯特國立當代藝術館MNAC Bucharest (羅馬尼亞)

策展論述Curotorial Statement

The In-Between State of Mind

Curator: Yunnia Yang

媒體大師麥克魯漢於1962年提出「地球村」一詞,表示透過電子媒體的網域連結,全球各國的人際關係日趨密切,更加理解彼此的人文思想與文化特色,1989 年以前的國際社會因前蘇聯的共產意識型態與社會主義體制有所隔閡,經過政治民主化經濟自由化的變革,俄羅斯與前蘇聯共和加盟國東歐國家波羅的海三小國融入國際社會。此般整合是東歐國家更加期待成為歐盟會員國,而大部份的國家得以完成夢想,俄羅斯也享有經濟榮景,躍升為金磚五國之一。這股樂觀氛圍在全球化時代遍佈,歸因於整合而使我們相信將會有更美好的未來 。事實上,在政治經濟社會及文化上的過渡與轉變仍在當地日常生活持續著,一種處於轉換又不確定未來的感受縈繞於當地人民心頭。「浮動心境」錄像研究計畫( The In-Between State of Mind)即是獻給在共產政權終結後經歷遽變並見證到人民如何擁抱新的資本主義生活方式的藝術家,感受到在這二元體制下的另類發展,以視覺詩意慧黠諷喻與創意想像回應這種後社會主義情境。

新世界揭露各種誘惑,大家會迷失其中並扭曲個人的價值觀( Marius Gherasim的「謎失」,在高度物質主義的社會,一切都能成為買賣的商品,連作夢也不例外 ( Vlad Buzaianu的「販賣夢想」),對抗消費主義的藝術顛覆可能以幽默感微妙顯現。貧窮對前蘇聯國家是一種要擺脫的情結問題(Goran Radovanović'的 「我的祖國」),但對人民來說卻是啟發尋求另類生存之道 (Nika Oblak與 Primoz Novak之作「南遊記」)。嚮往西方美好人生,同化成西方生活模式就像是全民運動(Anastasija Piroženko的「模仿症候群」)。全球化沒有絕對好壞,重要的是否能反映人道主義的基本意念,如多元文化主義、生物多樣性(Boris Kozlov的「後現代先鋒頭銜」),特別是對這富含文化遺產的地區。彼此有愛超越任何性與性別、種族、宗教、物種等的政治定義( Goran Radovanović的「 再見亦是朋友」。戰爭能導致嚴重的摧毀並會使全世界瞬間變成地獄(Miloš Tomić 的「泥鴿」)。僅管人類非常瞭解這可怕的結局,利己主義事實上强過利他主義。今日可以普遍地在電玩遊戲中觀察到好戰心理,一旦消除虛實界限,殘酷的殺戮行為會發生在任一電遊玩家身上,甚至是一個小孩子 (AES+F的「終極叛亂」)。戰爭創傷在太平日子中卻能籠罩一輩子,對見證者來說也是一種戰爭的集體性記憶 (Šejla Kamerić的 「沒有紅衣的日子」)

媒體、觀光與商業化是影響對後社會主義國家文化認知的重要因素,刻板印象與童話故事皆是普及可見的態度。今日世界難以發現真相,甚至是歷史可以被建構。要破除文化幻象,藝術家使用虛實混合 (subREAL「德拉古之境3)諧擬(Katarzyna Kozyra的「夏日童話」)、拓撲學(Jan Pfeiffer的「支點四」)、否定(Gentian Shkurti's 「地拉那色盲」)與解構神話 (Olson Lamaj的「星星從何而生?)等手法。然而,被建構的幻象在幾十年來共產政權統治下仍留存於人民心中(Katrina Neiburga「新聞社」)藝術家訴諸關於不人道( Ciprian Mureșan的「好狗魯夫」)、否定神學(Zaneta Vangeli的「審判」)、人權(Igor Grubić 的「東城故事」)與極權主義的影響(Mina Mileva & Vesela Kazakova「怪獸遺千年」等基本問題,對當代人民來說極為重要是去理解他們所生存的真實世界。

至於藝術創意,藝術家未曾被主流的新媒體奴役而失去他們的原創性,亦不會被西方美學同化。低階技術無法在當代世界中與高科技的效率與便利媲美,卻可以帶來一股人性與出自非理性與不合邏輯的笑聲 (Blue Noses的「絕對藍鼻子」)。我們能看到他們的創意如何帶給我們意外影像 (Miloš Tomić 的「泥鴿」與觀念啟發(Ciprian Mureșan's「好狗魯夫」 , Zaneta Vangeli's 「審判」)。藉助新媒體,藝術家能探索新的視覺語言來詮釋當代生存處境,並向世人挑戰思索此般「浮動心境」 (AES+F'的「終極叛亂」、Marius Gherasim的「謎失」、 Vlad Buzaianu的「販賣夢想」、Mina Mileva & Vesela Kazakova「怪獸遺千年」)

1.泥鴿(Clay Pigeon)/Miloš Tomić塞爾維亞) / 2005/ 6 41
愛情遊戲為現實所阻礙,軍人必須入伍,而愛人持續相愛直到終點。溫柔 幽默恐懼瀰漫在這場愛情遊戲中。

Miloš Tomić
1976年出生於塞爾維亞貝爾格勒,於捷克布拉格電影學院(FAMU)主修電影導演與動畫,創作結合日記電影窺視影像停格動畫的特質與技法,身為一位實驗電影導演,對拼貼創作 生活音樂撿拾街道廢棄物再創作有極大熱情。2013年,Miloš Tomić曾與Vladimir Peric 共同代表塞爾維亞國家館參加第55屆威尼斯雙年展展出「我們之間沒有距離」(Nothing Between Us)

2. 新聞社(Press House)/ Katrina Neiburga(拉脫維亞)/2009/514

Katrina Neiburga
畢業於拉脫維亞藝術學院視覺傳達研究所,自2000年受邀至各大國際展覽,如雪梨雙年展 、莫斯科雙年展。2008年曾入圍芬蘭藝術大獎 Ars Fennica Award2009年獲拉脫維亞當代藝術大獎 Purvītis Prize。對 Katrīna Neiburga而言,藝術從屬於追尋對生存記憶的情感 真實與保存,它是在知覺與感受層面運作的詩篇,Neiburga主要表現手法之一是強烈個人意像與特色,顯現於她的錄像裝置展覽與劇場舞台設計中。她熱衷於研究對事物本質抱持先入之見的社會學。

3. 終極叛亂(Last Riot)/AES+F(俄羅斯)/2007/ 26
20世紀真實世界所生成的虛擬世界如同培養皿中的有機體不斷擴張。跨出自身界限到新的區域,它吸收其最初始養分,卻變異成全新的個體。這新世界中,真實的戰爭如同電玩遊戲,牢獄酷刑較像是現代女武神的性虐操練。科技與物質轉變人工環境成新世紀的幻想風景。這天堂是一個變異的世界,時間在此凍結,過去與未來彼鄰而居。這裡的居民沒有性別,較像是天使。這是一個冷酷, 朦朧,或是情慾想像在3D透視的人工不穩狀態中卻來得自然。新世紀的英雄僅有一個身分,參與終極叛亂的身分。人人皆與自身和他人搏鬥,不再有受害者與攻擊者,男女之分。這個世界終結了意識型態歷史與倫常。

1987年成立的俄羅斯當代藝術團體 “AES”,成員包括觀念建築師Tatiana Arzamasova Lev Evzovich、跨域設計師Evgeny Svyatsky,自 1989年國外巡迴展出日益增加,1995年邀請攝影家Vladimir Fridkes加入而形成今日的 “AES+F”。近期作品結合攝影、錄像、數位科技,但仍對傳統媒材-雕塑、繪畫、素描與建築等有持續性的興趣。AES+F所創造的偉大影像敘事探索當代文化在全球體系的價值、罪惡與衝突。如今AES+F已是俄羅斯當代藝術最重要的創作團體,2007年威尼斯雙年展俄國館展出的三頻道錄像裝置「最後叛亂」(Last Riot)確立了AES+F創作美學與突破數位媒材的框架,此後屢獲國際各大雙年展、 重要世界藝術博覽會邀請展出並獲獎無數,2011年俄國Sergey Kuryokhin大獎、2012年俄國當代藝術大獎- Kandinsky Prize2014年瑞士NordArt Festival大獎、2015義大利 Pino Pascali大獎等。
4. 再見亦是朋友 (Enclave)/Goran Radovanović塞爾維亞)/2015/92

導演在本片中想探討賽爾維亞/阿爾巴尼亞爭端的本質,導致15年前的戰爭.毀滅與犯罪,意圖提問這兩個飛地實存的民族(被少數回教徒包圍的少數基督教徒土地)是否仍可能共存? 導演表明基於恐懼差異的仇恨仍在雙方種族延續。恐懼是缺乏愛....那是為何本片主角是一位十歲男孩敢於為科索沃基督教與回教雙方族群做出意想不到的事-與對方為友!導演想拍一部以關於寬恕與愛的永恆性與啟發性故事。本片榮獲2015年奧斯卡最佳外語片提名。

Goran Radovanović

5. 祖國(My Country)/Goran Radovanović(塞爾維亞)/2000/24

「祖國」是導演Goran Radovanović 1999年拍攝塞爾維亞的紀錄片:極度貧窮貪污專制種族問題北約攻擊國家透過媒體操縱民眾...渴求民主...

6.沒有紅衣的日子(1395 days without red)/Šejla Kamerić(波士尼亞)/2011/63

1990年代初期塞拉耶佛圍城1395日期間,市民被告誡禁穿亮色衣物,以免引起在山丘高處狙擊手的注意。今日追溯狙擊手之巷路徑,Šejla Kamerić 影片鏡頭追隨一位由Maribel Verdú扮演的女子,她步行穿過塞拉耶佛,她在每個路口決定要停下腳步或奔跑獨自跑過或是與他人一起奔跑。

Šejla Kamerić
Šejla Kamerić 藝術創作跨足媒體電影攝影,物件或素描,她作品中無所不在的元素常是不安的記憶,她當作是一股透過沈重的過去強化現在焦點的力量來源以自身經驗,記憶與夢境為基礎,她的創作帶我們到錯置與歧視的全球空間。從她作品中散發的美麗與哀愁希望與苦痛是我們所分享故事的部份。她主題的份量在於強烈對比她個人美學與她對細緻媒材的選擇。

7. 南遊記(Going South)/Nika Oblak &Primoz Novak(斯洛維尼亞)/2009/31

「南遊記」是一部關於藝術家Nika Oblak 與 Primoz Novak 創下金氏世界紀錄的紀錄片,從斯洛維尼亞首都盧布里昂那出發到達阿拉伯公國沙迦市,3年又12天完成手推車徒步14,500公里的壯舉。

Nika Oblak &Primoz Novak雙人創作組
“ Nika Oblak & Primoz Novak ”向來以解剖當代媒體與資本導向社會的視覺與語言結構檢視之為名。語帶嘲諷荒謬,他們的機動錄像裝置質疑人類的價值與本質,探索人類與科技的關係。Oblak&Novak展覽遍佈全世界,沙迦雙年展、東京媒體藝術節、伊斯坦堡雙年展、林茲Cuvee雙年展、柏林Transmediale數位藝術節、聖保羅國際電子語言藝術節(FILE)等。

8. 販賣夢想(Dreams On Sale)/Vlad Buzaianu(羅馬尼亞)/2016/923


Vlad Buzaianu
Vlad Buzaianu 定居與工作於布加勒斯特,畢業於布加勒斯特大學商業研究與心理學,本片為他處女作。

9.模仿症候群(Syndromes Of Mimicry)/Anastasija Piroženko(立陶宛)/2016/18

是什麼可能將一家鄉村夜總會連結,那裡有歌手盲目地唱著流行的西方旋律,一名穿著輕騎兵制服的黑人啞巴獻花,與一班吸引尋找宗教認同的群眾之瑜珈課?「 模仿症候群」處理發生在立陶宛獨立之後的西方模仿概念,一系列的短篇速寫影像,諷刺性影片呈現多種社會政治文化領域身分尋求的嘗試。

Anastasija Piroženko
立陶宛音像藝術家與電影導演,現在定居於阿姆斯特丹,2012年取得維爾紐斯藝術學院攝影與媒體藝術學士,2016 年獲得荷蘭電影學院電影碩士學位。Anastasija的藝術實踐橫跨電影,錄像與攝影。家庭社群與烏托邦是她創作主要題材,她的影片時常在虛構與真實間取得平衡。

10. 後現代先鋒頭銜(The Postmodern Pioneer Plaque)/Boris Kozlov(塞爾維亞)/2016/751
1973美國天文學家Carl Sagan太空梭先鋒10號設計「先鋒」金屬板,是人類首度對外星文明發送訊息,40年後的今天,世界齊聚發送一項新訊息....

Boris Kozlov

11. 謎失(Lost)/ Marius Gherasim(羅馬尼亞)/2015/439

「謎失」是一部匯聚許多圖像形成幽閉恐懼韻律展現象徵意義的影片,古老宗教失去功能,機械與科技形成一種新靈性,亙古的象徵幾乎的幽默的,意義與無意義融合成「即將來臨」(what is to come)。

Marius Gherasim

來自布加勒斯特的Marius Gherasimg曾是一名搖滾音樂人,後來對平面設計有興趣進入國立布加勒斯特藝術大學就讀,不久又決定放棄工業設計投入電影,現在他與同好共同創作電影攝影與繪畫。

12. 夏日童話(Summertale)/Katarzyna Kozyra(波蘭)/2008/1956


Katarzyna Kozyra
1963年生於華沙,波蘭知名雕塑家攝影家行為藝術家電影導演錄像藝術家。Kozyra是波蘭「批判藝術」(Critical Art)藝術運動發展的代表人物,影響當代文化塑形,時常形成更廣泛討論的起點。1999年,她以錄像裝置「男子浴場」(Men's Bathhouse)榮獲第48屆威尼斯雙年展榮譽提名。2011年取得華沙藝術學院博士學位。2013 年美國「哈芬頓郵報」(Huffington Post )讚譽Kozyra為千禧年最重要的女性藝術家之一。

13. 好狗魯夫(Dog Luv)/Ciprian Mureşan(羅馬尼亞)/2009/31

本作於2009 年威尼斯雙年展羅馬尼亞國家館展出,呈現五隻狗布偶的對話,這五位「犬機器共和國」成員討論從古希臘迄今的人類史,喜好殘忍、酷刑與處決。牠們的對話交流是以羅馬尼亞劇作家 Saviana Stanescu所寫的文本為基礎,這場景在極具晦暗的舞台以正式卻形而上的方式演出狗群試圖定義非人性的界限。

Ciprian Muresan
1977出生於羅馬尼亞,2009年曾以「好狗魯夫」(Dog Luv)代表羅馬尼亞參加第53屆威尼斯雙年展,作品曾在巴黎龐畢度藝術中心芝加哥文藝復興協會(Renaissance Society),紐約新博物館(New Museum)以及第17屆雪梨雙年展展出。Mureșan為東歐最具影響的藝術期刊之一IDEA arts+sosiety編輯團隊成員之一,他近期創作涵蓋繪圖、動畫電影、攝影、雕塑與錄像,以1989年後的後共產主義情境出發,創作著眼於文化認同與集體化過程的議題。

14. 審判(Judge)/Zaneta Vangeli(馬其頓)/2001/102

「審判」是一部實驗敘事劇情片,是關於一位年輕導演拍攝首部電影「審判」自身指涉的故事,另類刻畫惡魔的形貌,對於藝術與政治極為投入。本片試圖聚焦否定法原則,藉由差異化與否定上帝來接近祂。惡魔最有意義同時又是矛盾投射之一是「...事實上沒有所謂上帝的選民(Chosen People),沒有同謀,而只有單純的自我投射...

Zaneta Vangeli
生於1963年,是位多媒體藝術家,從事繪畫,裝置,錄像與電影創作。自2008年起擔任馬其頓斯科普耶(Skopje)聖西里爾與梅托底烏斯大學( Ss. Cyril and Methodius University)繪畫系教授(1963) 。「審判」是她首部電影,於2002 年第59屆威尼斯影展首映 ,她曾在許多國際當代藝術館/影展舉辦個展與聯展,如斯德哥爾摩現代藝術館, 維也納路德維希(Ludwig)現代藝術館卡塞爾 費德里克博物館(Fridericianum)拿波里卡沙里亞(Casoria)當代藝術館史特拉斯堡現代暨當代藝術館聖保羅影音博物館法蘭克福德國電影博物館等。

15.怪獸遺千年 (The Beast is still alive)/Mina Mileva &Vesela Kazakova (保加利亞)/2016/ 90

對觀者而言,社會主義的罪行與其信奉者是無法和解的,一位保加利亞年輕女子公開她祖父的祕密入黨檔案,1920年代他同情保加利亞社會主義者,但在看到共產黨所造成的損害後,加入在保加利亞山區的Goryani 反共抗爭運動。使用動畫與祖孫兩人的半祕密對話,本片呈現年輕世代如何重新發現聲名狼藉的政客與前共黨信徒的歷史背景下的共黨意識型態

Mina Mileva & Vesela Kazakova
兩位導演擅於處理爭議議題,她們享譽國際的劇情式紀錄長片「東尼舅舅」(Uncle Tony)與「怪獸遺千年」 (The Beast is still alive)曾被保加利亞禁演,作品在歐洲電影產業引起廣泛討論與迴響。Mina主修動畫導演,畢業於布魯塞爾“La CAMBRE“視覺藝術學院與索菲亞電影學院,1996年以動畫導演與執行製片身分進入英國動畫產業,2008Mina與多次榮獲各大獎項的演員Vesela Kazakova共同創辦”Activist 38”Vesela在保加利亞主修表演與經濟。

16.德拉古拉之境3(Draculaland3) /subREAL(Călin Dan, Iosif Király, Dan Mihălţianu)(羅馬尼亞)/1993/13

由於有限的裝置媒介,必須要使用錄影作為捕捉羅馬尼亞在柏林圍牆倒塌後的真實,一種對紀錄片方法過於複雜的真實。錄影機探索布加勒斯特公共空間,被45年共產主義摧毀的大都會,1990年代卻被西方消費主義入侵老舊公車可口可樂廣告到處張貼殘破的牆面,民眾一直嚼著口香糖,吉普賽孩童在鏡頭前跳舞,人民在獨裁者墓前爭吵著。快速跳接的畫面轉成長鏡頭,如整夜遊蕩的無人電車內部加入1989年後在羅馬尼亞立即爆發此情此景的小報引文,Bram Stoker所寫的「德拉古拉」摘文,穿刺者弗拉德(Vlad the Impaler)的史料等。這些迥異的影像描寫一個專制過去的幽靈仍困擾著現在。「 德拉古拉之境3」以相同的諷刺看待陷入從極權政體過渡到市場經濟的荒謬與採用嚴苛偏見詮釋相同過渡狀態的西方,將兩種觀點置於恐怖片次文化的符號下觀看。

subREAL(Călin Dan, Iosif Király and Dan Mihălţianu)
這三位羅馬尼亞藝術家於1990年組成subReal藝術創作團體,對於羅馬尼亞在1989年的政治變遷結果以觀念藝術與行為藝術反動,「德拉古拉之境」系列(1993-95)藉由使用多元文化與個人來源結合虛構與真實。「德拉古拉之境3」獲選為代表1993年威尼斯雙年展羅馬尼亞國家館展出作品。1993Dan Mihălţianu離開subReal單飛,展開個人的創作生涯

17.絕對藍鼻子(Absolut Blue Noses)/Blue Nose(俄羅斯)/ 2002/ 7 9

Blue Noses
由來自新西伯利亞的Viacheslav Mizin與凱薩琳堡的Alexander Shaburov於莫斯科組成「藍鼻子」藝術創作團體,以幾近搞笑胡鬧的行為錄像著名,創作界乎日常生活與藝術現象之間,看似半專業,半業餘的層次,事實上這種疏離當代文化的特性-諧擬,幽默,荒誕,正是藍鼻子的創作基本策略。

18. 東城故事(East Side Story)/Igor Grubić(克羅埃西亞)/2008/14

Igor Grubić
1969年生於札格列布,Igor Grubić認為藝術是一種道德與政治行動主義的形式,創作常實踐於公共場域,自1990年代早期以多媒體創作活躍,作品涵蓋限地製作介入公共空間、攝影與錄像。2000年開始從事紀錄片、 電視報導、公益廣告的製片與導演。創作展出於各大國際藝術節,如第四屆歐洲宣言展(Manifesta4)、第二屆地拉那雙年展(Tirana Biennial 2)、第50屆貝爾格勒十月沙龍(October Salon)、第11屆伊斯坦堡雙年展等。

19. 支點四(Support Points IV)/Jan Pfeiffer(捷克)/2016/ 3 18


Jan Pfeiffer
1984年生於布拉格,2006-2011 年就讀布拉格藝術學院,2002-2005年布拉格藝術設計學院,2011年紐約庫帕聯盟。參與捷克國內外許多展覽,獲獎包括 the Essl Art Award CEE (2009)Henkel Award (2011)。 Pfeifer 採用攝影,錄像,繪圖與動畫作為記錄工具,接著轉化成展覽概念與呈現的形式,意圖聚焦於地點的慣用傳統與其感知。Pfeiffer的作品基於分析日常情境與人們如何經歷這些情境,常指涉著特定地點,運動,其軌跡與對現實結構中自身處境的尋求

20. 地拉那色盲(Color Blind in Tirana)/Gentian Shkurti(阿爾巴尼亞)/2004/ 356


Gentian Shkurti
1977 年出生於阿爾巴尼亞,就讀地拉那藝術學院繪畫系,並曾擔任該校助理教授兩年,作品曾於巴黎龐畢度藝術中心卡塞爾文件展54屆威尼斯雙年展阿爾巴尼亞國家館紐約雀爾西(Chelsea)藝術館盧布里昂那 (Ljubljana)現代藝術館科索沃國家畫廊地拉那國家畫廊地拉那雙年展等國際展會展出。

21. 星星從何而生?(How Stars are born?)/Olson Lamaj(阿爾巴尼亞)/2015/ 43
本片呈現單純的意識型態衝突,使用相同的符徵傳遞不同的時代精神,絕非依賴藝術作品的過多話語框架,這是當代藝術所飽受的折磨。Olson 以混淆的影像與敘事粉碎「星星」的三維向度,僅是追溯轉變的意識形態重疊部份,將後現代生活風格彩繪於前共產國家與社會的爭議遺產層面之上的過程,而這過程生成一種潛在荒謬的狀態,「光輝昔日」的紀念碑與祖父報效黨國的故事繼續在現今消費主義文化的廣告與當地媚俗地操弄歐美象徵發酵,行星科學的敘事相對於「星星」意識型態建構的意義處於完全荒謬的地位,此為過渡社會的困境,對過去含混不清,對未來茫然無策,總是困惑以待。

Olson Lamaj
1985年生於地拉那,創作調查與阿爾巴尼亞當代生活與更為普世永恆的意義系統相關的社會與政治議題,Lamaj為地拉那MIZA 畫廊的共同創辦人之一,其創作計畫強調 符號過度飽和與神祕特質,幾乎與各種政治意識形態相關,作品作為一種現今的集體神話學,為新神話的投射與創造奠定基石。

楊衍畇(Yunnia Yang)

長期專注於超現實主義的研究,著迷於達利的「偏執狂批判」,楊衍畇極為推崇跨領域藝術的實驗精神與無限創意。她曾於2010年以論文〈瘋狂敘事‧建構神話-論達利以「偏執狂批判」創造之「晚禱神話」〉獲得世安美學論文獎,同年於英國舉辦的國際超現實主義研討會中發表〈論Jan Svankmajer電影「愛麗絲夢遊仙境」中兒童想像力之虐戀特質〉。憂心媒體過度影響到我們的精神生活,她曾在2011年於台北當代藝術館策劃製作「躁鬱症」影-音互動實驗表演。1997年取得於俄羅斯聖彼得堡大學藝術史碩士,2009年獲得國立臺灣師範大學美術研究所博士,期間她為藝術經紀公司、文化基金會、與國際書展單位策劃各類型的展演活動。自2011年起,她展開長程的策展研究計畫「俄羅斯與東歐當代藝術之後現代情境研究」,國際合作單位包括莫斯科當代藝術中心(俄羅斯、「聖彼得堡博物館之夜」執行委員會(俄羅斯)、布達佩斯路德威希當代藝術館國際當代藝術交流機構(匈牙利)、科隆Opekta藝術工作室(德國)、巴爾幹地區當代藝術中心,陸續由國內的當代藝術基金會與國家文藝基金會支持贊助。該計畫將會在未來以主題策展與出版專文實踐。2013年受波蘭媒體雙年展邀請策畫「末日感性:臺灣新媒體藝術展」,展出台灣藝術家吳季璁「水晶城市」及林珮淳「夏娃克隆」系列作品,吳季璁「水晶城市」獲得國際評審青睞,勇奪波蘭媒體雙年展首獎-藝術雜誌評論與編輯大獎(WRO 2013Award-Award of Critics and Editors of Art Magazines)2015926日至1115日於北美館舉辦「末日感性:臺灣新媒體藝術」波蘭返國展,將呈現「末日感性」策展意念的全貌,吳季璁、林珮淳、黃贊倫、黃致傑、陳依純、張徐展六位藝術家以新感性思維看待科技文明,處於消費主義與媒體社會影響的我們將會有更深刻的感受與省思。2018年策展人再度獲波蘭媒體雙年展主辦單位弗羅玆瓦夫新媒體藝術中心(WRO Art Center)之邀策劃「臺灣動畫藝術」(That is the Taiwanese Matinée)親子放映會,呈現九位臺灣藝術家實驗影像的創意巧思,獲得波蘭民眾的讚譽與掌聲。
2013年香港世界文化藝術節以「東歐芳華」為主題策畫「東+:東歐當代藝術展」,受邀於香港大會堂參與「想像東歐」國際座談會,在座談會中分享兩年來的研究觀察。2011年迄今,陸續於「典藏投資」、「藝術收藏+設計」發表多篇以俄羅斯與東歐當代藝術為議題的評論與觀察專文,香港中文大學「二十一世紀」雙月刊邀稿撰文「建構烏托邦的國家神話:二十世紀俄羅斯藝術發展」,於20142月號發表。除策畫反思科技文明的「末日感性:臺灣新媒體藝術展」(2013年波蘭媒體雙年展、2015年台北市立美術館),楊衍畇特別關注當代視覺文化的影響力,策畫各類創意錄像展覽,2014年於台北當代藝術館策劃「危奇觀」(Imagining Crisis)國際創意影像展,已國際巡迴至波蘭、塞爾維亞、保加利亞、哥倫比亞等國當代藝術中心與西班牙Loop錄像藝術節展出,2015-2016連續兩年榮獲世界歷史悠久的國際藝術影展-義大利阿索洛國際藝術影展(Asolo Art Film Festival)之邀,策劃「危奇觀」與 “TAIWAN VIDEA”台灣前衛影像展(2015)2016年該藝術影展主題展"生態作為動詞"(Eco as a Verb)與“TAIWAN VIDEA2.0:文化秘遇”。20175, 兩項錄像主題展更榮獲俄羅斯“普希金10號”當代藝術中心與俄羅斯反傳統藝術美術館之邀參加2017聖彼得堡博物館之夜。同年,獲臺灣藝術大學有章藝術博物館邀請策劃「纖動-生態作為動詞」國際錄像裝置藝術展(Fibering-Eco As A Verb)
此外,策展人楊衍畇獲義大利阿索洛國際藝術影展主辦單位邀請為這兩屆影展國際評審,並由評審團遴選為第34屆義大利阿索洛國際藝術影展國際評審團主席(2015)。歷屆策展在阿索洛國際藝術影展累積了口碑,2018 年主辦單位再度獲邀策劃第36屆影展「金磚視野」(BRICS Art)單元東歐/俄羅斯錄像研究專題展-「浮動心境」(The In-Between State of Mind)獻給在共產政權終結後經歷遽變並見證到人民如何擁抱新的資本主義生活方式的藝術家,感受到在這二元體制下的另類發展,以視覺詩意慧黠諷喻與創意想像回應這種後社會主義情境,2019年「浮動心境」獲邀於德國、拉脫維亞、斯洛維尼亞、匈牙利與羅馬尼亞等國巡映展出。楊衍畇博士現職為國立臺灣藝術大學雕塑系兼任助理教授。