2013年5月3日 星期五

News Release: Discovering‘ Pioneering Values’ in WRO Media Art Biennale 2013 ; Taiwanese Curator Reinterprets the Value of the Progress with ‘The Apocalyptic Sensibility’


News Release (2013.04.29)


Discovering‘ Pioneering Values’ in WRO Media Art Biennale 2013

Taiwanese Curator Reinterprets the Value of the Progress with ‘The Apocalyptic Sensibility’

        

         To celebrate the 50th anniversary of the birth of electronic art, the 15th WRO Media Art Biennale takes ‘Pioneering Values’ as the focal theme. From May 8 till May 11 of 2013, the opening programs will launch in the eighteen exhibition venues all over Wroclaw. WRO 2013 will have the debut of the New Media Art from Taiwan. Among 1500 works in the open call, the Taiwanese artists Lin Pey-Chwen’s ‘ Eve Clone’ and Wu Chi-Tsung’s ‘Crystal City’ are selected with the curatorial concept ‘ The Apocalyptic Sensibility’ of the Taiwanese curator Yunnia Yang.


The Apocalyptic Sensibility: The New Media Art  from Taiwan    


     The project ‘The Apocalyptic Sensibility: The New Media Art  from Taiwan’ in WRO 2013, curated by Yunnia Yang, will be held in the Ballestrem Palace in Wroclaw from May 9 till June 16, 2013. Without highlighting the progress of technology, the Taiwanese curator thinks that the advanced development of technologies in 21st century is unprecedentedly avant-garde and innovative. In this evolution, the life of human beings has been improved on a large scale, from solving problems to stimulating imagination, to breaking the boundaries, to challenging the unknown. In the human civilization, the pioneers express their foresighted visions and courage to make their dreams come true. As the Greek mythology of Prometheus, the cultural hero dares to offend the Gods to steal fire for human beings and to turn the darkness into the brightness.  The role of a pioneer has been always regarded as a pilot who leads ahead, but he might be a critical thinker. Under the excess obsession and the advanced development of technologies, could the human beings employ technologies rationally, as well as create the harmonious relations between technology, nature and humanity?

The 2012 Apocalypse of Mayans has gained attentions from the global audience. The theme on the Apocalypse has existed in our popular culture, such as films, novels and comics. It seems that the apocalyptic imagination doesn’t give so much impact to the normal life of human beings and doesn’t cause any overall panic. In the end of the 19th century, the apocalyptic imagination fused love, sex and death together, giving birth to the decadent aesthetics of ‘ Art Nouveau’. It is the point of no return for the contemporaries to enjoy the best love in the life and to indulge in the fin-de-siecle romanticism even if they were confronting the death. Owing to the globalization, mediation world, and technologization, the apocalyptic imagination in the 21st century is influenced by the simultaneous real-time transmission of the disasters; the reality replaces the imagination. The apocalyptic condition is namely the current situation of the human beings. The apocalyptic imagination might be regarded as an alternative for the survival issue: imagining the human beings to retreat to the utopia land we desire or escape into the virtual world. Walter Benjamin presumed that the postmodern culture is the most apocalyptic representation in the human civilization, regarding the progress as a storm. He predicted that the secret worries behind the advanced development of technologies might be the negligence and even negation of the human sensibility. The Apocalyptic complex is probably a turning point for the destiny of human beings. The attitude to the future is neither absolutely certain, nor positively on the bright side. The ambiguous and enigmatic uncertainty is exactly the perception the contemporaries are experiencing right now. The crisis might be a chance! As the progress is not the only option for human beings to take in the human civilization, ‘Pioneering Values’ doesn't mean to play the leading role in the age. The sensibility and the critical thinking that the Apocalyptic complex has caused will change the new generations’ values to the progress.

 In the human civilization, the pioneers express their foresighted visions and courage to make their dreams come true. As the Greek mythology of Prometheus, the cultural hero dares to offend the Gods to steal fire for human beings and to turn the darkness into the brightness. In 21st century, the advanced development of technologies is unprecedentedly avant-garde and innovative. In this evolution, the life of human beings has been improved on a large scale, from solving problems to stimulating imagination, to breaking the boundaries, to challenging the unknown. The role of a pioneer has been always regarded as a pilot who leads ahead, but he might be a critical thinker. Under the excess obsession and the advanced development of technologies, could the human beings employ technologies rationally, as well as create the harmonious relations between technology, nature and humanity?

The 2012 Apocalypse of Mayans has gained attentions from the global audience. The theme on the Apocalypse has existed in our popular culture, such as films, novels and comics. It seems that the apocalyptic imagination doesn’t give so much impact to the normal life of human beings and doesn’t cause any overall panic. In the end of the 19th century, the apocalyptic imagination fused love, sex and death together, giving birth to the decadent aesthetics of ‘ Art Nouveau’. It is the point of no return for the contemporaries to enjoy the best love in the life and to indulge in the fin-de-siecle romanticism even if they were confronting the death. Owing to the globalization, mediation world, and technologization, the apocalyptic imagination in the 21st century is influenced by the simultaneous real-time transmission of the disasters; the reality replaces the imagination. The apocalyptic condition is namely the current situation of the human beings. The apocalyptic imagination might be regarded as an alternative for the survival issue: imagining the human beings to retreat to the utopia land we desire or escape into the virtual world. Walter Benjamin presumed that the postmodern culture is the most apocalyptic representation in the human civilization, regarding the progress as a storm. He predicted that the secret worries behind the advanced development of technologies might be the negligence and even negation of the human sensibility. The Apocalyptic complex is probably a turning point for the destiny of human beings. The attitude to the future is neither absolutely certain, nor positively on the bright side. The ambiguous and enigmatic uncertainty is exactly the perception the contemporaries are experiencing right now. The crisis might be a chance! As the progress is not the only option for human beings to take in the human civilization, ‘Pioneering Values’ doesn't mean to play the leading role in the age. The sensibility and the critical thinking that the Apocalyptic complex has caused will change the new generations’ values to the progress

Eve Clone - the  Incarnation of Desire  

      Eve Clone’s identity and role is defined by presenting the woman depicted in The Book of Revelation ("The woman whom you saw is the great city, which reigns over the kings of the earth."). Through the use of large projections and computer interactive system, an image of an authoritative woman is shown in a self-rotating view of Eve Clone. The image is cloned and repeated in a delaying format. Displayed at the bottom of the image are chapters of scripts from The Book of Revelations of the Bible in five different language in Chinese, English, Greek, Latin, and Hebrew, Arabic to represent the powerful nation in human history. Through this, cloning is criticized for the disasters that it will bring upon the world, just like the image of the woman depicted in the Book of Revelations. Furthermore, to emphasize the vitality of Eve Clone, computer generated numbers are displayed as an indicator of her vital value. When viewers enter the site of the installation, the vital numbers will start to accumulate. As the audience leaves the installation site, the numbers stop and the Eve Clone’s skin color begins to fade, signifying that artificial life cannot be self-sustaining. The holy hymn played in the background represents the eroticization of Eve Clone’s artificial holiness.



Crystal City, Where Our Spirit Accommodates

        The impulse of human progress origins from improving the current living condition, with expectation to have more links and communications with the world. The 21st-century information technology not only satisfies our ubiquitous connections and sharing, but also makes us obsessive with this virtual reality that the technology simulate.  The projection of human desire reflects the inner reality that human beings believe. Wu Chi-Tsung takes his work ‘Crystal City ’as a metaphor that the contemporary life is manipulated by the medium and technology. It seems so illusional, but so real at the same time. As a viewer perceives well such a world this kind of contemporary life turns into, he will find there is a lifelike  rhythm as a crystallization. Surprisingly, such a complicate concept is realized in a creative and critical approach of representation. The light source rotates along with the kinetic installation; its projection turns the objects into a transparent spiritual shelter. In fact, these objects are plastic boxes that we waste too much in the daily life. The artist regains their value by means of his creativity. With the conscious of environmental protection, ‘Crystal City ’ has introspection about the development of human materialistic civilization, as well as the mental therapy of human obsession with the technology. In comparison with the majority of new media artworks that show virtuosity of the advanced technology , Wu Chi-Tsung traces back to the origin of an image- Plato’s Allegory of the Cave, a metaphor that human beings misbelieves the illusion of an image. However, it reflects that the image is the real quality of mental world. 


The Apocalyptic Sensibility: The New Media Art from Taiwan


Curator : Yunnia Yang

Artists & Works : Lin Pey Chwen The Revelation of Eve Clone】、【The Portraits of Eve Clone; Wu Chi-Tsung  Crystal City 002


Opening Ceremony: 10 pm , May 9, 2013 (Thursday)

Exhibition Period:  May 9 – June 16, 2013

Exhibition: Ballestem Palace, Wroclaw, Poland

Organizer: WRO Art Center(Poland), VS performer’s body(Taiwan), Lin Peychwen Digital ArtLab. (Taiwan)

Sponsor: Ministry of Culture, R.O.C.(Taiwan)/Ministry of Foreign Affairs, R.O.C. (Taiwan)/Department of Cultural Affairs, Taipei City Government(Taiwan)/ Department of Cultural Affairs, New Taipei City Government(Taiwan)


Curator: Yunnia Yang(楊衍畇)


Expert in Surrealism. Fascinating with Salvador Dali’s ‘Paranoiac Criticism’, Yunnia Yang has an insight into the experimental spirit and unlimited creativity of interdisciplinary arts. She has received the S-An Aesthetics Award with the thesis “Irrational Narration. Myth Making: On the ‘ Angelus myth’ created by Salvador Dalí with the concept ‘ Paranoiac-Criticism’” in 2010. In the same year, she has delivered the academic paper ‘Uncovering Alice’s Cabin of Curiosities: on the Sadomasochism of Infantile Imagination in the film ‘Něco z Alenky’ of Jan Švankmajer, in the 6th International Symposium of Surrealism in United Kingdom.

For the concern of the impact of media obsession in our lives, Yunnia has curated the experimental performance ‘Manic Depression: The Shadow-Image-Sound Complex’ in the Museum of Contemporary Art (MOCA) in Taipei in 2011.


Yunnia Yang has received the Master degree in Art History from St. Petersburg State University in Russia in 1997, and Doctor degree in Arts from National Taiwan Normal University in 2009. During this period, she managed all kinds of exhibitions, performances, and art events for the institutions of arts, literature and culture in Taiwan. Since 2011, she has launched the long-term curatorial research on ‘ The Postmodern Condition in the contemporary art of Russia and Eastern Europe’ in cooperation with the following art institutions: National Center for Contemporary Arts in Moscow(Russia), the Executive Committee of ‘ Night of Museum in St. Petersburg’(Russia), Agency for Contemporary Art (ACAX) of Ludwig Museum in Budapest(Hungary), Opekta Ateliers Köln(Germany), Contemporary Art Foundation(Taiwan), and National Culture and Arts Foundation(Taiwan). This project will be realized in form of thematic exhibitions and monographs.


Artist : Lin, Pey Chwen(林珮淳)


Lin, Pey Chwen received her doctorate degree of Creative Arts from University of Wollongong in Australia. She is the founded member and chairman of Taiwan Woman’s Art Association and Space II. She was invited to exhibit her works in many national and international art galleries and museums such as National Taiwan Museum of Fine Arts, Taipei Fine Arts Museum, MOCA Taipei, Kaohsiung Museum of Arts, Queens Museum of Art in USA, and several important Biennials and festivals such as Media Art Biennale in Poland, Taipei Art Biennial, Taiwan Biennial, Exit and VIA Art Festival in France, 404 Festival of Art and Technology in Argentina,  Many of her works were recorded in art books including History of Contemporary Taiwan Woman Artists, Installation Art in Taiwan, Taiwan Contemporary Art, Taiwan Modern Art Series, The History and Development of Digital Art, Art of Taiwan, Digital Aesthetics, Art Island - An Archive of Taiwan Contemporary Artists, High School Art Textbook, Yearbook of Chinese Contemporary Art and Asian Who’s Who in Singapore, and “n.paradoxa” which is one of the most important international feminist art Journals in the world. She is the art professor and the director of Digital Art Lab in National Taiwan University of Arts.



Artist: Wu Chi-Tsung(吳季璁)


Wu Chi-Tsung was born in Taipei, Taiwan (1981), and currently lives and works in Taipei, Taiwan. Wu received his Bachelor of Fine Arts from the Taipei National University of the Arts in 2004. His work, in which he devotes great attention to the methods used in producing and interpreting images, spans across different media, including photography, video, and installation art. In 2003, he received the top prize of the Taipei Arts Award, and in 2006 was short-listed for the “Artes Mundi” prize. He has had several solo exhibitions, including at IT Park (Taipei, 2004 and 2009) and Chi-Wen Gallery (Taipei, 2009), and his work has been included in group exhibitions, such as THE ELEGANCE OF SILENCE (Mori Museum, Tokyo, 2005), Artes Mundi (National Museum of Cardiff, United Kingdom, 2006), OUR FUTURE, THE GUY AND MYRIAM ULLENS FOUNDATION COLLECTION (Ullens Center for Contemporary Art (UCCA), Beijing, 2008), and TAIWAN CALLING - THE PHANTOM OF LIBERTY / ELUSIVE ISLAND (Műcsarnok - Kunsthalle, Budapest, 2010).

新聞稿:末日感性:臺灣新媒體藝術展 The Apocalyptic Sensibility: The New Media Art from Taiwan [ 2013.05.09-06.16; Ballestrem Palace in Wroclaw, Poland]


新聞稿 (2013.04.29)

 

 

波蘭媒體藝術雙年展以「創新價值」為主題

臺灣策展人以「末日感性」反思進步的意義

林珮淳「夏娃克隆」與吳季璁「水晶城市」揭露當代人的慾與癒

 

      

      位於波蘭西南部的弗羅茨瓦夫(Wroclaw)東歐最大規模的新媒體藝術節-波蘭媒體藝術雙年展(WRO Media Art Biennale)舉辦的城市亦是2016年歐洲文化首都,自1989年改革開放,旋即於該年創辦波蘭媒體藝術雙年展,展現全世界最優秀媒體藝術的實踐成就,在藝術的脈絡中討論此一主題,強調以獨特方法看待藝術的科技與全球趨勢如何影響藝術家,重視崇高文化與普普藝術的融合,關注當代藝術如何不斷改變角色。波蘭媒體藝術雙年展以公開徵件的國際競賽為矚目焦點,每屆雙年展以特定主題呈現新媒體發展的時代精神與當代生活的關係,如2009年的主題為「擴增城市」(Expanded City)、2011年為「另類當代」(Alternative Now),並邀請國際策展人客座規劃新媒體特展、現場表演、主題座談會等一系列活動。

 

    15屆波蘭媒體藝術雙年展為慶祝電子藝術誕生五十週年,將主題定為「創新價」(PIONEERING VALUES),將在201358日至511日於弗羅茨瓦夫全城遍及國家博物館、白鸛猶太會堂、果托夫斯基學院等18處展區舉辦開幕活動,受邀展出藝術家之中包括實驗聲光音像的先驅者Steina & Woody Vasulka, 知名實驗錄像與行為藝術家Valie Export行為藝術與身體藝術的先驅者Carolee Schneemann等新媒體藝術史的代表人物,更顯得此一媒體雙年展在國際藝術界具有舉足輕重的地位,主辦單位弗羅茨瓦夫新媒體藝術中心(WRO Art Center)有企圖成為波蘭的卡斯魯爾新媒體藝術中心(ZKM)

 

除邀請國際大師級的新媒體藝術家展出外,波蘭媒體藝術雙年展另一矚目焦點是對外公開以主題進行國際徵件,由臺灣策展人楊衍畇以「末日感性」(The Apocalyptic Sensibility)的策展論述,邀請臺灣新媒體藝術家共同參與國際徵件競賽,主辦單位從超過1500件作品中選出林珮淳的《夏娃克隆》與季璁的《水晶城市》,台灣新媒體藝術於東歐的頂尖新媒體藝術節首度展出,獲選163組藝術家或藝術團隊中,多半是來自歐美國家,亞洲國家還有4位日本藝術家及2位香港藝術家受邀,足見臺灣新媒體藝術的實力廣受國際各界肯定。 此外,每屆雙年展設有新媒體大獎(WRO Grand Prize)、藝評與藝術雜誌編輯獎( Critics’ and Art Magazine Editors’ Prize)與觀眾票選獎( Public’s Choice Award),肯定國際新媒體創作者的長期努力與創意成就。

 

     本屆雙年展的節目企劃焦點包括歐洲首映加拿大導演Marielle NitoslawskaCarolee Schneemann身體藝術為主題的新片「突破框架」(Breaking the Frame);由2007年與2013年威尼斯雙年展克羅艾西亞國家館策展人Branko Franceschi規劃的「映像旋律:1966-1976年社會主義時期南斯拉夫的迷幻影像」(Tune in Screening: Psychedelic Moving Images from Socialist Yugoslavia 1966-1976)回顧展,屢次獲獎、來自德國的實驗音像團體incite/ 帶來現場表演的新作「局部媒體」(Fragmented Media);由德國藝術家Karl Heinz Jeron取自大眾運輸工具中的手機談話段落創作機器人歌劇「赫爾墨斯」(Hermes);甫獲2012年日本媒體藝術大獎的「鐘擺合唱團」(Pendulum Choir),為瑞士新媒體藝術團體Cod.Art巧思異想的現場表演;奧地利藝術家Lucas Aubela 向民眾募集黑膠唱片創作裝置「黑膠大會師」(Vinyl Rally),將展開百「膠」爭鳴的聲音競賽;香港新媒體藝術家Eric Siu觀察到宅男現象反思人際關係,創作人機一體的互動相機「觸碰我」(Touchy);西班牙藝術家Neil Harbisson因天生完全色盲而僅能看到黑白世界,安裝「機械眼」(Eyeborg)的電子裝置後,色彩轉化成聲音頻率,使他聽見影像!

 

 

策展論述:末日感性  

   

    由策展人楊衍畇策畫「末日感性:臺灣新媒體藝術展」,即將在59日至616日於十九世紀末建立的巴勒斯垂姆宮(Ballestrem Palace)登場,非以人類科技進步作為創新價的思考起點,策展人認為二十一世紀的科技文明已是前人所無法想像的前衛與創新,這個進程中大幅度地改善人類生活,由解決問題到滿足慾望、激發想像力,或是突破界線、挑戰未知。人類文明史上的先驅者具有前瞻性的遠見與實踐的魄力勇氣,如同為人類盜火的普羅米修斯,敢於承受眾神之怒,將黑暗的現狀轉化成明日的光明。先驅者的角色一直是領航者衝鋒陷陣,但也可以是個反思者,當過度擁有與高度發展科技,眾人是否能理性使用科技,又能感性地將科技、自然與人性完美調和?

 

    2012年馬雅末日預言激起全球觀眾的關注,末日主題的電影與文本向來就存在於流行文化中,對末日的想像似乎並不影響人類生活的正常步調,也不至於造成全面性的恐慌。十九世紀末對末世的想像揉合愛情、性慾、死亡,誕生了廢美感的「新藝術」,即便是瀕臨死亡的生命仍是要享受生命中最美好的情愛,耽溺於末世的浪漫情懷。二十一世紀對末日的想像,歸因於全球化、媒體化、科技化,即時同步地傳送在觀眾面前的災難現實,現實取代了想像,末日情境正是現今人類的處境,末日想像反倒成為另一種生存選項,想像人類隱退到心目中所想要的桃花源,或是逃離現實避居於虛構的網路世界中。班雅明認為後現代文化是人類文明中最為末世的再現,將進步視為風暴災難,預見高度科技文明背後的隱憂,是另一種人文感性的偏廢。末日情結或許是一種對人類命運的轉機,對未來的看待不是對的確定性,也不是肯定的光明面,曖昧神祕的不確定正是人類當下所面對的感受。危機或許即是一種轉機,當進步不再是人類文明發展唯一的選項,創新價也不再意謂著走在時代尖端的領導地位,末日情結所引發的感性與反思將會改變新世代對進步的價觀。

 


慾望化身  夏娃克隆

  

    根據聖經〈示錄〉,在末日之時,各族、各國的人類凡在額頭與右手被蓋有獸印666者,皆無法逃惡獸的挾制。林珮淳的《夏娃克隆系列》,借用聖經題材,創造出一個人獸同體的意像,夏娃克隆,以此呈現「惡」的概念,並引申科技文明對人類的危害。《夏娃克隆系列》以3D動態全像呈現夏娃克隆人獸同體的意像。夏娃額頭上刻有中文、阿拉伯文、埃及文等象徵獸印的數字666展出作品《夏娃克隆肖像》全像投影於壓克力材質的透明黑框中,看起來仿如具具死體標本,但又因著夏娃的眼神會隨著觀者之移動而轉動,這些肖像瞬間又具有生命活力。藝術家藉此表達科技(無機)與自然(有機)之間的張力與不安。代表獸印的數字666,除了印在夏娃額頭上,同時也出現在右手上。獲邀作品《夏娃克隆啓示錄》以大型投影及程式運算之多重影像來展現此具有權柄的女人形象,一幕幕的的夏娃克隆以360度連續自轉並重複延遲撥放,影像底部呈現五種語言的聖經示錄章節,藉此批判克隆複製工程的物將帶來的災難,猶如聖經示錄紀載那女人的形象。另外,為了強調夏娃克隆的生命力,特別以電腦自動運算的數字來表達生命指數,當觀眾進入裝置現場時,生命的指數就動並累計,又當觀眾離去時,生命指數則停止,而夏娃克隆身上的顏色也逐漸褪去,表人工生命的無法自主。藉此作品,藝術家希望能觸發觀眾對科技與文明更深刻的省思。

 

精神癒所  水晶城市

   

    人類進步的動能源於改善生活現狀,並期待與外界有更多的連結與溝通,二十一世紀的資訊科技不但滿足我們無遠弗屆的訊息連結與分享,更使我們對科技所塑造的虛擬世界著迷與依存,人類慾望的投射才是在所相信的真實世界。藝術家季璁以《水晶城市》隱當代人類生活受這些科技媒體宰制,看似虛幻卻又如此真實,仔細體會感受到此般生活所構築的世界,有著某種如生命的律動感,亦如晶體般蔓延生長。令人驚艷的是如此複雜意念的創作卻以極具創意亦富有批判性的再現手法完成《水晶城市》系列,光線隨著機械動力裝置的轉動,將所投影的物件幻化成具有穿透性的精神寓所,該物件竟是塑膠盒,現代人類所大量耗費的塑膠材質,拾回再重新尋找它的使用價,具有環保意識,並反思人類物質文明的發展,更有另一種精神「癒」所的隱。相較於許多新媒體作品一味強調應用先進的高科技達到炫技效果,季璁不以炫技取勝,回歸到視覺藝術的源起特質,柏拉圖的洞穴論隱人類對於幻象的誤信,卻也反映著幻影在心靈層面的真實特質。


「末日感性:臺灣新媒體藝術展」

The Apocalyptic Sensibility: The New Media Art from Taiwan

 

策展人:楊衍畇

藝術家&展出作品:林珮淳【夏娃克隆啟示錄】、【夏娃克隆肖像】

                               吳季璁 【水晶城市002

 

開幕日期: 201359

展覽日期:201359日至616

展覽地點:Ballestem Palace, Wroclaw, Poland

主辦單位:波蘭弗羅茨瓦夫新媒體藝術中心(WRO Art Center) 、境遇者劇像體(VS performers body)、林珮淳數位藝術實驗室(Lin Peychwen Digital ArtLab.)

贊助單位:中華民國文化部、外交部、台北市文化局、新北市文化局

                                            

 

策展人簡介

楊衍畇(Yunnia Yang)
yunnichka.yang@gmail.com
 

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),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。

 

 


藝術家簡介

林珮淳

 

1995 年獲澳大利亞國立沃隆岡大學藝術創作博士,為「2 號公寓」及「台灣女性藝術協會」創始會員及理事長,作品展於國內外重要藝術中心,如紐約皇后美術館、台灣國立美術館、台北市立美術館、 高雄市立美術館及台北當代藝術館等,以及重要雙年展與藝術節,如波蘭媒體藝術雙年展、台灣美術雙年展、台北藝術雙年展、法國 Exit and Via 藝術節、阿根廷404電子藝術節等。作品被記錄於重要藝術相關書籍如:《英國女性藝術美學期刊》n.paradoxa international feminist art journal 、《藝術、性別與教育》、《台灣當代女性藝術史》、《台灣當代裝置藝術》、《台灣當代藝術》、《台灣當代美術大系》、《數位藝術概論》、《台灣美術史》、《數位美學》、《高中美術課本》、《台灣當代藝術名人錄》、「中國當代藝術年鑑」、「亞洲名人錄」(Asian Whos Who)等。目前為國立台灣藝術大學多媒體動畫藝術學系新媒體藝術研究所教授暨數位藝術主持人。

 

 

吳季璁

1981年出生於臺灣臺北,目前工作、生活於臺北。 其關注於影像的生產過程以及人們認知影像的觀看方式,作品形式包含錄像、攝影、及裝置。2003年獲「臺北美術獎」首獎,2004年於伊通公園畫廊(IT Park)舉辦首次個展《吳季璁個展》,同年於台北藝術大學取得藝術學士學位, 2006年入圍「英國世界藝術獎」(Artes Mundi Prize),2009年分別於臺北伊通公園畫廊、臺北其玟畫廊(加英文)發表兩次個展《水晶城市》、《小品》。