末日感性:臺灣新媒體藝術展
策展人：楊衍畇
參展藝術家:
林珮淳 /吳季璁 / 黃贊倫 / 黃致傑 / 陳依純 /張徐展
展期: 2015.09.26 (六) ~ 2015. 11.15 (日)
地點: 台北市立美術館E展覽廳(B1)
開幕:2015.09.25 (五) 下午2點
The Homecoming Exhibition from WRO Media Art Biennale 2013 "The Apocalyptic Sensibility: The New Media Art from Taiwan"
⋯⋯
Curator: Yunnia Yang
Partcipating Artists:
Lin Pey-Chwen/ Wu Chi-Tsung/ Huang Zan-Lun/ Scottie Chih-Chieh Huang/ Chen I-Chun/ Zhang Xu-Zhan
Exhibition Period: 2015.09.26 (Sat.) ~ 2015. 11.15 (Sun.)
Exhibition Venue: Taipei Fine Art Museum E Gallery(B1)
Vernissage:2015.09.25 (Fri.) 2 pm
東歐最大規模的新媒體藝術節「波蘭媒體藝術雙年展」(W
To celebrate the 50th anniversary of the birth of electronic art, the 15th WRO Media Art Biennale takes ‘Pioneering Values’ as the focal theme of the international competition. Among 1500 works in the open call, the Taiwanese artists Chi-Tsung Wu ’s ‘Crystal City 002’ and Pey-Chwen Lin’s ‘ Revelation of Eve Clone Revelation’, ‘Portrait of Eve Clone’ are selected with the curatorial concept ‘ The Apocalyptic Sensibility’ of the Taiwanese curator Yunnia Yang. She responds to ‘Pioneering Values’ that being innovative is not necessarily an avant-garde pioneer, it is more crucial to introspect the meanings and the influences that technology brings human beings. The Homecoming Exhibition from WRO Media Art Biennale 2013 ‘The Apocalyptic Sensibility: The New Media Art from Taiwan’ will give a complete picture of the curatorial philosophy ‘ The Apocalyptic Sensibility’ with the works of the six Taiwanese artists: Lin Pey-Chwen , Wu Chi-Tsung ,Huang Zan-Lun, Scottie Chih-Chieh Huang, Chen I-Chun , and Zhang Xu Zhan. They look into the technologized civilization with new sensibilities so that we will have deeper perceptions and contemplations about the consumerism and the media society which we live in.
策展論述
Curatorial Philosophy
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
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 excessive 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?
2012年馬雅末日預言激起全球觀眾的關注，末日主題的
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-siècle romanticism even if they were confronting the death. Owing to the globalization, mediatization 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.
對進步的憧憬是源於對美好人生的渴望，大眾媒體與消費文
The human beings’ longing for the progress originates from the expectation of a better life. Owing to the overwhelming influences of mass media and consumerism, the contemporaries have more desires about their own material life, possessing more visible luxury and lacking more spiritual life. Inspired by the concept of Eve in the Book of Revelation,Lin Pey-Chwen creates ‘ Eve Clone’ as an incarnation of desire itself, cloning herself and sustaining her life in the form of artificial life. The gaze of a viewer is her nutrient. As the viewer notices this uncanny visual relationship, he couldn’t help gazing at her enchanted images. Only if he keeps certain distance from her, he could repress his inner disturbances. The virtual world and the community connections that digital media constructs is not only a temporary spiritual healing place for the loneliness of the contemporaries, but also an imaginative expansion of future world. Undoubtedly, the contemporary real life is manipulated by this invisible spiritual domain. Wu Chi-Tsung transforms masterly the plastic boxes that the human beings overconsume and dispose of into ‘Crystal City’, not merely ironizing implicitly the contemporary consumerism, but also waking up the viewers to review the essence and the beauty of an object. They will find there is a lifelike rhythm as a crystallization. We all know how hard it is to resist one’s desire. The process of one’s inner battle and self-compromise day after day is like a ritual of survival. Huang Zan-Lun’s ‘Double’ implies this helplessly repetitive dilemma. Ingestion is one’s life instinct, but desire is the overexpression of one’s id. In the video ‘Double’, two human-deer hybrids automutilate and cannibalize each other; the sadomasochistic sacrifice becomes a law of desire. Nowhere such humanity leads human civilization to. In the three videos ‘Beautiful Day’, ‘The Piggy Song’, and ‘Very Funny – An Instant Imagination of a Disaster’ created by Chen I-Chun, the images under the incidental music sounding like a music box implies that the media hypnotizes the audience with sweet lies to cover up the dangers everywhere in our living environment. Once an incident has happened after a while, the instant attentions fade away as if the public and mass media get amnesia collectively. However, the physical pains and the psychological traumas victims never can get over with are not able to stop repeating the tragedy itself. The ubiquitous impacts of the media are like water that bears the boat is the same that swallows it up. Zhang Xu Zhan’s ‘Ritual of Cathode Ray Tube’ implies that the media manipulates collective consciousness so recklessly that the public deprived of the free will has nothing left but an empty corpse; eliminating the discordant voice to search for the conformity hides the crisis of killing creativity and imagination. How could we get out from such a dilemma? The notion of achieving the progress inclines to think about the relationship between human beings and the universe involving human subjects. The notion such as ‘Man is the master of his own fate’, ‘ Man can conquer the universe’ is of the Western mainstream values; ‘Return to innocence’, ‘Harmony between man and nature’ is the thinking with oriental spirit. The pure aesthetic relations of returning to nature is that Scottie Chih-Chieh Huang intends to retrieve the simple touching moments in his works ‘Dandelion Mirror’ and ‘Light Machine’ . In the former work, he conveys the pleasure of the overlapping of one’s mirror image and a dandelion’s image, as the appreciation of the Nature gives a viewer joyfulness. Imitating the shape of a plant’s stem, ‘ Light Machine’ shows its structural beauty under the lights and shades. Admiring the greatness of the Nature’s Order, we human beings should think over how to treat the Nature in a more modest attitude.
《夏娃克隆肖像》2010-2012
創作者: 林珮淳
在《夏娃克隆肖像》系列中，以3D動畫形塑人蛹及人獸合體的的臉部形象，額頭上印有中文、英文、阿拉伯文、埃及文等「666」獸印之文字，喻表各族、各民、各國，無論大小、貧富、自主的、為奴的，凡在額上受有獸印的，在末世大災難中皆無法逃脫獸的挾制(啟示錄 13:16)。所表現的動態全像（Hologram）高科技媒材與壓克力透明材質黑框，展現她各種角度的動態姿勢與眼神，當觀者左右移動觀看肖像時會驚奇的發現她的眼神也注視著觀者，似乎是具有生命之活體，在美貌的底層暗藏著誘惑的危機，藉此反思人類以科技挑戰神的原創，終將面臨被科技控制的命運。
《Portrait of Eve Clone》 2010-2012
Author: Pey-Chwen Lin
3D Hologram, Acrylic Frame,
Spotlight
46x57.5x4cm each piece
In the series of ‘Portrait of Eve Clone’ , the
facial images of human-cocoon and human beast are created by 3D animation. In
the forehead there are beast imprints ‘666’ in Chinese, English, Arabic,
Egyptian, etc. As the Revelation
depicts, He causes all, the small and the
great, the rich and the poor, and the free and the slave, to be given marks on
their right hands, or on their foreheads; (Revelation 13:16) Through the high-tech hologram and black acrylic frame, the gesture and
the gaze of Eve Clone are shown in various angles. When a viewer looks at the
portrait to his left or right, he will find out surprisingly her gaze back at himself
as if she is a living being.
Behind the beautiful look lurks a crisis of
temptation. This work gives us introspection abut that human beings challenge
God’s originality with technology and eventually they will face to the fate of
being manipulated by technology.
《夏娃克隆啟示錄I》2011
創作者: 林珮淳
影像互動裝置(3D動畫、電腦、互動系統、網路攝影機、投影機、音響)
投影尺寸依場地而定
「夏娃克隆」是林珮淳所形塑人類以科技文明所創造之人工生命產物，除了具有突變之人蛹或人獸合體之形像外，額頭與右手都有
「666」獸印喻表科技產物將 反撲控制人類(啟示錄 13:16～18）。藉此《夏娃克隆啟示錄》大型互動投影裝置
批判克隆複製科技產物猶如聖經啟示錄記載那富有權柄的女人的形象：你所看見那淫婦坐的眾水、 就是多民多人多國多方。(啟示錄 17:15）、你所看見的那女人、就是管轄地上眾王的大城。(啟示錄 17:18)
影像裝置中「夏娃克隆」以360度連續自轉並重複延遲播放表現其複製性，而影像底部則以六種語言的聖經《啟示錄》章節來敘述與定義 「夏娃克隆」的角色與 終極命運。另外，為了強調「夏娃克隆」具有的人工生命力，特別以電腦自動運算的數字來表達其生命指數，當觀眾進入裝置現場時，生命的指數就啟動且顯示的電腦時間碼（Time Code)是與人類同時活在當下的毫秒，聖詩般的背景音樂，而加重了「夏娃克隆」如大偶像般的崇高性，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成黑白，喻表人工生命的無法自主，也藉此提出人類驕傲以科技挑戰神的原創終必無法取代真正的生命，人類所發展的科技，雖具有無限的吸引力，但也控制了人類的命運，正走向聖經所預言的末日大災難。
《 Revelation
of Eve CloneI》2011
Author: Pey-Chwen Lin
Interactive Installation (3D
Animation, Computer, Interactive System, Web Cam, Projectors, Stereo)
Dimensions Variable
‘ Eve Clone’ is the artificial life that Pey-Chwen Lin
creates with the help of technology. Besides her mutated look of human-cocoon
or human-beast, in the forehead and the right hand of Eve Clone there are the
beast imprints ‘666’ implying that technology products will revenge and
manipulate human beings. (Revelation 13:16～18）. By means of the large interactive installation
‘Revelation of Eve Clone’, Pey-Chwen Lin criticizes the clone of technology
products with the powerful female image that the Book of Revelation depicts:
He said to me, "The waters which you saw, where
the prostitute sits, are peoples, multitudes, nations, and languages.
(Revelation 17:15) The woman whom you saw is the
great city, which reigns over the kings of the earth." (Revelation 17:18)
In this installation, the image of ‘Eve Clone’ continues 360 degree rotation and repeats playout delay to represent its reproducibility. At the bottom of the image there are the quotations from the Book of Revelation in six languages to narrate and define the role of ‘Eve Clone’ and her ultimate fate. Moreover, the numbers that the computer calculates automatically represent her life index to emphasize the artificial life power of ‘Eve Clone’. When a viewer enters into the installation, he turns on her life index showing the Time Code which is the millisecond which human beings and she live in. The hymnlike incidental music enhances the idol-like sublimity of ‘Eve Clone’. As the viewer walks away, the life index stops so that the color of ‘Eve Clone’ turns into black-and-white color. It implies artificial life is not able to be independent. The artist proclaims that human beings challenge God’s originality proudly with technology which they cannot replace real life by. Although the technology human beings develop is extremely charming, it manipulates human destiny leading to the Apocalyptic catastrophe that the Bible predicts.
《水晶城市002》 2009
創作者: 吳季璁
機械動力裝置 (金屬、馬達、LED、塑膠容器)
裝置尺寸依場地而定有另一個不可見的世界，但我們每日生活其中，它是由電子設備、程式、網絡、媒體、訊息所構築，我稱它為「水晶城市」。用水晶命名，是因為它就像晶體般的成長，其中的各個元素，按一定的內在規律與邏輯自動地組構衍生，無盡地蔓延擴張。它是如此透明、輕盈、不可見又毫無量感，卻成像出另一個無比真實的世界。那裡是我們精神的寓所。
《Crystal
City 002》
2009
Author: Chi-Tsung Wu
Kinetic Light
Installation (Metal, Motor, LED, Plastic)
Dimensions Variable
There is another invisible world in
which we live each and every day. It is made up of electronic equipment,
programs, networks, media and information, and I call it “Crystal City.”
I chose the word “crystal” because this
world grows like a crystal, each individual element within it automatically
coming together and infinitely expanding and spreading according to a set
internal rhythm and logic
It is transparent, light, invisible and
lacking in volume and yet still projects a world of unparalleled reality.
This is a place I consider our
spiritual home.
《副本》 2015
創作者:黃贊倫
三頻道錄像
12分鐘55秒
藝術家黃贊倫近年來透過一系列的創作發表，持續對無論是數位生活或是對生物技術中的「進步」觀點，提出個人的反省與疑問。「副本」便是這樣一個反映人類欲望駕凌的影像作品，透過遍存於華人飲食文化中「以形補形」的食補觀念，影像中非常經濟學式地只有並只需要有兩頭鹿人，也就是說作品中殘酷的沒有人，因為人在這裡只能作為無能卻虛索的消費者。因此，劇情中的鹿人首先就是彼此，這是副本的第一層意義；兩頭鹿人倍增了彼此成為被剝奪者中，以形補形所欲獲取的威力，這是副本的第二層意義；然而，為了保證自己至上唯一的威力，並且從只是副本的命運中逃逸出來，他們最終的命運卻是分食、自食彼此的鹿角，這便是副本所欲發展的第三層意義－欲望與生存、意志與自我認同反覆裂解增生－或者不如說是提問：我們究竟需要多少外加之物？再更基進的問：除去外加之物後，我們還剩下什麼？
《Double》 2015
Author: Zan-Lun Huang
3-Channel Video
12 min. 55sec.
As a young emerging Taiwanese
artist, Zan-Lun Huang’s works are often taken on different forms,
such as kinetic installations, videos and paintings, where visitors can explore
and contemplate issues of modern technology, desires and self-awareness. Double came into existence from the old
Chinese food culture commonly uses animals’ organs into recipes to complement
the corresponding organs in human’s bodies. The idea of this video is to question
the belief of these organs could enhance weakened parts of human bodies and
even spirits because they carry out similar functions in animals? And follow by
the same logic, as a weakened human being; we should multiply these outsources
powers as many as possible? How much do we need and what would we become once
we started such an infinite complementary form?
《種子鏡像 v.03》 2014-2015
創作者:黃致傑
影像互動裝置(顯示器、碎形與遞迴演算法、攝影機)
50x80x10 cm鏡子是一種媒介，透過物理特性的反射作用，靈長生物可以藉此凝視自己，使人藉此凝視與反思。《種子鏡像》作品透過影像辨識科技的應用，量測觀賞者凝視自我的神情與情緒表現，將眼神交會中雀躍或冷漠與的神情表現視為一種生命能量的傳遞，滋長一株虛擬蒲公英植物的生命力展現。虛擬生物的生長動態突顯出一種介於精神層次、資訊感知、運算美學的生命再現。該作品企圖探討在資訊時代中，探索科技可能對生活行為帶來的影響，以及資訊視覺化與資訊美學呈現的形式。《Dandelion Mirror v.03》 2014-2015
Author: Scottie
Chih-Chieh Huang
Interactive Installation (Algorithm, LED Panel Display, Embedded System, Webcam,
Half - Reflecting Mirror)
50 x 80x10cm
Mirrors mean a kind
of media. Through physical properties and reflection, mirrors are available for
the primates to gaze at themselves. It is quite a brilliant object allowable
for people's reflection through self-gazing and self-reviewing. Dandelion Mirror acts as an interactive installation with the sensuous observation to
measure a viewer, combining with real time generative animation and physiological measurement
device by using non-contact sensor technology. The bio-sensor based Dandelion Mirror is able to measure a user's facial emotion through a camera, gathering a user's smile as nutrient, raising virtual dandelion growing,
appreciating our daily life with
pure smile by applied smart technology and media art. The virtual patterns used
fractal and recursive algorithm to mimic the morphology of a dandelion flower, and the shape of virtual plant will transform
itself according to a user's measured
data. Mixing half virtual patterns, half self-portrait on a half-reflective
mirror surface, it demonstrates a novel symbiosis of data visualization that brings
functional aesthetics, healthcare thinking into our living.
《光器》 2015
創作者:黃致傑
光影互動裝置(不銹鋼、半反射鏡面玻璃、自制紅外線感測器、LED照明、馬達、
照明控制器)
48 x 48 x 43cm
光是生物賴以維生的必需品，也是人類開始記憶形體與認知世界的依據。因為光的幻動，引導我們搜尋過去成長歷程中的記憶片刻、感受潛意識中存在的原始印象，像是遠望湖面波光的跳躍、欣賞生命體趨光特性的生長變態、一天中感受光影變化的空間情覺，都是一種伴隨著實體物質與虛擬幻境的光體表現。可惜這些原始的情感表現方式，經常在現代受資訊包圍的時代中所忽略。本創作是一件類桌子尺寸的物件，借由當代工業設計與製造技術(CAD/CAM)與互動科技(interactive techniques)的應用，將建築拱頂的形態構造發展成互動性的室內光影呈現，延伸傳統器具的視覺表現、互動體驗與人造情覺的感性陳述。
《Light Machine》 2015
Author: Scottie
Chih-Chieh Huang
Interactive Light Installation (Stainless Steel, Half-reflecting Mirror, Self-control Infrared Sensor, LED, Motor, Lighting
Controller)
48 x 48 x 43cm
Light is a necessity for a creature to live on, and
a basis that human beings start with to memorize shapes and recognize the
world. For the transformation of light leads us to search for the fragmentary
memory of our growing up, to perceive the primary looks of beings in the
subconscious. The spatial perceptions of light and shade in one day, such as appreciating flickering reflections on a
lake, cherishing the growth transformations of phototactic beings, are a kind
of luminous expression shaped along with physical substance and virtual
illusion. It is pity that these primary sensibilities are
often ignored in our contemporary world flooded with information. Light
Machine is an artistic
table, inspiring and extending from the morphology of architectural vault for
creating novel aesthetics on interior scale. Through the light conducting on
the half-reflecting mirror and the complex structural patterns, it produces the
immersive atmosphere as the light of the prophet, brings soothing and relaxing
metaphor into our living space.
《美好的日子》2011
創作者: 陳依純
錄像
4分59秒
大量的訊息，不斷藉由傳播媒體散佈。人的渺小，卻不斷接收洪水般的大量新聞悲劇。人們逐漸學會漠視以消弱刺點，越危險不安，卻越釋放自然喜樂的訊息，不能破壞其平衡來沖毀建立的美好假像。恣意關掉接收訊息的來源，重新組構元素排列，試圖催眠述說著一切很好。藉由影像中的符號和氛圍試圖去談論這一切，我們現在的生活。
《Beautiful Day》 2011
Author:
I-Chun Chen
Video
4
min. 59 sec.
The abundant messages and tragic news
through mass media make people insignificant and demobilized. The more
stimulating these messages are, the more indifferent people become detached
from the punctum moment; although living in a high risk society, people only
turn to the good news; the illusional balance of terror cannot be broken. Why
not just deliberately shut down the source of these messages and rearrange
them, trying to tell everybody that everything is fine? Through images, symbols
and through auras, these works are trying to delineate this hypnotic situation;
it is the life now we are living.
《曲水流豬》 2013
創作者: 陳依純
錄像
8分鐘
《The Piggy Song》 2013
Author: I-Chun Chen
Video
8min.
The Piggy Song is derived
from a Chinese phrase “drinking cups flowing in the river” which describes how
the ancient intellectuals’ leisure in nature. In modern times, such a luxury
can no longer been seen on the riverside. Industrial wastewater or bodies of
animals which have died of diseases gracefully float in the river. Later, with
the help of strong chemical disinfection, the water from the river safely
enters our bodies to nurture every organ inside us. The supply chain of
unlicensed slaughterhouses magically transforms various dead bodies into
delicacies and distributes them into restaurants around the country. Every time
when a herd of pigs die together and the news channels spend a few seconds on
it, we will finally think of the unnatural, almost magical, source of the tasty
sausage.
《很幽默-災難的剎那想像》 2012
創作者: 陳依純
錄像
5分鐘
2012 事件的碎裂藉由僅存的文件補足，而其中尚且存有許多裂縫，藉由口述和各自記憶去補全所謂不可見之部分。追溯20年前深夜的奔跑和逃離，所竟為何?直至今日從許多細碎的線索，追尋出一個片面，漸漸拓展清晰那個曾經的謎團，即使手中握有的訊息多是官方的信息，但也藉由田野和拜訪去理解部分。 人們身邊有時會歷經一些超脫的詭譎經驗，臨場的當下是激烈的猛烈侵襲。而主體失控和消失的身體性，只得全盤接受現下和所獲得的，亦或吞忍，在這弔詭的社會失序中。 我們在疆界中劃出一個看似安全的界地，放置了一個被再三保證的安全景觀，而實質事件發生後，日晨人口稠密的工業區，深夜寥寥幾人的夜班勞工，也因瓦斯罐裝車疏漏引起的遽然大火而連夜逃命。 我藉由所知的斷裂，去拼湊出所知的歷史，描畫的是當時的人們其當下及日後的身體感知和存有在心中的災後畏懼，藉此慰藉當年罹難的以及逃離中的所有人們。
《Very Funny –
An Instant Imagination of a Disaster 》 2012
Author:
I-Chun Chen
Video
5 min.
The fragmentized events are completed
by the remaining documents. The gaps in-between have to be filled up with
narrations or memories. I try to figure out what caused the midnight escape
twenty years ago. Collecting fragments of details, I map out a general picture
to search for a clear scene, gradually clarifying the one-time puzzle. Even
though the information I have mainly comes from the government, field research
and on-site visits allow me to understand some part of it. People sometimes
experience something surrealistic with a violent strike. The Subject is out of
control, and the disappearing physicality has to accept, and even to tolerate,
the ongoing situation. In this bazaar disorder of the society, we circle an
area which seems to be safe within the boundary and put inside the scenery with
guaranteed safety. A gas truck accident trigged a deadly fire, several
night-shift workers in the industrial district ran away in the middle of the
night before the area got crowded in daytime. I picture the history by the
fragments which used to be unknown to us, visualizing the physical perceptions,
the fear, and torments experienced at the moment and ever since then to comfort
the victims and those who escaped.
《陰極射線管的神秘儀式》2011-2013
創作者: 張徐展
動畫影像裝置(5頻道同步影像動畫裝置、鉛筆、動畫紙)
5分鐘
投影尺寸依場地而定
進入數位時代後，電視與傳播介面成為人類接收資訊最重要的載體與方式。藉由數位訊號所轉化成的各種資訊，能傳遞個人意識及製造集體共識。《陰極射線管的神秘儀式》以動畫的方式呈現對於當代台灣媒體現象的看法，作品所欲暗喻的符號從撕開的CRT（陰極射線管，又稱「映像管」）螢幕開始，接著樂團的指揮者將「螢幕」當作樂譜，以媒體操控著人們所歌頌著毫無意義的口號，凝聚空無的集體意識，製造出看似激情、高昂的樂團，但內裡卻充滿荒誕、詭異的聚集景象。這件作品所隱喻的符號，如以舌頭比喻言論及挑動的慾望、指揮者無數的手臂揮舞比喻媒體的操控等，皆嘲弄著當代社會中受傳媒控制而附和高歌的媒體現象，以及透過輿論而瞬間引起民眾高漲情緒所產生共鳴的荒誕景像。
《Ritual of
Cathode Ray Tube》 2011-2013
Author: Zhang Xu
Zhan
Animation Installation ( 5-channel
synchronous video projection, pencil, paper)
5min.
Dimensions variable
Since the advent of the
digital era, television and communication interfaces have
become the most prominent means of receiving information.
The information converted from digital signals can be used not only to express individual perceptions, but also to produce and
influence collective opinions.
The artist uses animation to express his views on contemporary Taiwanese media. The implied symbols in work are embedded in a torn (open CRT (Cathode Ray Tube) screen. The screen is laid out
to serve as
a musical
score allowing the
conductor to lead
the people in the performance of a nonsense chant. United by a meaningless collective consciousness,
they seem to
suggest a passionate and ebullient orchestra,
but are actually
an absurd and
bizarre gathering.
The symbols implied in my artwork include the tongue as a metaphor for speech and
the desire to provoke, and the conductor swinging numerous arms represents the manipulation of the media. The artist mock the
incredible influence
the media has over contemporary society and
the way it stirs
the emotions of the public.
