[With "Inverso Mundus" to transform human civilization and fate, AES+F visiting Taiwan to talk on details of creation process] written by Yunnia Yang for the focal theme "Evolution" (Art Collection+Design, December 2017, pp. 90,91, 100-105) 以「顛倒世界」反轉人類文明與命運 AES+F訪台細述創作過程 (文/楊衍畇; "藝術收藏+設計", 2017年12月號-"Evolution演化移形“專題)

展覽新聞稿：「纖動 -生態作為動詞」國際錄像裝置藝術展(2017.09.12-10.28 @台藝大有章藝術博物館）

「纖動－生態作為動詞」國際錄像裝置藝術展

展出新聞稿

　　「纖動－生態作為動詞」國際錄像裝置藝術展，自2017年9月12起，將於國立臺灣藝術大學有章藝術博物館進行展出。

　　此次展出緣起，原為策展人楊衍畇於 2016年9月期間，應義大利「阿索洛和諧迷宮協會」(Armonioso Labirinto Asolano)邀請，擔綱策畫第35屆「阿索洛國際藝術影展」(Asolo Art Film Festival)生態主題影展「生態作為動詞」(Eco As A Verb)。該展深刻反思現代文明對生存環境所造成的嚴重衝擊，共計有23部國際生態創意影片受邀參展，展映後廣受國際藝術人士好評，臺藝大有章藝術博物館鑑此特邀楊衍畇博士擔任客座策展人，將這極富意義的展覽呈現於國人眼前。

　　有別於義大利影展中影像流動的動態映演，本次於靜態場館內的展出，以全新形態的錄像空間裝置，進一步打開觀眾各種身體感官，體驗作品之間所觸發的「心」想法。策展人以德勒玆「每一根纖維皆是宇宙的纖維」之跨域思維，開展出本次論述的核心概念，並進一步規劃「生態創意」、「生態啟示錄」、「生態鏈」、「生態神話」四大類生態子題，特選15組／件觀念性的當代錄像裝置參與展出。除了影展既有的藝術家陣容，如享譽國際的俄羅斯藝術團體AES+F、西班牙藝術家亞伯特·梅里諾(Albert Merino)、臺灣藝術家崔廣宇與張徐展、旅美臺籍藝術家劉肇興(Jawshing Arthur Liou)，本次展覽更邀集了林珮淳「夏娃克隆創造計畫I」3D影像裝置、榮獲金馬獎最佳動畫的石昌杰作品「後人類」、黃贊倫「David-練習者」互動裝置，以及王鼎瞱「21公克」、「微觀小宇宙」等作品，不僅是臺灣最具代表性的新媒體藝術家陣容，更是本次展出的新選之作。

　　本年度義大利阿索洛國際藝術影展，亦將於9月16日同步播映「纖動」，其中有章藝術博物館，更是應邀參展的AES+F《顛倒世界》（Inverso Mundus），在臺唯一的展出場館。AES+F近期作品結合攝影、錄像、數位科技，以其影像敘事探索當代文化在全球體系的價值、罪惡與衝突，是今日俄羅斯當代藝術最為重要的創作團體之一，2007年威尼斯雙年展俄國館展出後，確立了其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。《顛倒世界》以中世紀嘉年華荒謬場景隱喻當代生活的片段，人物從荒誕的社會烏托邦場景出場並交換面具，是個將奇想怪獸視為寵物、將末日當成娛樂的世界，作品暗示生態的反撲之力，人類若是不顧嚴重被扭曲糟蹋的生態，這惡果的代價難以想像。

　　「纖動－生態作為動詞」，意在生態不僅作為環保愛護地球的觀念，更要化為感動關切與行動實踐，當以各種纖維本質串連起來的生態網絡感知生存危機，生態就不是一個概念，而是每個人的動詞。 9月16日下午，臺藝大有章藝術博物館也將舉辦豐富的開幕系列活動，當日除了有策展人及參展藝術家於現場與觀眾導覽互動，AES+F成員Evgeny Svyatsky亦將抵臺舉辦藝術家講座，分享精彩的創作經驗，邀請大家透過藝術觀覽，一同省思鉅觀的外在環境，與你我內在微生態之間的永續共存。

「纖動 -生態作為動詞」國際錄像裝置藝術展(2017.09.12-10.28 @台藝大有章藝術博物館）"Fibering-Eco As A Verb" International Video Installation Exhibition ( 2017.09.12-10.28 @ Yo-Chang Art Museum, Taiwan National University of Arts)

「纖動-生態作為動詞」
國際錄像裝置藝術展

“Fibering- Eco As A Verb” 
International Video Installation Exhibition 

策展人:楊衍畇
Curator: Yunnia Yang

策展論述

非如太空人穿梭時空無法感知宇宙浩瀚，沒有瀕臨北極熊處於極地暖化的險境就不能體悟生態實踐的急迫性，現代文明對生存環境所造成的嚴重衝擊，人類智慧雖能領會生態改變的事實與後果，但自我慾望擴張加上大眾傳媒鼓吹消費，消極地看待生態議題，以事不關己或時候未到的態度自我催眠，要喚起眾人生態意識的覺醒不再是各種宣導影片或社會運動所能達到的效果，當代藝術創作以象徵隱喻的手法柔性地讓觀者個別體悟到外在的大生態與你我內在的微生態相互關連。德勒玆認為「每一根纖維皆是宇宙的纖維」，從人體組織到宇宙萬物,從民生衣食到光纖科技皆由有纖維的組成，當人體的視神經纖維透過傳媒的光纖界面獲得遠方的生態危難訊息，腦部神經纖維分析有否攸關當下自身安危而作抉擇，自我私慾亦會蒙蔽生態議題的真實樣貌，唯有將各種感知敞開，人類始能意識到無法與自然生態切割，人性倫理面與豐富想像力使你我與萬物宇宙緊密相連，意念甚至會流變成為動植物或宇宙本身，亦或是以人的形式再現宇宙。人體內部纖維不斷向外連結，這種正向的動態能量可能會改善現代文明對生態環境的重創損害，「纖動-生態作為動詞」意在生態不僅作為環保愛護地球的觀念，更要化為感動關切與行動實踐，當以各種纖維本質串連起來的生態網絡感知生存危機，生態就不是一個概念，而是每個人的動詞。 本展包含「生態創意」、「生態啟示錄」、「生態鏈」、「生態神話」四大類生態子題，15組/件國內外影像裝置要使每位觀眾從觀影的感動中思考自己能為我們的大環境做到甚麼可以小小改善現狀的愛護生態行動。


Curatorial Concept

Unless astronauts travel through time and space, we couldn't realize how vast the Universe is. If we didn't experience the polar warming that polar bears suffer from, then we couldn't understand the emergency of ecological practices. Modern civilization causes our living environment grave impacts. Although intelligent humans can comprehend the facts and consequences of ecological change, the expansion of human desires and the overconsumption advocated by mass media make us to treat the environmental issues passively. With the symbolic metaphors and implicit expressions, the curatorial project«Fibering-Eco As A Verb» allows viewers to contemplate the correlations between the external macroecology of the Universe and the internal microecology of a living being. Gilles Deleuze thinks that “Every fiber is a Universe fiber”. From human body tissues to all creatures, everyday life to optical fiber technology, each substance has the composite of fibers. As the ecological network connected by fiberal natures endow the perceptive capability of living crisis, ecology is not a notion for everyone, but a verb to do it.This exhibition includes four categories: “Eco Creativity”, “Eco Apocalypse”, “Eco-Human Chain”, and “Eco Mythology” . 15 sets of  international video Installations will make each viewer to be moved and think what he/ she can do with minor force to change the current environmental situations. 

生態創意

面臨資源耗盡、生態浩劫，以創意自豪的人類又能如何翻轉生存劣勢？「二手風」傷感地隱喻末日後倖存的幸福是在一片無情荒地仍能找到對絕美自然的回憶與想像。正向能量的轉念是當代人類必持的生存態度，好比「城市按摩:美麗的髒泡泡」藝術家以創作施展煉金術將公車廢氣轉化成美麗泡泡。

Eco Creativity

Facing to the exhaustion of resources, the endangerment of environment, how the human beings proud of creativity could overturn such a poor living condition？ “Second Wind” is a sad metaphor of the post-apocalyptic survival happiness that it still could be found the memories and the imaginations about the natural beauty in such a deserted land. The positive thinking is the survival attitude we contemporaries shall keep. In “Rubbing the City: Beautiful Dirty Bubble”, the artist Tsui Kuang-Yu transforms bus pollution into beautiful bubbles as the alchemic power of art.

二手風(Second Wind). Sergey Tsyss

城市按摩:美麗髒泡泡(Rubbing the City: Beautiful Dirty Bubble)
崔廣宇(Tsui Kuang-Yu)

生態啟示錄(Eco Apocalypse) 

人類對烏托邦願景總是不自覺地陷入一種危害生態的泥沼中，「再生/未來非未來」、「阿卡迪亞」、「顛倒世界」三部影像作品情境設定皆是人類為求進步舒適所犯過錯已無法補救，因此「再生」並非是新生，是對未來生命存在的恐懼與悔恨，隨著「阿卡迪亞」長鏡頭揭露了人類所想像桃花源的殘酷真實，看似荒謬的「顛倒世界」暗示生態反撲的力量，若是人類過於自視高等、濫用權力，不顧嚴重被扭曲糟蹋的生態，這惡果的代價可是難以想像。這部現代啓示錄是人類企望以發展科技滿足自我慾望並超越神的力量，卻為私慾與科技所宰制，「夏娃克隆創造計畫I」挪用達文西人體手稿創造人工生命，是真實的狂想亦是荒謬的狂妄，如何能兼備挑戰極限的企圖心與謙恭自省的生命觀，則是當代人類的一大課題。「後人類」警示人類藉著發展科技與競爭掠奪得以進化卻也走向自毀滅亡，而後人類亦無法抗拒科技權力的誘惑而重蹈覆轍，即便之中有覺醒者亦必需要服從於當權者。人類果真要到瀕死的臨界點才悔不當初，警世寓言(Memento mori)的死亡象徵是否再也無法對習於感官震撼的當代人類起作用，「David-練習者」以希臘神話角色羊男形象隱喻人造混種教化練習如何當人類，被禁錮在透明壓克力櫥窗中供人觀賞，羊男唯有用頭撞破這道屏障得到自由，無論撞擊千百遍始終敲擊不破，另有錄影機與監視螢幕同步顯示觀眾的觀看反應，意識到自我當下反應對映到羊男悲歌境遇不由然起反思辯證作用。

Eco Apocalypse

For utopian perspective, human beings always trap themselves into a kind of swamp endangering the whole ecology without any awareness. “Renew: the future not future” ,“ Arcadia” and “Inverso Mundus” imply the same context that human beings cannot compensate their faults for the sake of pursuing progress and comfort. Therefore, “Renew” is nor a new birth, but a fear and regret to the living being of the future. With the long shots, “Arcadia” discloses the cruel truth of the arcadia that human beings imagine. Seemingly absurd “Inverso Mundus” implies the strength of natural counterattack. As human beings think themselves as a high-level creature, misusing domination, regardless of the seriously devastated nature, the price for this bad manner is far to imagine. As human beings think themselves as a high-level creature, misusing domination, regardless of the seriously devastated nature, the price for this bad manner is far to imagine. Seemingly absurd “Inverso Mundus” implies the strength of natural counterattack. As human beings think themselves as a high-level creature, misusing domination, regardless of the seriously devastated nature, the price for this bad manner is far to imagine. This modern apocalypse is born of human desire to go beyond the power of God with developing technology. Human beings fall into the dilemma that they are manipulated by their egoism and mythification of technology. “ Making of Eve Clone I” appropriates Da Vinci's drawing “Vitruvian Man” to create artificial life. It is a real fantasy and an absurd fanaticism. How to keep the ambitions to take on the challenges of extremity and the life philosophy of being humble and introspective is a big issue for the contemporaries. “Post Human” gives warnings that the evolution of human beings will go toward self-destruction by means of technological development and  competitive plunder. Post humans also couldn't resist the temptation of technological power and repeat the same mistakes, even if the awakened must obey to the authorities. We, human beings, really don't regret until the end of world comes. The death symbols of memento mori cannot cause any reaction to the contemporaries who get used to shock sensations. “Evolution David” creates a metaphor with the mythological image of Pan that the artificial hybrid is trained to be human being. He is imprisoned at the transparent acrylic window display for viewers. Pan must break through this barrier with his own head to regain freedom. However, he knocks himself thousands of times and never succeeds to. This installation is equipped with video cameras and monitor screen, which catch viewers' reactions. They will become conscious of their own reactions, and think about Pan's tragic destiny which might be theirs. 

顛倒世界(Inverso Mundus),AES+F

阿卡迪亞(Arcadia),Rick Fisher

夏娃克隆創造計畫I (Making of Eve Clone I )

林珮淳(Lin Peychwen)

後人類(Post Human),石昌杰(Shih Chang-Jay)

David -練習者(Evolution-David) 黃贊倫

(Huang Zan-Lun)

再生/未來非未來(Renew: the future not future )

張徐展(Zhang Xu Zhan)

生態鏈(Eco-Human Chain)

“Ecology”希臘字源有「家」涵義，人與內外在的家、家人和諧共處，會滋養自身豐富生命，若抱持佔有剝削心態，最終這個家反被自我摧毀，想再重建家園已悔不當初，四組影像作品將重新省思人類文明與生態倫理的關係。「鄉痛」(Solastalgia)對家園故鄉「不在」與「不再」的感傷惆悵是每個人都可能經歷的，未必是戰爭或政治因素所致，全球化思維使環境變遷的速率加遽，遷徙遊牧成生活常態，安身立命成奢侈的想望。「內視鏡」拉近視角深入無法觸及的冰河內部，正在融解弱化的視像要觀眾正視這迫切的生態危機。過度的外物慾望與擴張的自我意識致使人與生態之家所形成的生態鏈失衡，「為時尚捨命」批判快速時尚激化第三世界廉價勞工的過勞死亡，衍生更多的社會與生態問題，過度消費造成環境負擔，來日終究導致全球性的生存浩劫，「膠著人生」顯示著人類已被過度消費的警訊轟炸到麻木狀態，只能在充斥廢棄物的末世窘境無感度日。

Eco-Human Chain

“Ecology” in Greek means “House”, a man and his internal/external house. A family living together in harmony can nurture a human being and enrich his life. If with the attitude of possession and exploitation, this house will be destroyed by his own eventually. Four films will give us the reflections on the relations between human civilization and ecological ethics.“Solastalgia” shows that the sentimentality and melancholy about the absence and change of a hometown will be everyone's possible experience. The reasons are not necessarily military or political. Global thinking makes climate change speedy, and our living condition nomadic. Having a safe and stabile life is the most luxurious longing. “ Entro(SCO)py” brings our vision into the most untouchable inner part of glaciers. The melting fragile images make viewers to take this imminent ecological crisis seriously. The overwhelming fetishism and the expansion of egoist consciousness lead to the inbalance of the eco-human chain which is made up of human beings and Nature. “ Fashion to die for” criticizes that fast fashion intensifies the overwork death of the cheap third-world labor. It causes much more social and environmental problems. Overconsumption overloads our ecology, and eventually results in globally survival disaster in the future. “Recycle Project” shows that human beings have been overwhelmed by the warnings of overconsumption to numb themselves and spend their whole life in the post-apocalyptic dilemma filled with waste. 

為時尚捨命(Fashion To Die For),Lynn Estomin

鄉痛(Solastalgia),Isabelle Hayeur

內視鏡(entr(SCO)py), Marie-FranceGiraudon

膠著人生(Recycle Project)

彭筱茵&舞蹈生態系創意團隊(Peng Hsiao-Yin&Dancecology)

生態神話(Eco Mythology)

透過神話詮釋人類的理性與感性、現實與狂想，人類亦會與所遭逢的自然與文明進行一段神祕對話，轉化成新的神話。「風暴意象」反映著特色文化不斷簡化為普遍性符碼的全球化隱憂現象，抹除或扭曲文化特色對該文化生態無異是一種死亡。「未央」則是以台灣夜市文化隱喻為生猛有力、卻吞食消耗的龐然大物，猶如尼斯水怪奇觀式浮現眼前，仿彿人人過度縱慾享樂，內在的蟒蛇不但吞噬自己亦耗盡生態。物質文明的現實世界使人類陷入幻象危機而不自知，若是以理性的科學觀點分析萬物生命，靈魂與肉身分離，生命就不在是生命，人類的存在價值在於靈魂對萬物宇宙的感知與觸動，仔細審視「微觀小宇宙」的昆蟲軀殼，不禁讚嘆曾經美麗的生命，與「21公克」如人腦形式的紅色肉團相互觀照下，突顯人生在世追求浮華外物終究僅餘這21公克的歸零空無，生命本質與生態神話無法以知識理解，而是用心體悟我們與宇宙萬物的關連與流變，這靈性的「纖動」將永在不滅。

Eco Mythology

By means of myths interpreting human rationality and sensibility, reality and fantasy, human beings will also lead a mysterious conversation encountering nature and civilization and turn into a new myth. “ Imago Typhonis” reflects the worries of globalization that the featured cultures are constantly simplified to the universal codes. To delete or twist the cultural features is a death for that cultural ecology. “Insatiable” is a metaphor about the night market culture in Taiwan. A powerful consuming giant creature floats in front of us just like the mirage of Loch Ness Monster. As if everyone to indulge in carnal pleasure without restraint, this inner serpent will swallow the self and exhaust the ecology. Material civilization makes humankind to fall into the crisis of illusions and be ignorant about it. According to the scientific research, soul departs from the corpse, and life is no longer life. The existential value of human beings is that souls have perceptions to the world. As we see the video “ 21 grams” like a red flesh clump in the form of human brain, we might think that mankind has only 21 grams left for the world instead if pursuing material luxury in this life. The nature of beingness and the mythology of Nature cannot be understood with knowledge, but we can experience the connections and transformations between the world and us with heart. This spiritual “fibering” will go on forever. 

風暴意象(Imago Typhonis),Albert Merino

未央(Insatiable),劉肇興(Jawshing Arthur Liou )

微觀小宇宙(Microscopic small universe),王鼎曄(Wang Ding-Yeh)

21公克(21 grams),王鼎曄(Wang Ding-Yeh)

TAIWAN VIDEA 2017 Selection~ Video Screening Tour Around Europe ( July 19 -August 20, 2017) / «Taiwan Videa»2017Selection 臺灣錄像巡映歐陸交流計畫(2017.07.19-08.20)

《TAIWAN VIDEA》 2017 Selection
The Taiwanese Avant-garde Video Screening Project 
Curated by Yunnia Yang

«Taiwan Videa»2017Selection 
臺灣錄像巡映歐陸交流計畫

策展人:楊衍畇

Touring Schedule: 
歐陸巡映行程：

1. July 19(Wed.), 2017  8:00pm
Republic of Macedonia: Museum of Contemporary Art, Skopje
馬其頓當代藝術館(斯科普耶，馬其頓共和國）

2. July 28 (Fri.), 2017 8:00pm
Croatia: Galerija AŽ Atelieri Žitnjak, Zagreb
GalleryAŽ （克羅埃西亞，札格列布市）

3. August 1(Tue.), 2017 8:00pm 
Slovenia: SCCA-Ljubliana Center for Contemporary Arts 
SCCA當代藝術中心-盧布里亞納( 斯洛維尼亞，盧布里亞納市）
* SCCA Program "No Nails, No Pedestals 2017" (Project Room SCCA, Metelkova 6, Ljubljana) 
link: http://www.scca-ljubljana.si/news-en_17-20.htm

4. August 16, 19&20, 2017
Germany: art space "Rosalux" , Berlin 
“Rosalux”藝術空間 ( 柏林，德國)
Opening and Curator's talk: August 16 (Wed.) 7:00pm
Exhibition time: 
August 16 (Wed.): 7 pm – open end
August 19 (Sat.) : 2 pm – 6 pm
August 20(Wed.): 2 pm – 6 pm

5. September 16(Sat.),2017   2:30pm 
Italy: 36th Asolo Art Film Festival 
義大利阿索洛國際藝術電影節
link:https://www.facebook.com/events/2364758097083568/?acontext=%7B%22source%22%3A5%2C%22page_id_source%22%3A234947750340511%2C%22action_history%22%3A[%7B%22surface%22%3A%22page%22%2C%22mechanism%22%3A%22main_list%22%2C%22extra_data%22%3A%22%7B%5C%22page_id%5C%22%3A234947750340511%2C%5C%22tour_id%5C%22%3Anull%7D%22%7D]%2C%22has_source%22%3Atrue%7D



Film art is an important artistic expression in the contemporary visual culture. The charms of images dominate the lifestyle and way of thinking of our new generation. Among the Taiwanese contemporary arts, video art and experimental films enrich the visual aesthetics and symbolic meanings with their own critical character, originality and diversity. The internationally-awarded creative videos from Taiwan might become a fleeting glimpse of beauty. The curatorial project 《TAIWAN VIDEA》 is to converge the creative energies and aesthetic features of film art, including video art, performance art, experimental films and animations, digital animations, etc. The depth of these videos refers to many facets of human beings’ living conditions: the alert about the consequence of human desire challenging God with technology and civilization (Lin Peychwen’s “Making of Eve Clone I”), criticizing the desire law of chasing after the ‘Progress’ deteriorating humanity (Huang Zan-Lun’s “Double”); revealing the beautiful lies constructed by the authorities (Chen I-Chun’s “ The Piggy Song”), the seriousness of the collective consciousness manipulated by the contemporary media (Zhang Xu-Zhan’s “Ritual of Cathode Ray Tube”); a nutrition taken as a metonymy to criticize politicians devouring people’s future dreams with empty promises (Wang Ding-Yeh’s “Beef-Wonderful Promises”), analogizing the images of the New Year’s Eve fireworks and a candle as a metaphor of the contradiction between the celebration of a country’s future and the sacrifice of martyrs (Ho Wei-Ming’s “Over My Dead Country”); the danger and paranoia of overexpanding self-consciousness (Wu Tzu-An’s “Disease of Manifestation”), the spatial imagination of an individual searching for the freedom of his body and mind (Pu Shuai-Cheng’s “Secret Plane-Immense Floating”); the intimacy and mystery of cultural encounter breaking the cultural stereotypes (Chang Huei-Ming ‘s “Tough Town”), questioning about simulated scenery in everyday life (Tsui Kuang-Yu’s “ Invisible City: Taiparis York”);with a new way of seeing to explore aesthetic possibilities of representing the oriental landscape painting (Wu Chi-Tsung’s “Landscape in the Mist”), Leviathan-like monstrous image composited from a dozen footages filmed at an open night market to show the danger of consumption (Jawshing Arthur Liou’s “Insatiable”) . The 12 creative videos from Taiwan will subvert the international audience’s impressions on the Taiwanese culture and arts, crossing over the boundaries of fine arts and pop culture. The issues of 《TAIWAN VIDEA》 are not only related to Taiwan itself, but also to the contemporary problems in the world. Creative thinking with universal value is the fundamental necessity of avant-garde images with subversive power.

影像藝術是當代視覺文化極為重要的主題，而影像的魅力主導了新世代生活型態與思考方式，台灣當代藝術中錄像藝術與實驗影像的批判性、原創性與多元性豐富了影像美學與象徵意涵，而在國際與台灣各大影展獲獎的創意影像作品驚艷一時，《TAIWAN VIDEA》台灣前衛影像展即是匯聚上述影像的創意能量與美學特色，精選自策展人於2013-2016年間所規劃《末日感性：臺灣新媒體藝術展》、《TAIWAN VIDEA》、《TAIWAN VIDEA2.0:文化秘遇》三策展計畫中12部臺灣前衛影像作品，包含錄像藝術、行為藝術、實驗影像、實驗動畫、數位動畫、MV動畫等類型，影像深度觸及當代人類生存議題：警示人類慾望以科技文明挑戰上帝的後果(林珮淳「夏娃克隆創造計畫I」)， 批判追求「進步」的慾望法則消弭人性(黃贊倫「副本」);揭露當權者所建構美麗的謊言 (陳依純「曲水流豬」)， 當代媒體操控集體意識的嚴重性(張徐展「陰極射線管的神秘儀式」)， 食物轉喻諷刺政治巧語吞噬人民的美夢人生(王鼎曄「牛肉-美好諾言」)，以類比跨年煙火與燭火的影像隱喻國運歡慶與烈士犧牲的矛盾性(何尉民「Over my dead country」)，自我意識過度擴張的危險偏執(吳梓安「宣言癖」)，個體尋求身體意識自由的空間想像(蒲帥成「秘密平面計畫-浩瀚飄浮」) ，以文化秘遇破除刻板印象（張暉明「Tough Town」），質疑日常生活中擬態景致(崔廣宇「看不見的城市：台巴黎約克」)，以新的觀看方式擴展與再現東方山水美學的可能性(吳季璁「煙林圖」)，以臺灣夜市所攝取的無數影像形成似巨蟒的形象顯示消費危機（劉肇興「未央」）。12部台灣創意影像作品將顛覆觀者對台灣文化藝術的印象，跨越了純藝術與流行文化的界限，議題非僅與台灣相關更與全球當代問題接軌，普世價值的創作思維正是具有顛覆力量的前衛影像所必要的基礎。

TAIWAN VIDEA 2017 Selection 
Curator: Yunnia Yang 
Duration: 90 minutes 

巡映作品（全長90分鐘）

1. Lin Peychwen, Making of Eve Clone I, 2016, 9'
夏娃克隆創造計畫I.林珮淳.2016年.9分鐘

2. Huang Zan-Lun, Double, 2015, 12'55''

副本.黃贊倫. 2015年.12分55秒 

3. Chen I-Chun, The Piggy Song, 2013, 8'7''

曲水流豬.陳依純.2013 年. 8分7秒

4. Zhang Xu Zhan, Ritual of Cthode Ray Tube, 2011-2013, 5'

陰極射線管的神秘儀式.張徐展.2011-2013年.5分鐘

5. Wang Ding-Yeh, Beef-Wonderful Promises, 2011, 4'42''

牛肉-美好諾言. 王鼎曄.2011年.4分42秒

6. Ho Wei-Ming, Over My Dead Country, 2013, 11'11''

Over My Dead Country. 何尉民.2013年.11分11秒

7. Wu Tzu-An, Disease of Manifestation, 2011, 9'
宣言癖.吳梓安.2011年.9分鐘

8. Pu Shuai-Cheng, Secret Plane-Immense Floating, 2011, 5'31''

秘密平面計畫- 浩瀚漂浮. 蒲帥成.2011年.5分31秒

9. Chang Huei-Ming, Tough Town, 2015, 9'

Tough Town.張暉明.2015年.9分鐘

10.Tsui Kuang-Yu, Invisible City: Taiparis York, 2008, 5'10''

隱形的城市: 台巴黎. 約克.崔廣宇.2008年.5分10秒

11. Wu Chi-Tsung, Landscape in the Mist, 2012, 10'17''

煙林圖.吳季璁.2012年.10分17秒

12. Jawshing Arthur Liou (Director), Rachel Weaver (Sound composition), Insatiable, 2010, 10'

未央.劉肇興(導演).Rachel Weaver (聲音創作).2010年.10分鐘

TAIWAN VIDEA 2017 Selection from Yunnia Yang’s curatorial projects: 
1. The Apocalyptic Sensibility: The New Media Art in Taiwan(WRO Media Art Biennale 2013, Wroclaw, Poland; Taipei Fine Art Museum 2015)
2. TAIWAN VIDEA (Asolo Art Film Festival 2015, Italy)
3. Taiwan Videa2.0: Cultural Encounter (Asolo Art Film Festival 2016, Italy)

《TAIWAN VIDEA》2017 Selection 精選自策展人楊衍畇以下當代藝術策展計畫：

1.《末日感性：臺灣新媒體藝術展》(2013波蘭WRO媒體藝術雙年展. 2015台北市立美術館）

2.《TAIWAN VIDEA》台灣前衛影像展（2015義大利阿索洛國際藝術電影節）

3.《TAIWAN VIDEA2.0:文化秘遇》台灣前衛影像展（2016義大利阿索洛國際藝術電影節）