合作藝術家ARTISTS

新媒體New Media Art

陳永賢

英國布萊頓大學藝術與傳播研究所博士,臺灣國際錄像藝術展創辦人,並擔任第一屆及第二屆策展人,現為國立臺灣藝術大學專任教授。創作主軸探討身體與場域、個體與社會、人與環境、自身與他者的流動關係,並關注個人在社會群體中生活規則的認同差異,作品反映社會矛盾。《市場諸眾》系列作品透過人物圖誌形式,近身記錄了菜市場中的人情味與在地文化故事,亦呈現了傳統市場中最真實的常民美學及日常記憶。


CHEN Yung Hsien, PhD of Arts and Communication from The University of Brighton, England, founded and curated Taiwan International Video Art Exhibition. He currently serves as a professor in National Taiwan University of Arts. His art works raise discussions on the relationship between body and space, individual and society, human and environment, self and the others, focusing on the differences among each individual’s recognition of social rules, reflecting dilemmas of the society. Through photos of figures, the series works “The Multitudes in Market” record human warmth and local culture in traditional markets, displaying the aesthetics of common people and their memories.

梭巡 Suoxun2015
單頻道錄像  Single Channel Video
穿越一道馬蹄形的迂迴結構,透過身體軌跡掃描老建築內景觀的概念,將各種新舊物景封存,刻意凝結秩序外的流變狀態,並緩緩檢視過往殖民年代的游離映像。《梭巡》(Suoxun)以社會意識而聚焦個體,濃縮地理圖景而聚焦身體,提出對於「環境與人」之現實處境。這樣的對比作用,猶如薩爾曼‧魯西迪(Salman Rushdie)《》(Imaginary Homelands)指稱一種近乎游離行為,反映著當代社會中的移動者經驗。 梭巡者代表一種社會流動,他們近乎一種游盪的肢體行為,既是飄泊,也是文化碎片化的遷徙狀態,並且膠濃於變動不居的處境。 Through crossing a circuitous u-shape structure and scanning the old building’s interior with body movements, both new and old objects are sealed, alterations beyond the order are frozen on purpose, while scenes of the colonial era are inspected. “Suoxun” focuses on individuals in social ideology and figures in condensed geographic images, proposing the reality of environment and human. The comparison is a behavior that approximates to translation in Salman Rushdie’s work Imaginary Homelands, reflecting the migrants’ experience in modern society. The Suoxuners represent a social movement, a nearly wandering physical behavior. They drift, migrating as a piece of their culture in the constantly changing environment.
降臨天使 The Angels Are Coming2018
單頻道錄像 Single Channel Video
新富市場及東三水街市場保留中元普渡的傳統習俗,這是從日治時期至今所依循的做法,他們特別選擇延後一個月來舉辦,以避開民眾集中採買的時段。作品概念來自於此,儀式性的祭典源自日常生活的信仰轉喻,所召喚的不是道德教條本身,而是共同儀式的神話背後,關於集體意識裡,對於天地的尊敬與未來世界的想像。《天使降臨》將常民聚落轉化為藝術對話,一場時空場域錯位之下,人物和場所精神產生異次元投射。
從傳統市集的形式與內容,來思考這個異同世界的制約身分和離散作用,提問人們是如何看待場域中的身分存在、也探討人與飲食習慣的交互關係。充滿鏡映的圖樣對照,猶如阿卡迪亞(Arcadia)成為詩人心中的烏托邦理想國,在此被倒轉成一個觀景台,諸神的俗世體驗與神祇庇佑給人慰藉,提供當代社會無所不在的景觀。這是時間的邊界,一邊是當下寫實刻畫,另一邊是虛幻想像,社會真實姿態和神靈般的天使,兩者拉出一條線,彼此共同遇合的生命線,演繹出人造社會框架裡的真實界線和神格想望。 The Ghost Festival customs in Xinfu Market have been passed down since the Japanese colonial era. It is intentionally postponed for a month to avoid mass purchase. The ceremony-like festival is a metonymy of religions in daily life. It summons not the morals, but the respects to the space and the imagination of the future in the collective consciousness behind the ceremony. Transforming commoners’ space into artistic conversation, “The Angels Are Coming” generates an extradimentional projection of people and the spirit in the space in a dislocation of time and space.
Discussing the social conditioning and discrete effect in the extradimentional space through traditional market’s form and content, the artist quests how people understand their identity and the inter-relationship with their dietary habits. The mirror-like images as a comparison, being similar to Arcadia, the Utopia to poets, is reversed into a view point to the modern society, where the comfort and protection that gods bring about can be observed along with the gods’ experience in human world. The view point is on the border of time, on one side stands realistic portrayals, on the other side stands fantasy. The reality and the angels form a line on which they encounter, displaying the border of the reality and human’s desire of gods in the social structure.