展覽策劃EXHIBIOTIONS

策展實績 > 島嶼映像 The Images of The Island

策展人|張馨之

「島嶼映像-年度影像裝置藝術展」邀請5位國內外影像裝置藝術家,分別以不同的創作路徑回應對台灣自然、產業、文化、地景、美感價值的觀察,試圖從藝術的觀點拋出影像帶給人與物質環境、自然與科技等多重關係的反思與再探詢。本展試圖用當代藝術形式喚起觀者對於台灣這座島嶼的多重視點,重構穿越世代的、集體的視覺映像。參展藝術家以影像為表現的核心元素,並與不同媒材、形式如平面攝影、錄像藝術、複合媒材、空間裝置等結合,進行藝術創作。

影像可以是一種日常想像介質,可以是種看與被看的行為。日本藝術家阿部乳坊作品〈觀光〉(Sight seeing)回應當代人手一機隨拍的慣性,以及善用社群網路分享和記憶的日常行為。他以外國人眼光,將台灣觀光客拍照的典型姿態塑形下來,再將其重置回觀光場域。究竟在旅行時,是拍抑或被拍? 作者提出有趣的視覺換位觀點。藝術家林子荃則是藉由自身的旅行經驗,將移動路徑與景觀排序連結,穿插台灣城鎮與自然景觀的土地景象變化,透過車窗將景象框取出來,如同影像藉由螢幕的選取呈現圖像,激發靈感而創作出多屏幕錄像作品〈影格之間〉。觀者在觀賞過程中,透過晃動畫面、光影變化和城鄉景象之轉換,可感受到島嶼土地的一種微緩的深刻情感。另一方面,影像記錄著世代汰變的歷程,一方面也映射著當今台灣新舊並存的文化地景。藝術家吳建興〈鋼鐵蒼穹〉回到現代生活中被邊緣化的家族事業:汽車修護裡,將廢棄的古董車輛回收,轉換其功能與價值上的可能性,使它重新回到日常生活空間裡。學校場域作為人類跨世代的共有記憶,藝術家陳敬寶〈迴返計劃〉將國小校園視為「真實劇場」,結合戲劇與類似電影定格的敘事方式,試圖言說在影像框景之外的話語。自2001-2012為期12年發展出的「鄧公計劃」、「老松計劃」、「黃金町計劃」、「湖東計劃」、「楓涇計劃」,最終以「舞台化的攝影」呈現。他的「迴返」計劃,藉被攝者的文件書寫,與擺拍式攝影來探討現實、真實與記憶的微妙界域。當然,影像也可用以回應城市美感的思辨。藝術家張湛作品〈自然再自然〉、〈城市中美好的自然風景〉以台灣街道隨處可見的變電箱為發想,藉由「風景」概念重新探索「風景」的當代意義。他揉合攝影、錄像等媒材的裝置概念,探討都市人嚮往自然的潛在渴求,傳達「一個城市可以是貧窮,但不能缺乏美感與品味」的意圖。


Curator| CHANG Hsin Chih

There are five artists invited in The Images of The Island ─ The Annual Exhibition of Image Installation. They create graphic installation in different ways to respond to their observation on nature, industry, culture, landscape and aesthetic values in Taiwan, trying to display the reflections that images bring to the multi-relationship between human and material environment, nature and technology from artistic viewpoint. The exhibition attempted to arouse the viewers’ multiple viewpoints of Taiwan through contemporary art, reconstructing the collective visual image of across generations. Taking images as the core element, the artists use various media and forms to create, including photography, video, composite media, space installation, etc. 

Images could be an imaginary medium in daily life, as well as an action of looking and being looked. “Sight Seeing”, by the Japanese artist ABE Nyubo, reflects modern people’s habit of taking pictures with cellphones and posting on social media to share and remember their daily life. From a foreigner’s viewpoint, he shapes the typical shooting posture of tourists in Taiwan and locates the artwork back to a sightseeing spot. The artist creates an interesting visual-transposed viewpoint to question, “Are we shooting or being shot while traveling?” In the artist LIN Tzu Chuan's multi-screen video artwork “Frame by frame”, he arranges the travel path and landscapes in his traveling experiences and interweaves the scenes of city and nature in Taiwan, framing the scenes with windows, which looks like images from a camera’s viewfinder. In the process of viewing, viewers can experience the emotion to the island through the shaking frames, lights and shadows and the altering urban and rural scenes. On the other hand, images record the elimination of generations, while reflecting the cultural landscape of Taiwan, where the new coexists with the old. “Iron Sky”, created by the artist WU Chien Hsing, refers to the marginalized car repair business, also the artist’s family business. He recycles abandoned cars and transforms their functions and values, bringing them back to daily life. Schools are the collective memory of all generations. Taking elementary schools as the “real theater”, the artist CHEN Chin Pao applies the narrative methods in dramas and movies to create “Circumgyration”, trying to display the utterances outside the frames. From 2001 to 2012, he has created “Dengkong Project”, “Laosong Project”, “Koganecho Project”, “Hudong Project” and “Fengjing Project”, collectively presented in the form of stage photography. With the documentaries of the subjects and the posed photography, “Circumgyration” explores the subtle boundaries between reality and memory. Certainly, images can also respond to the speculation of urban aesthetics. Inspired by transformer boxes in Taiwanese streets, the artist CHANG Chan ponders upon the contemporary meaning of landscapes through creations of landscapes. He combines different media, such as photography and video installations, to explore people’s hidden desire for nature, indicating the intention that “a city could be poor, but sit should not be lack of aesthetics and senses. 

The Images of the Island─The Annual Exhibition of Image Installation leads viewers into the local visual context by the artists’ creations with various forms, and reshapes the world of images that is interesting, emotional, resonant, reflective, abundant and hierarchical. Moreover, in the hope that this exhibition could provide a whole new visual experience for the Image Museum, which is the first museum rebuilt from an old theater in Taiwan.

展覽照片

島嶼映像 展場 Exhibition Space
張湛 / 城市中美好的自然風景 CHANG Chan / Beautiful landscapes in City2014
錄像裝置 Video Installation
以變電箱上繪製的假山水風景,構築出一幅如同世外桃源般的多層動畫影像,呈現許多城市中為人所忽視的人造自然,揭露了大眾對於城市美學的匱乏,並藉此隱喻、反思自然環境與人造城市相依共存下的矛盾。 With the fake landscapes painted on transformer boxes, the artwork constructed a paradise-like animation and represented the man-made nature which was ignored in cities. The artworks revealed the lack of city aesthetic and reflected the contradiction between natural environment and man-made city.
吳建興 / 鋼鐵蒼穹 WU Chien Hsing / Iron Sky2012
裝置、改裝車頭、數位攝影 Minicooper remodeled front bumper、Digital print
回溯到藝術家自身在現代生活被邊緣化的家族事業─汽車修護,透過轉換廢棄古董車於功能及價值上的可能性,使其重回日常生活空間,藉以尋找記憶、表述與更新的可能。 The artist returned to the marginalized car repair business which was run by his family. He recycled abandoned used cars, transformed their possibilities of functions and values, and brought them back into daily life. By creating, he tried to find the possibilities of memory, expression and renewal.
林子荃 / 影格之間 LIN Tzu Chuan / Frame by frame2017
多頻道錄像裝置 Multi-channel video installation
藝術家藉自身旅行經驗,穿插臺灣城鎮與自然風景的土地景觀變化,透過車窗框取不斷流動的景象,作品將整齊排列的單一影格串連、快速捲動以形成連續的動態圖像,並轉為多頻螢幕的方式重新呈現。 Through his own travel experience, the artist interweaved the changes of scene between city and nature in Taiwan and framed the scenes through windows. The artworks were strung the frames one by one, scrolled fast to make a continuous dynamic images, and displayed by the form of multi-screen video artworks.
陳敬寶 / 迴返計劃 CHEN Chin Pao / Circumgyration -12009
數位照片 Digital photo
《迴返計劃》系列作品以攝影為媒介,探討現實、真實與記憶的界域。藝術家從旁人的記憶中擷取片斷,邀請人們回到小學、重新演繹學生時代的童年記憶,透過表演的形式,結合自然與人工光源,意圖回憶並編構那些未能或未及被留影的瞬間,重現那些披著擬實外衣的「偽記憶」場景。 “Circumgyration” is a photographic project dedicated to explore the boundaries and possibilities among reality, truth and memory. The artist took fragments of memories from others, invited people to re-show their childhood memories in their elementary schools. Through the form of performing and combining natural and artificial lightings, he tried to recall and edit the moments that couldn’t or too late to be recorded, and redisplay the scenes of “pseudo memory”.
陳敬寶 / 迴返計劃 CHEN Chin Pao / Circumgyration -22001-2009
數位照片 Digital photo
《迴返計劃》系列作品以攝影為媒介,探討現實、真實與記憶的界域。藝術家從旁人的記憶
中擷取片斷,邀請人們回到小學、重新演繹學生時代的童年記憶,透過表演的形式,結合自然與人工光源,意圖回憶並編構那些未能或未及被留影的瞬間,重現那些披著擬實外衣的「偽記憶」場景。 “Circumgyration” is a photographic project dedicated to explore the boundaries and possibilities among reality, truth and memory. The artist took fragments of memories from others, invited people to re-show their childhood memories in their elementary schools. Through the form of performing and combining natural and artificial lightings, he tried to recall and edit the moments that couldn’t or too late to be recorded, and redisplay the scenes of “pseudo memory”.
阿部乳坊 / 觀光 ABE Nyubo / Sightseeing -12015
FRP、特殊漆 FRP、Special Painting
截取散見於各地知名觀光景區人們拍照時相似的定格動作,隱喻於觀光景點以手機拍照並上網分享的標準記憶記錄模式,作為一種典型的當代象徵。 Shaped the typical shooting posture of tourists in every tour spot, the creation was the metaphor of the memorizing method that people took pictures by cellphones and posted on community website to share. It also represented the typical contemporary symbolization.
阿部乳坊 / 觀光 ABE Nyubo / Sightseeing -22015
FRP、特殊漆 FRP、Special Painting
截取散見於各地知名觀光景區人們拍照時相似的定格動作,隱喻於觀光景點以手機拍照並上網分享的標準記憶記錄模式,作為一種典型的當代象徵。 Shaped the typical shooting posture of tourists in every tour spot, the creation was the metaphor of the memorizing method that people took pictures by cellphones and posted on community website to share. It also represented the typical contemporary symbolization.