都是門的走廊｜Online Exhibition

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Introduction

Exhibition

都是門的走廊 - The Hallway with Doors

Curator

窯座 Yao Alternative Space

Duration

2021-10-09 ~ 2021-10-31

Venue

當代一年展線上展間

都是門的走廊 Covid-19的出現導致2020年至2021年間，全球藝術生態受到巨大的影響。各國家、城市紛紛出現封城、停飛等各種阻斷了實體交流的方式，讓還在發展中的線上展覽突然成了最紅的展覽形式。然而，是否所有類型的作品及創作者都適合呢？對於藝術這項以「人」為根本的產業來說，觀者與創作者及其作品無法互動的疫情期間，將如何轉變原有創作及展出形式去過渡抑或是進化？若線上展覽僅作為實體展覽線上化的附屬品，與實體展覽走相同形式和觀看方式，而非了解線上展覽的特性與特質，去實驗僅有線上展覽能做到的方式會有點可惜。帶著這樣的想法，我們想利用線上展覽對作品的呈現造成的不完整性與片面性。邀請了五位藝術家參加此計畫，每位提供3-5件作品照片作為素材，我們將這些素材提供給五位藝術家，像做一張拼圖，由他們自己「重組再製」出新的作品。線上展場展出的是五位藝術家製作的拼圖，而每一塊拼圖（碎片）點進去都會有那件原作品的介紹及外部連結（或是藝術家想給觀者的訊息）。線上展覽的出現雖然讓某些類型藝術家作品的呈現受到限制，但同時能做到現場展覽沒辦法達到效果，即是利用網路、數位作為創作媒介，藝術家換個方式讓作品適合網路觀看，同時提醒大眾（創作者、空間、觀者等），線上展覽是一個特殊的觀賞過程、新穎的觀看方式，且去思考網路與藝術的關係。 The hallway with doors The emergence of Covid-19 has brought a huge impact on the global art industry from 2020 to 2021. Countries and cities have seen lockdowns, flights suspended, and in-per- son communication became seemingly impossible, making online exhibition— a method that still requires much development, the most common way for organizers to present art works. However, are all types of artists and works suitable for online exhibition? The art industry is basically formed by human, yet in the age of Covid-19, audience are not able to interact with artists and see their works in a venue, so the question is how do we transit from this period? Or could this actually be an evolution for exhibition methods so that we can transform the way how art works are shown? It would be a shame if online exhibitions can only serve as the virtual presence of a physical exhibition, instead of trying to experiment the possibilities of online features. With this in mind, we want to use the incompleteness and sidedness of online exhibition to create an online experimental exhibition. Hence, we have invited five artists to create an online experimental exhibition, each of them will provide 3-5 photographs of their works as materials, which means every artist will have 15-25 photos to use. These artists will "reassemble and reproduce" a new work, much like a building puzzle. The online exhibition will present the puzzles, and when you click each piece of the puzzle (fragments), you can see the information of the original work, or the message the artist wants to convey. Although online exhibitions restrict the presentation of certain types of art works, it could achieve the result that on-site exhibitions cannot achieve. The internet as a cre- ative medium, offers a different way to present art works, it also reminds us that online exhibition(artists, spaces, audiences) is a special and novel way to see a show, on the other hand, it is a chance to think about the relationship between the Internet and art.

Explore Works

more works

抹平與重組 Regroup

王浩宇 Wang Hao Yu

有樹的地方 In Remembrance of Trees

聲音角子老虎 Voice Slot Machine

吳迺菲 Wu Nai Fei

我們他們 (2020年版本) We and They (2020 Edition)

吳迺菲 Wu Nai Fei

沈默在這裡失去語言 Silent Conversation

#10

有樹的地方 In Remembrance of Trees

聲音角子老虎 Voice Slot Machine

吳迺菲 Wu Nai Fei

我們他們 (2020年版本) We and They (2020 Edition)

吳迺菲 Wu Nai Fei

沈默在這裡失去語言 Silent Conversation

#10

有樹的地方 In Remembrance of Trees

聲音角子老虎 Voice Slot Machine

吳迺菲 Wu Nai Fei

我們他們 (2020年版本) We and They (2020 Edition)

吳迺菲 Wu Nai Fei

沈默在這裡失去語言 Silent Conversation

#10

About Curation

more description

窯座

窯座 Yao Alternative Space

「窯」表示燒製瓦器的地方，本義燒磚瓦陶瓷器的灶，我們取其燒製含義，在此處作為醞釀和創造的過程，希望創作者以及觀眾在經歷此地的淬煉後能以嶄新的姿態離開。「座」在詞語解釋上有「托底」之意，為器物的基礎部分，我們希望能成為創作者的基底，成為支撐的那一方。窄巷內，黃色外觀，公寓門前還有著像鳥居的建築標的窯座位於一棟1962年完工的步登公寓，三層六戶半，窯座這戶原已荒廢五年，目前替代空間執行中，聚落集散中，祭典籌備中。想要辦有趣的展覽，讓台中較為弱勢的藝術環境也能百花齊放，利用台中圈子較為小眾的氣質轉化成為一個讓藝術家不受限的搖籃。想法很簡單，就是當一個底座，給創作者展示自己的意念、支撐他們的信仰。 “Yao” means kiln in Mandarin, it generally implies an oven for processing a substance by burning, firing, or drying. We take the meaning of firing as a process of brewing and creat- ing. Hoping the artist and visitors can come to experience in Yao and leave as the brand new version of themselves. “Zuò” in Mandarin means base, the basic foundation of the ar- tifact. We hope this space can serve as the creator’s foundation to support them. Yao alternative space is sitting in an old yellow apartment that was built in 1962, in a tiny ally with a torii(a traditional Japanese gate). As of now, Yao functions as an alternative space and a settlement that hopes to gather creators, and is in the process of creating an art festival. The core idea of Yao is very simple, it will become a “Zuo” that offers creators a place to showcase their works and supports their beliefs.

Artist

吳宣翰 Hsuan-Han, WU

「曾祖父是個務農的人，他很勉強地從鄉下搬到大城市。但大城市並不需要種田，他唯一能做的就是坐在家裡，用塑膠袋做出一條條的塑膠繩。當然，這些塑膠繩不是拿來賣的，所以我們家充滿了塑膠繩。家人們被這個重複性的重要儀式神奇地祝福著。」我對看似無聊的持續勞動很感興趣。重複性的記號看似沒有意義，但終將演變成一種新儀式，而我在等待藏在背後的敘事。「人們如果不無聊，不會說故事。但我們的人生再也沒有地方讓我們發揮無聊。」沃爾特·本傑明（Walter Benjamin）在1932 年發表於法蘭克福日報的短篇文章 < 手帕 >。

Artist

吳迺菲 Wu Nai Fei

1989年出生於台灣南投。作品以行為藝術、參與式計畫及其他的歷時性創作為主，探討語言結構、符號體系及其他溝通模式，關注翻譯與詮釋、溝通與中介、認識論、感官經驗與認知基模等議題，並試圖討論當代數位社群如何透過不同的符號體系來系統化對於世界的認知，以及社會如何被此間複雜的交互作用限制、形塑甚至控制，社會語言學、人類學、數據科學及機器學習等研究取徑因而常被運用於作品的相關討論。近幾年來的創作多運用數位工具及開放式框架，邀請群眾參與，進而紀錄集體卻也同時具有個體性的意義產製過程。 Born in Nantou, Taiwan, 1989. Lives and works in Taipei. Naifei is an emerging visual artist whose works include performance, web projects, and other process-based practices. Centering around topics such as languages, empirical experiences, and cognitive models, her practice aims to investigate issues critical to our contemporary (digital) society with the use of image, sociolinguistic tools, and technology (data science and machine learning). An interpersonal approach is often employed under an open-ended framework that invites participation, whereas verbal/written, audio or sometimes visual documentation of the process is one of the main forms to be shown in exhibitions with purposefully minimal aesthetic treatments.

Artist

盧惟中 Lu Wei Chun

我創作上使用的主要媒材是繪畫與陶瓷雕塑，這種可以比較仰賴直覺的表現模式，利用透過藝術力探討如何展現與連結過去及未來；在一個沒有草稿而直接開始的過程中，利用色彩比較鮮明的顏料一點一點堆積組合，並以充滿想像的生物作為作品結束的形式。這樣的生物靈感是來自於卡通，動畫以及神話故事當中，造型浮誇, 設定荒謬的角色被反映在我的潛意識當中，進而轉化成新的創造物。在我看來過去與未來並不是相反的，而是彼此相對的，就好像黑洞與白洞一般。而藝術的角色就是蟲洞，將這兩面連結在一起。