【Art Museum of the Night】International Film Festival in Alleys: 2018TIVA@Yuxiu Art Museum
International Film Festival in Alleys: 2018TIVA@Yuxiu Art Museum
After two years, Yuxiu Art Museum and Fengjia Art Museum once again cooperated with the "International Film Festival in Alleys".
Different from the street configuration two years ago, this time, the audio-visual field is pulled back to the surrounding of the museum, highlighting the echo of the image, playback and the environment.
Fengjia Art Museum has long been committed to promoting the creation of contemporary art and new media in Taiwan. The purpose of hosting the Taiwan International Video Art Exhibition is to encourage the creation and research of video art. After more than ten years of hard work, it has established a dialogue platform for international video exchanges. In 2018, the 6th Taiwan International Video Art Exhibition was held, and the curators Xu Jiawei and Xu Fengrui were invited to exhibit on the theme of "Offline Browser". The cooperation between the Taiwan International Video Art Exhibition and Yuxiu Art Museum continues the main axis of Fengjia Art Museum's promotion of video art. In view of the unique geographical environment and community connection of Yuxiu Art Museum, a selection of videos suitable for Yuxiu Art Museum is expected. The arrangement of different venue atmospheres and broadcasting forms allows the audience to have different viewing experiences of the video works.
Offline browsing exhibition introduction ———
The information flow in the Internet society inherits the high speed and flexibility of capitalism. Smart phones, TVs, and computers are all integrated into the display medium that uses the Internet as an operating platform. The materiality interface for browsing. In such a state, the multi-technical aggregation experienced in the process of image production and viewing is also influenced by the interaction of a large number of intermediaries and participants, further nurturing a dynamic overall order. The proliferation of networked technologies, like neural networks, has substantially changed our operations and outcomes in the process of experience, power, history, and cultural production, and has completely shaken the foundations of fixed space, time, place, and country. The organization concept and form of the capital, its orientation is that the power of "flow" is the first priority, which not only accelerates the evolution of capitalism and changes the nature of the capital market, but also renews itself at an extremely fast speed. Instead, it produces a global activity that works in real time.
The open structure of the Internet society has an extension property that spans the dimensions of time and space. Therefore, no matter which direction a "user" approaches from, it will be an open end. As long as it can circulate in the Internet and consume the same communication code, it can be integrated. Enter a new node and develop an unknown network, and the real identity of the user in the Internet Protocol is actually a string of "addresses" defined by the digital code, so the user is not necessarily a person, it can also be a machine. Networking has brought about qualitative changes in the information production, use and meaning construction of users on the Internet. The key is not only how text narratives are generated, but the complex relationship between cloud databases and message texts. Such a conversion process is exactly the image feature that this video biennale focuses on. It produces an encyclopedic image text in the cooperating relationship between cloud database and narrative; it appears at the real-virtual image interface. In this paper, users' recoding and understanding of life experience; and how to further apply experience and knowledge in the network society constructed by the cloud, machines, and user groups to extend the dynamic relationship between different networks in human society. Under this framework, the material bearing in the video no longer plays the instrumental role in the context of traditional video art, it is a springboard for reflecting on the Internet society, and it is also a part of the artist's creation and action in "offline browsing".
"Offline Browsing" is not a functional interpretation of the Internet's on-line and off-line, nor is it a dualistic one that asks us to leave or stay. When using the platform built by the Internet, how can we think about the structural relationship between individual production and the Internet under our user identity as producers/users/consumers, and how to view the technical tools in the Internet society? Converted into a media concept, infiltrating data through the reverse production of information and affecting the material basis of calculation. The key to this is that network technology is not determined by society in one direction, but is more about the network worldview formed by the participation of users. How to understand the power of this technology and not be held hostage by this power , which is the strategy considered in this offline browsing.
▲11/10 (Sat) 18:00 The film exhibition opens. Everyone is invited to enjoy rice noodles with rice balls while watching the video art. Guests who love the earth are welcome to bring their own eco-friendly tableware.
16:00-20:00 Art Museum opens at night
18:00 Opening of the night film festival "Pinglin Guoxiao playing the straight flute and rhythm performance", opening film: Liang Chao – Travel Notes│ Venue- Sod in front of Think Space (Jiujiufeng Art Ecological Park)
★artist Lai ShichaoThe music performance "Finding Nemo's Point" will use a large number of effectors and signal waves invisible to the human eye, plus real-time sampling of the live environment as the carrying tool of the performance; this tour will bring you minimalist ambient sound and music, Recognize the world that exists in the sound, and explore the Nemo point in you and me between deconstruction and reconstruction.
16:00-20:00 Art Museum opens at night
18:00-20:00 Night Film Festival
★The curator deciphers "2018TIVA@Yuxiu Art Museum" Fengjia Art Museum curator Ye Jiarong selected several videos from the Taiwan International Video Art Exhibition: Offline Browsing for the space and environmental characteristics of Yuxiu Art Museum in eight places around the museum. During the two-day night screening, she will come to the scene to explain the little secrets behind the works, and illuminate a ray of light for the audience.
Night Film Festival Screening Locations
Venue 1: Space Capsule on 1F of Exhibition Hall
Venue 2: Planet Room, 1F, Exhibition Hall
Venue 3: Chaoyan Café (F&B consumption required for admission)
Venue 4: The open space in front of the cultural and creative store
Venue 5: Think Space 1F
Venue 6: Sod in front of Think Space
Venue 7: Think Space 2F Bookstore
Venue 8: Think Space 2F balcony
- 11/10 (Sat) 18:00 The opening night of the film festival will provide guests with meals to enjoy. Guests who love the earth are welcome to bring their own environmentally friendly tableware.
- The climate in the suburbs is changeable and prone to mosquitoes. It is recommended to wear warm clothes and carry mosquito repellent spray.
ways of registration
- Telephone reservation: Please call 049-2572999 during the opening hours of the museum
Main Building 1F Planet Room
2015, single-channel video, 6 minutes 39 seconds
Jeong Kahee / JEONG Kahee ‧ South Korea / Born in Incheon, South Korea in 1986, lives and works in Berlin, Germany
This work is based on the artist's thinking about "thinking". An ordinary person has about 20,000 thoughts in and out a day. Thought is difficult to measure or receive, but it can directly guide our life until death. For centuries, artists, scientists and philosophers have tried to capture the human mind.
In this work, Zheng Jiaxi takes her grandmother as the target, trying to explore, record and visualize her thinking in many different media. According to the artist, the piece is likened to a stone as a storage. The accumulation of oil and stone over millions of years records the rhythm of nature, which is the longest and most durable storage device. While the current technological society has created many unprecedented landscapes, it is rare to find a repository of human thinking. This work also focuses on thinking and explores the possibility of thinking storage and how it is passed down as the basic human psychological state of an era.
Main Building 1F Planet Room
2017, single-channel video, 7 minutes 53 seconds
Lee Jaewook / LEE Jaewook ‧ South Korea / Born in Daegu, Korea in 1984, lives and works in New Zealand, Jersey City and Seoul
"Empathy Audition" is a single-channel video work that returns to the scene of the times through a letter written by Lee Won-geun, a student soldier during the Korean War, to his mother. The letter was recorded as the day before the North Korean Army took Lee Won Geun's life. In the work, the two actors read the letters and imagined that they were student soldiers during the Korean War. By simulating their emotions, the EEG device they wore on their heads could measure their real-time brain waves, revealing their psychological and psychological characteristics in the signal fluctuations. emotional state.
In the work, every time a sentence in the letter is read out, a short image will be projected in the smoke visually, just like a recalled memory. And the continuous division between North and South Korea, in the social memory of the group, is like a projection in the smoke, there is no actual body but still exists in the background of the individual's life. By studying the psychology and identity in the human brain, and using brain science as a language of presentation, the artist examines the modern history of Korea, connecting political reality, human and natural conditions.
Main Building 1F Space Capsule
[Won the bid;) Hahahaha] 2018, single-channel video, 3 minutes 53 seconds
Pasis Kaponez / Vasils KARVOUNIS ‧ Greece / Born in Athens in 1982, lives and works in Athens
Rossella. Her work focuses on the concept of memory, imagination and space. She also has a background in film, performance art theory, photography and art design. Her works have been exhibited and collected in many art institutions and film museums.
The work "Won the Bid ;) Hahahaha" is a real screen video record about how a computer virus invades the computer and causes the computer system to collapse. In a humorous and nostalgic way, the artist imagines that computer viruses are biological viruses, and paralyzing the computer system is like attacking the immune system of the human body and affecting the operation of the nervous system, resulting in various psychological paranoid symptoms or various states that cannot be handled. As a metaphor between reality and virtual world, the work further explores the relationship between human-computer and society-network.
Although Pasis is presented in a prank-like viral humor in this work, apart from what the artist said, the development of malicious programs mainly stems from finding backdoors and stealing ways to invade. Programs are packaged as lightweight, fun gadgets or game software, and once a computer is infected, control is also handed over to the intruder. Through the computer, personal privacy and confidential information can be extracted, and even the computer can be monitored, controlled, viewed, modified, etc. In addition to humor, it is also a kind of worry that we can understand.
Screening Location‧Think Space 1F
【Park】2015, single-channel video, 14 points
Randa MAROUFI / Randa MAROUFI ‧ Morocco / Born in Casablanca, Morocco in 1987, lives and works in Paris
"The Park" is a Moroccan artist Landa. Morophy's single-channel video work. The work uses a slow-moving camera lens to capture a deserted amusement park in downtown Casablanca. The video slowly depicts the figures of young people who used to ride in this space, opens up a snapshot of their past daily life, and carefully reinserts it into the abandoned amusement park space.
This work condenses time and space, people and memory on the edge of a kind of beginning. At the edge of the story and the protagonist (those young people) about to play, the tension of imagination is stretched. Interestingly, this space is an abandoned space, and there should be no more stories, performances or presentations. However, this silent amusement park provides the viewer with a deductive space to imagine. Through the soundtrack of dialogue and recorded sound, these cohesive film sculptures invite the viewer's imagination to complete their life story together.
Cultural and creative store front stairs
【Asagaya-Battleship Island Mobile Project】2017, single-channel video, 13 minutes 55 seconds
Yang Qinhua/YANG Qin-Hua ‧ China/ Born in Shanghai, China in 1992, lives and works in Tokyo, Japan
"Asaga Valley-Battleship Island Mobile Project" is a single-channel video work by Chinese artist Yang Qinhua. The background of the work is located in Hashima, Nagasaki, Japan, also known as Gunkanjima. From the early 19th century as a coal mining area, it became an island with a population density nine times that of Tokyo at that time, and then to the mid-20th century when the coal mining industry weakened and the island was abandoned. In 2009, Gunkanjima was developed as a tourist attraction by the local government, and a sightseeing itinerary called "Battleship Island TOUR" was launched, which included cruise ships at sea and souvenir sales of ruins and ruins. Although the Battleship Island is a piece of history, it is not the past, but a silhouette of a future that is rapidly evolving. In Google Earth, this history, which has been productized, becomes a more entertaining image. In this work, the artist made a model of his real life street with 3D scanning software to realize a large-scale transfer and removal of the real life inside the computer. As a realistic prophecy of rapid production leading to rapid demise, Gunkanjima becomes an everyday end point in this work. At the same time, if the cause of the ambiguous and distorted visual language like Google Earth in the image is attributed to "loss of details", then entering this world means that details must be discarded (or, in other words, the truth of details) , and shape it into a more effective worldview. The loss of details means lightness, and lightness means that it will require a smaller memory space than "real", which can undoubtedly be regarded as a survival strategy in the future world. In reality, the lightweight, the end point is a three-dimensional that tends to be flat, and it is the suspension of the object that loses its functional volume. The floating streets in this work and Gunkanjima, which is consumed as a commodity, also clearly reflect this mechanism.
Think Space Front Turf
2015, single-channel video, 7 minutes 23 seconds
Lin Zihuan / LIN Tzu-Huan ‧ Taiwan / Born in Taipei, Taiwan in 1986, lives and works in Brooklyn
In September 2013, a giant rubber duck was displayed in Kaohsiung, Taiwan by Dutch artist Hoffmann, and the rubber duck managed to attract 3.9 million visitors. Hoffman's rubber duck is a replica of the yellow duckling, after which various imitations have appeared in China. Through this phenomenon, the artist discusses the authenticity of various versions of objects in the Internet age. Rubber Duckling is about art and its originality. He proposed that reproductions can create new aspects of the original, and he also raised the possibility of original innovation.
In the digital age, various versions exist on the web and have their own realities. Rubber Duckling uses the language of the internet, mixing, merging, revisiting, cutting and pasting to explain the phenomenon. The work is transformed into a story script narrating Duckling and its related misappropriation of network images, stringing the story and possible meaning behind it, asking questions, when the image is distorted or pulled away from its original position, in response to the specific combination of materials and operations, may form different referents and contents. And how should we think about what we think and see today?
Think Space Front Turf
【Travel Notes】2016, single-channel video, 18 minutes 53 seconds
Liang Chao / LIANG Chao ‧ China / Born in Tianjin, China in 1985, lives and works in Paris and Lille, France
In the age of crazy development of technology, the invention and creation of any new technology cannot be seen separately, including: electricity, heavy machinery, recording technology, printing technology to the Internet, etc. Today's digital life is surrounded by tens of thousands of images. The artist uses his imagination and another narrative to state the existence of photography, to reflect the past from the future, and to reverse the death and birth of photography.
In the works, Liang Chao selected more than 30 pivotal works in the history of photography as references, imitated the scenes in these works, and re-constructed the city in the film with 3D technology. In this "deja vu" zone, they establish a fictitious relationship between real people and history, linking the relationship between the past and the future, and at the same time linking the sound and the image. This work places the real history of photography in fiction, collides with the oral content of the elderly with the historical process we know, and uses technology to develop a different narrative relationship for the "history" of other human inventions.
Chaoyan Café (food and beverage consumption required for admission)
【Looking-at-camera】2018, single-channel video, 18 minutes 38 seconds
Chen Yixuan/CHEN I-Hsuen ‧ Taiwan/ Born in Taipei, Taiwan in 1982, now lives and works in Taipei
"Looking-at-camera" consists of a series of very eerie and fascinating images. In the video, the models are often immersed in their own state (mostly by swiping a mobile phone tablet or using a computer), and then looking at the audience in front of the screen behind the camera, as if seeking an emotional connection. These eerie images come from the video material library purchased on the Internet, and the artist anchors the keyword "looking at camera" to download and construct.
These images in the asset library are usually designed for commercial use. So it was possible to imagine that these images, combined with the logo design and the ad line, would make a perfect testimonial ad ending. But if these materials (with advertising messages removed) are linked together, many video sculpture fragments will be formed. In the infinite loops, the models are not really browsing. When they leave the browsing state, the moment they look up, it is like breaking the fourth wall. Empty link.
Think Space 2F Bookstore
【Word of the Day】2017, single-channel video, 3 minutes 32 seconds
Piotr KRZYMOWSKI / Piotr KRZYMOWSKI ‧ Poland / Born in Poland in 1989, lives and works in London
In 1977 French singer Amanda. Lear released her song "Alphabet" with the line "Time sneaks, things change in my world, this is a new alphabet I'm giving my kids of my age". Under Lear's recitation, this song not only poetically reflects the singer's self-description, but also reflects the glory and suffering of the 1970s in which she lived.
In this piece, Piatt uses Lear's concept to make a song that depicts the present 2017-2018. Using Google's search engine to anchor the top search terms for each letter of the alphabet creates a present look for Lear's songs. Many of these new words come from the names of newly developed companies, service forms or consortia, and compared to the past, the tone of the words also shows fast-paced, no-wash culture, mass consumption, endless information and instant gratification.
Think Space 2F Bookstore
【The life of the object】
2015, single-channel video, 6 minutes 33 seconds
Natalia Skobeeva / Natalia SKOBEEVA ‧ Russia, Belgium / Born 1975 in Vladimir, Russia, lives and works in London, Belgium and Russia
Artist Skobiva's work "Life of Objects" uses the cultural characteristics of a piece of blue and white porcelain to connect the cultural characteristics and cultural characteristics shared with ancient Egypt, Persia, Mesopotamia, China, Russia, Europe and other countries. interdependent historical origins. The narration of artificial intelligence uses Google search engine works through the deconstruction of cultural production, implying that the cultural identity of individual countries is formed in the exchange of multiculturalism, and also questioning the process of historical generation, exploring the emerging socio-political space and inter-class relationship. operate.
"Life of Objects" discusses the cross-border cultural production on the Internet, and explores the possible future development of the nation through the development of science and technology. Watching the object's root-seeking journey on the Internet, from particles, countries to unknown universe fluctuations, the narrative emerges under the current socio-political issues from a non-human point of view.
Think Space 2F Bookstore
【Wantang People】2015, single-channel video, 7 minutes 48 seconds
Cheng Tingting / CHENG Ting-Ting ‧ Taiwan / Born in Taipei, Taiwan in 1985, lives and works in London and Taipei
The title of "Mantang Figures" comes from the exhibition of the same name held in London's Hyde Park in 1842, which occupies a place in the history of Chinoiserie (Oriental images and stereotypes constructed by European historical views). This piece focuses on the Chinoiserie, in which the representative porcelain motif is the Blue Willow. This pattern is a pattern imagined by the British after they began to produce their own porcelain in the 18th century. In order to make the pattern more oriental, a legend about porcelain was born accordingly. Through the exploration and connection of the Internet, the work constructs the life of this fictitious pattern and the inextricable strands it affects.
After leaving the factory, the blue willow started a global collection trend. Collectors were moved by the romantic and poignant love story depicted by the pattern. Later, even Chinese or Japanese porcelain brands exported porcelain with this pattern. To this day, many people still misunderstand that the story and pattern of the blue willow tree originated in China. This imaginary pattern with an oriental scent perfectly presents the Chinoiserie's imagination of the East from the European and Western perspectives. Later, factories in China also began to produce porcelain of blue willow trees, highlighting the importance of the right to speak in identity and historical construction.
Think Space 2F Bookstore
【Dog】 2017, single channel video, 4 minutes 38 seconds
Gregory HAYMAN / Gregory HAYMAN ‧ UK / born in 1958, lives and works in the UK
The work "Dog" interweaves a news event with an 18th-century artwork. The news content states a Syrian refugee (little boy) Alan. Kurdi's death, and the artwork is an image of Goya's dark period work "Dog". The artist searches and browses on the Internet through personal creative research, connecting some parallel imaginations.
In this work, on the one hand, it exposes the plight of international refugees, crossing borders, where life loses its spotlight amid money, violence, and various transactions under the table, while the parallel and calm gaze of others is no different. These are isolated ,unrelated. On the other hand, this indifference also demonstrates the instantaneous huge amount of data, high-intensity stimulation and accompanying insensitivity, distance, and dullness brought about by social media and the Internet. Although this work is not outright, it provides an opportunity event that allows us to stop and watch the same event repeatedly and repeatedly in the work, giving time to think and reflect.
Think Space 2F Balcony
[Sharp Angle Body] 22016, single-channel video, 18 minutes and 12 seconds
Gilles RIBERO / Gilles RIBERO ‧ France / Born in France in 1985, lives and works in Brussels, Belgium
"Sharp Angled Body" is a single-channel video work. The background is a concert, and the flowing footage depicts an object between man and machine, as well as its movements and vision. This work can be divided into three parts: human body (conductor), music (Richard Strauss's "Transformation") and camera machine (computer motion-controlled photography). Among them, the motion control of the camera is constituted by the arrangement of data, and the data comes from the movements of the music and orchestra conductors (obtained by motion capture). During the shooting process, the interaction between the machine and the human action makes the machine an alternative incarnation of the image.
In this work, the object is conceived by the artist as a kind of perceptual existence, which allows the artist to carefully observe the chaotic intertwining of the subject's body and the resulting movements. At the same time, the work also attempts to open up a space created by the encounter of the three elements. A spiritual space that can be touched and felt.
Thanks to the unit: Pinglin Elementary School