心動EMU,2012

Crush on EMU

1/10

1. 數位觀察者(obsurfator)

 

如果20世紀是機械的時代,21世紀就是一個屬於數位的大海賊時代。這個年代不再迷戀太空也不再追求看得見的速度感,我們在雲端相見,感官在短短十幾年間進化了似的。身處這個太多太快的世界,漫遊怎麼夠,我們不再相信某種至高點最有效的瞭望方式,因為觀察者的位置正在彼此之間,就像衝浪者和海洋並進。只有縱身而入,才能看見獨屬於冒險者的 風景。

 

在數位化的世界裡,藝術家除了做為創作者,也正是此時此刻沉默而銳利的觀察者。他們處在當下,卻如航海者時時追蹤自己與某個理想航線的相對位置。他們向偉大的航路前進,理想可能指向未來,也可能指向腳下的世界。當媒體不斷革新,人們別無選擇地投身數位生活,藝術家在這個時空之下,既是一個生產者、演出者,也是一個旁觀者,是一個曖昧的局外人。

 

這就是從台灣經驗形塑出的觀察者,其創造性不能用神格化的「原創」來理解,因為其本身就是關係性的創造,就是對話行動,它不只是發生在作品與觀眾之間,更為深刻而普遍的是台灣當代藝術是一種離不開全球藝術對話的創作行動。這些數位時代的台灣觀察者擁抱不斷翻新不斷貼近湧入的技術,卻也試圖與它拉開適當的距離。他們看見眼前世界的美好與極限,在媒體全面接管生活的時刻,尋找得以重新看見媒體的距離,甚至,讓批判成為可能。

 

2. 心動

 

數位做為引領時代的技術,開啟了21世紀的奇觀世界,而且這個奇觀世界不再是供作景仰或信仰的對象,而是一個新自然、一個互動的網絡;這個彷若神經系統的技術網絡,不僅在各方面延伸了我們的神經系統,也同時讓我們化作這個世界中的一個「神經元」。展名中的「EMU」與「心動」便出自同時是數位主體與敏感觀察者的「神經元」;除了做為數位時代三階段流變的組成──Electronic-Mobile-Ubiquitous──,也更深刻地道出「Je suis ému」,意即「心動」。

 

因為世界與我們的連通,而我們也相對地成為世界中的「神經元」,使得藝術表達和數位科技之間變得不離不棄,既讓某些藝術家抱持著莫名的熱情與衝動,探尋並實驗著科技所能提供的可能性,成為新的表演者,同時又讓某些藝術家啟動了前所未見的遲疑,細微地觀察科技造成的生活轉變與知覺轉化,而成為新的凝思者。無疑地,這個世界神經系就像是新大陸時代之後,足以氾濫到每個個人宇宙中又能夠覆天蓋地的「新大海」,新大陸在歷史中形塑出許多的拓荒者,而新大海時代則在 一種歷史不明的狀態下,無時無刻地要求我們在衝浪者和窒溺者之間作出選擇。

 

所以,這個以「心動EMU」為名的展覽,一方面呼應這個時代景觀來呈現藝術家的多樣展現,另一方面則希望藉此機會更細緻地突顯出藝術創作者與數位環境之間的關係,以及他們對此作出的 判斷,也就是他們與這世界所保持的測量距離。前一個面向企圖藉由各種創作取徑,如以基本媒材做為觀測支點、生活旨趣的詩意、藝術問題的重返、將媒體產物用作新的媒體與訊息、進入科技界面與科技語言所生成的權力抗爭……等,以此向觀眾敞開出一個問題:看不見的航道究竟何在?後一個面向則從這些或暗或明的表達 途徑中,在種種不同的距離與觀點下,看到更多與數位時代相應相生或交相對質的姿態和行動。

 

整個展覽所訴求的也就是如何跳脫將時代與世界當作奇觀客體來呈現,而是從每個創作位置的提示和作品之間延伸出的網絡,看到一種取消內外之分、前所未見的「神經元」這樣的「現象—主體化」。所以,「心動EMU」企圖描繪的是一種三重的當代藝術景致——被時代觸動的觀察者(野心勃勃的海賊)、加入數位之海的探索(新航道),和豎立在藝術道途中的標記(獨一寶物)。在這三重景致中,創作者不只呈現作品,更重要的是呈現出其觀察位置,並從他所創造出的寶物看到不同的創意巧思。

3. 看不見的航道(Invisible Line)

 

基於這訴求,首先,希望將台北當代藝術館展場空間和觀看動線架構為一種像是直線迷宮的「航程」;王福瑞與姚仲涵的聲音創作將在一樓與二樓的轉折處,前者利用樓梯間的曲折空間建構主題提示的音場,讓觀眾在觀展過程中有著身體與聲音緊密跟隨的關係,後者則在中介空間中利用啟動器的聲音製造出一種內在溝通。另外二樓的主展廳,則營造成一個影像劇場空間,既像是會師,也像是會戰,預告著另一個新航道的起點。

 

在這個航道式展覽中,我們將讓每位藝術家佔據著一處處完整空間,既展陳作品也表達出他們的核心觀念。展覽一開始是袁廣鳴(A)與陳浚豪(B)的作品,宣告出一種可逆的雙重性。對前者而言,數位是一種技術和觀念,用來構成藝術家的詩意影像和動態;而後者則將數位當作一種知覺的內化,用手工與筆觸的疊合呈現出數位時代的「脫印」。

 

一樓各展廳的各個展間,循著這雙重性出發,吳季璁和林冠名出現在A航道,前者表達著日常觀看與科技觀看之間的差異疊合,後者則呈現出科技時代中時間與運動的脫鉤,由視差形成的詩意;而陳曉朋、王璽安、曾雍甯則在B航道,分別展現著數位所引發的新視覺、層疊出視覺表象的繪畫性與混淆著影像視覺的手感。A航道的作品從數位影像中提煉詩意,以科學技藝促發人性本能的感官旅程。B航道的繪畫作品從抽象的邊界回眸望向數位視覺,以細微筆觸、大量重複元素所織就的類像素空間,或者從現實轉化而來的形色平面,都探問著現實映射於繪畫的各種可能。

 

一樓延伸至二樓展廳的C航道,就是經由數位技術,而得以將私密記憶和情感同虛構而超現實的情境揉合在影像中的藝術家,包括曾御欽、與王俊傑。曾御欽不斷地揭露現實的隱密角度,而王俊傑則以影像的創製和再製,回溯對於藝術的提問。兩位都透過數位影像將自身投射到一種類敘事與開放敘事的連結軌跡。

 

另外有黃博志的磁門與特邀學者賴火旺教授的讀報間,兩者皆意識到科技語言對於日常生活與社群溝通的控制性與可開發性,轉而以滲透的方式表達其創造性的介入(D)。另一條B航道的延伸,則有蔡士弘將電玩與電腦操作習慣的複製與透視連結到國際事件,而組構出各種奇特風景。周代焌的畫作存在主義式地描繪出當代人置身所在的數位影像奇觀。席時斌的紙上作品透過有色壓克力的障蔽,遮蓋了繪畫的筆觸,在電腦繪圖的時代以古典的建築圖學與透視法捕捉萬物形態,宣示出回到人文創造的手勢。(E)

 

二樓大展廳是一個奇觀社會式的影像劇場,首先有陳敬元的混種歷史劇,以電影式錄像呈現出台灣混種的壓迫性生命狀態,余政達在第二層則是以唱歌行動演出一種 社群身份的交雜狀態,接續對應的則是謝牧歧連結藝術社群與流行文化的身份解放。第三層,吳其育則將小鎮和核電廠的現實處境虛構為科幻敘事的新神話,對應出 現的是廖建忠呼應著現實問題的牛肉怪手。而在整個展廳上空有著郭奕臣極具象徵意味地指出我們與訊號之間的詩意宿命,並相應著有李承亮的〈太空月球系列—太空艙〉開啟著另一種詩意。第四層的豪華朗機工,以社群連結的計畫串連出展翅飛翔的希望,對應的是張明曜將社會事件、藝術社群製成可讓玩家創造敘事的遊戲卡,表達出一種內化到追尋日常快感的數位邏輯(F)。

 

黃沛瀅的瓦楞紙雕塑/裝置在二樓展場末端通向地面的過道,以單一元素的複合、拼接再現一個極具手工感的網絡景觀。這個開放的有機形體包覆著廊道,讓觀眾在展場內像似航入某個巨大的結構內裡(G)。這是一個有如生物腸壁的通道,也像某種科幻敘事發生的場景,是終點也是起點,將航行引向未定而開放的章節,迷路和發現在這裡無縫地轉接。

 

 

 

4. Crush on EMU

 

一座擁擠的數位之海。四下空無一人,卻能感受另一種摩肩擦踵的推擠正壓迫著身軀。距離感必須重新定義,重新測繪各種關係和親疏遠近。這個距離的重新測量和 表達,就是對於自身發展脈絡的重新整理,並同時思考這些藝術航道如何在國際藝術發展中建立對話關係,就像是《海賊王》卡通影集中作為主角以魯夫為首的一行人,對於整個大海宇宙來說就是「觀察-介入者」,他們的故事來自於他們原本不屬於這個海洋史,而也因為他們強烈心動的介入,使得海洋始出現轉折。

 

一個支離破碎的數位時代。所有事物不再宏偉巨大,要輕薄微渺,要能夠媲美靈魂的重量。如雨的碎片灑落,紛紛命中這一時空,彼此牽結起諸多未被命名的星座。「Crush」在今天這個展覽中同時攫取到個體與歷史的關係,一方面是「having a crush on…」,是藝術家如何被這個時代與科技的琳琅滿目所魅惑,他們又如何以其作為創作的素材和環境,來回應這個時代,同時間,數位時代也是一個瓦解(Crush)的時代,無論是社會關係、價值體系與經濟體制:就如同《海賊王》延續著《七武士》,以無名七人幫探索一個秩序瓦解的時代敘事。

 

數位時代的觀察者在眾多航道交集的大洋各自前進,任憑感性撞擊、指引,探索著新民主時代的創作景觀。「航路」不是出自強權或前人,而是不同觀點的發想者,憑藉著醞存的力量,將立即直覺付諸實際世界的實驗,也因此,航道記錄的是身體、感知與時空的異樣串連,這也是今天科技藝術展與批判性藝術展分別因為「過於平滑」和「過度銘刻」而掩蓋或迴避的「探索」。他們看見未被看見的航路,一次比一次更接近所謂時代讓人心動震顫的頻率。

 

 

If the 20th century was the age of machines, the 21st century is the digital age of piracy. This age is no longer infatuated with space and no longer pursues a tangible feeling of speed, we meet in the clouds as if our senses have evolved over the last decade or more. In this world that offers too much and moves too fast, how can wandering be enough? We no longer believe that a certain vantage point offers the best view because the positions of the viewers are side by side like a surfer and the sea. Only by diving in can the scene that only belongs to the adventurous be seen.

 

In the digital world, the artist is a creator as well as a quiet, keen-eyed observer at the same time. They are in the present but, like navigators, always pursue the relative positions of their own and a creation ideal route. They move long a great route, their ideals maybe pointing to the future, maybe pointing to the world at their feet. When media continually changes people have no choice but to live the digital life; in this time and space, artists are producers and performers, as well as observers and ambivalent outsiders.

 

Contemporary art in Taiwan is a creative movement that is inseparable from the global artistic dialogue. These digital age Taiwanese observers embrace technology that is every-changing and coming ever-closer while also attempting to keep a suitable distance from it. They see the beauty and extremes of the world before them and, at a time when media has taken over total control of life, seek a distance that allows media to be seen again, even making criticism possibility.

 

Digital leads the way in the era of technology, giving rise to the 21st century’s world spectacle. But this world spectacle no longer provides an object of admiration or worship, rather is new in nature, an interactive web; internet technology is just like the nervous system, not only extending into every field like our nervous system but at the same time allowing us to change into one of the world’s ‘neurons’. The name of the exhibit EMU and the phrase Je suis ému at the same time come from the digital subject matter and from the ‘neurons’ of the sensitive observer; in addition it also expresses the three stages of transformation in the digital age: Electronic, Mobile, Ubiquitous, which explains Je suis ému in a deeper sense.

 

The relationship between artistic expression and digital science and technology has become something that cannot be left or departed from; already certain artists hold it very impulsively and passionately, seeking and experimenting with the possibilities that may be provided by the capabilities of science and technology as a new performer. At the same time, it also causes some artists a sense of unprecedented hesitation: they watch carefully as science and technology brings about life changes and perception changes, as well as causing them to become new thinkers. Regardless, this worldwide nervous system is just like the era of the New World: it is capable of flooding unchecked to every person in the universe, capable of covering sky and earth like a ‘New Sea’. The New World historically moulded many great pioneers, and though the historical state of the ‘New Sea’ is not yet known, all the time it asks of us to make a choice between surfing it, or being suffocated by it.

 

Crush on EMU attempts to portray a kind of three-layered view of contemporary art: the observer who is moved by the age (the ambitious, animated pirate), the explorer who plunges in to the digital sea (creating a new waterway) and the sign that stands upright in the middle of the creative path (unique treasure). As a result, this exhibition makes use of the gallery exhibition spaces and visitor routes in Museum of Contemporary Art, Taipei to construct ‘passages’- mazes with straight lines. Within this path-like exhibition we have allowed each artist to occupy their own entire space, since the laying out of the works of art can also allow them to express the core of their thoughts, as well as presenting the many possible varieties of ‘invisible waterways’ that digital art can offer.

 

This is a crowded digital sea. Everywhere there seems not a soul in sight, but you can feel another kind of shoulder barging or heel rubbing, pushing and pulling, pressing down on the body. The feeling of alienation needs re-definition, a re-mapping of connections and of distances near and far. This new way of measuring and conveying distance is a re-arrangement of the context that gives one a sense of growth. At the same time we think about these art waterways we should ask in what ways can dialogue and connections be established between international and artistic development. It would be similar to the One Piece manga series, where the relationship of Monkey D. Luffy (the protagonist) with the entire ocean and universe is one of being an observer and intervener. The story doesn’t originate from the ocean's history, but because of their strong and intense intervention it causes a change in the ocean and the start of a different course of events.

 

Crush in this exhibit also draws out the relationship between the individual and history. On the one hand 'having a crush on....' can come to mean the artist’s dazzlement in the face of the glamour of the century and the glittering of science and technology: how are they going to react to this century by using science and technology as a source material and environmental surrounding. At the same time, the digital age is also a 'crush' age in social relations, value structures and economic systems just like One Piece extended the theme of Samurai 7 as a nameless gang of seven searching for rule and order in a 'crush' age.

 

The observers of the digital age head forth from the intersections of the waterways on this ‘New Sea’; whether it be colliding with, guiding or exploring the creative landscape of the new democratic age. These ‘waterways’ have not derived from power or from our predecessors; rather they have come into being from those with a different point of view, and with the aid of potential power of the people we can put our spontaneous intuitions to test in the real world. As a result these waterways are a record of different strings of perception, of the body, and of time and space. This is also the difference between today’s technological art; and it’s critical art, which is too shallow or too abrasive and conceals or avoids ‘probing’. These observers see a waterway that has never been seen before, time after time getting closer to that point where their hearts begin to tremble in anticipation.

策展人 Curators:

黃建宏 Huang Chien-Hung、張晴文 Chang Ching-Wen

展覽時間 Date:

2012/09/08 - 2012/11/11

展覽地點 Venue:

台北當代藝術館 MOCA Taipei

參展藝術家 Artists:

王俊傑 Wang Jun-Jieh,

袁廣鳴 Yuan Goang-Ming

吳季璁 Wu Chi-Tsung

林冠名 Lin Guan-Ming

王福瑞 Wang Fujui

曾御欽 Tseng Yu-Chin

姚仲涵 Yao Chung-Han

豪華朗機工 LuxuryLogico

吳其育 Wu Chi-Yu

陳敬元 Chen Ching-Yuan

余政達 Yu Cheng-Ta

謝牧岐 Hsieh Mu-Chi

郭奕臣 Kuo I-Chen

張明曜 Chang Ming-Yao

黃博志 Huang Po-Chih

陳浚豪 Chen Chun-Hao

陳曉朋 Chen Shiau-Peng

王璽安 Wang Sean

曾雍甯 Tzeng Yong-Ning

席時斌 Hsi Shih-Pin

周代焌 Chou Tai-Chun

蔡士弘 Tsai Home

李承亮 Li Cheng-Liang

廖建忠 Liao Chien-Chung

黃沛瀅 Huang Pei-Ying