玻璃總是要碎的 It is the Fate of Glass to Break| 02.23-04.28|TKG+ Projects

  • 展期│2019.02.23-2019.04.28
  • 開幕│2019.02.23 (Sat.)
  • 地點│TKG+ Projects
  • 台北市114內湖區瑞光路548巷15號2F
  • 策展人│賴駿杰
  • 參展藝術家│丁建中、陳飛豪、張致中
  • www.tkgplus.com

本次TKG+ Projects 邀請到策展人賴駿杰,從歷史文本、影像、裝置等角度,探討災難、預測,以及隨之產生的圖像。展覽標題「玻璃總是要碎的」源自於法文諺語,講述災難總是會發生的宿命論觀點。

展覽概念起源於丁建中與陳飛豪的實驗性創作Up to 121(2018),討論賀伯颱風與在地發展史之間的關係。數字「121」,是1996年賀伯颱風重創台灣、淹沒板橋435園區的水線位置高度,它是紀錄,同時也是一種警示;對當地居民來說,則是風雨刻在肉身上的痕跡。水線121對照降雨量預測是為「未來」,但121在現實中卻經常成為「過去」:因追趕不及「現在」而失效的一組數字。本次展覽以此為延伸,探討人在不斷的時間迴圈中積累更多的既定現實。「既定的(given)」121所體現的時間矛盾有著兩方面意義:一是為使人相信危機,並試圖控制危機而製造的客觀系統。另一方面,敘事本是為了對抗遺忘,但在被檔案化之後卻也注定被封存——總有新的事件、危機會出現,取而代之。

多數預測最終將會轉為圖像,氣候預測也好,股市的走勢亦然。特別是經濟預測與災難預警有許多共通的邏輯:皆為某種數字的博奕、對於未來的賭注,並且建立在「危機(之後)」的想像。這類圖像作為符號,指向背後一系列的知識系統;但它同時也是關於圖像的圖像——元圖像(metapicture),成為人們理解此圖像的參照。用紀傑克的「幻見(fantasy)」理論來說,則是:「它教導了我們如何欲望(未來)。」然而,幻見是有瑕疵且互相衝突的,一方面指責現實(reality)的不足而權充為真實,並教導我們如何從中體認危機;另一方面,卻又述說著凝視真實之不可能——在面對真正的危機時,它僅僅只是螢幕上發光的圖像,如同神喻般,閃爍中給出未來的道路。

藝術家分別從不同向度考慮∕考掘災難的敘事:丁建中擅長從冷靜、客觀的現實中,找到真實感覺的觸動,藉由作品建立一場開放的觀看機制,讓觀者予以回應。陳飛豪則試圖透過文本史料,從後設的角度來探討預測與演示,以及氣候預測與其圖像所建構的意識形態。若說陳飛豪的作品是文件的視覺化,那張致中則是嘗試書寫歷史圖像,從圖表洪流所建構的意識形態混雜中,勾勒出真實的曲線。

展覽中許多影像是使用特殊油墨處理,它一邊對抗著最具破壞力的水,同時卻又需要靠水來顯現其自身,它所顯示的是記憶的元圖像。其顯影會伴隨著水分的乾枯逐漸消失,而這時間之短暫,就像人們對災難的健忘一般。然而,被遺忘了,不代表就不存在。水滴穿刺的動作是反圖像的,是一種銘刻當下的書寫,不僅提醒著現在,也意圖穿越災難必然會發生的時間迴圈,提供我們重新思考危機與宿命的可能。

丁建中|Chien-Chung Ding
1983年生於台北,前期作品關注空間中結構、運轉與對應之關係,並經由設計的機械裝置產生的聲響與光影,探討媒材間的重複性與徒勞的詩意。「光」作為創作中慣用的媒材,串連出作品的脈絡與軸線,並呼應出空間與時間之關係。近期作品嘗試將原先的機械性消減,純粹去回應所處空間下的自然狀態,並將原先對光的處理,擴張出包含對溫度、濕度、觸覺、動能中,與觀者自身身體、記憶之關係。駐村計畫:法國「洛宏汀之家」(2012)、西班牙「昂格藝術村」(2016)。

陳飛豪|Fei-Hao Chen
生於1985 年,現工作生活於台灣台北。擅長文字寫作,並運用觀念式的攝影與動態影像詮釋歷史文化、社會變遷與科技發展下所衍生出的各種議題;也將影像與各種媒介如裝置、錄像與文學作品等結合,探討不同媒介間交匯結合後所產生的可能性。

張致中|Chih-Chung Chang
1986年生於高雄,創作形式圍繞平面繪畫、文字創作、數位影音與空間裝置等,近期試圖透過海洋、船舶、港埠等命題,進行個人記憶、風土踏查與家族史的爬梳與重構,探討人-文明-自然相互關係的想像。曾參與於挪威史瓦巴之國際跨領域考察計畫「北極圈計畫」(2017)。為「水谷藝術」之共同創辦人,參與相關社區介入與空間活化等藝術推廣教育計畫,亦創作並出版繪本。

賴駿杰|Jay Chun-Chieh Lai
1983年生於台南,倫敦大學金匠學院策展碩士,現工作、生活於上海及臺北。曾策劃展覽於臺北當代藝術中心(TCAC)、臺北鳳甲美術館(Hong-gah Museum)、也趣藝廊(Aki Gallery),與廈門樣當代藝術空間(ModeA Contemporary)等。為聯合國藝評人協會(AICA)國際會員。研究興趣落在影像—文字關係、動態影像與策展學,近期進行系列策展研究計畫,藉由重新探討於日常生活中習以忽略的行動模式——即聽說讀寫,重新梳理行動者與世界的共存方案。其中「基進的書寫形式」,已於鳳甲美術館舉行(2017),並獲得當季台新藝術獎視覺藝術類提名。

贊助單位│台北市文化局、創科互動

It is the Fate of Glass to Break

Dates│2019.02.23-2019.04.28
Reception│2019.02.23 (Sat.)
Venue│TKG+ Projects
2F, No. 15, Ln. 548, Ruiguang Rd., Neihu Dist., Taipei, Taiwan 114

Curator│Jay Chun-Chieh Lai
Participating Artists│Chien-Chung Ding, Fei-Hao Chen, Chih-Chung Chang

TKG+ Projects is pleased to present It is the Fate of Glass to Break, curated by Jay Chun-Chieh Lai, exploring disasters, forecasts, as well as the imagery that follows, from multiple perspectives based on history, video, and installation. Deriving from a French saying, the exhibition title suggests the fatalistic idea that all events are subject to destiny.

The concept for the exhibition began with the 2018 collaboration between Chien-Chung Ding and Fei-Hao Chen, an experimental installation titled Up to 121 that discusses the relationship between Typhoon Herb and Taiwan’s local history. The number “121” refers to the high water mark for the flooding of the Banqiao 435 Art Zone in New Taipei City, when Taiwan was hit heavily by Typhoon Herb back in 1996. It could be considered a record flood as well as an ominous sign. For the local people, “121” is a scar left by the typhoon. Water mark 121 serves as a future indication when juxtaposed with rainfall estimates. Yet in fact, the number 121 is often seen as the past, because people cannot catch up to the present and the number fails in its function to warn. Delving further into this notion, the exhibition investigates how humanity accumulates established realities within a continuous time loop. The “given” number 121 manifests a conundrum of time: on one hand, it serves as an objective system that convinces people to believe in and attempt to control crises. On the other, the number is meant to counter the fading memory of disaster events, yet paradoxically, the archived events will eventually be forgotten — for there are always new events or crises that will overwrite the old ones.

Most of the predictions will be translated into imagery, like climate predictions as well as the stock market trends. There is a similar vein of logic between economic predictions and disaster warnings: both are gambling on various figures, betting on the future, as well as establishing an imagination of (post-) disaster. This kind of imagery signifies a series of background information systems. But in the meantime, it is also imagery about (the) images themselves, the so-called “metapicture,” becoming the reference for people to understand the original pictures. To use Slavoj Žižek’s theory of “fantasy,” this schematism “teaches us how to desire.” Fantasy consists of both flaws and mutual conflicts. On the one hand, fantasy criticizes the unsatisfactoriness of reality, and acts temporarily as the Real, but on the other, fantasy demonstrates that gazing into reality is impossible. Just like these piled up images of predictions, fantasy shows you how to recognize the danger lying between the images, but in reality, amidst critical threats, they are merely images of light on a backdrop. Light-emitting images are like metaphors, showing us a path to the future from within the ensconcing glint of the light.

These three artists analyze the disaster narrative from three different angles. Chien-Chung Ding finds the sensible touch through his mastery of cold, objective reality. He builds an open viewing mechanism that allows the viewer to respond to what they see. Through text and history, Fei-Hao Chen explores predictions and performances from a post-construction perspective, as well as climate predictions and the ideology behind their imagery. If Fei-Hao Chen’s piece is the visualization of documents, then Chih-Chung Chang’s work is an attempt to delineate the Real in an ideological mixture of images-cum-charts as he paints an image of history.

Many images in this exhibition are made from special ink. They resist the destructive power of water, while relying on water to reveal themselves. Together they display the metapicture of memory. The development of the image gradually disappears as water dries out. This fleeting moment evokes humanity’s forgetfulness about disasters. Yet, being forgotten does not mean it never happened or existed. The penetration of dripping water is a counter-image that inscribes the moment. It not only reminds us of the present, but also tends to break the destined time loop, allowing us to reflect on disasters as well as our fate.

Chien-Chung Ding|丁建中
Born in Taipei in 1983, Chien-Chung Ding focuses on the spatial relationship between objects in his practice, as he examines the repetitive nature of mediums and the idea of futile labor, through the sounds, light, and shadows produced by the mechanical devices he designs. Using light as his medium, the artist conjures a connection between works while highlighting the relationship between space and time. Recently he shifts his focus from mechanicality to the natural state of the body within the space it occupies. He also expands his investigation of light to include the relationship among the viewer’s body and memory, the temperature, humidity, touch, as well as kinetic energy. He has participated in numerous residency programs, including La Maison Laurentine, Champagne, France (2002), and Hangar, Barcelona, Spain (2016).

Fei-Hao Chen|陳飛豪
Born in 1985, Fei-Hao Chen now lives and works in Taipei, Taiwan. Conversant with writing, the artist examines history, culture, social change, and technological development through conceptual photography and the moving image. Installation, video, and literature are also part of his creative means to investigate the possibilities born out of a blending of diverse mediums.

Chih-Chung Chang|張致中
Chih-Chung Chang was born in 1986 in Kaohsiung. His practice revolves around painting, writing, video, sound, and installation. Recently he has begun to explore the interrelationship between humanity, civilization, and nature through the motifs of the ocean, ships, and harbors in a scrutiny of personal memory, field investigation, and family history. He was part of the 2017 artist and scientist residency program “The Arctic Circle” in Svalbard, Norway. As a cofounder of Taipei-based alternative space Waley Art, Chih-Chung Chang is deeply involved in community activities and repurposing of idle space through art promotion and education programs. He is also a published illustrator.

Jay Chun-Chieh Lai|賴駿杰
Born in 1983 in Tainan, Jay Chun-Chieh Lai received his master’s degree in curating from Goldsmiths, the University of London in 2016. He now lives and works in Shanghai and Taipei. He has curated numerous exhibitions at the Taipei Contemporary Art Center, Hong-gah Museum, Aki Gallery, and ModeA Contemporary. He is a member of the International Association of Art Critics. His research centers on the imagery-text relationship, the moving image, and curatorial studies. Recently he has initiated a series of curatorial research projects where he reexamines the interrelationship between humanity and the world in a dissection of everyday behaviors that have long been overlooked, namely, listening, speaking, reading, and writing. As part of this initiative, Radical Forms of Writing was held at the Hong-gah Museum in 2017, and received a nomination for visual arts award from the Taishin Bank Foundation for Arts and Culture.

Sponsors│Department of Cultural Affairs Taipei City Government, Tronk Interactive


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