台北當代藝術館 官方網站 Museum of Contemporary Art, Taipei

魔境:澳洲當代新藝術展 Wonderland

展覽名稱 Exhibit

魔境:澳洲當代新藝術展

Wonderland: New Contemporary Art From Australia

展覽時間 Date

2012/02/11-04/15

展覽地點 Venue

台北當代藝術館 MOCA Taipei

門票 Admission

新台幣50元,NTD 50

策展人 Curator

安妮‧伊娃諾娃 Antoanetta Ivanova

參展藝術家 Artists

伊麗莎白.戴樂福、里昂.奇米勒司基、約瑟芬.斯達爾斯、克萊.絲蒂曼、馬汀.沃爾區、約瑟芬.史塔斯、潔斯敏.塔吉特、艾力克斯.戴維斯、凱絲.羅賓森、馬修.金顧爾德費歐納‧羅依、丹尼爾‧寇克斯、喬治.庫特、潔絲.麥克尼爾、約翰‧麥寇爾麥克、空氣皮里斯拉.布拉克、嘉文.薩德、瓊安.蘿斯、克萊.絲蒂曼、安娜‧達文、費歐納‧羅依、奇楠.唐、班迪.柯爾、 茱莉‧道寧、約翰‧麥寇爾麥克、茱莉.雷德、馬修.嘉德納、克利斯.杭仕克

Elizabeth Delfs, Leon Cmielewski, Josephine Starrs, Kylie Stillman, Martin Walch, Josephine Starrs, Jasmine Targett, Alex Davies, Cath Robinson, Matthew Gingold, Fiona Lowry, Daniel Crooks, George Poonkhin Khut, Jess MacNeil, Jon McCormack, Kuuki:Priscilla Bracks &Gavin Sade, Kylie Stillman, Joan Ross, Anna Davern, Fiona Lowry, Kynan Tan, Bindi Cole, Julie Dowling, Jon McCormack, Julie Ryder, Matthew Gardiner, and Chris Henschke

貼心小叮嚀 Note

本展適合闔家觀賞 This exhibition is for general public.

展覽介紹 About the Exhibition

過去二十年來,澳洲透過貿易、投資、學術研究等合作模式,積極與包含台灣在內的亞洲發展緊密關係,澳洲彈性的經濟策略與受推崇的司法制度使其成為各國積極爭取的商業夥伴。近年來,許多台灣青年學子選擇赴澳洲留學,同時體驗當地的風土人情。但是,對大多數的台灣人來說,澳洲還是一個神秘的國家,對澳洲的瞭解仍停留在過去部分的刻板印象。

Over the past twenty years Australia has been developing strong relations with Asia, including Taiwan, primarily through trade, investment, and research and development cooperation. Its resilient economy and highly respected judicial system have made it a sought after business partner in the region. According to the United Nations Human Development Index it is one of the best places in the world to live, and increasingly young Taiwanese choose to study in Australia obtaining world-class education while enjoying the good atmosphere. Even so, for most Taiwanese the country remains a mystery and many still hold stereotypes about it, notions of which should have long expired.

台北當代藝術館在2012年開春隆重舉辦【魔境:澳洲當代新藝術展】,邀請澳洲獨立策展人安妮‧伊娃諾娃擔綱策劃;本展旨在探討澳洲藝術家們針對個人的身份認同與集體的國家文化定位等相關課題時,所提出的不同角度思維和不同經歷過程,展覽的核心精神和內容架構,兼顧了認知並提升澳洲原住民與新住民之間互相尊重的價值觀,加速推動開放與寬容的人文精神,營造創意革新與自由展現的社會環境,共同承擔環境保護與生態永續的責任。

The Museum of Contemporary Art Taipei is proud to present “WONDERLAND: New Contemporary Art from Australia” as the first survey exhibition of Australian art in Taiwan in the new millennium. The exhibition aims to express the dynamic processes of rethinking Australia’s identity and its place in the Asia-Pacific region. It promotes the values of respect between Indigenous and non-Indigenous people, openness and tolerance, creative innovation and excellence, and a growing sense of environmental responsibility.

本展共邀請22組團隊(27位藝術家)提供45件優秀作品展出,豐富的內容和多樣的風貌,提供了本地觀眾同時進入「異國文化情境」及「當代藝術魔境」的雙重 路徑和心靈套餐。透過此展,人們可以發現澳洲藝術家們針對自然與人生,傳統與現代,生活與藝術…等不同面向所發表的一些有趣的想法、看法與做法;也可以從 面對原作的直覺邂逅中,以「有朋自遠方來,不亦樂乎」的熱情,解放每個人內在的好奇心理,好好享受「他者」藝術所帶來的精神衝擊或視覺驚喜。

Further, in surveying contemporary art the exhibition brings an unusual cross-section of media, art forms and processes: found objects sit next to hand-made sculpture; documentary video next to abstract moving images; paintings next to interactive installations. Explored in their own right the 45 artworks created by 27 artists and several production teams, offer diverse pathways leading to another kind of wonderland: one found in inspiration, curiosity, and unexpected encounters.

A great work of art can take us to places in our heart, soul and mind impossible to reach by other means. It is how culture is shared between one place and another, we experience it in our own unique individual way but the exchange and sharing benefits us all as a community. We all hope the exhibition expresses not only a fresh proposition of Australia but also new ways of thinking about and exploring art.

作品介紹 About the Artworks

 

1 ELIZABETH.jpg 2 STARRS_2.jpg 3 KYLIE -2.jpg 4 M.jpg

 

5 Jasmine Targett.jpg 6 ALEX1.jpg 7 Cath Robinson.jpg 8 Matthew FloatingChristHydraLoop.png

 

9 F.LOWRY_1.jpg 10 D.CROOKS_1.png 11 GEORGE.jpg 12 J.MacNEIL_2.jpg

 

13 JOn.jpg 14 Kukki_1.jpg 15 JOAN_2.jpg  16 ANNA.jpg

17 B.jpg 18 Julie RYDER4.jpg 19 M.GARDINER.jpg 20 KYNAN.jpg

B by Julie Dowling.avi_snapshot_02.02_[2012.01.01_15.55.26].jpg 22 Chris.jpg

 

伊麗莎白‧戴樂福  ELIZABETH DELFS

〈革命〉Revolution , 纖維雕塑 textile sculpture series

入口形象區Entrance

紡織與設計科班出身的女藝術家伊麗莎白‧戴樂福,擅長結合不同色彩、紋理,光線等的層次階調和纖維的皺褶變化,來營造曲線優雅而立體多變的抽象造形。

入口形象區展出三件一組的懸吊式「纖維雕塑」〈革命〉,以非傳統延展性的材料塑造出波浪狀的雕塑造形,兼顧了藝術表現、傳統服裝與時尚設計,同時也模糊了內在與外在、表面與結構之間的界線。

身為澳洲創作者,戴樂福迷戀並深受日本設計文化的影響,本身也熱衷於追求表現日本人所崇尚的「非對稱、幽玄與脫俗」美學格調──這是一種基於對自然的真情感受與真知理解,而又試圖從「模擬自然」的概念中跳脫而出的革命美學,除了普見於八O年代名家如三宅一生、川久保玲、山本耀司等人的作品,幾乎也已成為描述日本時尚藝術風格的專用詞語。此作具體反映了戴樂福對日本美學的內在偏好,而外顯為一種優雅的動態美感、變化有緻的表面質感和整體量感。

Derived from a deep reverence for nature, the aesthetic principles of “fukinsei, yugen and datsuzoku” have become synonymous with Japanese style—something the fashion innovators of the 1980s Miyake, Kawakubo, and Yamamoto introduced to the world, and which continue to inspire today’s creators such as Elizebeth Delfs.

Vacillating between object design, fashion and architecture, Delfs’ garments evoke movement, changing mass and shifting surface. They follow the same principles of deconstruction and suggested intent of form as those applied by the Japanese masters. In creating her work, Delfs asks us to rethink how we view ourselves as sentient beings within and without, and in the process become more acutely appreciative of everyone’s unique sense of self. 

 

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里昂.奇米勒司基 & 約瑟芬.斯達爾斯

LEON CMIELEWSKI & JOSEPHINE STARRS

〈矛盾的元素〉Incompatible Elements,動態影像裝置 installation, 105展間 R105

〈一個活體〉A Living Body , 數位印刷 digital print,107走廊 R107

105展出的地面投影作品〈矛盾的元素〉是里昂.奇米勒司基與約瑟芬.斯達爾斯的共同創作,他們致力探討文化與自然之間的互動關係,透過衛星空拍圖像和動態文字的結合,排比對照著南澳及印度等地區所遭遇到的不同課題,包括「自然大地」、「人文環境」、「民俗文化」等一些看似不相關的問題,實則有意在這之間催生一種強烈的視覺性關係和某種內在邏輯。此作對照呈現了印度恆河的水患情節以及澳洲南方的乾旱現象,搭配恆河圖像出現的文字「days like these」(引自名歌手約翰藍儂 (John Lennon) 的「Nobody Told Me」歌詞),提醒人們正視恆河因氣候變遷所面臨的長期泛濫,以及數百萬農民流離失所的問題。

藝術家認為,人們閱讀地圖的經驗已經改變,衛星空照圖日漸普遍易得,這些從高空中拍取的地形地貌與河流曲線圖,隱約好像在訴說著什麼,兩位藝術家以影像合成方式將詩文嵌入圖像中,希望以此替大自然發聲代言。

107走廊展出的〈一個活體〉,以長卷攝影方式呈現南澳洲庫隆國家公園缺乏生機的乾旱河岸,搭配使用的文字Ngrringjerri在澳洲土著語言中原意為「一個活體」,他們自古相信土地和水既是有生命的活體,也是人們死後靈魂的歸宿,因此這裡除了讓圖文互為反諷之意,也點出了自然及逝去的靈魂將因人類過度打擾而開始反撲的神話想像。

Fusing text and topographical maps the installation presents regions hit by extreme weather events. It features satellite images of the flooded planes of the Ganges in India and the dry banks of the Coorong in South Australia, showing the polar disaster extremes of drought and deluge as increasingly manifesting across Austral-Asia.

The artists tell stories on behalf of future climate refugees as part of their ongoing concern with human migration. They draw upon the wisdom of the ancient Aboriginal culture, embedding words from the Ngarringjerri tradition into the landscape as if to warn us: this land is a living body. The artwork challenges the incompatible categories of natureenvironment and culture, and encourages us to consider how our daily choices impact on changing the climate of the Planet. 

 

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克萊.絲蒂曼KYLIE STILLMAN

〈色澤華麗的歐椋鳥〉Superb Glossy Starling , 雕塑sculpture, 106拱門 R106 archway

〈鳥群〉Flock ,雕塑sculpture,201展間 R201

106走道邊拱門正中展出的〈華麗的歐椋鳥〉,是女藝術家絲蒂曼利用回收的二手書和精緻的手工雕刻技法所完成的雋永作品。一本打開的精裝書,扉頁上鋪底的是滿佈著街道網路的文明都市圖像,一隻歐椋鳥的身影竟活生生地浮現在其實是被挖空的書頁中。在這個巧妙利用了負空間和圖像反轉原理的視覺戲碼中,文明與自然如何平衡發展避免衝突的訴求也呼之欲出,發人深省。

從這件小品製作到201展廳以大書架展現群鳥飛翔意象的〈鳥群〉書雕裝置,絲蒂曼繼續鎖定自然資源利用與生態保育的課題,樹木是人類造紙做書的原料,也是鳥類的自然家園,人類過度砍樹伐木,造成森林浩劫、鳥類無家可歸;書是文明的象徵,記錄傳承了人類的智識和成就,但是為了滿足人類而犧牲自然,絕非永續之道,絲蒂曼逆向地從書的實體中再現出樹和鳥的虛空形象,象徵性地召喚一些被人類滅絕的自然生命和身影,同時暗示了人類應以知識和智慧尋求天人和諧共生之道。

People used to build libraries as places of worship of the printed words and the curious vessels containing them: the books. Searching between the covers of old volumes Kylie Stillman unearths archaeology of secret imagery. The artist elaborately cuts the endless pages, one by one, to reveal a treasure trove of hidden things.

In her hands books become dazzling sculptural forms that serve as vehicles for expressing ideas beyond the words contained with them. There is a disquieting sense of nostalgia and melancholy about a paradise that might be forever lost, one that words could never retrieve.

 

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馬汀.沃爾區MARTIN WALCH

〈迷霧生機〉Mist opportunities ,錄像,5分30秒 video 5’30”

106展間 R106

106展間的單頻錄像作品〈迷霧生機〉,是馬汀.沃爾區針對塔斯馬尼亞島特殊的自然景觀而創作的「縮時攝影」作品。原本3.5小時漫長的現場錄像被壓縮成數分鐘的自然戲碼,孤立在人工河道和迷霧中的一棵枯樹,從悲劇主角的姿態逐步變成了只是自然界中眾多死亡生物的一個樣本,抒情優雅的風景畫面,也在迷霧消失、更多的真實俱現後而浮出諷刺的意涵。儘管這只是塔斯馬尼亞島德溫特河流 (Derwent) 上游的一種特殊景觀,樹群在河邊集體死亡的詭異氣氛,無疑是自然生機面臨威脅的一種警訊。

馬汀.沃爾區定居在塔斯馬尼亞島上,他長期致力於探索這個島嶼的每個角落,藉由創作引導世人關心塔斯馬尼亞美景正面臨生態浩劫的事實。相對於他另外用心鑽研的數位立體攝影,偏重於逼真視覺與臨場空間的效果營造,這件錄像作品,毋寧是著重在影像閱讀所引發的人文省思與現實批判作用。  

This artwork reveals mist gradually lifting over a section of the Derwent river in Tasmania. During the 3.5 hour long phenomenon—compressed here into a few minutes—a grey veil dissolves to reveal a drowned world of dead trees and the strangely muddy banks common to artificial waterways. One tree slowly becomes visible, then more, and finally a horizon of drowned trees.

Martin Walch has lived all his life in Tasmania and for many years has explored every region of the island. In this work he invites us to not only contemplate the wilderness, which Tasmania is famous for around the world, but also to reflect upon how the land has been eroded by ongoing development that has irrevocably altered its natural ecology.

 

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潔斯敏.塔吉特JASMINE TARGET

大氣層:你的麻煩會消失不見,就像氣泡一樣〉

Atmosphere: and your troubles, like bubbles, will disappear

玻璃裝置Glass installation,107展間 R107

〈維生系統:從地球、太空和太陽眺望〉三聯作

Life Support Systems / Triptych: view from Earth, Ether, view from the Sun 

玻璃物件 /三聯作 Glass objects/triptych107展間 R107

107展室的兩件玻璃裝置作品,是女藝術家潔斯敏.塔吉特從環境生態學的客觀量化資料轉換而成的感性作品。藉由將學術界才看得懂的資訊和數據,轉化為一般民眾可以直接感受的美麗圖像,塔吉特成功地在視覺美學與資訊傳達之間找到了平衡點。

〈大氣層:你的麻煩會消失不見,就像氣泡一樣〉在一片光滑的大圓形桌面上,藝術家以大小不一、形狀和底色有別的玻璃氣泡,同時營造了一種工藝美感和雙重語意的環境論述:氣泡本身是美麗多彩但是無法長久存在之物,我們的大氣層也是如此,必須隨時加以呵護;從另一個角度看,所有的麻煩甚至危機都像這些氣泡一樣,有可能隨風飄逝或四處散佈,就看人類能否妥善因應和處置。

〈維生系統:從地球、太空和太陽眺望〉,是以金屬鍍膜發色玻璃為材料,結合不同位置所攝取的大氣雲層圖片的三聯作。這種玻璃是1950~60年代美國太空總署(NASA)研發用為太空人頭盔的材質,科技的金屬鍍膜和美麗迷幻的顯色,在此隱喻了科技文明對於人的保護應該延伸到自然。此三聯作分別顯示:1.「從地球看太空」,大氣層美麗和諧,似乎沒有問題;2.「從外太空回看地球」,大氣層出現色彩鮮豔、美麗卻詭異的臭氧層破洞;3.「從太陽遠望地球」,大氣層中最活躍的橘色、黃色和紫色區塊,都是正在擴張中的臭氧層破洞,塔吉特稱之為「惡毒的美麗」。   

How in a world dominated by rational thought, as manifested through advances in science and technology, can artists reconnect us with Nature’s might? Collaborating with scientists and combining glass-making methods with high-tech media, Jasmine Targett seeks to address this question by bridging a gap between the environment, science data and its manifestation in human terms.

Atmosphere highlights the presence of toxic gases bubbling up in the air. It alludes to beautiful sunsets, the colours of which are made by environmental pollutants. Life Support Systems re-evaluates the innate qualities of dichroic glass used for NASA’s space suit helmets to shield astronauts from sun radiation. The artwork draws attention to the irreplaceable protective function of the Earth's ozone layer.

 

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艾力克斯.戴維斯ALEX DAVIES

〈位移〉Dislocation  ,互動裝置Interactive installation,

108展間 R108

這是一件結合影像媒體和互動感應的空間裝置,空無一物的房間中,只見牆面挖了四個小孔,當觀眾往內窺視時,看到的是正在窺探的自己背影,以及跟在自己背後的某種人影,但回頭一看現場卻並無其人。

透過這種「虛擬混合實境」的機制,艾力克斯.戴維斯創造出一個在視覺或聽覺上都顛覆了真實的體驗環境,同時打破窺視、引誘和期待的固定連結,讓觀眾進入其中,體驗虛與實互相激盪出來的另一種恐怖或神祕情境。

On entering Dislocation you are drawn to one of four small peepholes, built into the wall of what is otherwise a featureless room. You peer into the peephole and see the room, and yourself from behind. Before long, your sense of privacy is disrupted by ghostly visitors who appear behind you. But glancing over your shoulder, you find the space empty.

In this interactive installation real-time video, audio and audience location data are used to create the illusion of phantom characters disturbing our space. The experience of the work has elements of illusion used in stage magic, whereby the audience is involuntarily made to believe in the impossible inhabiting of physical reality.

 

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凱絲.羅賓森CATH ROBINSON

〈思想噪音/音波序曲(如果同步演奏)〉

Thought noise/wave form preludes (if played simultaneously)

聲音雕塑裝置Sound sculpture installation

1F西側樓梯口Western Stairway 1F

在通往二樓的樓梯口展出的聲音雕塑裝置〈思想噪音/音聲序曲(如果同步演奏)〉,是凱絲.羅賓森訪談22個藝術家,詢問「你的創作靈感源自什麼?」之後的延伸創作。對此,與其說她想得到一些不同的答案,不如說想從這些回答之中,建構出一種認知上的共通點。22位藝術家的語談錄音,被編輯重構成為一種調性親切的聲音合奏,彷彿藝術家們腦海裏的思想正在蘊釀而還未被說出口時,就已經被捕捉記錄下來了。

羅賓森根據人類思想的流動模式,發展出可以將樂譜即時轉換成旋律的音樂機器,她希望透過聽覺機制,將藝術觀念傳遞給觀眾。 對羅賓森來說,以純粹的聲音作為思想與傳達之間的互動元素,並不是對語言的否定,而是想重構語言最本質的功能,要強調的是溝通的過程而不是結果,也因此,她特別在意思想聯結和言語表達之間,一些沒有變成聲音軌跡,盡在不言中的「空白」。 

For her work Robinson asked 22 artists the question ‘what inspires your work?’ It is not so much the answers she seeks but the suggestions of cognitive connections between them. By stripping the answers of all recognisable speech, the soundtrack becomes intimate in tone. It is as if the speaker has been caught in the act of creating thought.

The thought wavelengths are plotted as soundtracks on music scrolls, which are playable through miniature music boxes. The aural experience is given over to the audience to interact with. When played simultaneously they produce an abstracted composition of the original embodied phenomenon.

 

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馬修.金顧爾德MATTHEW GINGOLD

〈飛躍、墜落、飄浮〉Flying Falling Floating,錄像Video

西側樓梯間Western Stairway 

隨著默片電影的誕生,一種結合了舞蹈與影像,稱之為「影像舞蹈」的創作類型也跟著出現。馬修.金顧爾德的錄像裝置作品〈飛躍、墜落、飄浮〉,則是跨域結合了舞蹈、數位音效、現場錄像及電腦後製編輯的一件大型集體創作。此作先是以俯瞰方式分別攝錄不同舞者躺臥地板上的肢體動作,再將之合成轉化為集體人物在無重量空間中的幻覺演出──當舞者群以不同的節奏、陣列和方向游過畫面,觀者會自行將其詮釋為飛行、墜落、漂浮三種狀態的對照與交替;藝術家除了以此指涉個人內心情感的起伏變化外,也有意觸碰個人與群體之間有關於歸屬與安全、孤獨與不安、自由與牽絆等等的矛盾與辯證。

金顧爾德的錄像裝置作品,擅長與既有空間進行對話,刻意結合主動的影像閱讀機制和被動的心理音場聲景,從而帶給觀者感知環境的一種新體驗。  

Dance and the moving image have been partners since the days of silent cinema but, more recently, a hybrid form of this relationship has evolved as ‘screen dance’. Through a combination of physical and digital choreography Matthew Gingold’s video work creates disorienting illusions of bodies defying, as well as succumbing, togravity.

As these immaterial presences ascend, descend and hover within the museum like particle vibrations emanating from static architecture, they instill in the viewer an alternating sense of exhilaration and free-fall anxiety. The work alludes to the paradoxes of daily living: sometimes spinning out of control at others just coasting along; soaring through on a high or tumbling down to the depths.

 

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費歐納‧羅依FIONA LOWRY

〈我只是一面鏡子〉I am just a mirror,繪畫Painting,2F西側樓梯口Western Stairway 2F

〈所有是什麼或像是什麼的事〉In all that is and all that seems,繪畫Painting201展間 R201

費歐納‧羅依善用噴槍作畫,偏好以失焦的畫面和朦朧的感覺,來隱喻內在於自然大地中的一種誘惑力量,昭示人類心靈與外在環境無所不在的衝突與抗衡。她的作品應用了取自新聞媒體的犯罪現場照片,特別是位於澳洲南威爾斯一個連續殺人事件的森林,透過朦朧畫面所重構的環境空間和詭異氛圍,藝術家從視覺心理的面向,重新詮釋了一個震撼大眾視聽的新聞事件與社會渲染力量。

除了森林場景之外,羅依也刻意在作品中加入性愛元素,藉以揭露同樣原始的一種人性狀態,她雖然以溫和含蓄的方式處理發生在野外現場的身體接觸,實則強烈暗示了悲劇或預兆的來臨。從某方面看,她畫中的慾望森林象徵了被循規蹈矩的社會生活規範所壓抑的潛意識人性,那看似抒情平和的畫面,實際關注的是錯綜複雜的人類情感,以及神祕難解的某種心靈體驗。

In a soft manner, Fiona Lowry dares us to engage in the physical encounters being played out in hidden forests, hinting at events that might be traumatic or revelatory, and which offer a gateway to reflections on our own sensual memories.

Whether as a nightmare theatre or an ecstatic setting for intimate encounters, the forest is a compelling symbol for activities that fall outside social codes. In these paintings, the latent power of the land becomes a seductive presence that plays off against innate forces within us. The treatment of these images, mindfully unstructured and blurred, leads us towards a space of contemplation.

 

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丹尼爾‧寇克斯DANIEL CROOKS  

〈靜力12號(動中求靜)〉Static No.12 (seek stillness in movement) ,錄像Video 

〈靜力14號(霓虹組曲)〉Static No.14 (composition for neon),錄像Video

〈靜力18號(霓虹組曲)〉Static No.18 (composition for neon),錄像Video

 205展間 R205

丹尼爾‧寇克斯將時間視為一種空間向量,一種有形的延伸素材,他的數位影像創作,打破了人們習以為常的空間關係與時間邏輯,他將時空元素重新組構,再創了一個全新的感知世界,這種跨越時間軸譜的動態影像和停格動畫合成,正是寇克斯作品獨有的特色。

本次參展的〈靜力12號(動中求靜)〉將事先錄好的一段太極功夫影像,經由數位科技進行停格、變形、攤平、蔓延等特效處理,將單一人物的繼時性動作變成了佈滿整個寬景畫面的並時性演出。寇克斯認為「太極」緩慢而優雅的動作轉換呼應了一種思維的藝術,透過「實與虛」影像的重合與變換,畫面隨著太極師傅的肢體動作而無限延伸,變奏重複,時空的概念和分界也因此而被模糊化,影像作為新藝術媒體的功能和作用在此得到新的印證。

〈靜力14號〉及〈靜力18號〉作品,藝術家藉由數位技術將日常的影像紀錄和空間場景做了抽象化的處理,強化了影像旋律與節奏的音樂性趣味。這是另一種概念的虛擬真實──將日常生活中人們所熟悉的霓虹招牌、路上行人、過往車輛等街景元素,重新處理成一種如音符和像素般的動態視覺分子,提供觀眾嶄新的閱讀材料和觀看方式。 

Breaking through the micro-times that lie hidden underneath the fabric of everyday life, Daniel Crooks turns time into space. The non-linear editing programs he uses not only separates the recording from what it records, it separates the time of the recording from the time of editing. It burns into the image an additional strand of information, a timecode.

In the works, the warped time continuum points towards real bodies who had once moved through time and space in front of the camera, but who have become subjected to a mathematical regime. Real situations become abstracted into painterly elements and choreographed in moving images that produce another kind of time.

 

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喬治.庫特GEORGE POONKHIN KHUT

〈心靈圖書館〉The Heart Library,互動裝置 Interactive installation

203展間 / 204展間 R203/R204

〈心靈圖書館〉是一組需要觀眾參與互動的裝置作品,它包含了「生理回饋鏡子」及「身體地圖」兩個過程元素。在「生理回饋鏡子」裝置中,觀眾躺在床上面對上方的投影,透過手持感應器,他們的心跳律動一方面被轉譯為影響現場環境變化的元素──包括顏色、光線與音效等,另一方面也反饋地讓參與者偵測出自己的情緒變化與心理狀態。

「身體地圖」兼有個人和集體創作性質,觀眾以手繪方式來詮釋、分享他參與「生理回饋鏡子」經驗的個人感受,這些圖像將留在現場成為展覽的一部分,並不斷累積成一座收藏眾人故事的圖書館。「心靈圖書館」的用意是讓參與者隨自己的喜好自由地「創造意義」,鼓勵天馬行空的思考和回應,整體說來,喬治.庫特的創作意圖就是,將身體生理與環境之間的生物回饋互動機制,進一步延伸到人類精神探索與心理想像層面。 

This participatory installation comprises of two components. First is a ‘biofeedback mirror’ in which technology is used to translate heart rhythms into an immersive environment. Two hand-held sensors measure our heart rate variation. The video responds in real-time to the changes in our psycho-emotional state using colour, light, and sound.

The second is the creation of illustrative ‘body maps’. We are invited to reflect upon and share our experience through images that are later added to the installation to form a growing library of personal stories. The work aims to create a shift in how we understand and relate to our embodiment.

 

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潔絲.麥克尼爾JESS MACNEIL

〈迴旋〉Revolution,錄像Video,58分 58"

203走廊 R203

〈迴旋〉是一件單頻錄像作品,潔絲.麥克尼爾以倫敦特拉法加廣場的噴泉為中心場景,她讓鏡頭沿著特定的軌道循環移動,錄下穩定連續的鏡頭畫面,再經後製編輯與數位疊影、轉場特效等處理,以及放慢影像播放速度等,將人來人往的城市景點轉換為一個詩意優雅而有點白日夢幻的影像劇場。

在這件作品中,不斷迴旋的空間、時時變動的影像和流動不息的噴泉等,結合成了時光荏苒、情境美好的記憶景象,而逆時針的運鏡捕景方式,也彷彿有阻擋時間快速流動的象徵意味,但是穿梭過往的人影,在藝術家的處理中,則被當成加速轉場效果的一種機制,可以看出,藝術家對於影像所做的視覺安排,有效地啟動了觀者對於過去、現在與未來的意識感知、情感拉鉅或心理平衡。 

For her videos Jess MacNeil positions her camera to focus intently on a subject. Afterwards she reworks her footage refining it to a dreamlike motion. She also digitally removes any figures, so all that is left of someone’s presence is a mere trace.

In this artwork, cold and clear morning light catches the water gushing down the bowl of London’s Trafalgar Square Fountain. The people passing between the camera and the fountain have had their features seamlessly spliced with a footage fragment travelling in a counter motion. The video is a poetic homage to the magnificence of our existence: past, present and future morph into a momentary scene of life’s eternal flow. 

 

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約翰‧麥寇爾麥克JON McCORMACK

〈未知的世界〉The Unknowable

3頻道錄像裝置Generative 3 channel video installation202展間 R202

〈形態衍生系列〉Morphogenesis Series

數位輸出圖像Digital print: Evolved digital flora generated by custom software201展間 R201

擁有數學、電腦科學與電影專業學位的約翰‧麥寇爾麥克,是一位電腦科技藝術家,透過客製化的電腦程式,研發一種結合自然生態、科技運算、人工生命、進化邏輯和藝術美學的影像創作。

三頻道影像裝置作品〈未知的世界〉,以諸多澳洲原生種植物為出發點,結合生物演化的概念和形態衍生的程式,以藝術的意志和科學的技術,創造出一種「不可能的自然」景觀,讓我們觀賞生物從一種原生狀態不斷雜交、演化、重組而出現新種、邁向完美或趨於死亡等,無法預知而又令人期待的虛擬生命多樣狀態。

With an academic background in mathematics and computer science as well as film, Jon McCormack is a computational artist whose creative medium is computer programming. In his work the artistic and the technical fuse so that the inner workings of a program he writes are as much part of the artwork as the images and sounds resulting from the program. His art is inspired by ideas from Artificial Life.

IThe Unknowable we are given a glimpse of the construction of new plant forms, ceaselessly disintegrating and reforming them from basic graphic elements. In the Morphogenesis series the artist begins with mathematical models for the growth of real plants native to Australia. He programs the models to crossbreed within the computer thus creating new forms not found in nature. As with the natural world, his synthetic world remains largely unknowable.

 

空氣Kuuki :皮里斯拉.布拉克Priscilla Bracks、嘉文.薩德Gavin Sade

〈鈴蟲:沉默的一群〉Suzumushi: The Silent Swarm,網路媒體裝置Networked media installation ,202走廊 R202

〈琴鳥〉e. Menura superba,互動媒體雕塑Interactive media sculpture ,201展間

Kuuki是由兩位藝術家合組的團隊,他們藉由創作對現今的城市文化結構提出許多批判,認為當前的文化系統阻礙了人類與自然之間的親密關係和對話能力。他們的作品提供一種探尋自我的思考方式,喚醒世人注意自然環境持續被破壞的惡況。

Kuuki本次共有兩件作品參展,〈鈴蟲:沉默的一群〉以日本的蟋蟀(鈴蟲)命名,卻翻轉了〈鈴蟲〉原本以歌聲聞名的角色,藝術家反諷了在喧嘩的都市中,〈鈴蟲〉美妙的吟唱早就被淹沒在城市的噪聲中,變成最沉默的一群。藝術家創造了一群裝有電子裝置、居住在資訊環境裡的蟋蟀,透過背部的LED螢幕顯示彼此召喚,文字的傳達替代了聲音的溝通。在這當中,KUUKI對於科技的詩意運用,無疑也諷刺了人類違反自然的進步行徑。

另一件作品〈琴鳥〉是一件互動媒體雕塑,藝術家們製造一隻澳洲稀有的機器琴鳥,所用的材料是一些消費廢料,被安放在一個十八世紀風格的動物標本樣架上,來說明在這裏的機械鳥所扮演的是一個被保存的角色,就像是真實的琴鳥擅長收集各類聲音,機械琴鳥可以收集參觀者們所發出的視覺和聲覺信息,因此觀眾成了被研究、收集和查看的對象,逆轉了現實中人與自然的角色,在此受到審視的不是琴鳥,而是觀眾。

The art of Kuuki critiques the cultural construction of nature that inhibits our ability to develop a deeper relationship with it. They offer us means by which to explore our own conditioned thinking while drawing attention to the ongoing degradation of the natural environment.

e.Menura superba presents a robotic simulacrum of the unique Australian lyrebird. The work references 18th Century collecting practices, which saw the numbers of many exotic species decline. Here the roles are reversed, the techno-bird focuses on its audience to collect its visual and auditory information. 

Named after a Japanese bell cricket renowned for its song, Suzumushi is a robotic species that has evolved to communicate through text instead of sound. The silencing of the crickets’ summer songs leaves us in a techno-realm disconnected from nature.

 

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瓊安.蘿斯JOAN ROSS

〈週日燒烤〉BBQ this Sunday BYO ,數位動畫Digital animation 459

202樓梯口 R202Stairway 

澳洲人的俗語「BBQ this Sunday BYO」指的是「週日烤肉,自己帶酒」的意思,這是一種邀請,但在此藝術家有意透過「澳洲式的夏日野餐」這種現代文明活動,讓觀者檢視澳洲被殖民化的歷史過程。瓊安.蘿斯邀請觀眾觀賞的這個野餐場景,挪用了1820年代被英國流放到澳洲的偽造犯約瑟夫‧里塞特的一幅畫作,但她重新安排了畫中的物件、人物並加入故事情節──從當初第一艘來自英國的逐犯船抵達南島,直到今日,寧靜自然已變成繁華國度,旗幟上的澳洲原始星空也轉換為觀光文明的煙火演出,多元的移民各自為澳洲帶來了不同的文物與習慣,為當前的文化融合做出大小不一的貢獻。

In Australian slang, ‘BBQ this Sunday BYO’ means Barbeque, Bring Your Own alcohol. It is an invitation, in this case to re-enact the process of colonisation through the modern cultural ritual of an Australian summer picnic. Joan Ross invites us to gather in an Australian landscape painted by convict Joseph Lycett, an Englishman transported for the crime of forgery.                                           

From the First Fleet of convict ships that arrived upon the shores of this great Southern Land from Great Britain to today’s diverse migrants everyone is bringing their artefacts to contribute to the cultural mix. The bush is reconfigured, and the nation’s flag morphs into an Australia Day fireworks celebration. 

 

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安娜‧達文ANNA DAVERN

〈傳說中的蜘蛛〉Aragog,互動物件 Mechanicalobject

〈傳說中的勇士〉Gog and Magog,互動物件 Mechanicalobject

〈大海怪〉Kraken,互動物件 Mechanicalobject

〈無尾熊守護神〉Nagainabrooch

〈袋鼠守護神〉Nagbrooch

201展間 R201

安娜‧達文是一位珠寶藝術家,她的創作詼諧俏皮卻富有政治色彩,達文的圖像元素都來自古老的錫製工藝品,她喜歡逛古物店,也常常從朋友廚房裏的碗櫃找到創作的原始素材,她把這些元件拆解重新組合,變成精美而有趣的珠寶飾品之同時,也有意識而巧妙地在其中注入了一些與殖民主義、民族主義、種族主義有關的議題。

達文本次參展的作品取材自澳洲的多元文化脈絡,分別使用了眾所熟悉的袋鼠與無尾熊做為澳洲的象徵圖騰,但刻意顛覆這兩種動物給人的可愛印象,並透過幽默的圖像組合,挑戰英國殖民統治的權力體系和價值觀點。達文將動物的體積誇張放大,並賦予其反撲自衛的姿態和力量,這些極富幽默感的作品系列,傳達了藝術家對於澳洲進入當代文明與維護自然和諧之間的深刻體會與深切反省。

The artist applies jewellery-making techniques to create whimsical but politically charged designs concerned with cultural stereotypes. For her brooches she used images of Australia’s iconic animals the kangaroo and the koala. In the work, however, the roles of the symbols of the old British Empire and that of the animals are reversed. The animals appear larger than life and so powerful they can take over the empire, thus, claim a more authentic place for their ‘Australian-ness’.

Davern sources her images from old tin souvenirs, often scouring antique shops and the kitchen cupboards of friends to find raw materials for her art. She then deconstructs them to create fantastical landscapes and images. Her objects are humorous acknowledgement of the hybrid nature of contemporary Australian society. 

 

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班迪.柯爾BINDI COLE 

〈西斯塔女孩〉Sistagirls,數位輸出C-prints

201展間 R201

2008年藝術家班迪.柯爾因與一位來自提維群島的表演者合作,觸動了她到澳洲北方去旅行的意念,從而展開了〈西斯塔女孩〉系列的拍攝計畫。提維群島約有2000位居民,其中就有50位是西斯塔女孩,這些西斯塔女孩出生時原為男孩,但從小被當成女孩扶養,在家族中以「阿姨」或者 「姊妹」來稱呼她們,並讓他們穿上女性的衣服,在這群島上,這些男孩們也被視為「女性」一族。

柯爾拍攝〈西斯塔女孩〉人像系列,植根於「她們」的日常生活狀態,但強化了她們內心底層既脆弱又堅韌的雙重個性,這些作品從殖民地人種學的角度出發,除了展現攝影美學的張力之外,藝術家也特意凸顯並挑戰世俗對原住民的概念、認知與定義。

These series references the role popular culture plays in the formation of stereotypes of identity. In 2008 Bindi Cole began her collaboration with a Tiwi Islands drag performer who inspired her to travel to the Northern Territory to do the photo-shoots. Tiwi has a population of 2,000 people, 50 of whom are Sistagirls.

Sista-girls are born men and develop female identities at a young age. On the islands, they are seen as women and are called aunty or sister by family members. The portraits draw inspiration from their lives, creating personas exemplifying fragility and strength. The aesthetic of colonial ethnographic photography is applied but only to challenge notions of what it means to be an Aboriginal person today .

 

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茱莉.雷德JULIE RYDER

〈變異#1#2#3#4Transmorphing #1, #2, #3, #4,絹布上的數位印圖 Digitally printed silk series

201展間 R201

茱莉.雷德原本接受的是極理性的科學訓練,從事藝術創作後,有意結合科技與藝術,擅長透過纖維材料與紡織技術,呈現事物過渡與轉化的狀態,藉以質疑有關於生與死、秩序與混亂、美麗和邪惡等二元分立的生命與哲學看法。

雷德認所有東西和材料都隱藏了一種轉化的力量,她偏好使用纖維材料,因為相信這類材料特具有無限的潛能,早期作品利用有機酵素在絲絹上產生特殊色彩與圖案,近期作品開始結合電子顯微鏡、電腦繪圖和數位印刷,將其作品呈現在絹布上,但仍然聚焦在植物主題表達正在過渡轉換的一種生命狀態。

The archetypal ‘cabinet of curiosity’ is a disordered collection of unconnected objects intended to reflect structures of knowledge. During the Enlightenment it purported to be a scientific arrangement, but it was full of falsities.

Truth and error is what we are also considering in Julie Ryder’s artworks. Her series reflects contemporary structures of scientific knowledge, in particular genetic engineering, and interrogates deeper issues rather than simply visualising it. Although science and art have different inquiry pathways, their commonality is the pursuit of creative thinking, through which to investigate the possibilities and implications of technical advancements. 

 

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馬修.嘉德納MATTEW GARDINER

〈紙花機器人〉Oribotics (the future unfolds),互動媒體雕塑裝置 Media sculpture 
 
〈納米─規模─摺疊〉Nano-scale-fold,聚丙烯雕塑 Polypropylene sculpture

201展間 R201

〈紙花機器人〉是融合了傳統日本摺紙工藝與現代機器人科技的一件作品,它對著世人發光綻放,模擬自然的真花而開啟了人工的電子夢像!〈紙花機器人〉無法自己重設和繁衍複製,除了展現美麗之外,看似沒有任何實用價值,但他們象徵了人類對永恆之美的一種想望。

這件作品也可視為藝術家探討摺紙工藝之未來的一種宣言,目前或只是一個系統概念的雛型,實際指向的是一種令人驚奇的未來機器,透過藝術家、摺紙匠師、程式設計師與機械工程師的跨界通力合作,很有機會創造出真正的、純粹的、能夠自我開謝的〈紙花機器人〉藝術品。

Oribotics melds the ancient Japanese art of origami and robotics. No matter how dynamic in its construction and complex in its result, origami has always been conceived as a static object. Matthew Gardiner gives it another life by extrapolating its essence to demonstrate its construction as a kinetic art.

Nature is not a mechanism but an organic totality. These artworks serve as metaphors for the multiple exchanges of energy, interference and consumption that engross the functional structures of the world. Something we are all an integral part of.

 

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奇楠.唐KYNAN TAN、伊薇特‧科恩Yvette Coyne、

阿曼達‧莫里森Amanda Morrison、馬勒孔‧里達克Malcolm Riddoch

〈音場〉Sound Chamber

互動多媒體網路影音裝置Participatory and networked media installation

201展間

這件作品融合了影像、聲音和互動感應機制,目的在營造一種觀眾與作品即時聯結的現場體驗。作品的外觀裝置是一個大帳篷,觀眾進入其中,會看到一個像宇宙星系的圖形,同時被震耳的音效包圍。觀眾在裡面的一舉一動,將會啟動作品影像和聲音的不同變化。

觀眾與作品互動的過程,將被錄製成為短片,即時傳送到推特、YouTube及臉書上。在這過程中,進入裝置的觀眾實際被切斷了與現實世界的關聯,而進入一個完全虛擬的網路迴圈之中。

The artwork combines video, design, and sound to create a series of interconnected experiences. The centrepiece is a large dome. Once inside, participants are immersed in a planetarium-like image and surrounded by sound. By making sweeping gestures people can play the work—the body becomes the conductor to a kaleidoscopic array of sounds and images generated in response to body movements.

This interaction makes a clip, which is sent out as a Twitter alert, YouTube video and Facebook post to online networks. By sending the recording back to the participants, the loop of linking private spaces, on-line communities and the gallery is completed. The work overturns timeworn notions about the role of artist, audience and gallery.

 

備註 Notes:

這件作品除了可以在美術館內體驗之外,民眾也可以在家裡和網路上進行體驗:
1. 家庭體驗
下載音場軟體,將程式安裝於家用電腦中,以欣賞自己和作品互動的影片記錄。可以用視訊設備與滑鼠控制聲音。
2. 網路體驗
將自己在家中錄製的聲音檔上傳至網站,混入展覽現場的音效中。展場的互動錄像與混音過的音效,會自動上傳至音場的臉書或是推特網頁。

操作網址連結: http://soundchamber.abc.net.au/

Besides experiencing this work in the museum, the audience can also interact with it through the Sound Chamber website: http://soundchamber.abc.net.au/.

1. Home Experience
DOWNLOAD the Sound Chamber application onto your computer to experience the clip you created while interacting. You can manipulate the sounds by using a web-cam or mouse.
2. Network Experience
UPLOAD a sound file you make at home for other visitors inside to mix up. The video visuals from inside the installation and your sound as it was played will be sent automatically to the Sound Camber Facebook and Twitter pages.

 

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茱莉‧道寧JULIE DOWLING

〈家鄉無限美〉Oottheroongoo (Your Country) ,錄像裝置Video installation

201展間 R201

茱莉‧道寧是由澳洲極具代表性的原住民藝術家,此作訴說的是她回探祖先出生地澳洲西部原鄉的故事。道寧的祖母於12歲時被人拐走,送進一個孤兒院的洗衣房工作,直到21歲嫁人為止。在日復一日的洗衣勞役生活中,想像自己也可以同時洗掉身為原住民的印記。在澳洲殖民歷史中,藝術家的祖母正是「被拐走的一代」的典型人物。

2008218日,澳洲總理終於公開對「被拐走的一代」正式道歉。這對於澳洲原住民與非原住民來說,都是相當刻骨銘心的一個時刻。這件刻意表彰鄉土美感的四螢幕影像裝置作品,一方面註記著這個官方「道歉」的歷史事件,同時也表達了原住民寬恕的氣量和姿態,以及勇於融合驚喜、哀傷和轉變的一種經驗。

Created by one of Australia's prominent Aboriginal artists this project tells the story of her return to her ancestral country in Western Australia. Julie Dowling’s grandmother was taken from the family when she was 12 years old and placed in an orphanage where she worked in the washroom until she was 21. Along with washing clothes she was expected to wash away everything that made her an Aboriginal girl. In Australia’s colonial history she is known as a child of the stolen generations.

On 13 February 2008, the Australian Prime Minister presented a formal apology to the Stolen Generations. It was a powerful and deeply moving moment of reconciliation between Aboriginal and non-Aboriginal Australians. As a celebration of the apology this video installation is an overwhelming gesture of forgiveness, and a courageous experience of wonderment, mourning, and transformation.

 

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克利斯‧杭仕克 CHRIS HENSCHKE

〈光曲線〉Lightcurve,錄像Video3分

〈光線加速器〉Light Accelerator ,錄像Video229

出口樓梯間  Stairway to Exit

克利斯‧杭仕克的專業訓練包括科學與數位媒體,因此他的創作傾向跨領域的整合應用。他是澳洲同步加速中心第一位駐站藝術家,中心裏面的巨型機器(直徑216公尺)可以將電子加速至接近光速。當電子通過磁性區域而偏轉時,會產生極為耀眼的光芒,本次展出的〈光之曲線〉,即是將這種過程捕捉與記錄下來,再以藝術手法後製轉化而成的動態影像作品。另一件〈光線加速器〉則是用超廣角鏡頭和一鏡到底的手法,帶領觀者進入廠區,看到現場因為鏡頭移動而不斷扭曲變形的另外一種光學景觀。

杭仕克融合藝術美學與實驗科學的駐站創作計畫,從2007延伸到2010年,大量而多樣的創作成果,反映了他身兼藝術家與科學家雙重身分的一個迷戀和執著,透過本次展覽也讓觀眾了解到這兩者都永不枯竭的創造精神。

Trained in both science and digital media, Chris Henschke works in cross-disciplinary artistic settings. He is the first artist-in-residence at the Australian Synchrotron, a massive machine (216 meters in diameter) that accelerates electrons to almost the speed of light. As electrons are deflected through magnetic fields they create extremely bright light, which is captured, recorded, and then rendered by the artist as moving images.

The premise of the work is not so much to illustrate a phenomenon but rather to make us reflect on the things we take for granted, or can’t always perceive in art and in life. 

 

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