末日再生--台灣・澳門
Lost in the Möbius—Taiwan・Macau
2016.07.09 − 2016.07.31
Lost in the Möbius—Taiwan・Macau
2016.07.09 − 2016.07.31
策展人 Curators｜ 黃兆琳 Wong Siu-Lam Natalie．賴依欣 Lai Yi-Hsin Nicole
藝術家 Artists｜ Yves Etienne Sonolet．李姿玲 Lee Tzu-Ling．李少莊 Lei Sio-Chong Bianca．吳方洲 Ng Fong-Chao Noah．陳伯義 Chen Po-I．霍凱盛 Eric Fok．機本工 Kimoto Ko（朱盈樺 Chu YinHua、徐子涵 Hsu TzuHan、林冠言Lin KuanYen）．其實你不懂我的心 You Don’t Know Me At All（邱子晏 Ciou Zih-yan、倪祥 Ni-Hsiang、陳俊宇 Chen Chun-Yu）
聯合展出 Also Introduce｜
李珮瑜 Lee Pei-Yu
台灣展期 Exhibition Periods｜ 2016.07.09~2016.08.06
福利社 FreeS Art Space（07.09~08.06）
台北國際藝術村 Taipei Artist Village（07.09~07.31）
開幕 Openings｜
07.09｜開幕&「李珮瑜請你吃土」｜4pm 福利社、7pm 台北國際藝術村
07.09｜Openings & “Come Eat Polluted Earth”｜4pm FreeS Art Space, 7pm Taipei Artist Village
座談活動 Talks and Activities｜
07.10｜藝術家與策展人座談｜3pm 台北國際藝術村 2樓遊藝廳
07.23｜李展鵬座談*｜3pm 台北國際藝術村 1樓幽竹廳
07.23｜「李珮瑜請你吃土」｜5pm 台北國際藝術村 幽竹小院
07.10｜Artists and Curator’s Talk｜3pm Taipei Artist Village, 2F Recreation Room
07.23｜Lei Chin-Pang’s Talk*｜3pm Taipei Artist Village, 1F Bamboo Room
07.23｜“Come Eat Polluted Earth”｜5pm Taipei Artist Village, Bamboo Yard
*李展鵬，澳門作家與文化研究者，出版《在世界的邊緣遇見澳門》等書。
Lei Chin-Pang, Macau writer and researcher, publications include Encountering Macau at the Edge of the World (Macao Daily Publisher, 2013) etc.
展覽論述 |
Exhibition Statement |
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「末日」與「再生」，看似兩個對立的端點，之間卻包含了許多人類生活與生存的問題，這些問題緊扣當地的歷史文化、政治、社會和經濟等背景。此次在台北國際藝術村和福利社的展覽「末日再生」，邀請一共8組臺灣與澳門的藝術家，透過進駐研究和反身性思考的創作過程，回溯並理解兩地在歷史中所存在著的錯綜複雜、重疊與交錯的殖民與現代性發展下，形成的文化樣貌，以藝術創作思考自身位置與之相對應的關係，展開梳理和探究我們自身在亞洲區域與全球化的發展中的位置與脈絡的可能性。 此計畫成型於2014年，在前期駐地澳門的研究過程中，發現今日看來，臺灣與澳門兩座島嶼之間在城市發展樣貌上展現的關連性並不強烈，但事實上，彼此之間的交織與連動可追溯至四百多年前，大航海時期的第⼀波全球化與市場貿易發展，兩地的命運以海線為基礎展開，進而影響了兩地接下來幾百年的區域發展、殖民和經濟，並與東亞其他國家形成網絡狀的交織，形塑各自的命運歷程，其中擁有許多相互照映之處。在這樣的思考脈絡中，在進駐澳門過後，結合對於台灣的思考，我們提出了三個討論面向，包括政治與歷史層面的「解殖」、從當代消費與城市景觀所切入討論的「城市迪士尼化」，以及由政治上層所建構傳播的「當代神話」，企圖展開兩地在歷史與現況之中的探索與理解。這些思考再度回應展覽主題中「末日」與「再生」的關係狀態，並非是對立或線性的兩個端點，而生存於城市之中的感受，像是處在一個不斷翻轉的「莫比烏斯環」 (Möbius Band）的立體翻轉結構中，沒有絕對的「正、負」和「內、外」，而是在無限大且相連的「∞」中持續旋轉。 |
“Doomsday” and “Revival” seem to be two antithetical concepts but they connote many issues of human life and survival. These issues are closely related to the history, culture, politics, society and economy of places/regions. The exhibition Lost in the Möbius in Taipei Artist Village and FreeS Art Space invites eight groups of artists in total from Taiwan and Macau to undertake residence research projects and to use reflexive thinking to develop their works on the topics of Taiwan and Macau. They trace back and understand the ramification, overlapping and intersection in different colonial history respectively and the cultural features developed under modernity. Through rethinking of identity issues in relation to the environment through artworks, this exhibition summarizes and explores our positions and connections within the ever-growing globalization and urban development in Asia. This project officially commenced in 2014. At the early residency stage in Macau, although there seem to be very few connections between the urban development and city landscapes of Taiwan and Macau. However, in fact, the connections between the two places could be traced back to 400 years ago. When the first wave of globalization and market trading developed, the destiny of Taiwan and Macau was expanded by seal, and then influenced the regional development, colonization and economics of two places in the following hundreds of years. In addition, they also interwove with other East Asian countries, shaping their own trajectories of destiny. In this context, combining our thinking on Taiwan with the residence experience in Macau, we came up with three dimensions for discussion, attempting to explore and perceive the history and the status quo of two places. First, we deal with “decolonization” on the political and the historical aspects. The second dimension is related to the discussion of “the disneyization of society” in terms of contemporary consumerism and urban landscape. The last dimension we deal with is the “contemporary myth” that is constructed and disseminated at a political level. These dimensions respond to the research theme of the relations between “Doomsday” and “Revival” from different angles, neither simply binary oppositions nor two linear ends. The state of a city life is like traveling through the trajectory on a ‘Möbius Band’, which is never absolutely “positive versus negative” or “inside versus outside.” We travel in an infinite, continuous“∞”. |
樂園 - 福爾摩沙Paradise - Formosa，霍凱盛Eric Fok，79 x 49 cm，針筆繪畫，2016
其實你不懂我的心，讲咗朱姐姐呢，Dimensions Variable，複合媒材Composite media，2016
