Damn It, It’s The World Wonder
2011.01.14～2011.02.27
09:00 - 17:00
Damn It, It’s The World Wonder 2011.01.14～2011.02.27 2011.01.14(五) 下午5:00 WANG CHIEN HAO、LIN CHIEN CHIH、HSU HSIAO HAN、CHEN YU TING、CHEN KUEI YEN、OMI CHEN、SYU JIA JHEN、HUANG PEI JU、YAH BO CHING、HSIEH CHIA WEN About: Damn It, It’s The World Wonder Through ages, architecture development has been the icon of civilization’s prestige. The image of the world-class skyscrapers at various places not only speaks the strength of its nation, but also an approach to gather world’s attention. But when New York’s Twin Tower has crumbled, the Burj Dubai’s bankrupted, and Taipei 101’s height being surpassed, those wonders of the monumental skyscrapers are merely changeable spiritual symbols public look upon. Through time, the development and the icon of architectures are being destroyed and re-evolved by institution, thus awaken the conscious that people are detached from the institution’s great power that manipulate our world. And we are incapable to interfere, change, and shift the way of institution’s power, other than behold silently the changes they made in the world. Nevertheless, we wish to make change of the situation by deploying a weak ineffective strategy, using art as a simulated reality to generate discourses between various personal perceptions and the reality we live in.
Damn It, It’s The World Wonder 2011.01.14～2011.02.27 2011.01.14(五) 下午5:00 WANG CHIEN HAO、LIN CHIEN CHIH、HSU HSIAO HAN、CHEN YU TING、CHEN KUEI YEN、OMI CHEN、SYU JIA JHEN、HUANG PEI JU、YAH BO CHING、HSIEH CHIA WEN About: Damn It, It’s The World Wonder Through ages, architecture development has been the icon of civilization’s prestige. The image of the world-class skyscrapers at various places not only speaks the strength of its nation, but also an approach to gather world’s attention. But when New York’s Twin Tower has crumbled, the Burj Dubai’s bankrupted, and Taipei 101’s height being surpassed, those wonders of the monumental skyscrapers are merely changeable spiritual symbols public look upon. Through time, the development and the icon of architectures are being destroyed and re-evolved by institution, thus awaken the conscious that people are detached from the institution’s great power that manipulate our world. And we are incapable to interfere, change, and shift the way of institution’s power, other than behold silently the changes they made in the world. Nevertheless, we wish to make change of the situation by deploying a weak ineffective strategy, using art as a simulated reality to generate discourses between various personal perceptions and the reality we live in.
許哲瑜 SYU JIA JHEN 我虛構出一對男女，於一個建築空間中發生了一系列的日常事件。 我模仿監視器的方式，以數個不同角度的鏡頭由室外向內取鏡，製造觀看的張力與快感。 I compose a couple in a building space in a series of daily activities. I used different angles to imitate a monitor and create tension.
許哲瑜 SYU JIA JHEN 我虛構出一對男女，於一個建築空間中發生了一系列的日常事件。 我模仿監視器的方式，以數個不同角度的鏡頭由室外向內取鏡，製造觀看的張力與快感。 I compose a couple in a building space in a series of daily activities. I used different angles to imitate a monitor and create tension.
徐小涵 Hsu Hsiao-han Lalala 為著能有一個動作而覺得開心 其實沒有要幹麻 當我看見文具店架上被打開被陳列的卡片 忽然不是要寫信給誰 是我被掉進了它的裡面 然後啊! 就是掉進去了嘛!但我還是沒有要寫什麼給什麼誰， 跑阿跑阿!我同時變成每ㄧ個不是我的我， 然後我還是很開心 只是卡片而不是寫信給誰讓我非常開心。 Lalala Feel happy for an action With no particular motivation. When I stare at greeting cards listed on shelf of bookstore, It is not about writing to someone, Yet, I falling into it… Then! I fall into it! Still, I not planning to writing to someone, I ran, I ran! At the same time, I become a self that isn’t me. Nevertheless, I am still happy. It is all about the card, not about writing to someone that makes me happy.
徐小涵 Hsu Hsiao-han Lalala 為著能有一個動作而覺得開心 其實沒有要幹麻 當我看見文具店架上被打開被陳列的卡片 忽然不是要寫信給誰 是我被掉進了它的裡面 然後啊! 就是掉進去了嘛!但我還是沒有要寫什麼給什麼誰， 跑阿跑阿!我同時變成每ㄧ個不是我的我， 然後我還是很開心 只是卡片而不是寫信給誰讓我非常開心。 Lalala Feel happy for an action With no particular motivation. When I stare at greeting cards listed on shelf of bookstore, It is not about writing to someone, Yet, I falling into it… Then! I fall into it! Still, I not planning to writing to someone, I ran, I ran! At the same time, I become a self that isn’t me. Nevertheless, I am still happy. It is all about the card, not about writing to someone that makes me happy.
王建浩 謝家雯 WANG CHIEN HAO、 HSIEH JIA WEN 藝術調查是以透過收集孤島南部某藝術大學空間中累積下來的廢棄、遺棄、知名或無主、完整或破碎的藝術品，討論隨著藝術市場逐漸興盛、文化創意產業蓬勃發展之下，藝術學院中的藝術家如何面對藝術生產機器中的生產、商品性與消費性。 當今，藝術學院為台灣當代藝術的主體(主要的生產供應者和輿論中心)，我們用內部(學院學生的身分)出發，來觀察學院如何在藝術生產和市場消費性之間擺盪、運作及面對其所帶來的種種現象。在這個層面上，或許有更多其他的意義和討論的空間。 We collected art works that were abandoned、famous、ownerless、complete or were broken from an university of art that is located south of some isolated island .Depend on this activity, consider how do artists from art academy face the production in ''Artwork making factory ''、commercialized and consuming art which expending with art market and Cultural and Creative Industry . This time, Art academy is the center of Contemporary Art in Taiwan(the mean producer and the center of theory),we, as students of Art Institute , to observe the position of Art academy in art market and commercialized and consuming art. And consider、discussing the current phenomenon of Contemporary Art.
王建浩 謝家雯 WANG CHIEN HAO、 HSIEH JIA WEN 藝術調查是以透過收集孤島南部某藝術大學空間中累積下來的廢棄、遺棄、知名或無主、完整或破碎的藝術品，討論隨著藝術市場逐漸興盛、文化創意產業蓬勃發展之下，藝術學院中的藝術家如何面對藝術生產機器中的生產、商品性與消費性。 當今，藝術學院為台灣當代藝術的主體(主要的生產供應者和輿論中心)，我們用內部(學院學生的身分)出發，來觀察學院如何在藝術生產和市場消費性之間擺盪、運作及面對其所帶來的種種現象。在這個層面上，或許有更多其他的意義和討論的空間。 We collected art works that were abandoned、famous、ownerless、complete or were broken from an university of art that is located south of some isolated island .Depend on this activity, consider how do artists from art academy face the production in ''Artwork making factory ''、commercialized and consuming art which expending with art market and Cultural and Creative Industry . This time, Art academy is the center of Contemporary Art in Taiwan(the mean producer and the center of theory),we, as students of Art Institute , to observe the position of Art academy in art market and commercialized and consuming art. And consider、discussing the current phenomenon of Contemporary Art.
林建志 LIN CHIEN CHIH 作為一種保護地球、捍衛家園的精神實踐，我想是時候該出動白澤號了！ For the spiritual practice of protecting the Earth and defending the homeland, I think it is time to launch Bai Ze! 因應人為破壞下所造成的氣候及環境變遷，我採取了「仿生建築」的概念形式去製作我的建築結構體，以表我對大自然的敬意。 In response to the climate and environment changing caused by human beings, I took the concept of "Bionic Architecture" to manufacture the building structure. I hoped I can convey my respects to nature by this work.
林建志 LIN CHIEN CHIH 作為一種保護地球、捍衛家園的精神實踐，我想是時候該出動白澤號了！ For the spiritual practice of protecting the Earth and defending the homeland, I think it is time to launch Bai Ze! 因應人為破壞下所造成的氣候及環境變遷，我採取了「仿生建築」的概念形式去製作我的建築結構體，以表我對大自然的敬意。 In response to the climate and environment changing caused by human beings, I took the concept of "Bionic Architecture" to manufacture the building structure. I hoped I can convey my respects to nature by this work.
黃珮如 HUANG PEI JU 作品企圖捕捉影像感和感覺性之間的微妙地帶，猶如閉上眼所看到的景象一般。畫面中像是微弱閃爍光芒的點狀筆觸，以及刻意控制在色光特質的色彩，以看似理性的排列方式構圖於畫面中，呈現出對於某個城市影像的模糊印象。以城市影像為切入方向，企圖呈現觀者(包括作者本身)在看完影像後，那已經感光於腦內記憶的影像，我刻意地避開單純將物件描繪的路徑，也壓制那股腦手連線將物件影像繪出的直覺感受，等於是將腦中顯影的裝置換成數位裝置，將描繪的動作加裝上擁有人類手指的機械手臂，刻意安排的轉換過程，讓作品產生一種閉上眼依然感受到的畫面。 This work intends to be seen when eyes are closed, and to explore an intriguing space between images and sensation. The glittering dot strokes and the deliberately arranged RGB colors are rationally composed, and to present vague impressions of some city images. Focusing on city images, it also intends to present images that have been sensitized in brain after they are viewed by the audience and the artist herself. I suppress my intuition from drawing objects I see directly. This is to switch a development device into a digital one, and to draw with fingers of fresh and bones linked to artificial arms. The process of switching leaves my work some sights can be seen when eyes are closed.
黃珮如 HUANG PEI JU 作品企圖捕捉影像感和感覺性之間的微妙地帶，猶如閉上眼所看到的景象一般。畫面中像是微弱閃爍光芒的點狀筆觸，以及刻意控制在色光特質的色彩，以看似理性的排列方式構圖於畫面中，呈現出對於某個城市影像的模糊印象。以城市影像為切入方向，企圖呈現觀者(包括作者本身)在看完影像後，那已經感光於腦內記憶的影像，我刻意地避開單純將物件描繪的路徑，也壓制那股腦手連線將物件影像繪出的直覺感受，等於是將腦中顯影的裝置換成數位裝置，將描繪的動作加裝上擁有人類手指的機械手臂，刻意安排的轉換過程，讓作品產生一種閉上眼依然感受到的畫面。 This work intends to be seen when eyes are closed, and to explore an intriguing space between images and sensation. The glittering dot strokes and the deliberately arranged RGB colors are rationally composed, and to present vague impressions of some city images. Focusing on city images, it also intends to present images that have been sensitized in brain after they are viewed by the audience and the artist herself. I suppress my intuition from drawing objects I see directly. This is to switch a development device into a digital one, and to draw with fingers of fresh and bones linked to artificial arms. The process of switching leaves my work some sights can be seen when eyes are closed.
陳禹廷 CHEN YU TING 從像我們這種角色系列之後衍生出的小丑符號， 我試著把所有扮演(化妝)的樣貌替換於世界上的名人， 去假想不同時代歷史中， 每個名人對於自己被時代定位而去扮演的角色是否如同我一般充滿無奈， 而下場秀是該輪誰當登場演出? This iconl was born from my earlier works, i try to use the clown as a symbol to replace the celebrities' faces to imagine how they play a role what the world ask them to be, and they're actually not willing, like i always be. and who should be the next protagonist ?
陳禹廷 CHEN YU TING 從像我們這種角色系列之後衍生出的小丑符號， 我試著把所有扮演(化妝)的樣貌替換於世界上的名人， 去假想不同時代歷史中， 每個名人對於自己被時代定位而去扮演的角色是否如同我一般充滿無奈， 而下場秀是該輪誰當登場演出? This iconl was born from my earlier works, i try to use the clown as a symbol to replace the celebrities' faces to imagine how they play a role what the world ask them to be, and they're actually not willing, like i always be. and who should be the next protagonist ?
陳思穎 OMI CHEN 名場面一詞源於日文,指在影像世界中為人熟知的經典片段,目前在網路世界中被廣泛使用. 被如此形容的真實事件將會被訊息化.虛擬化及神格化 會成為整個作品的縮影或介紹 我將虛構>訊息>事件反輸入來製造名場面自身,使之成為無法再被精簡,無法更虛假,卻又非常真實的事件。 A "famous scene" is a term derived from Japanese, it refers to classic imagery as used widely on the web.
A so described real event becomes information, is virtualized and idolized. It becomes a miniature version of or an introduction to the work.
In this art work I reverse the fiction>information>incident input order and create "a famous scene"?, which is impossible to be further simplified or virtualized, but is nevertheless a very real event.
A so described real event becomes information, is virtualized and idolized. It becomes a miniature version of or an introduction to the work.
In this art work I reverse the fiction>information>incident input order and create "a famous scene"?, which is impossible to be further simplified or virtualized, but is nevertheless a very real event.
陳思穎 OMI CHEN 名場面一詞源於日文,指在影像世界中為人熟知的經典片段,目前在網路世界中被廣泛使用. 被如此形容的真實事件將會被訊息化.虛擬化及神格化 會成為整個作品的縮影或介紹 我將虛構>訊息>事件反輸入來製造名場面自身,使之成為無法再被精簡,無法更虛假,卻又非常真實的事件。 A "famous scene" is a term derived from Japanese, it refers to classic imagery as used widely on the web.
A so described real event becomes information, is virtualized and idolized. It becomes a miniature version of or an introduction to the work.
In this art work I reverse the fiction>information>incident input order and create "a famous scene"?, which is impossible to be further simplified or virtualized, but is nevertheless a very real event.
A so described real event becomes information, is virtualized and idolized. It becomes a miniature version of or an introduction to the work.
In this art work I reverse the fiction>information>incident input order and create "a famous scene"?, which is impossible to be further simplified or virtualized, but is nevertheless a very real event.
陳奎延 CHEN KUEI YEN 離開繁亂、吵雜的人群，企圖從生活物件中尋找依託的溫情。生活物件給與的感覺，超越表面的意義牽引著感受到另一個情境。作品透過繪畫與物件裝置互相對話，連接人與物之間關係的詮釋方式。裝置呈現生活物，企圖在生活占有具體的功用與意義的存在。 繪畫企圖描繪那看不清的感受與情境，以層層的顏料疊出模糊不解卻又似如觸覺般的感覺。裝置與繪畫兩者之間彼此相差脫節，又相合出貼近的感覺，拉扯人與物之間的溫情。 Apart form the noise and the complication of the crowds; I seek comfort and warmth from items within my room. The feeling of items takes beyond literal meaning and develops a new scenario and identity away from typical depiction. The work takes form of paintings and installation; together they create discourse on the relationship between people and things. The installation present daily items remind us their usages and meaning of existence. On the other hand, paintings employ thick layers of paints binding the close sensation of touch as an attempt to capture the invisible scenarios and strange emotions toward these daily items. The works not only contrast the dissimilarities and commons between the painting and the installation, but also portrait the push and pull the alienation and familiarity of the comforting relationship between people and thing.
陳奎延 CHEN KUEI YEN 離開繁亂、吵雜的人群，企圖從生活物件中尋找依託的溫情。生活物件給與的感覺，超越表面的意義牽引著感受到另一個情境。作品透過繪畫與物件裝置互相對話，連接人與物之間關係的詮釋方式。裝置呈現生活物，企圖在生活占有具體的功用與意義的存在。 繪畫企圖描繪那看不清的感受與情境，以層層的顏料疊出模糊不解卻又似如觸覺般的感覺。裝置與繪畫兩者之間彼此相差脫節，又相合出貼近的感覺，拉扯人與物之間的溫情。 Apart form the noise and the complication of the crowds; I seek comfort and warmth from items within my room. The feeling of items takes beyond literal meaning and develops a new scenario and identity away from typical depiction. The work takes form of paintings and installation; together they create discourse on the relationship between people and things. The installation present daily items remind us their usages and meaning of existence. On the other hand, paintings employ thick layers of paints binding the close sensation of touch as an attempt to capture the invisible scenarios and strange emotions toward these daily items. The works not only contrast the dissimilarities and commons between the painting and the installation, but also portrait the push and pull the alienation and familiarity of the comforting relationship between people and thing.
葉柏青 YEH BO CHING 我所要體現的是一種無關乎自身，純然自體的一種行為狀態，強烈的機械迷戀，金屬味和機油味道的一種狂熱，功能性的移出，存留下無目的的轉動，就好比一台跑車，高速駕駛移動的狂奔遠不及他的Ｖ８引擎自身強烈運轉更讓我震撼。 機具的發明種(總)是在服務人類的某種目的，為了移動而生的輪子，更具殺傷力的刀槍，具有長時間無間斷疲勞感的引擎，總是在為什麼目的而轉動，我想要為它發聲，我希望讓它被看見，沒有什麼目的，我要讓它運轉，它要留下痕跡，要破壞，就是要讓你看見，這才是…..機械。 I am presenting a state that is selfless, automatic and a deep obsession in the smell of metal and motor oil. The detachment of functions; the remains of random operation. I am more stunned by automatic operation of a V8 engine than high speed driving. Description: The invention of machines is to serve human beings. Wheels made for mobility, fatal weapons, and unceasing, exhausting engines are all operating for some kind of purposes. I want to speak for them; I want them to be seen; I want them to operate without purposes, and to leave trace, to damage in front of you. This is … machine.
葉柏青 YEH BO CHING 我所要體現的是一種無關乎自身，純然自體的一種行為狀態，強烈的機械迷戀，金屬味和機油味道的一種狂熱，功能性的移出，存留下無目的的轉動，就好比一台跑車，高速駕駛移動的狂奔遠不及他的Ｖ８引擎自身強烈運轉更讓我震撼。 機具的發明種(總)是在服務人類的某種目的，為了移動而生的輪子，更具殺傷力的刀槍，具有長時間無間斷疲勞感的引擎，總是在為什麼目的而轉動，我想要為它發聲，我希望讓它被看見，沒有什麼目的，我要讓它運轉，它要留下痕跡，要破壞，就是要讓你看見，這才是…..機械。 I am presenting a state that is selfless, automatic and a deep obsession in the smell of metal and motor oil. The detachment of functions; the remains of random operation. I am more stunned by automatic operation of a V8 engine than high speed driving. Description: The invention of machines is to serve human beings. Wheels made for mobility, fatal weapons, and unceasing, exhausting engines are all operating for some kind of purposes. I want to speak for them; I want them to be seen; I want them to operate without purposes, and to leave trace, to damage in front of you. This is … machine.
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