展演與退場的存在策略|秋刀魚藝術中心 藝術特區主題展 TAD Themed Exhibitions

展出地點
Location

秋刀魚藝術中心 Fish Art Center

展出時間
Date

2020.10.03 - 2020.11.01

參展藝術家
Artist(s)

紀凱淵、陳依純、陳琨揮x徐沁、曾怡馨

光是人類崇拜的對象,是世界的生命與靈魂,也是自然的主宰;在有光的地方,不再懼怕黑暗;光是數世紀以來,藝術家所追尋的想像,對光的描繪,以光感創作的影像,以光建構的建築中的崇高感,以光作為媒介記錄與看見影像,以光紀錄軌跡與影像,再現與塑造的世界。類比訊號時代,以光為媒材,「光」是主題表現的載體。

 

數位科技以「光」為介面,進行訊息的傳遞,透過編碼、傳遞、接收與解譯,更超越電子時代的類比「光」。類比訊號的「光」,電視開啟後,影像展現,電視關閉,影像消失;燈光開啟後,光照亮空間創造氛圍,呈現出魔幻沈浸感,此種類比訊號的裝置,關閉後,其所創造的景觀世界在人們眼前消失,然而,數位訊號透過裝置介面所呈現的光,展現的光,所開啟的世界,在裝置關閉之後,從真實世界中的人們眼前中消失,卻仍留存在虛擬世界的訊號當中,繼續成為世界的一部份。

 

子題三:展演與退場的存在策略|秋刀魚藝術中心

 

該以何種存在的方式,建構作為物與人的主體性?是以覺知,以訊息存在於虛擬世界中,放棄真實永存於虛擬的訊號流動之中,成為無所不在的個體;還是以堅守實體世界的空間,以生物體存有的方式,成為主體,在實體世界中,找到另一種共存於真實與虛實空間的策略。

 

Humans worship light, which is the source of life and soul in this world as well as the sustaining force in nature. When there is light, there is no fear of darkness. For centuries, light has been the subject of artists’ quest. They depict light, utilize light sensitivity to create images, employ light to construct the feeling of sublime in architecture, use light as a medium to record and develop images, and document trajectories and images to represent and shape the world. In the age of analogous signals, light becomes a medium, a vehicle for expressing all subject matter.

 

Digital technology has its interface based on “light” to communicate signals, surpassing the analogous “light” of the electronic age with the encoding, transmission, reception and decoding of signals. The “light” of analogous signals shows images after a television is turned on; and when the television is turned off, the images cease to exist. When the light is switched on, a space can be lit up and an atmosphere created, producing a magical sense of immersion. Devices using analogous signals offer spectacles that disappear after the light is switched off. However, the light emitting from the interface of devices using digital signals opens up different worlds that remain in the virtual world, continuing being a part of the world even after their disappearance from the real world and in front of people’s eyes after the devices are turned off.

 

Subtopic 3: Exhibition and Exit of Existence—Fish Art Center

 

Which form of existence should be used to construct the subjectivity of objects and humans? Should we opt to exist in the virtual world as consciousness and messages, giving up the reality to forever merge with the flow of virtual signals and turning into omnipresent individuals? Or, should we guard the material space in ways that living organisms exist, and become the subject in the material world, formulating strategies of inhabiting both the real and the virtual space?