《銜尾蛇》國際放映聯展導覽手冊 by 立方計劃空間 TheCube Project Space

銜尾蛇

The Ouroboros 2019

08.17 / 10.20

發行 Publisher | 立方計劃空間 TheCube Project Space 台灣台北市羅斯福路四段 136 巷 1 弄 13 號 2 樓 2F, No. 13, Aly. 1, Ln. 136, Sec. 4, Roosevelt Rd., Taipei, 100, Taiwan +886 2 2368 9418 www.thecubespace.com info@thecube.tw 出版日期 Published | 2019.8 © 版權所有 : 作者、攝影者及藝術家 Copyright of the photographs for the photographers, of the texts for the authors, of the works for the artists. 立方計劃空間由國藝會、台北市文化局、RC 文化藝術基金會及陳泊文先生贊助營運 TheCube Project Space is supported by National Culture and Arts Foundation, Department of Culture Affairs, Taipei City Government, RC Culture and Arts Foundation and Dr. Chen Po-Wen.

台北 Taipei

盧森堡 Luxembourg

相關活動 Event

立��劃�間 TheCube Project Space 日期 Date | 2019.08.17–10.20 開� Opening | 2019.08.17 3–6 pm �� Talking Drums Festival �間 Date | 2019.09.14 (Sat.) 2:30pm �� Artist | �� / AU Sow-Yee �金� � / Ayoung KIM�楊政 / YANG Cheng

盧��⻄諾當代�� Casino Luxembourg – Forum d’art contemporain 日期 Date | 2019.08.28 – 10.28 黑�星期�� Black Thursday, Artist Talk �間 Date | 2019.10.24 (Thurs.) �者 Speaker | 李�玲 / LEE Tzu-Ling�� 其� / WU Chi-Yu�� / Amy CHENG

《銜尾蛇》放映聯展

由策展人鄭慧華所策劃的《銜尾蛇》（The Ouroboros）國際放映聯展，邀請 8 位藝術

家的 11 部錄像作品，夏天同步於台北立方計劃空間和盧森堡卡西諾當代藝術館（Casino Luxembourg － Forum d'art contemporain）舉辦。

《銜尾蛇》放映聯展是立方空間 2018 至 2019 年與卡西諾當代藝術館所進行的雙向交流計畫的第二階段，繼卡西諾當代館館長凱文·穆蘭（Kevin Muhlen）策劃並率領三位盧森堡藝術家來台創作，並於 2018 年底在立方計劃空間及非常廟藝文空間展出之後，由台灣方面所策劃的交流項目。

以「銜尾蛇」為串連作品的題旨⸺這個自古流傳下來的符號，其意象為一條吞食自

illustrated as an emblem of wholeness or infinity, namely “∞”), referring to a selfdevourer. There’re a riotous profusion of human imaginations and interpretations of this image, which implies a pluralistic view of non-linear development. Of all its meanings, “loop,” “infinity,” “the cycle of birth and death,” and “repetition” are the most well-known. Frequently arising in different religious beliefs and myths, this symbol is also a vital imprint in alchemy, the earliest occultism and scientific experimentation in human history. In modern times, psychologist Carl Gustav Jung (1875-1961) argued that the ouroboros is actually a manifestation of the archetype of human psyche. Harnessing the power of this symbol, the exhibition not only cogitates on the phenomena in our civilizations and explores human desires for domination and progress, but also analyzes how the changes in our living environment influence us in the contemporary society.

己尾巴的蛇。由於蛇吞食尾巴，因而形成一個圓環圖像（有時亦會展示成扭紋形，即「∞」）。人們對此意象的想像與解釋蘊藏豐富的象徵，甚至也代表了一種非線性發展

論的觀點。最為人知的，即它代表了「循環」、「無限」、「生滅」、「周而復始」

的意義。此外，這個符號也常在不同宗教信仰及神話中見到，也是人類最早的科學實

驗傳統 / 神秘學⸺煉金術中重要的印記。而近代心理學家卡爾・榮格（Carl Gustav

策展人 | 鄭慧華

Curator | Amy CHENG

Jung，1875–1961）認為，銜尾蛇其實是代表著人類心理的原型（Archetype）。

獨立策展人，工作於台灣台北。2 010 年與羅悅全成立非營利機構「立方計劃空間」，期望深

運用這個符號的多重意義，本展通過 11 部影片，期冀對當代文明（現象）進行反思、

2 0 0 9 年開始發起並進行系列性的研究項目，包括「批判性政治藝術創作暨策展實踐」並出

對人類當今的支配和發展欲望進行探索，並也再次洞察人類與周遭的自然、社會之間的變化關係，乃至於能以廣闊但深入的角度來重新思索人類即將面對的未來。

The Ouroboros

Curated by Amy Cheng of TheCube Project Space in Taipei, The Ouroboros is an international joint exhibition that marks the second phase in the 2018-2019 TaiwanLuxembourg Exchange Program. This exhibition will be synchronously on view at TheCube Project Space in Taipei and the Casino Luxembourg – Forum d’art contemporain in Luxembourg. Treating the imagery of ouroboros as the main theme running through all the exhibits, The Ouroboros is intended to envisage and investigate people’s responses to the general question of survival in the contemporary world via the artists’ astute observations on realities and phenomena. This exhibition features 11 video works by 8 artists, engaging in multilayered dialogues on key issues ranging from reflections upon the survival system of human society in the Anthropocene and human imagination of the future to the development and change in the relational trinity of humanity-technology-nature and discussions of cosmopolitics. The ouroboros is an ancient symbol depicting a serpent swallowing its own tail. The serpent devouring itself thus turns into a circulatory image (sometimes 4

耕在地文化，建立與創作者的長期合作關係，以實踐關注「拓展策展」的可能性。鄭慧華自

版《藝術與社會 ─ 當代藝術家專文與訪談》一書（2 0 0 9）、2 010 年起，共同推動與台灣聲響

文化相關之研究；2 015 至 2 018 年，她進行為期三年的與亞洲冷戰歷史相關的研究展策劃。

2 016 年起在立方計劃空間組織體制外的學習課程「學實學校」。近年策劃的展覽包括：2 011 年威尼斯雙年展台灣館「聽見，以及那些未被聽見的：台灣社會聲音圖景」、「重建 / 見社會」

系列展（2 011– 2 013）、「現實秘境」（2 016 – 2 018）等；共同策劃的展覽包括「造音翻土：戰後台灣聲響文化的探索」（2 014）、「告訴我一個故事：地方性與敘事」（2 016、2 018），以及

正在進行中的「未來回憶錄三部曲」（2 019 – 2 021）。

Amy Cheng is a curator and writer based in Taipei. In 2010, with Jeph Lo, she co-founded TheCube Project Space, which serves as an independent art space devoted to the research, production and presentation of contemporary art in Taipei. With the aim of delving deeply into local culture and establishing long-term relationships with artists, Cheng explores the possibility of “expanding curating”. Since 2009, she has carried out several research projects, including Sound Cultures in Taiwan and Critical Political Art and Curatorial Practice Research, for which she contributed to and edited the publication Art and Society: Introducing Seven Contemporary Artists. In 2016, she begins organizing cultural study courses outside the establishment, the Praxis School lecture series. Recent exhibitions curated by Amy Cheng include: The Heard and the Unheard: Soundscape Taiwan, Taiwan Pavilion at the 54th International Art Exhibition—La Biennale di Venezia (2011), the exhibition series Reenvisioning Society (2011–2013, Taipei) and Towards Mysterious Realities (2016-2018, Taipei, Kuala Kumpur and Seoul), The Ouroboros screening programme (2019, Taipei, Luxembourg). She also co-curated these exhibitions such as ALTERing NATIVism—Sound Cultures in PostWar Taiwan (2014, Taipei, Kaohsiung), Tell Me a Story: Locality and Narrative (2016, 2018, Shanghai, Torino) and The Triology of Future Memories (2019-2021). 5

一個消費者的嘆息 A Consumer’s Sigh 單��錄�，2018 Single channel video, 2018

A Consumer’s Sigh by Lee Tzu-Ling features a series of landscapes/scenes shaped by consumerism and human desires. Addressing different themes, it evokes the tangled connections between economic development and human-animal relations, as well as unresolvable longings and personal nostalgia in a situation of limited resources. “In my mind, the ever-frozen ice at the North and South poles used to be an absolute, a permanent reality. However, it has never been entirely isolated from human reach as we imagined. The footprints of human desire have been all over it. Svalbard, the archipelago where most of the scenes were shot, has a history of continuing struggle over resources, such as whale oil, coal and nowadays oil, and even for control of the Northeast Passage, which may someday become navigable, once the icebergs disappear. Under the premise of global warming, the question remains unanswered as to whether the Arctic will slowly become a wasteland or a new Eden. Economic development has gathered unstoppable momentum as consumerism emerges and thrives. A new world begets new order. As consumers advance, polar bears and ice retreat, and nostalgia finds nowhere to settle down. Being an artist and an ordinary human being, I cannot get rid of my consumer role. Yet being a consumer implies that every act of mine is inevitably pushing this world to the brink of collapse. Is salvation really out there? Reading through the warnings based on scientific observation and witnessing civilization going astray, I, as a person, can do nothing but let out a sigh – sighing for our insatiable desires, sighing for the impossibility of curbing accelerated development, and sighing for the world we are constructing whether consciously or not.” (Lee Tzu-Ling)

〈一個消費者的嘆息〉系列作品試圖呈現一系列被消費和欲望形塑的風景，透過不同主題，討論在有限的資源下，此一糾纏了經濟發展、人和動物的關係，與個人無所依託之鄉愁的議題。

南北極永遠不融的白色冰雪曾經是我心中不可動搖的存在，但它從來不如想像地與世隔絕，欲望的足跡早已遍佈。影片主要拍攝地點位於極圈內的冷岸群島，它的歷史就是不間斷的資源爭奪戰。從鯨魚油、煤礦到現在的石油，甚至是未來海冰消失之後即將浮現的，傳說中的北極航道。在全球暖化的前提下，北極逐漸步向一個不知會是荒土或是樂園的新世界。

消費的欲望推動了經濟發展，勢不可擋。新世界有新的規則，消費者的腳步向前的時候，北極熊退後了，冰雪消失了，鄉愁無處可去。身為一個藝術家，身為一個普通人，我都無法擺脫消費者的身份。身為消費者，每個行為都將世界推向墜落的邊緣，是否還有救

贖的可能？閱讀科學數據的警鐘，面對失控的慣性，個人力量渺茫，只有嘆息。嘆息欲望，嘆息不可能停止的經濟發展，嘆息新世界。（文 / 李姿玲）

一個消費者的嘆息─火線北洋冰（1 � 37 �）

〈火線北洋冰〉中以遊戲式的戰鬥，笑謔國際間的北極資源爭奪戰。一觸即發的失控，朝向歪斜的未來航行。此處的「火線」（On Fire）除指戰爭，亦指火熱升溫的全球暖

化效應，成因之一就是這無法逆轉的利益競賽。

一個消費者的嘆息─巧遇北極熊時的交戰守則（1 � 35 �）

冷岸群島作為生態保護區，對於人類和各種動物相遇時的應對方式都有嚴格的限制，同時作為藝術家與觀光客的我，以〈巧遇北極熊時的交戰守則〉回應《斯瓦爾巴巡航旅遊手冊》的規定，討論我認為的人熊關係。

一個消費者的嘆息─賣火柴的人（1 � 16 �）

〈賣火柴的人〉標題取自童話〈賣火柴的小女孩〉，故事中小女孩的火柴所點燃的是夢想和希望，而我的主角在孤獨地等待救援時，不斷在終將熄滅的希望火光（信號彈）之中反覆看見的，是不知能否成為救贖的自己。

一個消費者的嘆息─帶上救生艇（3 � 58 �）

冷在深雪裡緩步行走，一個人吟唱不存在的歌。帶著我僅有的玩具充氣游泳池，期望它

A Consumer’s Sigh − With My Baby Zodiac 3'58"

Walked slowly in the deep snow. Hummed a nowhere song. What I only had is a kid’s plastic swimming pool. I’d like to use it as my zodiac sailing back to the tall ship anchoring in the Arctic Ocean. But It did not work. The plastic pool could not take me home and I was scared to death when sitting inside it floating with waves. A Consumer’s Sigh−With My Baby Zodiac expresses an unnameable ambient nostalgia among the whole A Consumer’s Sigh series. It comes quietly, massively and lonely when the artist sees unstoppable collapse of some unshakeable truth in her mind.

能作為小船帶我回家。事實上的結果是，一坐上它在海面上漂蕩就嚇壞了我，而玩具也

無法真的帶我回到母船上。〈帶上救生艇〉作為回應系列作品中藝術家面對心中不可動搖的存在，以無法阻擋的生物慣性步向分崩離析，並且杳然生起無以名之的鄉愁。

A Consumer’s Sigh − The Arctic On Fire (1'37")

A playful water-gun battle in A Consumer’s Sigh−The Arctic On Fire ironically refers to an international fighting for the Arctic resources in a funny way. An uncontrollable and twist future is touch-and-go. “On Fire” refers both to wars and the global warming, where a driving force behind is a non-stop competition for the Arctic nature resources. A Consumer’s Sigh − How To Act Upon Encounters With Polar Bears (1'35")

Being as an ecological protected area, there are various strict rules of how to act with corresponding wild animals, including polar bear, in the Spitsbergen and Svalbard. The artist tried to discuss a relationship between polar bears and human beings in A Consumer’s Sigh−How To Act Upon Encounters With Polar Bears to reflect on the corresponding rules in The Cruise Handbook for Svalbard from a tourist’s perspective. A Consumer’s Sigh − The Match Man (1'16")

The title’s inspiration of A Consumer’s Sigh−The Match Man came from The Little Match Girl. The little match girl saw her dreams and hopes showing every time she lighted up a match in Hans Christian Andersen’s short story. However, what my Match Man kept seeing in the flaming flare was only his own reflections. The man did not know if it is only a self-illusion or a possible redeemer.

李姿玲 LEE Tzu-Ling

作為一個有專業科學背景的藝術家，李姿玲的作品在邏輯之下兼具豐富的感受性，喜歡日常

生活中所有可以反映時代氣息的小塵埃。關注常民如何被大環境影響，試圖從小歷史中窺探世界，反省潛伏在瑣碎日常裡的人性。近年也關注科學語言在現代生活中扮演的關鍵角色。

創作手法善於操作物質媒材，使之面目全非直到觀眾看不出來。解構現成物至材料層次，實驗

材料本身的各種可能性，再重新建構新的形式。透過重疊現成物本身的社會語彙，以及與藝術家意圖喚起新連結而創造的形式，共同組織成最終的作品，企圖利用物質追求理性的詩意。

作品形式以裝置和物件為主，曾經因為北極圈駐村計畫（T h e A r c t i c C i r c l e Pr o j e c t）抵達

北緯 8 0 度，期待作品可以觸碰那些言語到不了的地方。作品曾於北師美術館、台北國際藝術村、海馬迴光畫館、福利社等地呈現，亦多次受邀至德國、瑞典、比利時等地展出。

Lee Tzu-Ling is known for her sensuous installations and objects offering an experience which is hard to re-shown by photographs. By deconstructing life products into a material level and re-build them new forms, she places the social symbols of the original objects and culture meanings of the new forms next together to compose her material poems. To document the time of her own being, her works reflect life issues in a common sensibility level. As an artist with a well-trained science background, she is also interested in a mythical character and language quality which Science presents in modern society. Tzu-Ling is an artist base in Taiwan and was a protein crystallographer in National Synchrotron Radiation Research Center. She has exhibited her work internationally, including Pinakothek in Munich, Stockholm, Belgium, Amsterdam, MoNTUE in Taipei and etc.

第九號塔布拉疊音 Tabla dubb n° 9

單��錄�，3 � 40 �，2002（由��巴黎��提供） Single channel video, 3'40", 2002 (Courtesy of the artist and Galerie Chantal Crousel) 哈桑・康 Hassan KHAN

1975 年出生於倫敦，目前於埃及開羅與德國柏林兩地工作與生活。哈桑・康是作家、音樂家，也是目前最活躍的知名中東藝術家。他的作品主要靈感來自於開羅都會的現實景況，他認為藝術

所扮演的角色是一種語言的與概念的行動。為達到這個目標，他採用各式各樣的媒材，包括錄像、攝影、表演與裝置。對他來說，媒材並非他要去精通的領域，而是可能性、潛力與學習的資源。

哈桑・康的主要個展包括黎巴嫩貝魯特藝術中心的「The Portrait is an Address」（2016）；德國法蘭克福現代美術館的「Flow My Tears, the Policeman Said」（2015）；埃及開羅的

「Downtown Contemporary Arts Festival」（2014）；土耳其伊斯坦堡的「SALT」（2012）；日本北九州的當代美術中心的「trusted sources」（2011）；瑞典聖加侖美術館的「evidence

〈第九號塔布拉疊音〉是一支單頻道錄像作品，同時也是「塔布拉疊音」系列現場音樂與錄像表演的一部分。2001 至 2005 年間，哈桑・康在這系列表演中結合了他製作的

音樂與城市空間探查的影像，試圖在音樂中呈現出阿拉伯塔布拉鼓與電子噪音音樂的相似處。

這件作品的靈感一方面是期望將集體文化產物當成創作素材⸺在本作中，就是來自〈艾爾波達〉（El Borda，於先知穆罕默德生日誦唱的詩歌，內容是讚頌他不朽的衣鉢轉承）的重覆片段；另一方面，是將錄像本身的結構性特質作為一種形式語言的基礎。

視覺素材拍攝與剪輯的簡單手法⸺在本作中是人群走過地下道⸺同時也是一種語言

表達的企圖，透過它去產生總是超越於藝術家意圖的文化形式，但這種手法非常直接地轉譯了它的來源。

Tabla dubb no.9 is a single channel video that also functions as part of Tabla dubba series of live music and video concerts performed by the artist between 20012005 mixing music composed and produced by the artist exploring the meeting point between the Arabic tabla and noise electronica with video sequences that arise out of investigating different spaces in the city. The piece is driven on one hand by a desire to treat collective cultural products, in this case a recited segment from El Borda (a poem charting the transference of the prophet’s mantle through time chanted on the occasion of his birth), as raw material and on the other to employ structural qualities of video itself as a basis for a formal language. A simple choice in how to shoot and arrange the visual material, in this case people walking through a pedestrian tunnel, is also an attempt at articulating a language through which to produce cultural forms that are always one step beyond the artists intentions yet also a direct and immediate translation of its sources. 10

of evidence」（2009）。他還曾受邀參加德國卡塞爾的第十三屆文件展（2012）與美國紐約

新美術館的三年展「The Ungover nables」（2011）；卡達多哈阿拉伯現代美術館的「Told/

Untold/Retold」；西班牙莫夕亞的第八屆宣言展；日本第三屆橫濱三年展與韓國第七屆光州雙年展。

2017 年，於第五十七屆威尼斯雙年展「藝術萬歲」的軍械庫展場中，他在處女花園的作

品獲得了銀獅獎最具潛力青年藝術家獎。為紀念他的獲獎，這件作品〈給公共花園的作曲〉

（Composition for a Public Park）的新版本於 2019 年十月在杜拜的賈米爾藝術中心開幕展出。同時間，馬德里蘇菲亞王后美術館所策劃的哈桑・康個展也於水晶宮開幕。

Born in 1975, London, UK. Lives and works in Cairo, Egypt and Berlin, Germany. Hassan Khan is a writer, a musician and an established artist, one of the most active in the Middle East. His work is nourished by the urban reality of Cairo and he considers the role of art as a conceptual and linguistic activity. To this end he makes use of the widest range of media such as video, photography, performance and installation. The artist considers the medium to not to be a sort of field that has to be mastered but rather a source of possibilities, potential as well as learning. Hassan Khan's notable solo exhibitions include The Portrait is an Address, Beirut Art Center, Beirut, Lebanon (2016); Flow My Tears, the Policeman Said, MMK, Frankfurt, Germany (2015); Downtown Contemporary Arts Festival, Cairo, Egypt (2014); SALT, Istanbul, Turkey (2012); trusted sources, CCA, Kitakyushu, Japan (2011); evidence of evidence, Kunst Halle St Gallen, St. Gallen, Switzerland (2009). He also participated in dOCUMENTA 13, Kassel, Germany (2012) and The Ungovernables, Triennal New Museum, New York, U.S.A., Told/Untold/Retold, Mathaf, Doha, Quatar (2011); Manifesta 8, Murcia, Spain (2010); 3rd Yokohama Triennale, Yokohama, Japan and 7th Gwangju Biennale, Gwangju, Korea. In 2017, his work was exhibited at the 57th Venice Biennale at the Giardino delle Vergini (Arsenal) and was awarded the Silver Lion for a promising young artist in the International Exhibition Viva Arte Viva. A new version of Composition for a Public Park, the celebrated installation at the 57th Venice Biennale, will be inaugurated at the Jameel Arts Centre, Dubai, in October 2019. In October 2019 Khan will have a solo exhibition at the Palacio de Cristal organized by the Museum Reina Sofia, Madrid. 11

十二因緣－思考筆記 Notes on the Twelve Karmas

單��錄�，黑白，��，8 � 16 �，1999–2000 / 重��修 2018 Single channel video, black and white video, silent, 8'16", 1999–2000, re-edited 2018

her baby is born during a pandemic. There are also several posthumans who are uncertain what to think or do after their network cables become disconnected from their host computer. All of this is recorded by the surveillance cameras and uploaded to the host computer, which is in an unknown location. Nearly two decades later in 2018, the world was completely dominated by a corporatocracy, and the seemingly normal activity of consumerism had resulted in everyone being constantly monitored and manipulated, a situation that prompted Chen to re-edit the film. Even though today’s world is not suffused with the apocalyptic atmosphere we see in the film, we do live in a bio-political state of constant monitoring and manipulation. The source of this problem is not just technology, but also the continual expansion of greed and desire, which is discussed in Buddhism's Twelve Karmas. 陳界仁 CHEN Chieh-Jen

〈十二因緣－思考筆記〉是陳界仁於 1999 至 2000 年，以預演形式，開始拍攝探討

「虛假未來」的〈十二因緣〉系列攝影作品時，同時拍的短片，並計劃將其發展成一部更完整的影片，但這個計畫最終並未實現。

短片中，兩位視障者在遍佈監視器的封閉環境內，想像著科技技術超速發展後的未來世界，在這個世界裡有一位懷孕女性，夢見她的孩子將出生於大瘟疫發生的時代，以及一群被網路連接線串連 / 穿透的後人類，在與電腦主機失聯下的失魂狀態……，

而這一切都被監看器持續紀錄，並上傳至不知位於何方的主機。

十八年後，當人類社會已完全進入由公司王國（Corporatocracy）所主導的世界，

每個個體也都以看似日常的消費行為，成為了可被隨時監控與操控之人時，陳界仁重新編輯這部短片⸺儘管當前的世界，並不像影片中瀰漫著末世氛圍，但人處於被

監控與操控的狀態，確實已成為新型態的生命政治，而這一切問題的根源，不只與科技技術有關，更與佛教討論人類貪婪的欲望，爲何會無止境膨脹的十二因緣相關。

The basis for Notes on the Twelve Karmas is a short film that Chen Chieh-Jen shot and edited between 1999 and 2000 while making a series of photographs titled The Twelve Karmas. The series was based on the notion of rehearsing for life in future society, and also the notion that the future as a concept usually delivers less than what has been promised, and is therefore a sham. At the time, Chen had planned to extend this short into a full-length film, but that was never realized. In the film, two visually impaired people are in a closed space filled with surveillance cameras. They imagine a future world shaped by accelerated technological development, and in this world, there is a pregnant woman who dreams that 12

196 0 年生於台灣桃園，目前生活和工作於台灣台北。在冷戰 / 反共 / 戒嚴時期，陳界仁曾以遊擊式的行為藝術干擾當時的戒嚴體制，1987 年解除戒嚴後，曾停止創作八年。19 96 年重新恢復創作後，開始和失業勞工、臨時工、移工、外籍配偶、無業青年、社會運動者等進行合作，並通過佔據資方廠房、潛入法律禁區、運用廢棄物搭建虛構場景等行動，對已被新自由主義層層遮蔽的人民歷史與當代現實，提出另一種「再－想像」、「再－敘事」、「再－書寫」與「再－連結」的拍攝計畫。

其作品曾個展於：盧森堡現代美術館、台北市立美術館、洛杉磯 R E D C AT 藝術中心、馬德里蘇菲雅皇后國家美術館、紐約亞洲協會美術館、巴黎網球場國家畫廊等機構。參加過的聯展包括：威尼斯雙年展、聖保羅雙年展、里昂雙年展、利物浦雙年展、哥德堡雙年展、伊斯坦堡雙年展、莫斯科雙年展、紐奧良雙年展、雪梨雙年展、台北雙年展、光州雙年展、上海雙年展、深圳雕塑雙年展、科欽 - 穆吉里斯雙年展、廣州三年展、福岡亞洲藝術三年展、布里斯本亞太三年展等當代藝術展覽，以及阿爾、西班牙、里斯本等攝影節。

Born rn in 1960 in Taoyuan, Taiwan, Chen Chieh-Jen currently lives and works in Taipei, Taiwan. Chen employed extra-institutional underground exhibitions and guerrilla-style art actions to challenge Taiwan's dominant political mechanisms during a period marked by the Cold War, anti-communist propaganda and martial law (1950 – 1987). After martial law ended, Chen ceased art activity for eight years. Returning to art in 1996, Chen started collaborating with local residents, unemployed laborers, day workers, migrant workers, foreign spouses, unemployed youth and social activists. They occupied factories owned by capitalists, slipped into areas cordoned off by the law and utilized discarded materials to build sets for his video productions. In order to visualize contemporary reality and a people’s history that has been obscured by neo-liberalism, Chen embarked on a series of video projects in which he used strategies he calls “re-imagining, re-narrating, re-writing and reconnecting.” He has held solo exhibitions at the Mudam Luxembourg; the Taipei Fine Arts Museum; Redcat art center in Los Angeles; the Museo Nacional Centro De Arte Reina Sofia in Madrid; the Asia Society in New York; and the Galerie nationale du Jeu de Paume in Paris. Group exhibitions include: the Venice Biennial, São Paulo Biennial, Lyon Biennial, Liverpool Biennial, Gothenburg Biennial, Istanbul Biennial, Moscow Biennial, New Orleans Biennial, Sydney Biennial, Taipei Biennial, Gwangju Biennial, Shanghai Biennial, Shenzhen Sculpture Biennial, Kochi-Muziris Biennale, Guangzhou Triennial, Fukuoka Triennial, and the Asia Pacific Triennial. en has also participated in photography festivals in Arles, Spain and Lisbon. 13

凡洞 Fán Dòng (The Worldly Cave)

單��錄�，47 � 53 �，2017（由��間提供） Single channel video, 47'53", 2017 (Courtesy of the artist and Vitamin Creative Space)

generations of their families lived. Before the execution of the new development, all the villages on this land will soon be buried into continuous muck dunes. On the open grounds, there stocked huge piles of second-hand machines which would be resold in the southeastern countries. Estate investigation teams gathered in different groups, were talking about the potential prices of the land. After passing some huge muck dunes, between two higher muck dunes, the hunters built their sheltered pits and bird traps in the air. They tied a bee to a transparent string as it would lead them to the beehives hidden in the cracks. Fishermen even found a source of fish in the swamp that connects the groundwater. The men and women in the giant ferroconcrete caves on the clouds were still chattering about the bullfrogs from lunch. * The piece shown in Casion Luxembourg is Blue and Red.

從福州閩侯葛崎村，到西班牙梅諾卡島（Menorca）; 從廣東韶關凡洞，到仁川（Inchon）的海面；從番禺大夫山腳，到索諾蘭沙漠（Sonoran Desert）。影像與現實正在相互構建出一部地形手冊。沒有劇本，沒有故事，光線和風景成為主角。

在凡洞，這裡客家人已經全部遷離了他們的世代居住之地。在新的發展藍圖實施之前，

這片土地上的所有村落很快被重新覆蓋而成連綿的土丘。空地上，囤積著低價倒賣往東南亞的大批的二手機器，地產考察團三五成群地討論著潛在的地價。繞過大片土丘和窪

周滔 ZHOU Tao

野蜂綁在透明的細線上引路，來尋找隱藏在土縫中的野蜂窩。漁人們居然在連通著地下

57 屆威尼斯雙年展「藝術萬歲」（義大利，2 017）、第 13 屆沙迦雙年展「Ta m a w u j」（阿聯酋，

牛蛙。

銅鏡嶺」（中國，2 019）、上海瓷屋的「邂逅：周滔⸺來自王冰的影像收藏」（中國，2 017）。

地，兩座更高的土峰之間，獵人們修築起避風坑，並架起了空中的捕鳥網，他們將一隻水的泥窪地內發現了魚源。雲層中的巨型鋼筋混凝土洞穴中的男女還在絮叨著午餐時的 * 周滔於盧森堡卡西諾當代藝術館展出的作品為〈藍與紅〉。

From Minhougeqi Village in Fuzhou, to Menorca in Spain, from Fán Dòng in Shoguan, to the sea of Inchon, from the foot of Dafu Hill, to the Sonoran Desert. Images and reality are constructing a topologic booklet. No scripts, no stories, the light became the protagonist, the landscape became the protagonist. Here in Fán Dòng, the Hakka people have all moved away from the place where 14

生於 1976 年，現居廣州。他參與的聯展包括克利夫蘭三年展的電影項目（美國，2 018）、第

2 016）、古根漢美術館「故事新編」（美國，2 016）。近期個展包括於廣州時代美術館的「周滔：

Bor n in 1976, in Changsha, China. Lives and wor ks in Guangzhou, China. He has par ticipated in many group exhibitions, such as FRONT’s Film Program, FRONT I nte r nat io nal i n Cl eve la n d ( US, 2018); V iv a A r te V iv a, 57t h I nte r nat io nal A r t E x hibition of L a Biennale di Venezia, Venice (ITA , 2017); Shar jah Biennial 13: Tamawuj, Ar t Spaces Al Mureijah 1, Sharjah (U. A .E., 2017); Tales of Our Time, Solomon R. Guggenheim Museum (US, 2016). Zhou Tao has had solo exhibition Zhou Tao: The Ridge in a Bronze Mirror, Times Museum, Guangzhou (CN, 2019); E n c o u nte r : Z h o u Ta o - V i d e o C o l l e c t i o n s f r o m Wa n g B i n g , C e r a m i c H o u s e, Shanghai (CN, 2017). 15

反覆驗證 CAPTCHA-CAPTCHA

單��錄�，12 � 34 �，2018 Single channel video, 12'34", 2018

exploring the mind and consciousness of human beings and artificial intelligence. Throughout the video, the narration and subtitles continuously question and repeatedly verify through reading and writing. How does the voice read the written content, and how does the written content write down what it hears? Which is artificial intelligence, and which is human? Do human beings have the capacity of mind and free will? Are human choices really chosen by human beings? Is the human mind essential for creative thinking? If artificial intelligence reaches judgment and decisions after a series of complex calculations, are human judgment merely a result of calculations resulting from the coding of our genes? The artist uses these questions to contemplate issues such as human existence and contemporary life, the natural and artificial, reality and virtual reality, time, memory, and sensory experiences.

吳其育 WU Chi-Yu 藝術家運用區分用戶是電腦或是人的驗證碼（CAPTCHA）機制作為創作的基點，連結

現今已無所不包並協助人類生活的演算系統：圖文辨識、建議拼音、自動回信、語音助理……等，在協助的名義之上開始建議著人類的思考方式，影片中模擬一台可以與人類

相同進行書寫與表達的機器，並且與其寫出來的文字內容彼此對話，探討人類和人工智能載具的心智與意識。

錄像中的旁白與字幕不斷地在讀句與書寫來回質問、反覆驗證。讀句的聲音如何閱讀書寫出來的內容；書寫出來的內容如何寫出它聽到的聲音？兩者何為人工智能？何為人

類？人類是否存在心靈、自由意志？人類的選擇是否是人類自己的選擇？創造性思考需要透過人類心靈才能達到？人工智能透過一套複雜的演算法所作出判斷與決策，而人類的決行是否亦由基因編碼而構成算式演算？以此，探究人類生存與當代生命樣貌之間、自然與人工、真實存在與虛擬網路、時間、記憶與感官等經驗的深思映照。

Video work CAPTCHA-CAPTCHA is created using the verification code (CAPTCHA), a mechanism for distinguishing computers from human beings, to connect with calculations which are omnipresent as a source of assistance in our everyday life. Features such as graphic recognition, suggested spelling, auto-replies, and voice assistants, have started to interfere with human thought in the name of assistance. The video depicts a machine that is capable of humanlike writing and expression and uses the words that the machine produces as the basis for interaction, 16

198 6 年生於台北。作品的基本關懷在於找尋如何在被技術 ─資本主義摧毀的廢墟中重建人、事物、動物與世界連結的方式。其創作主要以動態影像為主，透過口述歷史與傳說的紀錄進行

文本的再製，在逝去的記憶中尋找當代敘事的語言型態，同時也進行裝置、影像裝置與表演等不同類型的合作計畫。

近期參與的聯展包括上海雙年展「禹步」（上海當代藝術博物館，上海，2 018）、「穿越正義：

科技 @ 潛殖」（台北當代藝術館，台北，2 018）、「黯戀」（Pa r a S i t e，香港）、2 016 台北雙

年展（台北市立美術館，台北，2 016）、第二屆 C A FA M 未來展（中央美術學院美術館，北

京，2 015）；影展包括北京國際短片聯展（2 017）、E X iS Fe s t i v a l，（首爾，2 017）、A r k i p e l

Fe s t i v a l（雅加達，2 016），及舉辦個展「時間 91 平方米」（T KG+ Pr o j e c t，台北，2 017），並曾於進駐於荷蘭皇家藝術村（R i j k s a k a d e m i e，阿姆斯特丹，2 014 -2 015）。

Chi-Yu Wu born in 1986, is an artist based in Taipei. Chi-Yu’s work has long been focusing on re-establishing the connections among humans, things, animals, and the ruined world left by technic capitalism. His practice revolves around the moving image, looking for contemporary narratives in lost memory through the reproducing of oral history and myths. He is also involved in different collaboration projects of installation, video installation, and performance. The exhibitions he once participated include: 12th Shanghai Biennale: Proregress, (Power Station of Art, Shanghai, 2018); Trans-Justice (MOCA, Taipei, 2018); Crush (Para Site, Hong Kong, 2018); Taipei Biennial (Taipei Fine Arts Museum, Taipei, 2016); The 2nd CAFAM Future Exhibition (CAFA Art Museum, Beijing 2015). His films have been screened at Beijing International Short Film Festival (2017); EXiS Festival (Seoul, 2017); Arkipel Festival (Jakarta, 2016). He had solo show: 91 Square Meters of Time (TKG+ Project, Taipei, 2017) and was a resident artist at Rijksakademie van beeldende kunsten (Amsterdam, 2014-2015). 17

孔隙谷與傳送口 Porosity Valley, Portable Holes

單��錄�，21 �，2017 Single channel video, 21', 2017

to migrate to another rocky platform. As an ever-migrant, half mineral composition and half data bits, Petra’s journey is a metaphor for the physical migration as well as the digital migration in the flow. The stories penetrate, push and pull through the porous spaces within underlying geological structures. The work suggests strata of various times and spaces, enabling multi-scalar and multi-temporal variations of the imaginations. Heterogeneous visual materials of CGs, 3D models and green screen-shot footage of actors, as well as live video shots collide and merge into a polyphonic coexistence with the multi-layered synthetic sound and voices. The work is prone to strange meetings of ideas while achieving the most of the thought experiment.

金雅瑛 Ayoung KIM

金雅瑛目前生活與工作於首爾。出自於對跨界、傳播、跨國、翻譯、換位和不可逆性的興趣，她

「孔隙谷的佩特拉・傑尼翠絲（Petra Genetrix）。生日未知，性別未明。歡迎來到移民資料中心。」

在作品〈孔隙谷與傳送口〉（2017）具思辨性的故事中，地下物質被想像為準神話的生

創造多孔的敘事結構並尋求在時間、空間、語法之間將物件整合、交會和聚攏的可能。她運用

敘事和修辭的手法聚攏原先不太可能相遇的想法，藉此喚起另一種閱讀、聆聽和思考當下人類處境的方法。

金雅瑛的作品曾展出於 2 018 年光州雙年展「想像的疆界」和 2 015 年威尼斯雙年展「全世界的未來」。近期個展舉辦於首爾一民美術館（2 018）、墨爾本國際藝術節（2 017）與巴黎東京

命體，角色佩特拉・傑尼翠絲在嘗試遷移到另一個礦區時遇上了麻煩。作為一個不斷遷

宮（2 016），並且曾在巴黎加尼葉國家歌劇院演出（2 016）。他參與的聯展展出於歐胡斯美術

的流動。這些故事穿透、推擠、拉扯著地底地質結構中的多孔隙空間。

宮 Pav i l l o n N e u f l i z e O B C 實驗室（2 015 － 2 016）及柏林貝塔寧藝術村（2 011）駐村。

移，半礦半數位的實體，佩特拉的旅程同時隱喻了在物理時空中的遷移，以及數位訊息作品中多層次的時間與空間，實現了多尺度的想像空間。異質的視覺元素，包括電腦繪圖、3D 模型、綠幕拍攝鏡頭以及實景拍攝鏡頭等，則彼此碰撞與交融成多層次的合成

影音。在實現大部分的思想實驗時，作品總不經意地創造了奇思異想的相遇。

"Petra Genetrix from Porosity Valley. Date of birth unknown, gender not applicable. Welcome to the Immigration Data Center (IDC)." As a speculative fiction, Porosity Valley, Portable Holes (2017) unfolds narratives that encompass imaginary subterranean geologies as live things, in which a quasimythical entity named “Petra Genetrix” encounters practical problems while trying 18

館（2 018）、首爾 M M C A（2 012）、杜拜 M a r ay a 藝術中心（2 015）等。金雅瑛曾於巴黎東京

Ayoung Kim currently lives and works in Seoul. Interested in the notions of crossings, transmissions, transnationals, translations, transpositions and reversibility, Ayoung Kim’s porous narrative structures seek possible integrations, articulations and collisions of things in between time, space, structure and syntax. In doing so, she adopts the devices of storytelling, narrativity and rhetoric to evoke alternative forms of reading, listening and thinking of the condition of the world by focusing on unlikely encounters of ideas. Ayoung Kim’s works have been shown in Gwangju Biennale – Imagined Borders (2018) and in Venice Biennale – All the World’s Futures (2015). Recent solo shows have included exhibitions at llmin Museum of Art, Seoul (2018); Melbourne Festival, Melbourne (2017) and Palais de Tokyo, Paris (2016). Ayoung Kim has also staged a performance piece at Palais Garnier – National Opera House, Paris (2016). Her works have been shown in group exhibitions at Kunsthal Aarhus, Aarhus (2018); MMCA, Seoul (2018); Maraya Art Centre, Dubai (2015) among others. Ayoung Kim has been an artist in residence at Pavillon Neuflize OBC Research Lab, Palais de Tokyo, Paris (2015-2016), and Kunstlerhaus Bethanien, Berlin (2011). 19

超星鑑定 III：熵：25800 Extrastellar Evaluations III: Entropy: 25800

單��錄�，16 � 30 �，2018 Single channel video, 16'30", 2018

and connects it to the avarice and belligerence of human nature. Interspersed in the video are the narrations of a non-human intelligence named “Ra” concerning that everything is the distortion of the one infinite Creator.

陳瀅如 CHEN Yin-Ju

陳瀅如目前居住與工作於台北。她的創作著眼於社會中的權力結構⸺民族主義、集體（無）意識等議題。近年逐漸把創作觀念結合太空科學與神祕學，將宇宙和人類處境作關連想像、思考，目前透過靈修與薩滿實踐探索意識的無限可能性。

陳瀅如曾參加國內外重點展覽與影展，包括第五屆烏拉爾當代藝術工業雙年展（烏拉爾，

2 019）、鹿特丹國際影展（鹿特丹，2 018、2 011）、柏林超媒體藝術節（柏林，2 018），利物浦

〈超星鑑定 III：熵：25800〉延續自 2016 年開始發展的「超星鑑定」系列的敘事軸線，經由探討太空物理、外星傳說、宇宙誌來反思人類文明與未來。

〈超星鑑定 III〉利用破碎的歷史、新聞與歷史影像重新演繹，以假說預言，並進而推展對未來的想像。片中以春分點完整繞行黃道一周的時間，來揭示末日的時間點。陳瀅如進而挪用熱力學第二定律中的不穩定變因「熵」，隱喻宇宙「熵」值的變動與人類社會

貪婪與好戰的微妙關係。影片中交錯出現外星生物 Ra 所述說著的「太一」的訊息，並疊合著人類引發的戰爭、禍亂之歷史影像，逐步邁向眾多科學家、天文學家預言的宇宙終極命運：能量終將耗竭，未來再也無法產生運動與生命。

Extrastellar Evaluations III: Entropy: 25800 is a continuation chapter of the Extrastellar Evaluations series that began in 2016. This project contemplates human civilization and humanity’s future through an investigation of space physics, extraterrestrial myths, and cosmography. By using hypotheses and prophecies founded upon a choreography of fragments of history, as well as mass media imagery and information, Extrastellar Evaluations III: Entropy: 25800 attempts to reveal when exactly doomsday takes place. This video further adapts the notion of “entropy” from the second law of thermodynamics, 20

雙年展（利物浦，2 016）、雪梨雙年展（雪梨，2 016）、柏林影展（柏林，2 016）、「陳瀅如：超

星鑑定」（舊金山，2 016）、「上則星辰，內則德律」（台北，2 015）、「超距作用－陳瀅如個展」

（台北，2 015）、上海雙年展「社會工廠」（上海，2 014）、「疫年日志：恐懼、鬼魂、叛軍、沙士、哥哥和香港的故事」（2 013 – 2 014 巡迴展：香港、台北、首爾、舊金山）、第二屆中央美院美

術館雙年展「無形的手：策展作為立場」（北京，2 014）、「回避烏托邦」（哈雷，2 013）以及台北雙年展「現代怪獸 / 想像的死而復生」（台北，2 012）。

2 010 – 2 011 年，陳瀅如獲選為荷蘭皇家國際藝術學院駐村藝術家，2 016 年受邀於舊金山卡帝斯特駐村及個展。

Chen Yin-Ju interprets social power and history through cosmological systems. Utilizing astrology, sacred geometries, and alchemical symbols, she considers human behavior, nationalism, imperialism, state violence, totalitarianism, utopian formations, and collective thinking. Recently, she has been exploring the material effects of spiritual / shamanic practices and the metaphysical potentialities of consciousness. She has participated in many international exhibitions and film festivals, such as The 5th Ural Industrial Biennial of Contemporary Art (RU, 2019), International Film Festival Rotterdam (NL, 2018, 2011), Transmediale (DE, 2018), Liverpool Biennial (UK, 2016), Forum Expanded at 66th Berlinale (DE, 2016), Biennial of Sydney (AU, 2016), Yin-Ju Chen: Extrastellar Evaluations (US, 2016), Action at a Distance–Yin-Ju Chen Solo Exhibition (TW, 2015), The Starry Heaven Above and the Moral Law Within (TW, 2015), Shanghai Biennial (CN, 2014), A Journal of the Plague Year (HK, KR, US, TW 2013-2014), Taipei Biennial (TW, 2012). 21

無知之雲 The Cloud of Unknowing

單��錄�，28 �，2011（由��馬凌畫�提供） Single channel video, 28', 2011 (Courtesy of the artist and Edouard Malingue Gallery)

何子彥 HO Tzu-Nyen

1976 年出生於新加坡。通過戲劇性的樂譜和光效來呈現大量的歷史參照是何子彥創作錄像

和裝置作品的主要手法。各不相同的錄像作品向人們揭示鮮為人知的東南亞歷史的同時，也在指出我們自身並未察覺的未知。何子彥的作品脈絡參考一系列文學、藝術史和音樂的文獻，一種被擴大強化的模糊、戲劇性和不安的感受充斥於其中。何藉由身心兩方面來調動觀眾多種感知，並促使其思考那些我們已知的和更為重要的未知。

何子彥曾在世界多地舉辦個展，包括漢堡藝術協會（2 018）、上海明當代美術館（2 018）、橫

〈無知之雲〉以一本十四世紀基督教密經命名，書中的雲成為一種悖論式的隱喻：既是

濱表演藝術論壇（2 018）、香港亞洲藝術文獻庫（2 017）。此外，他曾代表新加坡參加 2 011

年第 5 4 屆威尼斯雙年展。其群展包括第 12 屆光州雙年展（2 018）、新加坡國家美術館（2 018）、

達卡藝術峰會（2 018）、柏林世界文化宮（2 017）、紐約古根海姆博物館（2 016）、布里斯班

「無知」的障礙，也是與「無知」的和解。在《雲的理論：為了建立一種新的繪畫史》中，

現代美術館（2 016）、畢爾巴鄂古根海姆博物館（2 015）等。其還曾多次參加國際電影節，包

彥的作品是對雲的視覺詮釋，與柯勒喬、蘇巴朗的繪畫和中國山水畫異曲同工。正如天

第 41 屆法國戛納國際電影節導演雙周單元。何子彥還曾於 2 017 年完成香港亞洲藝術文獻庫

于貝爾・達米施（Hubert Damisch）把雲描述為「最有價值的夢的主題之一」。何子

空中沒有固定形狀的雲朵激發著人類的想像，〈無知之雲〉喚起了大家對於藝術作品中的雲充滿幻覺的回憶。作品由講述八個居住在公寓裡的人物的影片開始，片中每個人都與雲有一場邂逅，雲將時而化身為某個形象。

The Cloud of Unknowing is titled after a fourteenth century mystical treatise on faith, where the cloud is a metaphor for both an impediment to, and reconciliation with, the unknown. Referencing Hubert Damisch’s A Theory of /Cloud/: Toward a History of Painting, where Damisch describes the cloud as “one of the most valued oneiric themes,” this work is a visual exegesis of the subject of the cloud, as expressed in the works of Correggio, Zurbarán and Chinese landscape painting. Just as the amorphous clouds in the sky rouse the imagination, this work induces hallucinatory recollections of the cloud in art. It begins with a film presenting scenes of eight characters in eight apartments, each in an encounter with the cloud that alternates between being embodied as a figure, and as a vapourous mist. 22

括美國帕克城舉行的 2 012 年聖丹斯電影節、2 0 0 9 年第 6 6 屆威尼斯國際電影節和 2 0 0 9 年的藝術家駐村項目。

Born in Singapore in 1976. Lives and works in Singapore. A plethora of historical references dramatised by musical scores and allegorical lighting make up the pillars of Ho Tzu-Nyen’s complex practice that primarily constitutes video and installation. Features in their own right, each film unravels unspoken layers of Southeast Asian history whilst equally pointing to our own personal unknowns. Permeating Ho’s work is a pervasive sense of ambiguity, theatricality and unease, augmented by a series of deliberate literary, art historical and musical references. Centrally, Ho charges the viewer emotionally and physically to deliver a multisensory consideration of what we know and crucially, do not. Ho Tzu-Nyen has been widely exhibited with solo exhibitions at Kunstverein, Hamburg (2018); McaM, Shanghai (2018); TPAM, Yokohama (2018); Asia Art Archive, Hong Kong (2017). Furthermore, he represented Singapore at the 54th Venice Biennale (2011). Select group exhibitions include Sharjah Biennial 14, Sharjah (2019); Gwangju Biennale, Gwangju (2018); National Gallery, Singapore (2018); Dhaka Art Summit, Dhaka (2018); Haus der Kulturen der Welt, Berlin (2017); Guggenheim, New York (2016); QAGOMA, Brisbane (2016); Guggenheim Museum, Bilbao (2015). Ho has furthermore held a residency at Asia Art Archive, Hong Kong (2017). 23

主辦單位 Organizer 指導單位 Supervisor 贊助單位 Sponsor 台北場懶人沙發贊助 Bean Bags Sponsor 特別感謝 Special Thanks | 廣州維他命藝術空間 Vitamin Creative Space、香港馬凌畫廊 Edouard Malingue Gallery、巴黎桑塔藝廊 Galerie Chantal Crousel、鳳甲美術館 Hong-Gah Museum

《銜尾蛇》國際放映聯展 導覽手冊

《銜尾蛇》國際放映聯展導覽手冊