非常報026 by VT ARTSALON VT ARTSALON

李少莊 Bianca Lei Sio Chong/ 程展緯 Ching Chin-Wai/ 陳擎耀 Chen Ching-Yao/ 陳伯義 Chen Po I/ 陳學剛 Chen Xuegang/ 何穎雅 Elaine W. Ho/ 科天妮 • 拉扎里多 • 海梓葛甲 Fotini Lazaridou-Hatzigoga/ 全濬晧 JEON Joonho/ 鄭惠蓮 Jung Hyeryun/ 姜顯郁 Kang Hyun-Wook/ 金聖淵 Kim Seong-Youn/ 林書楷 Lin Shu-Kai/ 羅至傑 Lo Chi-Kit/ 羅巍 Luo Wei/ 吳方州 Ng Fong Chao/ 施援程 Si Wun Cheng/ 鈴木貴彥 Takahiko Suzuki/ 唐重 Tong Chong/ 黃乃忠 Wong Nai-Chung/ 吳其育 Wu Chi-Yu 吳燦政 Wu Tsan-Cheng/ 徐勇 Xu Yong/

參展藝術家Artist/

亞洲獨立藝術空間連線 Asia in Independent Asia

不同步區域異邦

Asynchronous States

States A

2013. 06.29 (Sat) 19:00 VT Artsalon 非常廟藝文空間

2013.06.29 - 07.27

States B

06.29 pm7:00 策展人 Curator / 吳達坤 Wu Dar-kuen

2013. 06.29 (Sat) 19:00 FreeS Art Space 福利社

2 013. 06 . 29 (S a t ) 14:00-17:00 中國文化大學-大新館/圓型演講廳台北市延平南路127號 No. 127, Yanping South Rd, Taipei

www.vtartsalon.com TEL:886-2-2585-7600 FAX:886-2-2585-7679 Opening Hours：Tue-Fri 11:00-19:00 Sat 13:30-21:00 贊助：

104台北市新生北路3段82號B1 開放時間：週二至週五 11:00-19:00/週六 13:30-21:00

TEL：886-2-2597-2525 開放時間 : 週二至週六贊助：

FAX：886-2-2587-3232 Tue.-Sat. 13：30 - 21：00

104 台北市中山區新生北路 3 段 5 6 巷 1 7 號 B 1 B1, No.17, Lane.56, Sec. 3, Xinsheng N. Rd, Taipei City, Taiwan

不同步區域／異邦 Asynchronous States

文│吳達坤

前言「亞洲獨立藝術空間連線」（AIA Asia in Independent Asia，以下簡稱AIA連線）是一個串聯亞

無論是一家麥當勞加盟店，或者是一家專推錄像藝術的非營利畫廊，這些分工各自跟隨某個信仰

洲獨立藝文空間的計畫，目前組成單位來自台灣、中國、韓國、香港與澳門共六個獨立藝術空

或價值體系，從未同心協力地朝向某個想像的理想前進，但他們都在發揮作用。我們走訪世界各

間。本計畫擘劃兩年時間，台北為計畫的第一站，未來將與各國替代空間進行不同主題的展示與

地後發現，藝術家們也是一樣，對應機制呈現出不對稱的發展，在這世界形成許多小型分工體

論壇，預計每年一次，巡迴於亞洲各城市。2011年非常廟藝文空間（VT Artsalon，以下簡稱VT）

系，讓資源互補 (與衝突)。因此，這個由亞洲六個藝術家機構所集合起來的連線，它作為一個概

曾經出版了《搞空間─亞洲後替代空間》，為台灣少見的亞洲獨立空間介紹性專書，可被視為是

念起點，也被期許能是個運行機制，亦或是一群亞洲藝術家的宣言。這是一個以藝術作為信仰而

AIA這個結盟策略的暖身，而「不同步區域/異邦」一展與AIA連線的成立則是由出版跨向實體展

結合的亞洲連線，它亦被期許為一個能謀合這「不同步的」一切的機制，一個從哲學家到藝術家

覽與論壇的第二步。

再到今日世界分工體系的重要環節。

後全球化時代之下在解釋「不同步區域/異邦」這主題之前，我們首先來看看多年前的維多莉亞時代。19世紀盛值巔峰的大不列顛帝國，因為要管理包括亞洲在內的龐大國土而訓練出一套的精於外交政策與數字化管理的現代文官，讓他們鞏固帝國利益與女王的旨意。同一個時代，西方經歷工業革命，制式化的生產線帶來更有效率的商品與文化傳遞，這是咸信的第一次的全球化思想。而回顧更早的中國科舉制度，其實也是企圖為過去中原的皇帝訓練出能夠管理龐大帝國疆土的技術官僚。此刻無論從地理上或是制度上看來，近代的亞洲無疑是經歷了高密度的政治與文化的外在影響，過去中國歷史上界定「異邦」的中原文化思維，早已轉變成為區域中心或多元中心的概念。在21世紀的世界全面被全球化浪潮席捲之後，亞洲該如重新界定自己與世界的關係？

過去的亞洲VS今日的亞洲最初「Asia」這詞是由腓尼基語「Asu」轉化而來，到西元前一世紀時，Asia成為羅馬帝國一個行省的名稱而延用至今，19世紀殖民主義高峰時期，亞洲意味著歐洲殖民母國那片物產豐饒的土地資產。也可以說，第一個亞洲的概念是使自西方的。相當諷刺地，對「亞洲人」而言，亞洲恐怕是一個外來名詞。而當時間來到了亞洲在思想層面更深刻自覺的時代時，如何重新詮釋這個「外來用語」也成了亞洲當代藝術家的顯要課題之一。什麼是亞洲？為何需要亞洲這個概念？在政治上與文化上，亞洲這個概念(被誰)投射著甚麼樣的利益與理想？

不同步國家∕不同步狀態在亞洲各個國家，因著政治與文化的差異，藝術生態亦衍生出不同的生長策略。問題在於，這策略的相異之處可否被清楚的描繪，而這些個別地區的策策略又可否彼此截長補短，因而得以開發出更多積極的策略來因應其在地情勢？「不同步區域∕異邦」一展企圖提出一個比較的可能，並在這個比較過程中，凸顯這種每個制度∕國家(states)的不同步

(asynchronous)

狀態

(states)，又或者，我們也可將這一比較視為是一種政治學上的轉換現象考察。

以亞洲之名藝術家∕藝術團體總是那處於社會夾縫之間的邊緣聲音，AIA以及「不同步區域∕異邦」一展的

Preface Asia in Independent Asia (AIA for short) is a project connecting independent art spaces in Asia, current consist of spaces from Taiwan, China, Korea, Hong Kong, and Macau, totaling six independent art spaces. AIA is a continuous project starting with Taipei as its first stage, in the future moving annually to spaces from different countries presenting exhibitions and forums on various subject and issues. In 2011 VT Artsalon (VT for short) released a publication Creating Spaces , a rare introductory book for Asian Independent Art Spaces, this can be considered as the preparation to the AIA alliance strategy, and Asynchronous States exhibition provide the second step into realizing the project from publication to actual exhibition and active forum. Under Post-Globalization Before explaining the title of Asynchronous States , let us first look back to the Victorian period. During the 19th century, peak of the British Empire, from the need to manage the vast territory it now controls, this including Asia; a system of bureaucrats specialized in foreign affairs and numerical management is developed, this allows them to strengthen the interest of the empire and wish of the Queen. At the same period in history, the Western World underwent the industrial revolution; regularized production line provides efficiency within products and aids the delivery of culture, creating for the first time a generally accepted globalised method of thinking. Reflecting further back to the Chinese Imperial Examination system, it is also an attempt to educate a group of bureaucrats with the ability to manage the vast territory of its empire for the emperor. Currently, whether from the geographical or institutional aspect, there is no doubt that Asia experienced condensed and concentrated outside influence on its politics and culture, the previous Central of China concept models that has defined foreign tribes (異邦), have long been transformed into the concept with relation to Central of the Region or Central of the Multicultural Collective . In the 21st century when the whole world has been washed by waves of globalization, how should Asia redefine itself with relation to the world?

另一個意圖即是藉由這一個考察，將這些邊緣者的政治策略加以結盟並壯大。AIA不只希望可以用展覽做為交流形式，同時也期望能透過各國空間在台北的工作過程及高峰論壇，把這些空間的經驗以及發展脈絡跟彼此分享，藉此為亞洲替代空間（alternative

space）∕藝術家空間(

artist-run space)發現其潛在共有的特質、發展策略與創意，並進一步的，在這些發展經驗上發現某種「亞洲性」的積極可能，以「亞洲之名」開創相對於以西方為主導的當代藝術論述，詮釋出更清晰的亞洲主體性。

藝術在世界的分工中過去數百年的文明發展大抵皆是以整體均衡發展優先，忽略每個區域的政經、地理等先天條件，不協調的機制也讓環境、人類也因此付出許多代價。但今日的世界選擇了朝向分工的方向運行，

Asia of the past VS Asia of today. Originally the word Asia was derived from Asu from the Phoenician language, until around 100 BC, where the Asu became Asia, a province of the Roman Empire, and the term is used until present. In the 19th century during the peak of colonialism, Asia represents a land with plentiful resources to the colonial countries in Europe. Hence it could be said, the ﬁrst concept of Asia comes from the West. Ironically for Asian people perhaps Asia is a foreign term. As we move to a period where we are far more self conscious on a philosophical level, reinterpreting this foreign term becomes an imperative task for contemporary artists. What is Asia? Why do we need the concept of

Asia? On a political and cultural level, what sort of benefits and ideals is projected onto the concept of Asia (and by whom)? Asynchronous States / States of Asynchronous Each of the countries in Asia, because of political and cultural differences, developed an art environment that suited to their own growth strategy. The question lies in; can the difference between these strategies be clearly outlined? And can we draw on the advantages from these strategies that originated from different locations, in term develop even more active tactics to respond to local state of affairs? Asynchronous States exhibition attempt to raise the possibility of comparison, and through this comparison highlight the asynchronous between each countries (states) and the state these countries are currently under. Or on the other hand we can also view this comparison as an observation of a transformation event in political studies. In the Name of Asia Artist/art groups always find their voices contained in a narrow gap and on the fringe of society, another intention that AIA and Asynchronous States exhibition has is through this investigation, provide the ones on the fringe an alliance that will allow their politic strategy to strengthen. AIA not only intend to use the exhibition as a form of exchange, but also hope through physical cooperation in Taipei prior to the exhibition and summit forum, share our experience and development with each other. From this exchange, discover the underlying common traits, potential for developments, and strategy these Asian alternative space/artist-run space could have; actively seeking for an Asian-ness based on the experience of the project, finding a contemporary art discourse in the name of Asia creating a dialogue contrasting the western-oriented art theory, and reinterpret a much clearer and precise Asia entity. Art in the division of work in the world For the past few hundred years civilization more often developed with a balanced approach as its upmost priority, ignoring the localized political, economical, geographical and any other natural complications, the biased development mechanism caused the environment and human a great deal of loss. However today the world choose to function in a method that allows the division of labor, whether it is a McDonald s franchise restaurant or a non profit art space that specializes in promotion of video art, these kind of division of labor each follows its own believe or value system, although they never striving for the same ideals, but each performed their own roles. Journeying around the world we realized it is the same for artists, corresponding developing mechanisms display an uneven development, creating various little division of labor, allowing the

吳燦政 Wu Tsan-Cheng 聲音的隱喻：一種注定要消逝在空氣中的事件 - David Toop 聲音俱有一種隱性潛伏流動的力量，它能激發/構成空間與事件，也是個人內心生活與情感以及世界的思維和意識的基本組成部份。台灣聲音地圖計劃是一項長期的錄音計劃，規劃以七年時間記錄下台灣的聲音環境為目標，現階段呈現方式，以網路形態結合GoogleMap定位作為資料庫，之後在逐步發展建立不同類型的資料庫與聲音計劃方式進行。 Metaphor for sound: an event which is always destined to fade and vanish in the air. - David Toop Sound posses a hidden latent strength of ﬂow; it can activate spaces and events, and form an essential part of a person s inner self, emotions, and thoughts; it is also a basic components of the consciousness of this world.

非常廟藝文空間成立於2006年3月，主要成員有：姚瑞中、陳文棋、陳浚豪、胡朝聖、涂維政、吳達坤、蘇匯宇、何孟娟，及包含40位藝文相關工作者共同組成。非常廟藝文空間以推展台灣當代藝術為主要目的，推廣藝文觀賞人口，並推介年輕世代藝術家。一、提供藝術工作者交流空間。二、成為國際交流之文化櫥窗，接待各國藝文人士來訪。三、落實藝術推廣、深植生活美學，提供觀眾無拘束的當代藝文欣賞空間。非常廟藝文空間除提供年輕、實驗的展出空間之外，並透過ＶＴ網絡推介台灣藝術家進入國際舞台，與藝術家建立長期的合作默契。因此，我們自許為台灣當代藝術圈的“培養皿”。

這作品是我在台灣經歷八八風災這場浩劫後，對於災區的影像創作。將土石流襲擊南沙魯(註 1)在家屋中殘留的泥痕，以廢墟中靜物寫生的手法來表現數十分鐘的危難驚聳的災害片刻。將改變台灣的歷史災難史實詩化，透過這樣無助的沈默訴說這個巨大的創傷記憶。

These are pictures taken after the attack of Typhoon Morakot. They try to capture the moment when Typhoon Morakot brought the devastating damage to the aﬀected area and, in particular, a village called Nansha-lu in southern Taiwan. Through the still shots, I try to represent the irreversible ravage caused by the heavy rainfall 註1：南沙魯部落是位於高雄市那瑪夏區，在 and the disastrous mudslide. 2010年八月九日午後兩點於部落旁的那托爾薩溪發生嚴重土石流災情，土石流流出之大範圍扇狀地甚至阻斷旗山溪本流，同時也造成南沙魯里嚴重的破壞，南沙魯部落在莫拉克期間有近三分之二遭土砂淤埋，同時造成10人死亡、 32人失蹤。

Taiwan Soundmap project is a long-term sound recording program, the objective is using seven years to record the sound of the environment in Taiwan, combining with the internet platform GoogleMap as a network database, and then create diﬀerent types of database in the progressive development of the sound project.

台灣聲音環境資料庫計畫

VT Artsalon, established in March 2006, Core Objective of VT Artsalon includes Promote Taiwanese contemporary art, foster public appetite for art appreciation, and cultivate a new generation of young artists. Provide a space for interaction among artists. Become a hub for international cultural exchange by inviting artists from around the world. Promote art, cultivate aesthetics in daily life, and provide an unfettered space for the public to enjoy contemporary art.

Remains-San Chang Village/2006/127X95cm/Lightjet c print

林書楷 Lin Shu-Kai 透過近身經驗與近身涉獵，將父親的職業轉換與結合到「陽台城市-積木城市語錄」當中。也就是我父親傳統鑄造模具工廠的近身經驗，將工業用途造型的木工盒子與模具加以改造與轉化，就是同時表達對於城市的居處經驗、夕陽工業與家庭記憶，三者之間作一個連結與辯證。

VT Artsalon s new permanent location After various reincarnations, by the end of 2011, 8 members decided to purchase the current dedicated 330m2 basement location, to become the current VT Artsalon oﬀering long term stability in the promotion of the newer generation of artists.

吳其育 Wu Chi-Yu 土地廟是一件拍攝於桃園龜山鄉樂善村的作品，因重大建設而實施「捷運機場A7站」區段徵收案讓整個村子的地上物慢慢地消失，留下來的都是荒誕不經的奇怪想像。在整個村子的建築都搬走之後，唯獨村子中各處的土地公廟完好地保存，成為一個只擁有土地也只剩下土地的純碎土地公，在這個失去人們生存的地方，圍繞在土地公的住屋四周存在著許多曾經發生的想像。 Tu-di Temple is a work ﬁlm in Taoyuan, Guishan Township, Leshan Village; land expropriation from the major construction of Airport MRT A7 Station means the surface structures of the village is gradually disappearing, what is left are bizarre and strange imaginations. After all the village buildings have been removed, only the various Tu-di Temple (land temple) that is scattered around the village remained, becoming the land guardians that only guards the land, and left only with the land. In a land that has lost its residents, the surrounding areas around the Tu-di Temple retains the imagination of what it once used to be.

土地廟Temple/2013/Video, Color/ Sound

陳伯義 Chen Po-I

My father works in a traditional mold casting factory. I transform and combine his professional experience into my work called The Balcony City Series̶The Quotations of Building Block City . By the way of transforming and reforming industrial wooden boxes and molds from my father, I express connection among the three parts: living experience in a city, sunset industry and family 依此特殊具儀式性的溝通模式，透過創作，藝 memory. 術家透過近身涉獵喚醒親近的個人歷史。在虛構、真實、記憶、當下交織褶迭中，在過去的 The connecting way is a special ceremony, as art 記憶、物質、圖像中找尋過往的碎片。 making summons my familiar personal history back. Within the interactions of ﬁction, truth, memory or the moment, I m searching for the past fragments of memory and images. 陽台城市系列-積木城市物語/2012/Mixed Media/depend on space available

吳方州 Ng Fong Chao 政治是衆人之事，常常已身陷各種大小的政治漩渦中，而不自知。我總是渴望擁有遠離政治的生活狀態，但現實令其變得不可能；政治不可避免。窮究政治的真相不是我的生活目的，所以只能以曖昧的態度直面之。「牛房倉庫」為本地一個非牟利的民間藝術組織，2003年三月起搬往牛房倉庫，專職籌辦各項面向公眾的文化藝術活動，種類多樣化，包括：各大小藝術展覽、劇場及形體演出、電影放映（如實驗或獨立電影類型）、藝術工作坊、專題講座、與外地藝術家的交流活動等等。

牛房倉庫的展覽及演出等各類活動的策劃方向，以非主流的另類當代藝術類型為主，以彌補本地在非主流藝術的推廣及教育上的不足；全力進行藝術文化推廣活動，開辦主題藝術工作坊，培養藝術氛圍，激發個人創意及實驗精神；組織跨地域藝術交流計劃，讓本地藝術工作者／愛

The Creative Concept of Ng Fong Chao : Politics is an aﬀair in which we are all involved, without being conscious, we are often caught in the stream of a political whirlpool. I am eager for a life detached from the political state, but reality makes it impossible; politics is inevitable. It is never my intention in life, to make a thorough inquiry of the truth of politics, I could do nothing but to confront it, with an attitude ambiguous as such .

好者有更多對外合作機會，使牛房倉庫成為本地藝術創意的實驗基地。

牛房倉庫的活動目前是由澳門民政總署作出部份資助及借出場地。

唐重 Tong Chong

Ox Warehouse is a local not-for-profit art association that relocated to its current premise in March 2003. Since then the group has been organizing a multifaceted range of artistic and cultural activities, namely art exhibitions, big and small, theatre pieces and body performances, film screenings, including experimental and independent movies, arts workshops, seminars, as well as exchange programs with artists from outside Macao, etc. Ox Warehouse s distinguished takes and endeavors in art matters have made its venue the Macao s experimentalist base for art and creativity. Firstly, in curating exhibitions and organizing performances and other events, Ox Warehouse emphasizes non-mainstream, alternative contemporary arts, aiming to compensate the inadequate promotion and education of this kind of arts in Macao. Secondly, it promotes art and culture eagerly by organizing activities, such as themed art workshops, to nurture an art atmosphere and stimulate individuals creativity and experimentalist spirit. Thirdly, it launches cross-regional art exchange programs, offering local art professionals and enthusiasts further opportunities to cooperate with overseas counterparts. All these features have contributed to Ox Warehouse s unique standing in the local arts scene.

對政治的暖味態度 2001-2010 80cm x84cm 鳥Bird/2010/Mixed Media/52x50cmx2pic

Ox Warehouse activities are partly sponsored by IACM, which also leases rent-free its current venue, i.e. the Ox Warehouse.

不斷的變異，總是令人感到不安，但她卻成了社會發展的定律，當看到事物發生異樣時，我們同樣也在發生著變化。在一個看似太平、繁華的群體裡，我們還不是習慣性地被改變？以達到一個和諧的境界。同是一隻小小的船，人們還是會遇到兩個不一樣的天空，風雨飄搖，往往只能冷眼旁觀，隔膜是什麼，不得而知。而在同一片大地之上，改變自己，或許就是達到被和諧的最佳途徑。 Never ending changes always make us uneasy, but it has become the truth of society, when we see events taking a turn, we ourselves are also changing. In a collective that seems prosperous and peaceful, are we not still used to being changed in order to achieve a harmonious stage. On the same little boat, people still encounters two diﬀerent skies. Rain falls, and we can only watch with our eyes, what is the barrier in between we cannot know. On the same piece of land, changing ourselves may also be the quickest path of achieving harmony.

施援程 Si Wun Cheng 自2003年澳門賭權開放後，昔日寧靜，有歐陸特別及人情味濃的澳門逐漸消失，而路環是澳門現時還有大片山林的地方，可隨著不斷的興建豪宅，這片唯一能給澳門人呼吸清新空氣的土地也將失守！ Since the opening of the gambling market in 2003, the previous peacefulness that contained a sense of continental Europe gradually disappeared , and Coloane is one of the few places in Macau that still contains forest, but development continued and mansion are build, the only place where Macau people can have a breath of fresh air is lost.

李少莊 Bianca Lei Sio Chong 「相」片被強加上不同的「痕」跡，相片的影像因而被改變、破壞和扭曲。

思考在城市急速發展的過程中，一道又一道的「傷痕」也刻進我們身處的環境。不僅是那些舊景物被改變、拆除、覆蓋掩埋，進而遺忘，而是正確的價值觀被改變、破壞和扭曲。 Various eﬀects can be imposed upon a photo , resulting in transformation, destruction and distortion of the photo images. In the process of the rapid development of the city, the scars of damage have been deeply seared into our living environment. Not only have the buildings of old Macao been transformed, dismantled, buried and forgotten but values have been changed, destroyed and distorted.

我城的相痕 The Scars of my City 2011 B&W , Colour sound 19 00

守護路環！捍衛山林不止我一個！/photography

「活化廳」是一個由十多位本地文化藝術工作者共同營運的藝術組織，期望以持續性的對話建立一個「藝術／社區」彼此活化的平台。置身於上海街，一個充滿本土特色卻又面對變遷的社區，「活化廳」期望試驗一種建立在生活關係的「社區／藝術」，並藉著不同主題的藝術計劃，引起人們對藝術／生活／社區／政治／文化的思考和討論，亦藉以打通社區豐富的人情脈絡，帶動彼此的參與、分享和發現，勾勒一小社區鄰里生活模式可能。

「活化廳」的四大目標方向：

1. 作為「藝術／社區」的對話平台, 以嶄新方式建立當代藝術與社區的對話，讓雙方互促發展，進行具啟發性的實驗；

Woofer Ten is a non-proﬁt art organization funded by Hong Kong Art Development Council. We are based at Shanghai Street Artspace in Yaumatei, an aging grass-root community and neighborhood. Formed by a group of like-minded artists, curators, critics, researchers, educators, Woofer Ten aims at introducing a lively conception of contemporary art engaging the community. Therefore, instead of attempting an out-of-place white cube arty gallery, Woofer Ten moulds itself more like a community centre, a platform for art projects to explore new approaches in bridging the community and art making. Woofer Ten treasures the participation of our neighboring community and audiences, and see its art programs as creative interventions upon our community and society at large. Exhibitions will change from month to month, alongside with plenty of ad hoc activities such as performances, guide tours, workshops, talks, screenings etc., oﬀering the public not just experimental contemporary art and curating, but also art that are close to our everyday life and with social-political relevance.

2. 以持續的平臺空間，將「社區/藝術」帶出的議題進行探討，為生活環境發揮積極作用； 3. 帶動香港藝術中社會意識的提高，政治藝術的平常化； 4. 與市民分享生活化的當代藝術同屬於普羅大眾的意識。

羅至傑 Lo Chi-Kit 亳子 —面額低微，在通漲急促，百物騰貴的香

程展緯 Ching Chin-Wai 因壹傳媒引進了動新聞到台灣和香港，我們 Since the animation news was introduced to 社會上曾經存在的與幻想出來的意外、騙案 Taiwan and Hong Kong, diﬀerent crimes, 等各種「罪行」和更多是獵奇式生活發現， accidents and all kinds of novelty in life, in reality or as fantasy, have been rehearsed by animation 全部被他們利用預設的動畫罐頭素材在互聯 made of canned materials on the internet. I am 網上演練出來。我對這種由預設組合的巨大 greatly amazed by these huge spectacles. 景觀很感興趣。我嘗試在兩地不同的動新聞中，尋找到相同樣貌的罐頭人。這個罐頭人可以是香港的，也可以說是台灣的，我記起你們的總統是在香港出生的，我記起你們的文化部長因在港居住超過七年而自動被迫擁有香港永久居留權與香港身分證。然後我們知道香港政府沒有一套放棄身份證制度。

I try to search diﬀerent animation news from these two places for a "canned man" with similar face. I just wonder this canned man can be Hongkongese and also Taiwanese. I remember your president was born in Hong Kong. I remember your Ministry of Culture was forced to be a Hongkongese because she stayed in Hong Kong over 7years. After that, I learnt that there is no way to give up our Hong Kong ID card.

展覧中，我邀請你們為這罐頭人設計一個名 In this exhibition, you are invited to give this 字及簽名，其後會轉交大家的想法予兩地的 canned man a name and design an autograph for 《蘋果日報》。 her. I will send all suggestions to Apple Daily in Hong Kong and Taiwan

罐頭人Can Man/2013/Video installation/Dimensions variable

港，彷彿變了貧窮和血汗錢的象徵。在電子貨幣和網上理財盛行的今天，金錢早已是虛擬的數字遊戲，連基層的商舖食巿也相繼拒收零錢碎銀。「亳子」漸漸變成一種不合時宜，有違經濟效益的時代產物…但另一方面，它多少也隱含著香港人早年刻苦拼搏的堅毅精神。在展覽前一個月，藝術家出沒於黃大仙區的街頭巷尾，化身「人肉零錢找換機」，問路人「唱散子」。在收集市民一分一亳的過程中，

Penny coin has a low monetary value in Hong Kong, and is a token of poverty and hard-earn money. In the era of electronic payment and internet banking, even retail shops and eateries gradually refuse to accept pennies for payment, and money seems to have become a virtual numerical game. Penny seems to have passed its expiry date, and has become an outdated item that is at odd with our economics. But on the other hand, it does imply the perseverance, painstaking and striving spirit of Hong Kong people in yesteryears.

透過勞動體現那積少成多，聚滴成河的踏實，向香港人當年那種克己節儉和力爭上游的精神致敬。所有兌換回來的1亳、2亳和5亳，經翻新拋光後，將會放置於展場地上，製造一個黃金遍地的境象。香港人創造了煇煌時代，在聽著獅子山下同舟共濟主旋律的同時，可有體驗到載舟的是水，覆舟的也是水？

Walking around the alleys in Kowloon District, I turned myself into a manually-operated living coin exchanger, asking people for changes. During the process of exchanging coins, I used my physical labour work of gradually collecting them into 'pounds' (weight) to pay tribute to the spirit of the old generations in Hong Kong who were hardworking, hard saving , as well as hard striving. I then polished each of the 10 cents, 20 cents and 50 cents coins I have collected, and placed them on the ﬂoor of the exhibition venue so as to create a scene of 'streets paved with gold'. Whilst Hong Kong people have created a glorious epoch -and listening to the melody of Below the Lion Rock is an indication of their united spirit (singing that they were in the same boat) -do they understand the essence behind 'The water that bears the boat is the same that devours it'?

獅子山下的二元Two Dollars Photographic Installation/Dimensions variable

何穎雅 Elaine W. Ho Fotini Lazaridou-Hatzigoga 《明日大致多雲》是一在2013年油麻地的雨季下拍攝的錄象。通過紀錄幾個涉及到不同參與程度的藝術／社會行動組織：包括自治八樓、活化廳、德昌里2號3號鋪和齊澤克學會，紀錄這城的社會政治轉變中，介乎臨界點之前的抗爭與實踐。 Precipitations is a video work ﬁlmed in Kowloon during the rainy spring of 2013, less a forecast than a portrait of the city, drawn via the journeys of several people involved to varying degrees with art and social activism. It falls within the precipices of an everyday and the realm of change, where such change comes about by the breadth of a footstep, with the crossing of a threshold and through the struggle for sociopolitical transformation. Focusing on four groups ( including autonomous 8a, Tak Cheong Lane, Wooferten, ZizekSociety ） spread around the vicinities of Yaumatei,one of the last remaining neighbourhoods of the city with vestiges of the old, precipitation occurs as the speed and density of Hong Kong's way of life and as movement̶through the city, in between people, towards another direction.

明日大致多雲 Precipitations/2013/HD video/60mins

黃乃忠 Wong Nai-Chung 黃乃忠承父製作花牌，長年紮根深水埗，當09年遇著市建局欠缺居民生活影響評估的重建收樓，就因利成便地以外型最特別的「頂」件，於紅布「圓包」上漆上「為公義而戰」，署上街坊下款，懸於其閣樓花店的外牆，表達其留守上訴的決心。端楷的裝字富道德逼力，添上銻花及

社團法人中華民國視覺藝術協會（視盟，AVAT）與悍圖社（1998）這幾年就如一群騎在馬背上的

紅布配襯，整體更是奪目。

遊牧民族，沒有根據地、不受拘束，憑藉著對藝術的野心，除了在國內外美術館、畫廊及藝術空間四處徵戰，也致力於開發、整合並監督視覺藝術環境現有的資源，而現在正面臨改變的時刻

如董啟章言，這是一個傳統手藝師傅的「生命組件」，是生活和幹活的有機融合。就在花牌行

了，是時候讓遊牧民族定居下來了。我們共同做了一項前瞻性的決定─「擁有自己的家」，繼續

業面對社會時代變遷，工作生存環境受脅時，此花牌卻能承先啟後，以獨門藝術介入社會，自

為藝術環境努力。而「擁有自己的家」只是一個開始，需要大家協助成長，為視覺藝術環境持續

力壯勵基層抗爭的士氣，溢出其生命力外，亦惹人關注其當下境地。

努力，在未來寫下更加高遠的歷史新頁。

故此花牌，不單見証香港城市發展，它更是社會充斥不公年頭裡，最具標誌性、活生生、有血有肉（兼有淚）的創作！

新空間由視盟與悍圖社共同命名為「FreeS福利社」。可以多元解讀為「自由共享的靈魂（Soul）、空間（Space）與工作室（Studio）...等」。視盟與悍圖社將秉持為藝術公民服務與回饋藝術環境的初衷，於展覽空間的使用上，除了視盟與悍圖社自行規劃外，將開放大部分的檔

An unique Hong Kong cultural heritage in action against inhuman urban renewal enforcement, is the basic context for this work to appear. Picked up this traditional ﬂower-plaque trade from his father, Wong Lai Chung has been running his small business in Sham-Sui-Po district for decades, until 2009, when the Urban Renewal Authority tried to kick him and his neighbors out, without a required assessment on the impact to the residents. Mr. Wong, determined to stay behind and to sue the authority, lend his master craft to make this protesting plaque, and hanged it out on the facade of his attic-shop.

期供藝術家與策展人申請。期望能透過此空間，呈現更多嶄新的藝術與展覽想法，也期望經由展覽空間的介面，能夠促進台灣新一代藝術家對於藝術的深度探討、藝術視野的開啟與創作風氣，從而擴展藝術對話交流。

He picked the Cap structure for its outstanding triangular shape could not just withstand wind, but also install circular Buns (here out of cloth) to insert words on it. The Buns formation, spells out the righteous statement Fighting For Justice, with solemn calligraphy in dignifying sliver. Together with all the shiny folded flowers decos (of material and technique that Mr. Wong refines very early on) and red extension of cloth surrounding, the flower plaque produced a really eye-catching sight, giving a boast to the spirits of the affected. Despite his business is harder to sustain in face of social changes and similar physical space relocation almost impossible, Mr. Wong still positively and unprecedentedly transformed his art into a medium for grassroots social struggle. This work is therefore an organic output of a craftsman s skill and his life. Via the vitality and adaptability of his craft, it draws not just people s attention to the injustice in our present urban renewal scheme, but also flower plaque s own endangering fate. Thus, it is really not just a testimonial to our city changes, but as an active agent, probably the most representative, alive artwork with fresh and blood in our turmoil years.

The Association of the Visual Arts in Taiwan (AVAT) and Hantoo Art Group (1998) have been living like nomads in the past several years, roaming from point to point, unbounded and free. Driven by our shared ambition for art, in addition to exhibiting at local and international art museums, galleries, and art spaces, we have also been dedicated in developing, integrating, and supervising existing resources for the visual art world. However, the time has come for change and for us, the nomads, to settle down. We have made the joint decision to find a place to call our home and to continue to strive forward and work hard for art. To find a home is just a beginning and we need others' help to grow and expand and to continue to devote ourselves for the improvement of the visual art world and to create new chapters in history fill with ambitious and meaningful contents. This space that we call our home is jointly named by AVAT and Hantoo Art Group as FreeS . The name has multifold meanings, as it symbolizes being Free and the S could stand for Soul , Space , Studio , and much more, because the possibilities are boundless . Hontoo Art Group and AVAT will continue to stand by our original mission to provide services to citizens of art and to contribute to the art world. In regards to how the space could be utilized, in addition to organizations done by AVAT and Hantoo Art Group , it will be made available extensively to artists and curators as well. We hope that this space could inspire more art and exhibitions of new and different concepts, and we also hope that through this exhibition platform to encourage younger generation artists in Taiwan to carry out in- depth discussions and open up their perspectives for art and creativity. We anticipate for profound exchanges and dialogues of art to take place here at a home that is shared with everyone.

陳擎耀 Chen Ching Yao 這系列作品的誕生，主要是建立在一個傳言，那就是包含北朝鮮金日成，越南胡志明這兩個世界級的“人民英雄“。在他們漫長不見天日的奮鬥革命日子裡，或因為死亡，或因為意見不同,不約而同的都有被共產國際偷天換日掉的傳言，我在這先假設這些傳言為真。

為公義而戰Plaque of Fighting for Justice /2013/plaque , newspaper clippings, videos and documents

上帝造人，而人也在各地處處造神，那麼這些被造出來的所謂的政治的神，竟是如此的容易被替換及創造的，當然我想我也可以輕易的去替換他們，變成神，而且毫無疑問的，大家也必須愛我........ Dear Leader Chen, We Love You! This series of work is mainly founded on the rumor about two world-class heroes of people who are Kimilsungia of North Korea and Ho Chi Minh of Vietnam. They revolted hard against the Japanese underground in a long and long day. In this process, perhaps they met with misfortune, or because they supported diﬀerent opinions, we knew that the end of them usually was replaced by the others. Or it may be a rumor for Communist International perpetrating a gigantic fraud. But now I assume this rumor is true. God made people, and people made gods everywhere. So that we called the god of politics is easily to be replaced and created. Of course I think I can easily replace them, and then becoming the god. Through this way, no doubt, people need to love me too.

親愛領導人父子同志，我們愛您！/116x80cm/壓克力、水基油畫顏料

鄭惠蓮 JUNG, Hyeryun

姜顯郁 KANG, Hyun-wook

鄭惠蓮的作品主要試圖將現今的日常生活中平凡的人物及建築，與歷史英雄及歷史場景做比較。

人們是否有想像過，當因車禍、地震等等意外而導致死亡降臨的瞬間，會有什麼感受？無論此感受

作品中帶有藝術家對於政治嘲諷的意味。

是來自車禍或是天災，我們或許只會感受到震撼。這種巨大的力量就像是考驗著我們的意志力一

鈴木貴彥 Takahiko Suzuki 核能展示館的全球商店計畫，將展示館視為台電販賣核能發電的“商店”來處理，並編納入鈴木貴彥的另一項長期創作計畫中（請參考http://global-store.info/）。

般，以極快的速度穿過我們的心中。但是，想像一下，假如這種無法控制的力量是以慢動作穿過我現今社會中常常可以見到仿製知名古蹟建築的愛情賓館、度假區餐廳，這些原本具有歷史意義的

們的話，那會是多麼的刺激呀。因此我想要重新詮釋這股力量衝擊的瞬間，作品中運用慢動作還原

古蹟都已被改變及消失。藝術家點出現今社會在許多事物上，其神聖性和歷史價值都已然被轉

衝擊的過程，並且讓這樣的衝擊過程在影片中一次又一次重覆，影像中透過不斷重覆的慢動作影象

化，不復以往之意義。

會讓我們對於死亡的恐懼感到疲乏。假設一輛車與一個男人發生碰撞時，身體就像如同水晶玻璃般破碎，身體將被拆解成許多碎片，像雪花般到處飛舞，然後消失，身體詩意般的消逝，而後，碎片

作品中運用皮革的布料仿製出紫禁城、梵蒂岡和莫斯科的克林姆宮，這些皮革製成的歷史建築物

又將再聚集，構成人的形態，影像中的男人又像是什麼都沒發生的狀態下繼續行走。作品中不斷重

可以任意的覆蓋、懸掛在任何的物件上。鄭惠蓮的作品承襲了普普藝術的概念，並且融合遊牧的

複撞擊、碎片、還原的過程，像是無限迴圈般，令我們感到疲乏。由這力量所帶來的危險意識，反

意涵在此系列作品裡。

映我們內心潛藏的不安全感。而重要的不是這樣的災難如何開始如何結束，而是這災難不斷在發生。我們沒有必要去追問災難的因果，這毫無意義。我們只要看清它的本體即可。

Hye-ryeon Jeong has mainly created works intended to compare commonplace and ﬁgures and the architecture of today to historic heroes and monuments, while producing political satires. Moreover, imitations are turned into love motels and restaurants in resorting places and sometimes remain just as places for pleasure, whose historic value has been lost. The works of Hye-ryeon Jeong remind us of many things about the realities of today where the holiness and values of history have been transformed. The leather cloths on which real buildings including Forbidden City, Vatican, and the Kremlin Palace in Moscow are described may be hung on anything at any place and at any time. The works of Hye-ryeon Jeong inherit the properties of pop art and incorporate the thoughts of nomads.

Nomad/2009/Wood leather

Do people ever imagine how it would feel when death is coming via earthquake, a car-accident or such? Whether it comes by accident or in the form of a natural disaster, you ll probably feel only a certain enormity. Those gigantic forces pass through us very fast, as if testing our will and power. However, imagine that those uncontrolled forces pass through us in slow motion. That would be irritating, wouldn t it? I want to reenact that kind of situation, accidents out of control in slow motion. The situation will be repeated in my work; a giant force comes and a man becomes lethargic against it. If a car and a man collide, the man s body is broken apart like a crystal glass. The body is disassembled into material fragments. Like a snowflake, the pieces fly all over the place, and then disappear. The body is destroyed poetically. Then the fragments gather and constitute a man who walks again. The process repeats. The two images collide over and over again. There is always something that emerges and soon disappears. And there we find a kind of lethargy. The sense of danger that comes from the force is like our underlying insecurity. The important thing is not how it starts or ends, but that those accidents constantly arise. It is meaningless to question its reason and results. We just witness its bodies .

這個部份是一個空間裝置，包含了一座忠實呈現核能展示館外觀所有細部的2.5D照片模型、展示館的導覽文宣和放大海報，以及七〇~八〇年代非常流行的美國迪斯可音樂，和聖誕裝飾燈泡。這些聲音、燈光、與影像都以核電廠在台灣開

運轉的年代背景作為連結，在這個年代，美國的核

電產業與流行音樂同時輸入台灣，而聖誕燈泡則是當時台灣首屈一指、世界第一的輸出產業。在這個作品中，藝術家以台電的核能展示館為主軸媒材，運用了台灣發展核電年代時期的文化現象以及後現代的擬像技法，對核電在台灣的議題提供一種開放式、且具有複合層次的訊息閱讀方式。 This is the work which extracted a part of "global-store-project which is a continuous project by Suzuki", and also added another element. The added element is a portion about the nuclear power generation of Taiwan. The U.S. nuclear power plant in Taiwan started commercial operation in the 1970s. The 1970s are also the time when a lot of glamorous powerful disco music is imported from the United States. The pavilion which is beside the second nuclear power plant is made into the theme this time.

Nomad/2009/Wood leather global-store.info/2012/Mixed Media/apx 80cm x 80cm x H 110cm/Equipment required Wall Outlet x 1

Good Man/2006/single channel video 4 min/Projector/tv, media player, speaker

OpenSpace Bae located on the slopes of Mount Ilgwang in the outskirts of Busan was created in 2006 by the hands of local artists and activists to realize the possibilities of an artist space in the midst of nature in contrast to urban spaces. Bae, a non-proﬁt arts organization, is a private organization that is supported by funds from Arts Council Korea, Busan Cultural Foundation, and numerous artists donations. With Busan as its base, Bae had realized a thriving global network through its various programs and projects such as the international residency program Open To You, an educational program for children Play

with Art, a program to help young artists fresh out of college adjust to real life Artist Incubating Program, and public art programs such as Anchanggo Project and Hillside Road 1-Bunji ‒ The City has Alleyways, along with an exhibition program Are you Ready? which supports talented artists with potential and artists who are worth re-examining, as well as an International Artist Exchange Program for exchanges with foreign art organizations.

全濬皓 JEON, Joonho 在他的作品中的圖像絕對是擬真的，並非真實的。就像他之前的金錢系列，利用二十美元紙鈔做了一個擬真的作品：在紙鈔的圖片上，有個人正在擦去白宮的窗戶。這件作品傳達了他對白宮虛偽態度的不滿。白宮總是在宣揚他們是如何對外開放並容與大家進入參觀，但它理應是要站出來捍衛人們的平等地位及其他人權的。在作品中，以擦掉白宮的門窗做為一種諷刺方式，希望能揭露潛藏在白人優越主義之下，這個封閉的自然帝國──白宮──的真面目。在最後，這種擬真會讓觀者在發現是假的之後，露出諷刺的笑。 Images in his work are indeed virtually real, never real. As with previous works_money series, I have produced yet another virtual reality by synchronizing the image of a US 20 (twenty) dollar bill with an image of a person erasing the windows of the White House. This represents his lament toward the hypocritical attitudes of the White House which supposedly stands to defend equality of all men and human rights, all the while advertising itself as open to the public for anyone to enter and look around. In this context, erasing the doors and windows of the White House becomes a sarcastic gesture, hopefully showing the truth of the White House as imperial in nature, ﬁrmly closed, veiled in its ideals of white supremacy. In the end, this virtual reality will cause spectators to laugh cynically, merely in recognition of its ﬁctitiousness.

The White House/2005-2006/single channel video/32min.16sec

陳學剛 CHEN Xuegang

羅巍 Luo Wei

木刻版畫《和諧》系列主要以超現實主義表現手法批判和揭露當代中國的某些悲催圖景。自改革

作品《冬夏春秋》取材於二十世紀四起重大民

開放以來，中國的國力走向“富強”，但同時也伴隨著創痛；經濟的復蘇和發展並不能改觀人們

主政治方面事件，其分別是1989年冬羅馬尼亞

的內心和精神世界，私欲和物欲的膨脹像魔獸一樣湮滅了應有的良知和熱血。社會、文化和政治

革命，1989年夏中國的“天安門風波”，1968

“藝述館”是一個集藝術工作室、藝術資料庫和藝術活動空間為一體的北京非營利獨立藝術空

出現了倒退。國家體制的僵化和獨斷，加劇了當今中國社會各個層面的對立、矛盾和不和諧；看

年春捷克斯洛伐克政治民主化運動（布拉格之

間，由中國獨立藝術策展人、藝評人、藝術家舒陽創建。

似盛世太平、繁榮富強的華麗景像下其實潛藏著一觸即發的危機。社會處處顯現著不公和踐踏人

春），2003年秋格魯吉亞的“玫瑰革命”。用

權的惡行，官僚體制和公權腐敗的橫行，讓黎民百姓深感絕望！《和諧》系列就在於以批判和警

繪畫展現真實的歷史記憶和政治傷疤，借以讓

醒的態度展示浮華表像下的恐怖而壓抑的不和諧場面。

“民主之樹”四季常青。

“藝述館”地處北京“宋莊藝術村”核心區域，位於“宋莊藝術工廠區”C區12排。“宋莊藝術村”距北京市中心約30公裡，是中國最大規模的藝術家聚集區，包括美術館、藝術中心、畫廊和工作室等當代藝術設施。目前超過5000位藝術家聚居這一地區。

2003年在北京CBD，舒陽主持了SOHO現代城“藝述館映館”，主辦“首屆北京DV電影節”、“芬蘭電影節”等活動。2006年在北京798藝術區，由舒陽開辦“藝述館”，主辦“第6屆大道現場藝術節”、“別慌！別慌！——行為藝術現場”等活動。2009年在北京宋莊藝術村，舒陽及其家人租用1500平米土地，並設計一所鄉下住宅式房屋作為“藝述館”新的藝術空間。首期建築於2010 年由聯合投資人舒丹監造，面積600余平米。

“藝述館”通過與國際藝術機構和個人建立網絡工作推進當代藝術。“藝述館”開展涉獵廣泛

隨著時間的流逝，告別了當初的歷史語境。而 Woodblock print Harmonious Series mainly criticize and expose the sad views of contemporary Chinese social situation with surrealism way. Since reform of the country, China become powerful with painful experience. The recovery and development of economy have not improved the inside spirit of people. The bulge of selfish and material desire annihilates conscience and righteous. Society, culture and politics have backslid. The ossification and arbitrary of national system aggravate antinomy, contradiction and discord in society. The hair-trigger crisis is hiding under the gorgeous surface of the so-called rich and powerful flourishing age. The evildoing of injustice and downtrodden human right has been showed everywhere. The bureaucracy and corruption of government run amuck. People fells hopeless. Harmonious Series expose the terror and repression discord situation under the gorgeous surface with the critical and vigilant attitude.

的藝術項目，包括國際藝術駐地、藝術文獻、展覽、表演、工作坊、研討會等活動。

時間的延長與駐留讓我們發現所有的圖像之間的平等。它們以不同的方式隱藏在我們的認知和對世界的理解方式之中。用時間打破禁忌去尋找某種共同記憶。從這一情景和結構出發,來批判探討它們所形成的藝術與社會現實二者之間相互構成了一種什麼樣的意識形態運動軌跡。借由觀看，嘗試梳理心中的情感與信念，同時在作品中顯現出對當下的像征意義。當代藝術作為充滿問題意識的藝術，對民主政治問題的關注、體驗、質疑、揭示和感悟，本身就包含著一種態度,是對現存世界的問詢。它觸及和

始於2012年的“藝居北京”，是“藝述館”的藝術家駐地項目。“藝居北京”為不同藝術領域的

和諧Harmonious Series/2011/木刻版畫/60X45 cm

探討的問題離不開它特定的社會語境。因此，

國際藝術家、策展人、藝評人、設計師、作家、學者、研究者和學生，提供2周至6個月在北京生

只有個體精神領域的自由理念以及自覺的批判

活和創作的機會。

意識，才能在日趨復雜多變的社會意識形態中進行真正意義上的當代藝術的實踐。

Eshu Art House is a nonprofit independent art space including studio, achieve and art event space in Beijing, China and founded by Chinese independent curator, critic and artist SHU Yang. Eshu Art House is located at No.12 Zone C, Art Creative & Studios, Songzhuang Art Village, Tongzhou District, Beijing, China. Songzhuang Artist Village is the largest artist community in China with museums, art centers, galleries and studios for contemporary art, 30 kilometers east from downtown of Beijing. More than 5000 artists currently are living in the area now. In 2003, a cinema of Eshu Art Center was launched at SOHO New Town at CBD area in Beijing, directed by SHU Yang. Several film events were hosted there such as The 1st Beijing DV Film Festival , Finish Film Festival etc. In 2006, Eshu Art House was opened by SHU Yang at 798 Art Zone in Beijing. Few art events were hosted in the space such as The 6th DaDao Live Art Festival , Relax! Relax!: performance art event etc. In 2009, SHU Yang rented a 1500 square meters land with his family at Songzhuang Artist Village, Beijing and designed a suburban villa style building as a new art space for Eshu Art House. The first building was built for more than 600 square meters in 2010, supervised by co-investor SHU Dan.

EAH Residency is an artist residency program at Eshu Art House since 2012. EAH Residency provides international artists, curators, critics, designers, writers, scholars, researchers and academics from any kind of art ﬁelds with the opportunity to live and create works in Beijing. The duration of the residency is from 2 weeks to 6 months.

With the lost of time, the original historical context has been bidden farewell. We can find the equal among all images from the extending and staying of time. They hide in our knowledge and the understanding method to the world with different way. Broken taboo with time to looking for some kind of collective memory. Through the situation and structure, the relationship of both art and social reality how they form a kind of trace of ideological movement, is criticized and discussed. By watching, emotion and belief in mind are tried to hackle, and the symbolic meaning at once is showed in the work at the same time. Contemporary art as the art full of question consciousness, its attention, experience, question, discovery and gnosis to democracy political problem , itself has included a kind of attitude to question the extant world. The problem, it touches and discusses, can not rid its specific social context. Thus, only freedom idea in individual spirit field and conscientious critical consciousness, can practice real contemporary art by gradually changing social ideology.

冬夏春秋Winter, Summer, Spring, Autumn 2013/200X100 cm X4/oil on canvas

徐勇 Xu Yong 數字網媒時代，原有的作為鏡子或窗子的攝影語言需要跨越自身樊籬，用圖像提供關於視覺

Eshu Art House builds network with international art organizations and art persons to promote contemporary art. Eshu Art House hosts a wide range of programming, including international artist residency, art achieve, exhibition, performance, workshop, symposium etc.

The art work Winter, Summer, Spring, Autumn draws materials on four important democratical political incidents, which are Romanian Revolution in winter 1989, Tian An Men Incident in summer 1989, Czech & Slovakian Political Democracy Movement (Spring of Prague) in spring 1968 and Georgian Rose Revolution in autumn 2003. Using painting shows the real historical memory and the political scar to keep green for the Tree of Democracy in four seasons.

OpenSpace Bae 是一個在韓國釜山的非營利藝術替代空間。 Bae 這個韓文名詞有多重意義，指梨、船或複次次數。這個名字本身意謂空間位於梨園，釜山港口城市的地理位置和對藝術的推廣。同時，這個名字更代表了我們的目標，與我們作為一個替代空間在當代藝術界必須怎麼做。

與存在關系的新思維。《不能被紀念的》是我對以往“十八度灰”系列作品方式進行的一種延伸嘗試。它同樣用我生命中的重大記憶作為材料，透過現場實拍的虛與實的圖像組合，來

OpenSpace Bae 從 2006年起即開始進行多種不同的計畫，諸如展覽計劃、國際藝術家駐

傳達我對攝影媒介本身問題的思考。

村計劃、大眾傳播藝術、藝術家培育計劃等。我們為了讓更多的藝術家可以有機會展出各自的作品，特別規劃許多不同的展覽模式與活動計畫，其中著名的有藝術家駐村計畫幫助了不少藝術家發展他們的作品與思想概念。除此之外我們也有許多非營利活動計畫注重於藝術實驗與發展。

In the digital internet era, the old photographic language as mirror or window needs to leap over itself s barriers and provide new concept for the relationship of vision and being with image. Forbidden Memory is my experiment to extend the creative way of my works 18% Grey . As the same way, I use the important memory in my life through the combination of shooting blurry and clear images, to express my thinking of photographic media s self problem.

位於城市的郊區，在大自然的環繞之中， Openspace Bae 是一個可以讓觀眾逃離城市與傳統的架構，一個可以真正的自由發展藝術的空間。 Bae 是一個可以讓藝術家，策展人與藝評能有開始一段對話的平台互相交流創造穩定的聯絡網路。

不能被紀念的之二Forbidden Memory No.2/Photography