2017年7月9日 星期日

TAIWAN VIDEA 2017 Selection~ Video Screening Tour Around Europe ( July 19 -August 20, 2017) / «Taiwan Videa»2017Selection 臺灣錄像巡映歐陸交流計畫(2017.07.19-08.20)



TAIWAN VIDEA2017 Selection
The Taiwanese Avant-garde Video Screening Project 
Curated by Yunnia Yang


«Taiwan Videa»2017Selection 

臺灣錄像巡映歐陸交流計畫

策展人:楊衍畇






Touring Schedule: 

歐陸巡映行程:

1. July 19(Wed.), 2017  8:00pm
Republic of Macedonia: Museum of Contemporary Art, Skopje

馬其頓當代藝術館(斯科普耶,馬其頓共和國)

2. July 28 (Fri.), 2017 8:00pm
Croatia: Galerija AŽ Atelieri Žitnjak, Zagreb

GalleryAŽ (克羅埃西亞札格列布市)

3. August 1(Tue.), 2017 8:00pm 
Slovenia: SCCA-Ljubliana Center for Contemporary Arts 

SCCA當代藝術中心-盧布里亞納斯洛維尼亞,盧布里亞納市)
* SCCA Program "No Nails, No Pedestals 2017" (Project Room SCCA, Metelkova 6, Ljubljana) 
link: http://www.scca-ljubljana.si/news-en_17-20.htm


4. August 16, 19&20, 2017
Germany: art space "Rosalux" , Berlin 

“Rosalux”藝術空間 ( 柏林,德國)
Opening and Curator's talk: August 16 (Wed.) 7:00pm
Exhibition time: 
August 16 (Wed.): 7 pm – open end
August 19 (Sat.) : 2 pm – 6 pm
August 20(Wed.): 2 pm – 6 pm



Film art is an important artistic expression in the contemporary visual culture. The charms of images dominate the lifestyle and way of thinking of our new generation. Among the Taiwanese contemporary arts, video art and experimental films enrich the visual aesthetics and symbolic meanings with their own critical character, originality and diversity. The internationally-awarded creative videos from Taiwan might become a fleeting glimpse of beauty. The curatorial project TAIWAN VIDEAis to converge the creative energies and aesthetic features of film art, including video art, performance art, experimental films and animations, digital animations, etc. The depth of these videos refers to many facets of human beings’ living conditions: the alert about the consequence of human desire challenging God with technology and civilization (Lin Peychwen’s “Making of Eve Clone I”), criticizing the desire law of chasing after the ‘Progress’ deteriorating humanity (Huang Zan-Lun’s “Double”); revealing the beautiful lies constructed by the authorities (Chen I-Chun’s “ The Piggy Song”), the seriousness of the collective consciousness manipulated by the contemporary media (Zhang Xu-Zhan’s “Ritual of Cathode Ray Tube”); a nutrition taken as a metonymy to criticize politicians devouring people’s future dreams with empty promises (Wang Ding-Yeh’s “Beef-Wonderful Promises”), analogizing the images of the New Year’s Eve fireworks and a candle as a metaphor of the contradiction between the celebration of a country’s future and the sacrifice of martyrs (Ho Wei-Ming’s “Over My Dead Country”); the danger and paranoia of overexpanding self-consciousness (Wu Tzu-An’s “Disease of Manifestation”), the spatial imagination of an individual searching for the freedom of his body and mind (Pu Shuai-Cheng’s “Secret Plane-Immense Floating”); the intimacy and mystery of cultural encounter breaking the cultural stereotypes (Chang Huei-Ming ‘s “Tough Town”), questioning about simulated scenery in everyday life (Tsui Kuang-Yu’s “ Invisible City: Taiparis York”);with a new way of seeing to explore aesthetic possibilities of representing the oriental landscape painting (Wu Chi-Tsung’s “Landscape in the Mist”), Leviathan-like monstrous image composited from a dozen footages filmed at an open night market to show the danger of consumption (Jawshing Arthur Liou’s “Insatiable”) . The 12 creative videos from Taiwan will subvert the international audience’s impressions on the Taiwanese culture and arts, crossing over the boundaries of fine arts and pop culture. The issues of TAIWAN VIDEAare not only related to Taiwan itself, but also to the contemporary problems in the world. Creative thinking with universal value is the fundamental necessity of avant-garde images with subversive power.


影像藝術是當代視覺文化極為重要的主題,而影像的魅力主導了新世代生活型態與思考方式,台灣當代藝術中錄像藝術與實驗影像的批判性、原創性與多元性豐富了影像美學與象徵意涵,而在國際與台灣各大影展獲獎的創意影像作品驚艷一時,《TAIWAN VIDEA》台灣前衛影像展即是匯聚上述影像的創意能量與美學特色,精選自策展人於2013-2016年間所規劃末日感性:臺灣新媒體藝術展TAIWAN VIDEATAIWAN VIDEA2.0:文化秘遇三策展計畫中12部臺灣前衛影像作品,包含錄像藝術、行為藝術、實驗影像、實驗動畫、數位動畫、MV動畫等類型,影像深度觸及當代人類生存議題:警示人類慾望以科技文明挑戰上帝的後果(林珮淳「夏娃克隆創造計畫I) 批判追求「進步」的慾望法則消弭人性(黃贊倫「副本」);揭露當權者所建構美麗的謊言 (陳依純「曲水流豬」) 當代媒體操控集體意識的嚴重性(張徐展「陰極射線管的神秘儀式」) 食物轉喻諷刺政治巧語吞噬人民的美夢人生(王鼎曄「牛肉-美好諾言」)以類比跨年煙火與燭火的影像隱喻國運歡慶與烈士犧牲的矛盾性(何尉民Over my dead country)自我意識過度擴張的危險偏執(吳梓安「宣言癖」)個體尋求身體意識自由的空間想像(蒲帥成「秘密平面計畫-浩瀚飄浮」) 以文化秘遇破除刻板印象(張暉明「Tough Town」)質疑日常生活中擬態景致(崔廣宇「看不見的城市:台巴黎約克」)以新的觀看方式擴展與再現東方山水美學的可能性(吳季璁「煙林圖」),以臺灣夜市所攝取的無數影像形成似巨蟒的形象顯示消費危機(劉肇興「未央」)12部台灣創意影像作品將顛覆觀者對台灣文化藝術的印象,跨越了純藝術與流行文化的界限,議題非僅與台灣相關更與全球當代問題接軌,普世價值的創作思維正是具有顛覆力量的前衛影像所必要的基礎。

TAIWAN VIDEA 2017 Selection 
Curator: Yunnia Yang 
Duration: 90 minutes 


巡映作品(全長90分鐘)

1. Lin Peychwen, Making of Eve Clone I, 2016, 9'

夏娃克隆創造計畫I.林珮淳.2016年.9分鐘


2. Huang Zan-Lun, Double, 2015, 12'55''
副本.黃贊倫. 2015年.12分55秒 

3. Chen I-Chun, The Piggy Song, 2013, 8'7''
曲水流豬.陳依純.2013 年. 8分7秒

4. Zhang Xu Zhan, Ritual of Cthode Ray Tube, 2011-2013, 5'
陰極射線管的神秘儀式.張徐展.2011-2013年.5分鐘

5. Wang Ding-Yeh, Beef-Wonderful Promises, 2011, 4'42''
牛肉-美好諾言. 王鼎曄.2011年.4分42秒

6. Ho Wei-Ming, Over My Dead Country, 2013, 11'11''
Over My Dead Country何尉民.2013年.11分11秒

7. Wu Tzu-An, Disease of Manifestation, 2011, 9'
宣言癖.吳梓安.2011年.9分鐘

8. Pu Shuai-Cheng, Secret Plane-Immense Floating, 2011, 5'31''
秘密平面計畫- 浩瀚漂浮. 蒲帥成.2011年.5分31秒

9. Chang Huei-Ming, Tough Town, 2015, 9'
Tough Town.張暉明.2015年.9分鐘

10.Tsui Kuang-Yu, Invisible City: Taiparis York, 2008, 5'10''
隱形的城市: 台巴黎. 約克.崔廣宇.2008年.5分10秒

11. Wu Chi-Tsung, Landscape in the Mist, 2012, 10'17''

煙林圖.吳季璁.2012年.10分17秒

12. Jawshing Arthur Liou (Director), Rachel Weaver (Sound composition), Insatiable, 2010, 10'

未央.劉肇興(導演).Rachel Weaver (聲音創作).2010年.10分鐘

TAIWAN VIDEA 2017 Selection from Yunnia Yang’s curatorial projects: 
1. The Apocalyptic Sensibility: The New Media Art in Taiwan(WRO Media Art Biennale 2013, Wroclaw, Poland; Taipei Fine Art Museum 2015)
2. TAIWAN VIDEA (Asolo Art Film Festival 2015, Italy)
3. Taiwan Videa2.0: Cultural Encounter (Asolo Art Film Festival 2016, Italy)




《TAIWAN VIDEA》2017 Selection 精選自策展人楊衍畇以下當代藝術策展計畫:
1.《末日感性:臺灣新媒體藝術展》(2013波蘭WRO媒體藝術雙年展. 2015台北市立美術館)
2.《TAIWAN VIDEA》台灣前衛影像展(2015義大利阿索洛國際藝術電影節)
3.《TAIWAN VIDEA2.0:文化秘遇台灣前衛影像展(2016義大利阿索洛國際藝術電影節)

2017年5月21日 星期日

“Eco As A Verb”&" Taiwan Videa2.0: Cultural Encounter" @ 2017 Night of Museums in St. Petersburg

Due to tight time Invitation of the museum of nonconformist museum from the art center "Pushkinskaya 10", herein as a curator I can announce that "Eco as a verb" (2017 selection) and "Taiwan Videa 2.0: Cultural Encounter" have taken part in 2017 Night of Museums( from 6 pm on May 20 to 6 am on May 21) in St. Petersburg after this great event.

俄羅斯聖彼得堡“普昔金十號” 藝術中心 “俄羅斯反傳統藝術美術館”(Museum of nonconformist art) 邀請筆者 “Eco As A Verb”(2017 Selection)與" Taiwan Videa2.0: Cultural Encounter"雙錄像策展案參加2017年聖彼得堡博物館之夜((5月20日晚間6點至5月21日早上6點),由於邀請與準備時間過於緊迫,身為策展人謹於此時此刻分享此一參展訊息。

official news from "Pushkinskaya 10":
http://www.p-10.ru/single-post/2017/05/26/%D0%A3%D1%87%D0%B0%D1%81%D1%82%D0%BD%D0%B8%D0%BA%D0%B8-%D0%9D%D0%BE%D1%87%D0%B8-%D0%9C%D1%83%D0%B7%D0%B5%D0%B5%D0%B2-2017-%D0%92%D0%B8%D0%B4%D0%B5%D0%BE-%D0%B0%D1%80%D1%82


“ Eco As A Verb” - International Ecological Video Art Exhibition
@ 2017 Night of Museums in St. Petersburg 

Curator: Yunnia Yang

Participating artists: 
Sergey Tsyss(Russia), Tsui Kuang-Yu (Taiwan),Zhang Xu Zhan(Taiwan),Rick Fisher(Canada),AES+F(Russia), Huang Zan-Lun(Taiwan), Lynn Estomin(USA), Isabelle Hayeur(Canada),Marie- France Giraudon(Canada), Albert Merino(Spain),Jawshing Arthur Liou(Taiwan)

Time: 2017. 05.20 6:00pm - 05.21 6:00 am
Venue: Museum of Noncomformist Art, Art Center "Pushkinskaya 10", St. Petersburg, Russia


AES+F(Russia).Inverso Mundus


“Eco As A Verb” means to regard “Ecology” as a Verb, an Action to do it, instead of understanding it. Most people know to love the planet and raise the environmental awareness, but there are big steps from awareness to actions. The green documentaries or contemporary videos here are nor to initiate another environmental activism, but to suggest that after watching these films each viewer may think what he can do by his own for the good sake of our environment to improve the current situation. There is no need to make any alliance, but to be touched, then just do it! Although the notion “Eco as a Verb” is presented in this cultural occasion in Russia, we truly hope it can work in practice all over the world. The focal theme project“Eco As A Verb” includes four categories: “Eco Creativity”, “Eco Apocalypse”, “Eco-Human Chain”, and “Eco Mythology”. 

1. Eco Creativity 
Facing to the exhaustion of resources, the endangerment of environment, how the human beings proud of creativity could overturn such a poor living condition? “Second Wind” is a sad metaphor of the post-apocalyptic survival happiness that it still could be found the memories and the imaginations about the natural beauty in such a deserted land. The positive thinking is the survival attitude we contemporaries shall keep. In “Rubbing the City: Beautiful Dirty Bubble”, the artist Tsuei Kuang-Yu transforms bus pollution into beautiful bubbles as the alchemic power of art.  

2. Eco Apocalypse
For utopian perspective, human beings always trap themselves into a kind of swamp endangering the whole ecology without any awareness. “Renew: the future not future” , “ Arcadia”, “Inverso Mundus” all imply the same context that human beings cannot compensate their faults for the sake of pursuing progress and comfort. Therefore, “Renew” is nor a new birth, but a fear and regret to the living being of the future. With the long shots, “Arcadia” discloses the cruel truth of the arcadia that human beings imagine. Seemingly absurd “Inverso Mundus” implies the strength of natural counterattack. As human beings think themselves as a high-level creature, misusing domination, regardless of the seriously devastated nature, the price for this bad manner is far to imagine.We all know how hard it is to resist one's desire. The process of one's inner battle and self-compromise day after day is like a ritual of survival. “Double” implies this helplesssly repetitive dilemma. Ingestion is one's life instinct , but desire is the overexpression of one's id. In this video, two human-deer hybrids automatilate and cannibalize each other; the sadomasochistic sacrifice becomes a law of desire. Nowhere such humanity leads human civilization to. 

3. Eco-Human Chain
“Ecology” in Greek means “House”, a man and his internal/external house. A family living together in harmony can nurture a human being and enrich his life. If with the attitude of possession and exploitation, this house will be destroyed by his own eventually. “Fashion to Die For”, “entro(SCO)py”, and “Solastalgia” will give us the reflections on the relations between human civilization and ecological ethics.

4. Eco Mythology
By means of myths interpreting human rationality and sensibility, reality and fantasy, human beings will also lead a mysterious conversation encountering nature and civilization and turn into a new myth. “ Imago Typhonis” reflects the worries of globalization that the featured cultures are constantly simplified to the universal codes. To delete or twist the cultural features is a death for that cultural ecology. “Insatiable” is a metaphor about the night market culture in Taiwan. A powerful consuming giant creature floats in front of us just like the mirage of Loch Ness Monster. As if everyone to indulge in carnal pleasure without restraint, this inner serpent will swallow the self and exhaust the ecology. 

Details for the videos: 

http://yunnia.blogspot.tw/2016/08/eco-as-verb-35th-asolo-art-film.html

~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
"TAIWAN VIDEA 2.0: Cultural Encounter"
The Taiwanese Avant-Garde Video Exhibition 

Curator: Yunnia Yang

Participating artists: 
Tsui Kuang-Yu, Chou Tung-Yen, Huang Yu-Hang,Wang Ya-Hui, Chang Huei-Ming,Chen I-Chun,Wu Tzu-An,Pu Shuai-Cheng,Jawshing Arthur Liou,Cheng Li-Ming

Tsui Kuang-Yu, Invisible City: Taiparis York
Travel has been a part of contemporary life. No matter what the travel is for, we all meet multiple cultures. Cultural shock is inevitable, but cultural stereotype will give great impacts on the understandings and the perceptions of cultural similarities and differences. Under the overwhelming manipulations of mass media and commercial mechanism, the so-called “ Cultural Tourism” has been promoted with the ideas of pilgrims and adventures, which conceals the essence of the culture that includes all the lives. The notion “Grand Tour” in the Western civilization is to cultivate the intelligentsia to explore and experience the outer world for a long-term period and in a deeper level. Charles Baudelaire ‘s “Flâneur” regards a whole city as a book to read thoroughly, to perceive the rhythms of contemporary life, to capture the ephemerality of everyday life on streets. The Surrealists praises the spirit of “Flâneur” to discover the uncanny from everyday life and to get inspirations from exotic cultures. The perceptive process of cultural encounters is too intimate to make any rational discourse. Artists instill their own life experiences into this process of cultural encounters. In their artworks, viewers may perceive alternative cultural understandings, to overturn the cultural stereotypes given by this commercialized world, to encounter multiple cultures with sensibility.

Details for the videos: 

http://yunnia.blogspot.tw/2016/08/35th-asolo-art-film-festival-taiwan_15.html