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Exhibition info
超出建築:田中央+七位藝術家聯展 / 台北當代藝術館 / 台北.台灣
展期 / 02.11-04.23.2023 /Exhibition / Beyond architecture: Fieldoffice Architecture + 7 Artists / Museum of Contemporary Art TAIPEI / Taipei, Taiwan
Exhibition Period / 02.11-04.23.2023 / -
Exhibition Credits
策展人 —— 王俊雄
參展藝術家 —— 蔡明亮、陳逸恩、聶永真、江國梁、林聖峰、姚仲涵、黃聲遠 | 田中央工作群
Curator —— Chun-Hsiung WANG
Artists —— Ming-Liang TSAI、Yi-En CHEN、Aaron NIEH、Kuo-Liang CHIANG、Sheng-Feng LIN、Chung-Han YAO、Sheng-Yuan HUANG |Fieldoffice Architects–
指導單位 —— 台北市文化局
主辦單位 —— 台北市文化基金會、台北當代藝術館
展覽贊助 —— 台灣現代建築學會、本善基金會、璞園建築團隊
展覽協力 —— 實踐大學建築設計學系、連雲建築、嶼山工房
年度贊助 —— THERMOS、財團法人紀慧能藝術文化基金會、老爺會館
年度指定投影機 —— EPSON
年度指定電視/螢幕 —— SONY
媒體協力 —— 中央廣播電台
特別感謝 —— 建成國中、雲門文化藝術基金會、實踐大學
Supervisor —— Department of Cultural Affairs Taipei City Government
Organizers —— Taipei Culture Foundation, Museum of Contemporary Art
Exhibition Sponsor —— Taiwan Alliance for Architectural Modernity, Pun-Sian Foundation, Pauian Archiland
Exhibition Supporters —— Shih Chien University Department of Architecture, Lienyun Group, Atelier Or
Annual Sponsors —— THERMOS, 財團法人紀慧能藝術文化基金會, ROYAL INN
Annual Sponsor for Appointed Projector —— EPSON
Annual Sponsor for Appointed TV/Screen —— SONY
Media Cooperation —— Radio Taiwan International
Special Thanks —— Jian Cheng Junior High School, Cloud Gate Culture and Arts Foundation, Shih Chien University–
策展執行 —— 呂季軒、林子琪、謝京翰、黃芳誼
展示設計 —— 嶼山工房、林子琪、方苡絜、高開文、洪德恩、徐佳得、陳亦婕
視覺設計 —— 永真急制WORKSHOP|聶永真、王翰偉、陳聖智
燈光設計 —— 沁弦國際設計有限公司|林靖祐
多媒體設計 —— 底醞敘事顧問有限公司|陳威志、吳東峻、劉士齊
多媒體設備顧問 —— 葉廷皓
鐵件製作 —— 工法鐵件|陳振鴻
佈展及組立工程 —— 陸世峰、孫和謙
模型製作 —— 田中央工作群
Curate Execution —— Chi-Hsuan LU, Tzu-Chi LIN, Ching-Han HSIEH, Fang-Yi HUANG
Exhibition Design —— Atelier Or, Tzu-Chi LIN, Yi-Jie FANG, Kai-Wen KAO, De-En HONG, Chia-Te HSU, I-Chieh CHEN
Visual Design —— AARON NIEH WORKSHOP|Aaron NIEH, Hanwei WANG, Even CHEN
Lighting Design —— CosmoC Lighting|Ching-Yu LIN
Multimedia Design —— Rhizome Operator, Rex-Takeshi CHEN, Dong-Chun WU, B.Shi-Chi LIU
Multimedia Equipment Consultant —— Ting-Hao YEH
Iron Works —— KF METAl WORK|Blacksmith Hung
Assembling Works —— Shi-Feng LU, Ho-Chien SUN
Model Making —— Fieldoffice Architects -
Artist Credits
《出去走走/Strolling Around》
導演: 蔡明亮
製片: 王雲霖
攝影: 張鍾元
剪輯: 張鍾元
汯呄霖電影, 2022
Director: Ming-Liang TSAI
Producer: Claude WANG
Cinematography: Jhong-Yuan CHANG
Film Editor: Jhong-Yuan CHANG
Homegreen Films, 2022《游水/Swimming》
藝術家: 江國梁
裝 置: 呂季軒
Artist: Kuo-Liang CHIANG
Installation: Chi-Hsuan LU《形成/Becoming》
藝術家: 林聖峰
裝 置: 徐佳得、張三酉、高開文
影 像: 江國梁
Artist: Sheng-Feng LIN
Installation: Jia-De HSU, San-Yu CHANG, Kai-Wen KAO
Video: Kuo-Liang CHIANG《在建築之前/Before Architecture》
藝術家: 黃聲遠
文字、繪畫及模型: 黃聲遠
影 像: 江國梁
動 畫: 陳威志、吳東峻、劉士齊
裝 置: 方苡絜、高開文、林子琪、謝京翰
Artist: Sheng-Yuan HUANG
Script, Drawing and Model: Sheng-Yuan HUANG
Video: Kuo-Liang CHIANG
Animation: Rex Takeshi CHEN, Dong-Chun WU, B. Shichi LIU
Installation: Yi-Jie FANG, Kai-Wen KAO, Tzu-Chi LIN, Ching-Han HSIEH《沙/Sand》
導演: 蔡明亮
演出: 李康生
製片: 王雲霖
攝影: 古恒誼
剪輯: 張鍾元
汯呄霖電影, 2018
Director: Ming-Liang TSAI
Cast: Kang-Sheng LEE
Producer: Claude WANG
Cinematography: Ian KU
Film Editor: Jhong-Yuan CHANG
Homegreen Films, 2018《宜蘭/Yilan》
導演: 蔡明亮
繪畫: 蔡明亮、亞儂弘尙希
製片: 王雲霖
執行: 聶 彤
攝影: 張鍾元
剪輯: 張鍾元
汯呄霖電影, 2022
Director: Ming-Liang TSAI
Painting: Ming-Liang TSAI, Anong Houngheuangsy
Producer: Claude WANG
Assistant: Tung NIEH
Cinematography: Jhong-Yuan CHANG
Film Editor: Jhong-Yuan CHANG
Homegreen Films, 2022《時間/Time》
藝術家: 姚仲涵
大聲光電工作室: 曾睿彬、張玲維
Artist: Chung-Han YAO
Loudly Lightning Studio: Jui-Pin TSENG, Ling-Wei CHANG《一處場所/It’s a Place. 》
藝術家: 江國梁
裝 置: 方苡絜、高開文、林子琪
視覺設計: 陳亦婕
Artist: Kuo-Liang CHIANG
Installation: Yi-Jie FANG, Kai-Wen KAO, Tzu-Chi LIN
Graphic Design: I-Chieh CHEN《身體的跟建築的》Body Construction
藝術家: 陳逸恩
創作顧問: 李國漢
創作陪伴: 吳峽寧
製作人: 王晨馨
錄像執行導演: 李祐緯
錄像剪輯: 邱美惠
錄像攝影: 陳儀勳(暖頭)
燈光師: 莊逸晨
燈光助理: 許元豪
後期特效: 蕭一慧、一起創造
音樂設計: 劉文奇
腳本參與: 邱美惠、蕭一慧、陳儀勳(暖頭)、吳峽寧
展品設計: 吳峽寧、蔡傳仁
特別感謝: Sean HUANG、芊汶、高翎恩、夢遷、蔣蔣、陳紹彥
Artist: Yi-En CHEN
Creative Consultant: Max LEE
Creative Companion: Hsia-Ning Wu
Producer: Chen-Shin WANG
Director: Wei LIL
Editor: Kumi CHIU
Director of Photography: Yi-Hsun CHEN
Gaffer: Ethan J
Best Boy: Yuan-Hao HSU
Special Effects: Karen SIAO、Creative Together Workshop
Sound Designer: Wen-chi LIU
Script Participant: Kumi CHIU, Karen SIAO, Yi-Hsun CHEN, Hsia-Ning WU
Product Design: Hsia-Ning Wu, Chuan-Ren TSAI
Special Thanks: Sean HUANG, Grace CHEN, Ling-En KAO, Natalie HSIEH, Jiang MOOM, Shao-Yen CHEN -
Exhibition Statement
本展展出七位藝術家從各自出發,通過不同路徑、在不同的時空脈絡中,與田中央建築相遇、協作、甚而碰撞的多種圖景。邀請觀者通過凝視去思考,在當代世界中,何謂建築?建築的目的為何?
我們今天所習用的「建築」,是在日治時期被引進臺灣的,有著殖民現代化的語境。在19世紀下半葉明治維新時,日本翻譯architecture為「建築」;而architecture在西方,是古希臘時期被開始使用,那時認為建築為藝術之首,建築師為諸種技藝者的領導者和整合者。二千年來,這個從製作角度被發明的語詞,幾次地被復興,成為西方建築專業界試圖在其內部維持的神聖認知。而在殖民現代化的語境中,類似的專業及其認知在臺灣被建立起來。
然而,對於非建築專業的尋常人來說,建築是個生活物件;而且就跟許多人生活中的人造物件一樣,這些人造物件不僅具有使用上的物質意義,它們也表達我們,甚至會塑造我們。從象徵的角度來看,生活物件擁有被多種闡釋的可能,同一個生活物件,對於不同的人能傳達不同的意義;反過來説,同一意義對於不同的人們,可以用不同的物件以多種方式獲得象徵。由此看來,沒有中性的建築,人們對建築的理解和認識,並不存在統一性的、單一或唯一的意義。因此,建築並非僅由建築專業界所能定義,architecture代表的是一種專業的神話。
值得注意的是,創造是不可能無中生有的,意義或者說象徵的產出,總是只是對原有意義進行再造,新的意義總是從原就存在的意義中再構而生。製造視角產生的architecture,並非全然無的放矢,也是這個意義建造和再建造過程中的一環,但它只是一部分。建築因此是一個永無止境且開放理解和詮釋的過程,它不會永恆,永遠達不到終點,也無法知曉下一個意義是什麼樣?藉著空間,建築的意義建造與再造,不再只是概念上的體會,而是能讓人真實感受、情緒和獨特的全感式審美體驗。因此,建築是擁有多種方式的意義建造過程。藉此,人們基於對於自身理解和想像的改變,持續改變著建築;建築,也以相同的方式,不停地改變著人們對於自己的認知與認同。建築是個真實與想像的交界,可以容納多重意義,讓自我與他者開放溝通、交疊彼此想法、進行微調和轉變的處所。
田中央工作群由建築師黃聲遠在宜蘭創設,他們嘗試創造一種能跟地方生活和環境相融合的建築實踐,並且以多種的開放方式,連接不同技藝者加入他們的創作生活;本展的展出者都曾以不同方式介入田中央創作。本展即是一個迷你的建築,通過對於田中央建築的闡釋,開放地邀請—不僅是展出者,也包括觀者,在此交疊和轉變,創作意義並理解他人,在之前互不相通的世界之間進行關係的回補和重塑。超出建築,成為不同世界之間的鏈結點。
This exhibition features diverse landscape produced by seven artists through their respective encounter, collaboration, and even collision with the architecture designed by Fieldoffice Architects via different routes and in dissimilar spatial-temporal context. As an invitation, the exhibition engages the audience to contemplate the following question through their gaze: what is architecture, and what is its purpose in the contemporary world?
The term for “architecture” in Mandarin “建築” used today was introduced into Taiwan during the period of Japanese rule, which signals the context of colonial modernization. During Japan’s Meiji Restoration in the late 19th century, “architecture” was translated as “建筑” in Japanese kanji. In the West, “architecture” has been used since the ancient Greek period. At that time, architecture was considered the top of all arts, and an architect was someone who led and brought together professionals of various crafts. Over more than two thousand years, this term which was invented from a production point of view has informed the sacred understanding that the Western architecture circle has tried to maintain within itself throughout several waves of architectural revivals. In the context of colonial modernization, a similar professionalism and understanding of “architecture” has also been established in Taiwan.However, for ordinary people who are not of the architecture profession, the word “architecture” simply denotes the object in life. Moreover, like many man-made objects in everyday life, architecture as a man-made object not only possesses a material meaning in terms of its function and use, but also expresses who we are, and even to the point of shaping our identity. From a symbolic point of view, a living object can possibly be interpreted in many ways. The same object in life can have different meanings to different people; reversely, the same meaning can be symbolized in various ways with dissimilar objects. Based on this viewpoint, neutral architecture does not exist—people’s understanding and knowledge of architecture is not unified, singular, or solitary. Therefore, architecture can be defined by those outside of the architecture profession, and the concept of architecture only suggests a mystified profession.
It is worth noticing that creation is never out of thin air. The production of meanings or symbols is always based on the modification of existing ones; that is, new meanings are born from the reconstruction of existing meanings. So, the idea of architecture, which is conceived from the viewpoint of production, is not created out of nothing, but part of this cycle of construction and reconstruction of meaning. However, architecture is only a part of this process of endless understanding and open interpretation, which is never permanent and always ongoing—one does not know what the meaning will be. Through space, the construction and reconstruction of the meaning of architecture is no longer something to be perceived conceptually, but a full sensory experience of aesthetics that is affective, distinctive, and can be realistically felt. Consequently, architecture denotes a process of constructing meaning in various ways, through which people have continued to change architecture based on their understanding and imagination; and architecture, in the same way, has consistently altered people’s perception of themselves and their identity as well. Architecture conjures up an intersecting field of reality and imagination, where multiple meanings can be included—it is a site where the self and others can communicate openly, and ideas can be exchanged, adjusted and reshaped.
Fieldoffice Architects is founded by architect Sheng-Yuan HUANG in Yilan. They aim to create an architectural practice which can be integrated with and into the local lifestyle and environment and employs multiple open approaches to connect with professionals of different discipline to join their creative life. The artists featured in this exhibition have all engaged in dissimilar forms of intervention in the works of Fieldoffice Architects. Thus, this exhibition is itself a mini architecture. Through the interpretations of the works of Fieldoffice Architects, the exhibition serves as an open invitation to not just the artists but also all the audience to partake in this site of interweaving and transforming ideas to create meanings and understand others; and the worlds that were separate previously can become interconnected, and their relations can be mended and reshaped. Beyond Architecture is the node that links different worlds.