展期 Duration ：2019.10.05 Sat.-2019.11.03 Sun.
媒體預展 Media Preview：2019.10.04 Fri. 12:00pm
開幕 Opening：2019.10.05 Sat. 2:00pm
地點 Venue：尊彩藝術中心
策展人 Curator：曾鈺涓 TSENG Yu-Chuan
藝術家 Artist：Grégory CHANTONSKY、郭敬耘 KUO Chin-Yun、張君懿 CHANG Chun-Yi, 、陶亞倫 TAO Ya-Lun、黃盟欽 HUANG Meng-Chin、陳妍伊 CHEN Yen-Yi＆黃逸民 HUANG Yi-Min、劉寅生LIU Yin-Sheng

2019大內藝術節「It’s SHOW time」，由策展人曾鈺涓策劃藝術特區三大主展場，分別為：大觀藝術空間、尊彩藝術中心、秋刀魚藝術中心。尊彩藝術中心為「物體意識」討論子題，邀請七位／組新媒體藝術家之精彩作品進行對話。以錄像、裝置創作展現探討主題。

生活在數位時代的我們，在虛實交錯的劇場中，主角、配角、布景與道具的關係，呈現流動與不確定的互相演繹的延展性，在交互之間形構出無法言說，一切為真亦是虛的後網路時代展演。「It’s SHOW time」討論舞台展演的基本元素：人、物、景、觀，以四個子題「身體系統」、「物體意識」、「流動風景」、「交互關係」，討論人非人、物非物、景非景、觀非觀的虛實劇場。藝術家透過虛實演化與辯證，以纏繞交引與反覆辯證的策略，操弄被視為次要的、偶發的行為，或是本作為陪襯角色的物，創造場景，將舞台上的主角、配角、布景與道具，轉換為主角而非主角，成為真實又非現實，觀眾陷入觀看又非僅是觀看的涉入情緒中，重新建構對事物的認知與想像。

Grégory Chatonsky 《Horizon》以大量的電纜線所建構而成的數據中心，視覺化了虛擬存在的雲端世界，揭露了網路世界的結構是由可見又不可見的「物」所串連組成。郭敬耘《微型採礦：溪畔的克里奧人》溯溪採集原料「土」，燒製成為素樸的陶器，陶器是常民的日常用具，卻成為具文化語言與資源批判的意識物件。陳妍伊與黃逸民《快世界•慢飛翔》中的搖擺具機翼的搖籃與投影影像，是物，也是新生兒的生命狀態，更是象徵初為父母的詩意想像。

「物」的象徵訊息與再現形式被轉換，「身體」在此也被重新切片。黃盟欽《類淚》重新建構身體的置入空間模式，身體成為空間系統的一部份，也成為被觀看的對象「物」，空間場域與多重螢幕的佈局引導，觀者必須挪移自身身體建構觀看的軌跡，觀者身體也成為藝術系統中的一部分。劉寅生的《M58能量標本館：眾生相》則是身體能量訊息的再現，以自動繪畫的形式繪製出個人的能量狀態，是生命微觀與巨觀宇宙的圖騰。

張君懿《這很簡單人人都會》，則是將台灣當代藝術家與其作品，做為其創作的對象「物」，成為其創作系統的一部份，也創造出張君毅、參與藝術家、作品與觀這之間的「交互關係」。陶亞倫《王大閎登月紀念碑》則帶領觀者進入一個巨大無邊際的宇宙世界中，以虛實感知一棟未被真實建構的虛擬紀念碑。觀者進入虛實交錯的「景」中， 成為見證歷史事件的一份子。

「物體意識」討論物體、景觀與身體感知經驗，在挪用與擬造過程中，以熟悉又陌生的訊息與符號，所重新定義的物體意義，在此創造與感知的過程中，「物體」的意義，存在於感知過程中，成為無法區分虛實的展演主題。

Taipei Art District Festival 2019 invites TSENG Yu-Chuan as the curator of this year’s themed exhibitions at DaGuan Gallery, Liang Gallery and Fish Art Center around the theme of “It’s SHOW time.” As one of the main exhibition venues with the subtitle “Object Consciousness.”, Liang Gallery presents works by seven new media artists, including group of artists from Taiwan featuring artworks with different media from Video art to AR installation.

Living in the digital age, we are immersed in a theater of interwoven virtuality and reality, in which the relationship among main characters, supporting characters, sceneries and props is always fluid and uncertain, defined by an extendibility stemming from their mutual interpretation. These elements co-construct an indescribable performance of the post-internet era without a clear distinction between the real and the unreal. It’s SHOW time discusses the fundamental elements of theatrical performance—people, object, scenery and viewing, utilizing four sub-topics – “Body System,” “Object Consciousness,” “Fluid Scenery” and “Interactive Relation” – to explore a theater characterized by both virtuality and reality, through which the definitions of people, object, scenery and viewing are all blurred and destabilized. With the interplay and dialectics of virtuality and reality, the featured artists employ entanglement and the dialectic process as strategies to manipulate secondary, random actions or objects previously used as foils to create the stage scenery. By doing so, the artists transform the main and supporting characters as well as the scenery and props, decentralizing the characters, creating actuality that does not equal reality, immersing the viewers in emotions that push them into and beyond the action of viewing while reconstructing our perception and imagination of things.

Grégory CHATONSKY ‘s Horizon is an endless traveling in photographs found on the web representing the corridors of these data centers. These images show a classical albertinian perspective. The eye moves it while remaining paradoxically immobile.
In KUO Chin-Yun’s Micro Mining: Creole Along the Riverside, she travels along the river to acquire the clay and make plain and simple potteries. Potteries are common utensils in our daily life but become the objects with critical meaning of culture, language and resources. Flying Slowly In a Hasty World consists of a kinetic installation and a projecting image which created by CHEN Yen-Yi and HUANG Yi-Min is an object as well as a symbol of the status of a new born baby. The artwork itself is a poetic imagination of the parents.

When the symbolic massage and representation of object is transformed, body is also interpreted from a different perspective. HUANG Meng-Chin’ The Tears reconstructs a space mode of body placement. Body becomes a part of a space system as well as an object being watched. With the guide by the space and multi-screen, viewers leave a viewing trail by moving their own bodies. Therefore, viewers’ bodies become a part of art system. LIU Yin-Sheng’s M58 Museum of Energy Specimens: Personal Energy Pattern (I-VI) 2009-2019 is the representation of energetic message of body. LIU draws the status of individuals’ energy in a way of automatically drawing. It is the pattern of micro and macro cosmos from the life.

Using Taiwanese contemporary artists and their artworks as the object of creation, CHANG Chun-Yi makes the work This Is Very Simple. So Everyone Can Do It. The interactive relation between the artists, artworks and viewers’ viewing experience is also built as they are being part of the artwork. TAO Ya-Lun’s Selene leads viewers into an enormous and boundless universe. Tao creates a monument with the sense of virtuality which is never been built in the real world. Viewers step into a scenery of interwoven virtuality and reality where they become witnesses of history.

“Object Consciousness” investigates sensory experiences related to object, scenery and body, re-defining the meaning of object in the process of appropriation and simulation.

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