2018 錄像廳第一季：《在瘋狂追劇之前》
(for English, please scroll down)
日期：04.14 – 04.22 1pm – 7pm. （週一不對外開放）
非正式分享：04.21（六）4pm – 7pm，由特別來賓 Tyler Russell 主持，將分享加拿大非營利替代空間 Centre A 的歷史與活動。同時歡迎帶著妳／你的私房錄像創作（20分鐘內為佳），以及談論／被評論
電視機現今彷彿是一種懷舊的存在，我們早已轉移至 YouTube, Facebook 等社群媒體平台或是 Netflix 網飛, MOD等網路影音串流，隨選隨看各式各樣的綜藝節目、連續劇以及電影。使用的工具多是電腦、手機或是平板，電視逐漸淡出觀眾的視線，甚至已成為螢幕的延伸。但是電視曾經是傳遞與散播動態影像最主要的工具，建構出我們的日常觀看經驗。透過電視機與電視網絡，意識形態得以隱身於影像當中，在不同的文化語境中被製造、傳遞、播放與消費。另一方面，電視將影像以時間為單位切割，節目接續節目形成的電視流，隱隱地替現今瘋狂追劇的反抗觀看模式鋪平道路。本期錄像廳《在瘋狂追劇之前》聚焦藝術家作為觀看的實踐者與影像的生產者的雙重身分，以援引、混雜與拼貼電視節目的視覺語言與形式的作品，思考觀看的道路是得以通往清晰定義出他者，凝聚出「想像的共同體」的樂園？抑或終究邁向「無意識觀看」的永無止境？
* 渾沌內作品皆以單頻道形式播映，每整點輪播。
** Tyler Russell 為溫哥華 Centre A 執行總監與策展人，目前為關渡美術館駐館策展人。
*** TCAC 錄像廳由黃其玟與Bart Dekker所贊助。
關於作品：
// 客廳 //
Claudia Bitran, 《鐵達尼號預告》，單頻道錄像，5:08，2014.
好萊塢電影《鐵達尼號》除了創下紀錄的票房，以及號稱當時最貴的大成本製作。在台灣，電影劇照更以周邊商品的各式型態流通在觀眾的日常生活中。Bitran 製作的《鐵達尼號預告》翻玩電影角色種族、年齡與性別與製作資本，顛覆這個全球媒體奇觀。
// 渾沌 //
謝燚 ，《浪漫娛樂史》，三頻道裝置，10:11，2014.
《浪漫娛樂史》並置三部50年代至60年代發行的8釐米底片無聲黑白電影，影像媒體考古學式地以HD高畫質格式再現影像。透過並置的影像勾勒出文明線性進步的史觀，但也同時暗示著無止盡的屠殺，對他者的馴化，總以進步之名無限循環發生。
倪祥 ，《認真的歷史》，單頻道錄像，8:07，2010.
《認真的歷史》利用「美齒小姐」的歷史新聞影像穿插藝術家自製的場景，配上敘事各異的旁白，營造出穿越四段平行時空的旅行感。這趟旅程中，不變的母題是大眾媒體影像在形塑成為完美他者慾望的同時，如何完成對觀看者自身的馴化。
Claudia Bitran, 《成為布蘭妮》，單頻道錄像，2:07, 2014.
90年代的 MTV 頻道與音樂錄影帶（MV）是次文化與主流文化交匯、融合或是對抗的最重要場所，Bitran 的作品極具創意地利用手邊的材料與科技，再度消解主流與非主流，偶像與自我，低成本與大製作的邊界。
李然，《地理之外》，高清彩色有聲錄像裝置，23:09，2012.
《地理之外》原本是一件以傳統CRT電視呈現的錄像裝置，藝術家擬仿自然紀錄片主持人慣用的姿態、腔調與語法，在探索未知的過程中反覆提及藝術、博物館，凸顯主流敘事如何建構文明與自然的對立。另外，「黑臉」這個富有爭議手法，是否透過藝術之名得到解放。
關於藝術家：
Claudia Bitran, https://www.claudiabitran.com/
Claudia涉獵多重藝術領域，作品橫跨影音、繪畫、動畫、表演藝術、裝置藝術及聲音藝術等媒材。她生於波士頓，現居紐約不過也生活於智利很長一段時間。她擁有智利天主教大學的藝術學士學位（2009）以及羅德島設計學院的繪畫專攻藝術創作碩士學位（2013）。2014年，她在斯科希甘繪畫與雕塑藝術學院和比米斯當代藝術中心駐村；2016至2017年間，參與位於新墨西哥州的羅斯威爾藝術家駐村計畫，而目前為紐約Smack Mellon工作坊進駐藝術家。個展經驗包括：穆倫堡學院（2018）， Practice畫廊（2018），布魯克林橋公園社區畫廊（2017），羅斯威爾博物館及藝術中心（2017），智利視覺藝術美術館（2016），布魯克林ThisFriday or NextFriday畫廊。聯展經驗包括：智利Nemesio Antunez畫廊（2018），哥倫比亞大學萊羅伊‧內曼畫廊（2018），Anytime Dept （2017），札哈‧哈蒂IMAX影院（2017），中國重慶長江當代美術館（2017）， The Parlour Bushwick畫廊（2016）， Project 722，金塔諾馬爾當代藝術館，馬圖卡納100藝術空間等。獲獎經驗包括智利XXII新媒體藝術雙年展榮譽獎， UFO麥當勞繪畫競賽第一名, 布蘭尼‧斯皮爾斯舞蹈競賽第一名（2016）獲取獎助金包含紐約社區信託補助金, 傑羅姆基金會潛力電影製作人獎助金, 藝術家緊急獎助金, 哈默斯利獎助金。
1986年出⽣於湖北，⽬前⼯作⽣活在北京。2009年獲四川美術學院油畫專業學⼠學位。他的作品曾在巴黎蓬皮杜中心，柏林世界⽂化宮，烏德勒⽀BAK藝術中⼼，休斯頓當代美術館，蒙特利爾當代美術館，莫斯科國家美術館，⽇內⽡當代藝術中⼼，舊⾦⼭CCAWattis當代藝術中⼼，新加坡NTU當代藝術中心，馬尼拉當代藝術與設計美術館，北京尤倫斯當代藝術中⼼，南京四方美術館；OCT當代藝術中⼼的深圳館、上海館與西安館等機構展覽，並在OCT當代藝術中心的西安館舉辦過個展（2015）；他的單屏影像作品也在紐約猶太美術館，倫敦ICA當代藝術機構等機構、獨立電影節進行過放映；同時他也曾參加過蒙特利爾雙年展（2014），⽇內⽡動態影像雙年展（2014），第四屆莫斯科國際青年藝術雙年展（2014），第⼆屆CAFAM雙年展（2014），在柏林的第四次“前西”項⽬（2013），第九屆光州雙年展（2012），第七屆深圳雕塑雙年展（2012），他在2014年莫斯科國際青年藝術雙年展中獲得“最佳藝術家獎”，並被由平丘克藝術中心2017年舉辦的“未來世代獎”提名入圍。
倪祥.
目前因故休眠中，所以什麼都說不準，偷閒時間熱愛與人嘴砲。
目前感觸是覺得藝術教育如果無法讓學生獨立面對問題的話，大概是最失敗的一種。
謝燚, http://www.xieyistudio.com/
1984 年出生於四川，現工作、生活於北京。2009 年於四川美術學院獲得雕塑學士學位。2012 年於四川美術學院獲得雕塑碩士學位。謝燚將鬆散的信息和感受搭建成完整的敘事體系——“進步”、“真正的勞作”、“歷史的選擇”等龐大的主題常常穿插於其中——讓現實世界與藝術世界在其中反複角力。作品作為角力的結果，卻常常處於看似穩定的狀態，並且呈現出經典範式般的永恒感。他近期群展：“Bridge”（Eunam Museum，韓國光州2016）、“鹹濕的夢”（Salt Projects，北京，2016“）、肉身:恐怖谷（”A+ Contemporary 亞洲當代藝術空間，上海，2016）。個展“：伏爾加河上的纖夫（”J:Gallery，中國上海，2017）伏爾加河上的纖夫（J: Gallery，中國上海，2017）近期駐地項目：“臺灣自由人駐留計劃”（自由人藝術機構，臺灣，臺中2017）、“上海喜瑪拉雅美術館國際藝術家駐留計劃”（光州市立美術館，韓國光州，2016）。
2018 Video Lounge Series 1：Before Binge Watching
Date: 04.14 – 04.22 1pm – 7pm. （Close on Monday）
Casual Talks：04.21 Sat. 4pm – 7pm，Special guest Tyler Russell. He will share Centre A’s history and programs. At the same time, welcome to bring your video works (less than 20-minute preferable), and your spirit to share your critiques as well as reciprocity.
Television recalls a sense of nostalgia. We as viewers turn to contents on online media platforms, such as YouTube, Facebook or Netflix. Endless shows, series and movies await and on demand. TV as a telecommunication medium is gradually replaced by personal computers, smartphones or tablets, becoming an extension of the screen. It is, however, once the dominant tool to disseminate moving images and to construct daily visual experience. Through television screens and TV broadcast networks, ideology embedded in images and moving are made, transmitted, displayed and assimilated into a state of consciousness. In addition, TV programs are divided by time slot, forming a TV flow that allows viewers watching program after program, preparing the foundation for the upcoming age of binge watching. The 2018 Video Lounge Series 1: Before Binge Watching focuses on works that appropriate, mix and bricolage forms and visual elements commonly seen on TV. In these works, artists take a double role of being a spectator and a image maker. Would they eventually lead the ways of seeing to building a “imagined community” with visible Others, or force us to linger in a limbo with infinitely gawking?
* All the works in Limbo are played in single channel. Loop in every hour.
** Tyler Russell is the executive director and curator of Centre A in Vancouver. He is current resident curator at KdMoFA.
*** TCAC Video Lounge is sponsored by Chi-Wen Huang & Bart Dekker.
About the works:
// Living Room //
Claudia Bitran, Titanic Trailer, Single Channel Video, 5:08, 2014.
Not only breaking the box office record worldwide at one point, the Hollywood movie Titanic has also been billed as the most expensive production ever made that time. In Taiwan, Titanic stills are copied and widely circulated in different forms of commercial products. Bitran’s Titanic Trailer turns on the characters’ race, age, gender as well as the production of capital to subvert the global media spectacle.
// Limbo //
Xie Yi, Romantic History of Entertainment, Three-channel Video Installation, 10:11, 2014.
Romantic History of Entertainment juxtaposes three silent black-and-white 8mm films released from the 50s to the 60s. Images are media-archaeologically reproduced in high-definition format. In this work, a progressive view of civilization is presented, but at the same time it implies endless killings and the domestication of the other. That has always occurred in the name of progress.
Ni Xiang, Serious History, Single Channel Video, 8:03, 2010.
Serious History uses the historical news image of “Miss Teeth Beauty” to intersperse Ni’s self-made scenes, accompanied by narratives of different histories, as if creating a sense of travel through four parallel space-time. In this journey, the intention is to domesticate the viewers into becoming perfect.
Claudia Bitran, Becoming Britney, Single Channel Video, 2:07, 2014.
The MTV channel and music video (MV) from the 1990s were two of the most important platforms for the intersection, integration and confrontation of subculture and mainstream culture. Bitran creatively uses materials and technology of her hands, once again eliminating the boundaries of mainstream and non-mainstream, of icon and ego, and of low-cost and large-scale production.
Ran Li, Beyond Geography, Color, Sound, HD video, 23:09, 2012
Beyond Geography was originally a video installation presented on the traditional CRT screen. Li imitates nature documentary host’s gesture, tone and grammar. In the process of exploring the unknown, Li repeatedly mentioned art and museums, highlighting how mainstream narrative constructs the dichotomy between civilization and nature. In addition, is the controversial gesture of “blackface” liberated in the name of art?
About the artists:
Claudia Bitran, https://www.claudiabitran.com/
Claudia is a multidisciplinary artist that works through video, painting, performance, installation, animation and sound. She was born in Boston, spent most of her life in Chile and currently lives in NY. She has a BFA from the Universidad Catolica de Chile (2009) and an MFA in Painting from Rhode Island School of Design (2013). In 2014 she was a resident at Skowhegan School of Painting Sculpture and at Bemis Center for Contemporary Arts. She attended Roswell Artist-in-Residence Program in New Mexico for a year between 2016 and 2017 and she is currently an Artist in Residence at Smack Mellon Studio Program in New York. Solo Exhibitions include: Muhlenberg College 2018, Practice Gallery 2018, Brooklyn Bridge Park Community Gallery 2017, Roswell Museum and Art Center 2017, Museum of Visual Arts in Chile 2016, ThisFriday or NextFriday in Brooklyn. Group Exhibitions include: Galería Nemesio Antunez, Chile 2018, LeRoy Neiman Gallery at Columbia University 2018, Anytime Dept 2017, Zaha Hadid IMAX Theater 2017, Changjiang Museum of Contemporary Art, China 2017, The Parlour Bushwick 2016, Project 722 , Museum of Contemporary Arts Quinta Normal, at Matucana 100 Art space, among others. Awards : First honorable mention at the XXII Media Arts Biennale in Chile, the first prize at the UFO McDonald’s Painting Competition, the First Prize for Britney Spears Dance Challenge, 2016. Grants: The New York Community Trust Van Lier, Jerome Foundation for emerging Filmmakers Grant, Emergency Grant for Artists, Hammersley Grant.
Ni Xiang.
He is now in a state of hibernation for some reasons, so everything is up in the air. He enjoys playing lip service when being free. Currently feels that art education is a total failure if it could not help students independently face and solve the problem.
Xie Yi, http://www.xieyistudio.com/
Born in Sichuan, 1984. He is now based in Beijing. Xie Yi graduated from Sichuan Fine Arts Institute with a Bachelor’s degree in Sculpture.2009. and from Sichuan Fine Arts Institute with a Master degree in Sculpture, 2012.XieYi constructs a full narrative system using loose information and perception— in which ambitious issues such as “development”, “true labor”, “historical selection” are often interwoven — in this system conflicts between the real-world and the artistic frequently take place. As the outcome of these conflicts, Xie Yi’s works are nonetheless kept at a seemingly balanced level, representing an almost paradigmatic eternity. His recent group exhibitions include “Bridge”,(Eunam Museum, Gwangju, Korea，2017),”Wet Dreams”(SaltProjects, Beijing, 2012), and “LaChair”(A+ Contemporary, Shanghai, 2016). Solo exhibition :”Barge Haulers on the Volga”( J:Gsllery,Shanghai,China).His recent residency projects include “Freedom Men”(Freedom Men, Taichung, Taiwan,2017),”Artist in residence programme (Korea)-Shanghai Himalayas Museum”(Gwangju Museum of Art, Gwangju, Korea, 2016).
Li Ran, http://www.li-ran.org/
1986 Born in Hubei, Li Ran currently lives and works in Beijing, China. Graduated from Sichuan Fine Arts Institute, Oil Painting Department with BFA. Li Ran has exhibited at the Center Pompidou, Pairs; basis door actuele kunst (BAK), Utrecht; Huas der Kulturen der Welt (HKW), Berlin; Contemporary Arts Museum Houston (CAMH), Houston; Musée d’art contemporain de Montréal, Montreal; The Museum of Moscow, Moscow; Centre d’Art Contemporain Genève, Geneva; CCA Wattis Institute for Contemporary Arts, San Francisco; NTU Center For Contemporary Art Singapore (CCA), Singapore; Museum of Contemporary Art and Design (MCAD), Manila; Sifang Museum, Nanjing; OCT Contemporary Art Terminal (OCAT), Shenzhen，Shanghai and Xi’an; Ullens Center for Contemporary Art (UCCA), Beijing; CAFA Museum (CAFAM), Beijing; and other venues, He has held solo exhibition at OCT Contemporary Art Terminal (OCAT), Xi’an (2015); His single-channel video work also screening in Institute of Contemporary Arts (ICA), London; The Jewish Museum, New York and other venues; His works have also been featured in Montreal Biennale (2014), Biennale de I’Image en Mouvement 2014 (2014 In Geneva), 4th Moscow International Biennale for Young Art (2014), 2nd CAFAM Biennial (2014), 4th “Former West” Project (2013, In Berlin and Utrecht), 9th Gwangju Biennial (2012), 7th Shenzhen Sculpture Biennale (2012). He won the “Best Artist Award” at the 2014 Moscow International Youth Art Biennale and was nominated for the “Future Generation Award” by the Pinchuk Arts Center in 2017.
