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2019.08.28-09.01 洞 hOle
展映：2019.08.28-09.01，2-6:30pm
展演座談：2019.08.30，7-10pm、2019.08.31，2-6pm
地點：台北當代藝術中心，台北市保安街49巷11號（捷運大橋頭站）
參與者：趙翼廷、崔允、金益鉉、許好廷、林榮住、金喜天、郭俞平、羅仕東、楊季涓、張徐展
策展人：呂岱如、朴佳熙
本活動由台北當代藝術中心主辦，韓國藝術協會及台北市文化局贊助
本活動將以中、韓文雙語進行
可能有幾個等待完成的洞。我不知道我們要如何追趕上這看似如此漫漫無絕的遊戲——靠著吸吮、滾動、等待、鑿穿、鑄模、鑽、燒、製造、敲、窺看、磨、推文、壓擠、射擊⋯⋯這些動作顯得單調而重複，然而確實不然。就像在一個洞穴裡連續聽了五天音樂後，裡面播放的歌會逐漸化開糊成一片。但是，這也算是某種跳脫吧。
我們持續地說話。牆面把所有聲音包裝在一口袋子裡，猶如貝殼共振海洋的回憶。你在這裡對我展現你在那裡所收集到的——負空間還是正空間？如果那裡有個洞，你說我們就可以打造樂器。若這個洞果如預料，或許它將通往永恆或虛空。假使一個洞在這裡，銀河似乎投石之遙。
《洞》將以連續五天的藝術創作發表與座談活動，在各種信念、推論和想像之間睡覺與行走。它指向某種地方性、我們標註某地、在其中取得聯繫的方式。十二位文化實踐者將從各自的創作和研究中描繪、上演這個隱喻的空間，而你將體驗到穿透、投射、回應、延展與轉變那些連結與跨越地理、時代的深淵。
你會繼續前進直到某人墜落。O，再一個洞。
節目時程：
8.28-09.01，2-6:30pm
崔允，《國民宣言》（2012-14)，85分
林榮住，《石頭與童話》（2016)，45分30秒
趙翼廷，《點》（2016)，32分
趙翼廷，《黃點》（2016)，25分
金喜天，《雪橇》（2016)，17分27秒
崔允，《重播花子與泡菜先生等》（2016)，30分
金喜天，《家》（2016)，40分
8.30（五），7-10pm
《雪橇》，金喜天
《延遲與凹洞》，郭俞平
《點》，趙翼廷
《透明度與不透明度》，許好
綜合討論：08.31（六），2-6pm
表演性座談《潛伏》，金益鉉
《文化流動與原型索引》，張徐展
敘事表演《在TCAC的旋轉門GPS》，崔允
《短篇集－現場》，楊季涓
網站重演《折疊土地的一種方式》，林榮住
《在雨天修補漏水的屋頂》，羅仕東
參與者簡歷：
趙翼廷關注社會中個別成員間難以捉摸的暴力與其荒謬的關係。她通過觀察日常的口角和偶然發生的不和諧來揭示並敘事。她的藝術實踐包含有繪畫、裝置、表演和錄像等不多形式的表達，處理粗糙蠻橫的國家敘事。趙翼廷的作品曾在以下空間展出：首爾藝術博物館，Platform L、Doosan畫廊、總博物館（首爾）、皇后區博物館（紐約）、L’espace des arts sans frontiers（巴黎）、L’appartment 22（拉巴特）等。
崔允在現代性與當代性糾結交纏的韓國當代社會裡，擴展和再製其日常與類型化的影像。她從公共空間及大眾媒體中捕捉、收集及轉化影像，創造某種社會氛圍並推演其所暗示的集體信念。除了影像作品外，崔允也使用裝置與表演進行創作。她曾經在以下空間展示作品：Art Sonje藝術中心、釜山雙年展、廣州雙年展衛星展、Kukje畫廊、紐約的Doosan畫廊等。http://yunyunchoi.com
金益鉉深入研究過去、現在、實際存在與可見之間的視差，並透過攝影與寫作之實踐方案進行論述推測過程。他透過創作試圖去聯繫、想像且細察由麥卡托投影、海底光纖電纜、奈米和全球價值鏈所建構的世界帶來的連結及破裂。金益鉉參加多項展覽活動：SeMA雙年展: Mediacity Seoul 2016（首爾藝術博物館，2016）、PUSH, PULL, DRAG（Platform-L，首爾， 2016）、A SNOWFLAKE（Kukje畫廊, 首爾， 2017）與其他團體展覽。他更策劃、組織攝影展。2014至2016年期間，他在首爾經營Nowhere藝術空間以支持攝影實踐。
許好廷是來自首爾工作的作家和研究者，同時也是Banzzak研究團隊的成員。她的評論研究方向主要關注藝術史和圖像理論中，既往圖像在現實中的重返及其在當代藝術中的遺存。許好庭曾擔任韓國藝術委員會項目—「韓國美學藝術家Kim Yoon Soo的口述記錄」的研究員，並為韓國的藝術雜誌專欄與展覽撰文。
林榮住主要以影像、繪畫、裝置與出版的作品形式審察各種表似荒謬的民間信仰及其底層結構。她的作品側重於科學思維與無法被現代世界邏輯所接受之迷信、宗教的相似而非相異之處。林榮住詮釋、借用、挪用遍佈整個社會的超自然元素，以自己的方式創造「準」科學圖像。她曾經參展在：紐約的Doosan畫廊、釜山雙年展、SFMOMA、首爾藝術博物館、Platform-L、INSA藝術空間等。www.imyoungzoo.com
金喜天擁有建築訓練背景，他的動態影像內容結合了拍攝與數位介面（包括VR、Face Swap和Google Earth）。這些半動畫元素與他作品中的自傳敘事相互交織，影射他對現實本質即為數據生產形式的理解。金喜天曾在多個藝術機構和雙年展展出： ZKM（2019，卡爾斯魯爾）、當代藝術與設計美術館（2019，馬尼拉）、NJPAC（2018，首爾）、光州雙年展（2018，光州）、伊斯坦堡雙年展（2017，伊斯坦堡）、Atelier Hermès（2017，首爾）、國家現代和當代藝術博物館，韓國（2016、2017，首爾），Kunsthal Aarhus（2016，奧胡斯），SeMA雙年展：Media City Seoul（2016）。
郭俞平的藝術實踐展開了雙重路徑。以理性批判、對現代化進程與政治議題的關注，其創作將個人生命經驗和行動，對應連結到時代歷史、集體記憶等的框架上。另一方面，她也有不同的作品系列以活潑流暢的視覺語言去傳達個人內心世界的圖像，包含了怪誕奇幻的想像和更多直覺性的感性表述。近日個展包括：TKG+《昨日有多真實》（2019）、谷公館《小黑書》（2017）。郭俞平曾入圍2018和2015兩屆台北獎，並曾參展2018年台灣雙年展、2016年台北雙年展。http://www.kuoyuping.com/
羅仕東的實踐軌跡沿著兩種不同引力繞行，個人的藝術創作追求以及對於集體實踐的熱情並行在他的工作與思想裡。長年作為打開－當代藝術工作站的核心領導成員，羅仕東在尋找跨文化觀點及藝術實踐的交互潛力上，扮演著相當特殊且具有接著力的角色，探索合作過程之形式、空間、模式、關係中，所進一步形塑和動員的藝術力量。另一方面，他的個人實踐則關注某脈絡場景、環境，或世界運作與組成中的片碎敘事及反思空間。他曾於2011年參加巴黎龐畢度中心《巴黎／柏林／馬德里國際當代影像藝術節》，里昂Olivier Hong Galerie《活體詩學－驚蟄詩囚》聯展。
楊季涓將記憶做為知識來源與媒介，探索在人們、地方、物件、事件之間的種種關係，賦予物質或非物質的形式來載動其感性和敘事表達。楊季涓經常採用說故事的方式在她的雕塑或空間裝置裡，創造出一種溫暖質地的時間量體、一個輕巧的入口，穿透展開在生活、家庭、政治、都市環境、文化肌理等各種向度的問題。近來的個展包括臺北國際藝術村《短篇集：風和日麗》（2017）、咩事藝術空間《Tick-Tock》（2017）、朱銘美術館《短篇集：從夜晚10點到清晨5點》（2017）等。獲獎經歷：2017台北美術獎入選、2018三亞藝術季華宇青年獎入圍。http://www.yangchichuan.com
張徐展的動畫和擴延電影裝置作品，以其獨特思考挪用在地傳統紙紮文化為肌理，編織了一個以古怪動物為主角的奇幻世界，這些角色隨著其跨文化敘事手段，迴喚出種種相繫生死、人類情感的深刻人道意義。他作品曾在多處展出，包括2018年上海雙年展、第五十五屆台北金馬影展、福岡亞洲美術館的亞洲數位藝術獎、昆士蘭現代美術館的第七屆亞太當代三年展－APT7放映項目。http://www.mores-zhan.com/
策展人簡歷
呂岱如從事策展、寫作。她的策展重視方法學的發展，創建跨越藝術和現實間的概念性觀看及思辨性活動。她的許多計畫關注感性、身體、機制與回憶之間的共振的空間，由此去探索人的況境、知識的邊界，以及藝術如何超越現有的思維，更深刻地去面向人性、文化、生命之聯繫。她在2015至2017年間於台北當代藝術中心擔任總監，主持策展與組織工作。2013年策劃《這不是一座台灣館 》(第五十五屆威尼斯雙年展平行計畫) 。她在亞洲與歐洲都曾策劃過多項展覽、工作坊計畫，近來的策展實踐注重開發各種專業工作坊、觀眾體驗等不同的另翼共學和創意策略。
朴佳熙是來自首爾策展人。以展覽作為媒介，她關注策展的表演性及其中知識事件的發生。在其近日的策展工作中，她試圖透過對於過往展覽的研究及脈絡化工作，來尋找多重藝術史敘事的可能。她在Arko藝術中心實習後，於2013至2017年間擔任首爾藝術博物館的策展人。去年擔任2018年釜山雙年展客座策展人。她與另外兩位同儕Hyo Jeon及Eunbi Jo共同將《自我組織》翻譯成韓文。
2019.08.28-09.01 洞 hOle
Screening: 2019.08.28-09.01, 2-6:30pm
Event: 2019.08.30, 7-10pm; 2019.08.31, 2-6pm
Venue: Taipei Contemporary Art Center, No.11, Lane 49, Baoan Street, Taipei (MRT Daqiaotou Station)
Participants: CHO Ikjung, CHOI Yun, GIM Ikhyun, HUR Hojeong, IM Youngzoo, KIM Heecheon, KUO Yu Ping, LO Shih Tung, YANG Chi Chuan, ZHANG XU Zhan
Curators: Esther LU, PARK Gahee
Supported by Arts Council Korea, Department of Cultural Affairs, Taipei City Government
Organised by Taipei Contemporary Art Center
The event will be conducted in Chinese and Korean.
Maybe there are some holes to make. I wonder how we are going to keep up with such a prolonged play—of sucking, rolling, waiting, carving, molding, piercing, burning, fabricating, knocking, peeping, grinding, tweeting, pressing, shooting and on and on. The actions are almost monotonous and repetitive, even though they are not. It’s like listening to music in the same cave for five days, and then all the songs become more or less the same. But it is a breakaway.
We keep talking; walls wrap up all sounds in one bag like a shell reverberates with memory of the ocean. Here you show me what you collect there—negative or positive space, I wonder. If there is a hole, then we can make an instrument, you say. If this hole is as speculated, perhaps it connects to somewhere infinite or void. If a hole is here, the Milky Way is not far away.
hOle, a five-day practice-based discursive event, sleeps and stands amongst conviction, speculation and imagination. It references to locality, the way we pin a place, or how to make a contact in between. Twelve practitioners will illustrate and enact such metaphor from their own practices, and you shall play along and experience a journey of holes that penetrate, project, reflect, extend, shift what connects and crosses geographies, generations and more.
You keep going till someone falls. O, another hOle.
Program:
08.28-09.01, 2-6:30pm
CHOI Yun, Kookmin Manifesto (2012-2014), 85 mins
IM Youngzoo, Rock and Fairy (2016), 45 mins. 30 sec.
CHO Ikjung, SPOT (2016), 32 mins.
CHO Ikjung, Yellow Spot (2016), 25 mins.
KIM Heecheon, Sleigh Ride Chill (2016), 17 min. 27 sec.
CHOI Yun, Hanaco and Mr. Kimchi etc. playback (2016), 30 mins.
KIM Heecheon, Home (2017), 40 mins.
08.30 (Fri), 7-10pm
Sleigh Ride Chill by KIM Heecheon
Delay and Pit by KUO Yu Ping
SPOT, CHO Ikjung
Transparency and Opacity by HUR Hojeong
Discussion led by Gahee Park
08.31 (Sat), 2-6pm
Lecture performance Latency by GIM Ikhyun
Cultural Flows and Archetype Index by ZHANG XU Zhan
Narration performance Revolving Door GPS @ TCAC by CHOI Yun
Live reiteration on Essays by YANG Chi Chuan
Websites reenactment A method for folding a land by IM Youngzoo
Fix the Leaky Roof in Rainy Days by LO Shih Tung
Discussion led by Esther Lu
About Participants:
CHO Ikjung pays attention to the elusive violence within individual members of society and the absurdity among their relationships. She deals with narratives that are revealed through observation based on daily hassles and occasional discord. Within various forms of expression including drawing, installation, performance and video, her practice operates rough and boldly outrageous narrative of the state. Her works have been shown at Seoul Museum of Art, Platform L, Doosan Gallery, Total Museum of Art (Seoul), Queens Museum (New York), L’espace des arts sans frontiers (Paris), L’appartment 22 (Rabat), and many more.
CHOI Yun works on reproducing and expanding banal and stereotypical images of South Korea where modernity and contemporaneity are tangled. From public places and popular media, she captures, collects, and transforms images that create a certain social climate, and speculates on the collective belief that those images imply. Along with video, she works with installation and performance. She has been shown her works at Art Sonje Center, Busan Biennale, the Gwangju Biennale’s satellite exhibition, Kukje Gallery, Doosan Gallery, New York and many more. http://yunyunchoi.com
GIM Ikhyun delves deep into the parallax between what actually exists and being visible, and past and present, and further speculates it through the practice of photography and writing. He recalls, imagines and scrutinizes the connection and the rupture that have been made by a world drawn with Mercator’s projection, undersea fiber-optic cables, a world of nanometers and the Global Value Chain. GIM has been participated in SeMA Biennale: Mediacity Seoul 2016, (Seoul Museum of Art, Seoul, 2016), PUSH, PULL, DRAG (Platform-L, Seoul, 2016), A SNOWFLAKE, (Kukje Gallery, Seoul, 2017) among other group exhibitions. He also curates and organises photography exhibitions. Between 2014 and 2016, he was running an art space called Nowhere in Seoul supporting the photographic practices.
HUR Hojeong is a writer and researcher based in Seoul and a member of the research collective, Banzzak. Her critical works have delved deep into art history and theory of images paying attention to the emergence of images in the past and their remains in contemporary art. She worked as a researcher for a project of Arts Council Korea, “the Oral Statement Record from Korean Artist: Kim Yoon Soo, an aesthetician.” She writes for art magazines in Korea and exhibitions.
IM Youngzoo primarily works with video along with painting, installation, and publishing to examine absurd beliefs and their underlying structures. IM’s focus lies on the similarities, rather than differences, of scientific thinking with superstitions and religions that cannot be compatible by logic of the modern world. She interprets, borrows, and appropriates supernatural elements spread throughout society to create (quasi-) scientific images in her own way. She has participated and shown her works at DOOSAN Gallery New York, Busan Biennale, SFMOMA, Seoul Museum of Art, Platform-L, INSA ART SPACE, and many more. www.imyoungzoo.com
Trained as an architect, KIM Heecheon works with moving images, mashing up filmed footage with digital interfaces including VR, Face Swap and Google Earth. These semi-animated elements tangled with the autobiographical narratives in his works imply his approach to reality, in which its nature is reproduced in the form of data. He has exhibited at various art institutions and biennales such as ZKM (2019, Karlsruhe), Museum of Contemporary Art and Design (2019, Manila), NJPAC (2018, Seoul), Gwangju Biennale (2018, Gwangju), Istanbul Biennale (2017, Istanbul), Atelier Hermès (2017, Seoul), National Museum of Modern and Contemporary Art, Korea (2016, 2017, Seoul), Kunsthal Aarhus (2016, Aarhus), SeMA Biennale: Media City Seoul (2016).
KUO Yu Ping has been working along with dual trajectories in her practice. One concerns how her personal experience and action connect to history and collective memory following a rational criticality and attention to modernisation and politics. The other reflects her inner world featuring a realm of eerie fantasy and intuitive expressions with vibrant and fluid visual language. Her recent solo shows include: How Real is Yesterday, TKG+ Project (2019); My Little Black Book, Michael Ku Gallery (2017). KUO is the Finalist in the 2018 and 2015 Taipei Arts Award, and participated in the 2018 Taiwan Biennial and 2016 Taipei Biennial. http://www.kuoyuping.com/
LO Shih Tung’s practice orbits around two different gravities—of his personal artistic pursuit as well as of his interest in collective practice. As a leading member of Open Contemporary Art Center, LO has been taking a very specific role in navigating potential interactions among cross-cultural perspectives and artistic practices, investigating the force of art that is mobilized and shaped by form, space, model and relation of collaborative process. His individual practice pays attention to fragmented narration and reflection of a contextual setting or environment, operation and composition of the world. LO has participated in the 2011 Rencontres Internationales Paris/Berlin/Madrid at Centre Georges Pompidou, Paris/ France, and also Une terrible poetique, La Biennale de Lyon, France.
YANG Chi Chuan explores memory as a source of knowledge and agent to mediate relations among people, places, objects and events, giving it material or immaterial form to carry her sensitivity and narratives. YANG often employs storytelling to create a warm duration in her sculpture or installation that embodies a subtle access to a wide range of questions in life, around family, politics, urban environment and various cultural fabrics. YANG’s recent solo exhibitions include: Have a Good Day, Taipei Artist Village (2017); Tick-Tock, Things That Can Happen in Hong Kong (2017); Essays During the Night, Juming Museum (2017). She is the Finalist in the 2018 Art Sanya Huayu Youth Award, China and the 2017 Taipei Arts Award. http://www.yangchichuan.com
ZHANG XU Zhan is known for his animation and expanded cinema installation based on his unique and creative take on the traditional local culture and craft of paper offerings. His work often features a fantasy world in which grotesque animal figures come alive with cross-cultural narratives seeking a humanistic resonance to reflect life and death as well as human affection. His works were included in 2018 Shanghai Biennale, 55th Taipei Golden Horse Film Festival, Asia Digital Art Award, Fukuoka Asian Art Museum, 7th Asia Pacific Triennial of Contemporary Art – APT7 Cinema, Queensland Gallery of Modern Art. http://www.mores-zhan.com/
About Curators:
Esther LU is a curator and writer based in Taipei. She is interested in formulating conceptual ways of seeing and discursive events crossing art and reality. Many of her projects focuses on interplays of sensibility, body, institution and memory, driven by the curiosity to explore human conditions, boundaries of knowing and how art embodies and exceeds our imagination to address various concerns toward humanity, culture and relevance of life. LU was the director of Taipei Contemporary Art Center from 2015 to 2017, and the curator of This is not a Taiwan Pavilion — collateral event in the 55th Venice Biennale in 2013. She has curated a number of international exhibitions and workshops in Asia and Europe. Her recent curatorial practice involves creating co-learning and innovative mediation strategies for professional workshops or audience experience.
Gahee PARK is a curator based in Seoul. Regarding exhibition as a medium, her interest lies in the performative aspect of the curatorial in which the event of knowledge can occur. Recently, as a curatorial practice, she is trying to see the possibilities of multiple art histories through researching and contextualising the past exhibitions. After an internship at Arko Art Center, she worked as Curator at Seoul Museum of Art between 2013 and 2017. Last year, she joined the Busan Biennale 2018 as Guest Curator. She also translated Self-organised into Korean together with her colleagues Hyo JEON and Eunbi JO.
