Sidsel Meineche Hansen, Seroquel®, 2014. Courtesy the artist. Image credit: Werkflow, London.
For English please scroll down
時間：2016年9月30日，晚間七點
地點：Lightbox攝影圖書室（台北市中正區金門街5-1號3F）
選映人：Maria Bordorff
主辦單位：台北當代藝術中心、Lightbox攝影圖書室
此活動將以英語進行。
來自哥本哈根的藝評及獨立策展人Maria Bordorff，將為此次錄像廳活動帶來五位藝術家的近期作品。放映活動將為約40分鐘，並以選映作品介紹作為切入，側看當代丹麥錄像藝術的景貌。
此次選映的五位藝術家，其錄像領域的創作上之共通點，在於或多或少皆以女權作發出。因此，無論是情色產業、由男性所主宰的電影史、美術館中女性藝術家展示的普遍代表性不足以及在女性主義方法及視角之下的研究數字顯示之兩性權力結構等的種種議題著墨，皆可見於作品之中。在Sidsel Meineche Hansen的作品中，片中主角 – 阿凡達 – 以自毀行為及性高潮迎面觀眾，藉以批判資本主義以及父權操控之下的身體。不約而同地，Anne Haaning的動畫作品則也出於異曲同工之妙。再者，Meineche Hansen以畸形的醜惡影射女權主義的權力工具。同例可見於Lil Wachmann和女性主義團體與利用古典女性主義方法 – 宣示 – 的無名氏之作，片中六位女演員所上演（來自大衛林區的電影穆荷蘭大道）的經典片段作為一系列如何握權歷史的思考。而上述中集體生產的方式，則是作為女權蘊義上的一種方法。
除此之外，藝術創作以及女性藝術家的身份則歷來皆理所當然地與影像主題嫁接。
此次選映作品所涉獵的影像範疇廣泛自16釐米黑白片至3D影像，以及一件涵蓋虛擬情境技術的錄像裝置，其配載虛擬實境頭戴式顯示器。所有作品皆為近年所創作並已於丹麥和國際間各式展覽中展出。
選映藝術家為Sidsel Meineche Hansen (1981), Anne Haaning (1977), Maria Meinild (1984), Lil Wachmann (1990) and Barbara Amalie Skovmand Thomsen (1980)
關於選映人
Maria Bordorff（1988）畢業於丹麥哥本哈根大學的當代文化碩士，獨立工作為作家、藝術評論與策展人。曾擔任非營利展覽空間New Shelter Plan的日常管理以及諮詢委員為期兩年、奧胡斯藝術學院大學部畢業展策展人以及北歐線上藝術期刊Kunstkritikk的合同作者。
近來致力於研究當代藝術生產中框架於新自由主義之下的勞動，並以戰後藝術脈絡中的工作史及藝術史為探究基體。關鍵概念如臨時工、特權、浪漫主義、自主性以及剝削等皆含括於其目前正著手進行中的一項關於後福斯工作期限的研究及現今的藝術批評計畫。
本次放映活動特別感謝Lightbox攝影圖書室
TCAC錄像廳由黃其玟與Bart Dekker所贊助
Date: 7:00PM, Sept 30, 2016
Venue: Lightbox (3F., No.5-1, Kinmen St., Zhongzheng Dist. Taipei)
Screening programmer: Maria Bordorff
Organizers: Taipei Contemporary Art Center, Lightbox
The event will be in English.
Critic and independent curator from Copenhagen Maria Bordorff shows recent works by five Danish video artists. The program durates approximately 40 minutes. On the opening evening, the program will be accompanied by a presentation of the works as well as a brief introduction to the Danish video art scene.
Common for the five artists represented is that they all to a greater or lesser extent share a feminist point of departure for their work within the wider field of video art. Whether it’s porn industry, the male-dominated film history, under-representation of women artists in museums and art centers or power structures in digital reality which is under study, feminist methods and perspectives can be found in the works. For example, Sidsel Meineche Hansen criticizes capitalism and patriarchal manipulation and control of the human body when she lets the protagonist in her videos – the avatar EVA v3.0 – confront the audience with self-destructive behavior and squirting orgasm. In a similar manner, Anne Haaning works with animation and representation in digital space. Here too, as in Meineche Hansen’s works, a monstrosity is brought into play as a powerful feminist tool. Another example is Lil Wachmann and Feminist Collective with No Name who make use of the classic feminist method «reclaiming». The six female actors in the video perform re-enactments of canonic movie scenes (from among others David Lynch’s’ Mulholland Drive) which function as a series of considerations of how to take ownership of history. Collective production also adds up as a feminist approach.
Besides, artistic creation and the position of the female artist historically are topics naturally connecting to the screening program.
The imagery of the works ranges widely from black and white 16mm analogue film to 3D-design and a more installatory approach to video art including new VR technologies such as Oculus Rift. All works have been created within the last few years and have been shown in various exhibition contexts both in Denmark and internationally.
The artists represented in the program are: Sidsel Meineche Hansen (1981), Anne Haaning (1977), Maria Meinild (1984), Lil Wachmann (1990) and Barbara Amalie Skovmand Thomsen (1980)
About the screening programmer:
Maria Bordorff (1988)MA in Modern Culture from University of Copenhagen, Denmark. Works independently as writer, art critic and curator — among other things as part of the daily management and advisory board at non-profit exhibition space New Shelter Plan for two years, as curator of the BA graduate show at Funen Art Academy and as associated writer for the online Scandinavian art journal Kunstkritikk.
Current interests include researching contemporary artistic production as labour within the neoliberal framework, in basis of work history and history of art since the postwar period. Precarity, privileges, romanticism, autonomy and exploitation are key concepts in an ongoing research into post-Fordist working life studies and critical art practice today.
Special thanks to Lightbox
TCAC Video Lounge is sponsored by Chi-Wen Huang & Bart Dekker
