策展論述

curatorial-statement

首屆桃園科技藝術節以「初未來」(hello, world)為題,象徵一個科技與藝術的混合初始,混搭跨域合作可能的未來。「初未來」壓縮了原「初」至「未來」的時間軸,意味著以科技藝術發展歷程的濃縮冰芯段落作為此次展覽的呈現焦點,企圖以宏大卻微觀方式再現科技藝術中初始與未來的多樣觀念與形式。

桃園科技藝術節英文副標(hello, world)則以電腦程式語言中初學者所編寫最基本的第一個程式_(hello, world),代表進入科技數位的世界與首屆桃園科技藝術節問好的意象。 科技藝術與科技文化策略的緊密關聯,早已是全球各地發展科技藝術的重要目標之一,科技藝術成為各國數位文化的實力展現與數位科技的創造、創新與省思的反射鏡。伴隨桃園市既有的人文與產業優勢基礎,亞洲·矽谷計畫、智慧城市發展,如同多層次的黑色沃土,交織出環境、科技、人文、娛樂等各種養分要素,這些堆疊著轉換的養分才足以孕育科技藝術綻放,這正是桃園市舉辦科技藝術節的核心價值。 

此次桃園科技藝術節內容包含聲響、影像文件紀錄、虛擬實境、機械裝置、互動裝置、數位塗鴉、數位製造、智慧城市、燈光裝置、社群共創、跨域表演共計30件作品,以及4場表演節目,實作工作坊與講演共10場。

聲響展出以聲響的實驗視野與復古反思為軸線,香港的黑膠唱機譜成聲的形態,回溯經典極簡美國Tristan Perich1位元交響樂單晶片裝置與瑞士Marc8位元混音帶的單晶片電子合成器與60年代電子樂器、人機界面先驅Erkki Kurenniemi創新衝擊的再發現,另類台灣聲音藝術的白木耳雜誌與影像文件,王仲堃的互動聲響機械樂器、王福瑞與盧藝共組的響相工作室的大型聲響裝置追尋聲音的所有可能,聽說的人聲與物件的工作坊,帶領民眾重新認識的經驗,劉佩雯與Tobias李婉菁與三牲獻藝的信仰、土地與音樂的徹底實踐指引開創出一條台灣聲響的新未來。

韓國Kimichi&Chips16公尺長的巨大類比螢幕483條實體掃描線組成的詩意光影,沈浸於陶亞倫建構時間與空間極致融合的體感虛擬實境,香港林欣傑的網路與實體公眾共同參與創造的虛實雕塑與純禾作的光與時間的敘事作品,蔡宜婷的孤獨慢駛跑步車輛,Akibo充滿異想的銀河小艇搭載著可愛的機器人,鄭先喻的生命值量與遊戲機台的殘酷遊戲機,吳宜曄以不同媒介表現一封電子信件的傳遞速度,德國Aram Bartholl專設公共人人低頭滑手機區,香港關子維的黑色無人飛行傘,超維度互動的社運工具白傘,闞凱宇的數位製造的陶瓷列印,德國的Christian Faubel晶體機器人工作坊等等各領域精彩計畫、裝置作品擴大科技藝術節的眾多作品面向。

表演節目,巴西的Vj Suave以行動腳踏車加數位塗鴉將充滿童趣與想像力的影像投射至桃園的街頭,透過行動即時的演出形式與民眾同樂。義大利新媒體藝術天團Fuse*帶來他們的新作Dökk(黑暗)_艾娃的旅程,隨著一連串數位影像的風景改變,艾娃企圖與世界產生連動,舞者配戴生理感應器與運動感應器,舞者身上的參數影響著數位風景的運算視覺畫面,同時連動至社群網路,網路的資料也將影響改變表演的視覺呈現。三牲獻藝將演繹電子音樂與台灣廟宇音樂元素混種、融合的跨界影音表演。Ponga的角演論,將獨角獸的演化用來詮釋靈魂的永存就如同神秘的獨角獸,不斷去探索其真實性,獨角獸成為一個思念的靈魂象徵,演出收集了公眾的思念絮語轉譯成摩斯密碼電音與手繪影像的光雕演出。

桃園科技藝術節除了展示科技藝術的各種精彩作品,更重視大眾對話與開放參與,歡迎大家一起參與10月的桃園科技藝術節的所有系列活動。

“Hello, world” is the theme of this very first TAxT and a symbol of the marriage between art and technology; the start of endless interdisciplinary collaboration in the years to come. “Hello, world” is a snapshot in time that collapses “the beginning” and “the future”, like an ice core that records the history of technology art from its humble beginnings to the unknown future. In both macro and micro ways, the event aims to represent the diversified views and typology of technology art in its most primitive forms and future development.

The subtitle “(hello, world)” is inspired by the most basic programming language known to every beginner programmer. It signifies an entry into the digital world and a warm welcome to the first TAxT. Techno art goes hand in hand with strategies for technology development. Marrying the two is one of the most important goals that countries around the world strive for. It also serves to tesfity how technology has been created, innovated and reflected upon. Taoyuan City is blessed with abundant culture, art, and favourable industrial prowess, topped off with the new policy Asia Silicon Valley Development Agency and Smart City. Like layers of dark soil rich in technology, eco-friendly design, culture, and entertainment, Taoyuan’s fine qualities create a fertile ground for making amazing technology art that culminates in the City’s first technology art festival—The Taoyuan Art x Technology Festival (TAxT).

The program ranges from sound installation, image documentation, virtual reality, mechanical devices, interactive devices, to digital graffiti, smart city, lighting installation, collaborative art, and interdisciplinary performances, totalling thirty pieces of art work, four performances, and ten workshops and lectures.

Sound installation features sound labs, retrospective art, and soundscapes made by Hong Kong’s vinyl record player. On the one hand, the installations include a throwback to the works of American sound artist Tristan Perich—the classic and simplistic 1-bit symphonic music produced on single chips, the 8 Bit Mixtape single-unit synthesizer by Swiss artist Marc Dusseiller Dusjagr, and a reinvention of the work of Erkki Kurenniemi, trailblazer of the techno music instrument popular in the 60s and human-machine interfaced music. Also on display are White Fungus, a magazine dedicated to alternative Taiwanese sound art and image documentation,  Chun-Kun Wang’s interactive sound machines and instruments and a large scale sound installation exploring different possibilities of sound, made by Soundwatch Studio, cofounded by Fujui Wang and Lu Yi. There will be workshops featuring noises and sounds generated by humans and objects. Visitors can expect to “relearn” the listening experience. On the other hand, works of Pei-Wen Liu , Tobias Hoffmann,  Wang-Jing Lee, and Sam-Seng-Hiàn-Gē are true embodiments that blend belief, land and music into one, paving the way for a new future for the sound art scene in Taiwan.

The event showcases a line of amazing art works that include Kimchi & Chips’s sixteen-meter long analogue screen showing poetic light and shadow image made of 483 solid scanning lines, the immersive experience with artist Ya-Lun Tao’s augmented time and space; Hong Kong artist Keith Lam’s virtual sculpture inviting public participation; Pure Do’s use of light and time to create a narrative piece; Yi-Ting Tsai’s lonely-looking slow-motion toy car, Akibo’s fanciful robot-carrying galaxy cruiser; Hsien-Yu Cheng’s attempt to collect the quality and quantity of life and a ruthless game on the play station; Yi-Yeh Wu ’s attempt to materialize email’s speed of transmission via various media; German artist Aram Bartholl’s phubbing zone dedicated to head bending and phone checking activities; Hong Kong artist Alan Kwan’s unmanned black paraglider; Dimension Plus’ white umbrella for social movement; Kai-Yu Kamm’s digital production in ceramic printing; and German artist Christian Faubel’s crystal robot workshops. An extraordinary line up of projects and installation all go towards diversifying TAxT.

As for show performances, Brazilian VJ Suave uses a tricycle to project childish imagination onto the streets of Taoyuan. This well-equipped vehicle enables art performance on the go, bringing fun and joy to all. Italian new media group Fuse* introduces their latest work Dökk (darkness)_Eva’s Journey. Eva the dancer tries to connect with the outside world against a background of continuous digital landscape. She wears many physical and motion sensors, whose data generated go on to dictate the images of the landscapes. The data is also fed to social networks that also influence the visual effect of the performances in return. Sam-Seng-Hiàn-Gē puts on a hybrid repertoire featuring electronic music mixed with elements of Taiwanese temple music and an interdisciplinary media performance. Ponga’s Unicorn of Evolution and Ethics likens the eternity of the souls to a unicorn. The work depicts the evolution of this mythical creature and explores its authenticity. The unicorn becomes a spiritual symbol of longing. The performance consists of techno music in the form of Morse code and hand-drawn light projections, translated from a collection of longing whispers made by ordinary folks.

On top of all the amazing works on display, TAxT has a more important mission to facilitate public dialogue and participation for all. We look forward to seeing you at the Taoyuan Art x Technology Festival in October 2017.