依藝術家姓名筆畫排序
飄動的彩虹旗
Rainbow flag
藝術家|陳漢聲
Rainbow flag
藝術家|陳漢聲
「彩虹旗」是同志運動中精神代表的象徵,每個高舉旗幟揮動的人們,心中都有個故事並盼望平權社會某天的到來。然而對許多非參與運動者而言,這些聲音只是一群吵雜的喧嘩,和破碎的影像,不具任何意義。未曾仔細寧聽了解,又怎能斷定這面彩虹旗幟下的世界?影像中的人物,是曾參與同志遊行的志工,他們的移動與故事,碎裂在白色的空間之中,形成飄動的彩虹旗。
The “rainbow flag” is a spiritual symbol of LGBT Rights Movement, and when people raise this flag, a story is collectively shared with hope for equal rights in society. However, for others not involved in the movement, these voices can sound like meaningless boisterous ruckus accompanied by fragmented images. If you’ve never listened carefully, how can you know for sure what kind of world exists under the rainbow flag? People in the image are volunteers of LGBT Rights Movement, and the fluttering rainbow flag seen is composed of their movements and stories dwelling in the midst of the fragmented white space.
The “rainbow flag” is a spiritual symbol of LGBT Rights Movement, and when people raise this flag, a story is collectively shared with hope for equal rights in society. However, for others not involved in the movement, these voices can sound like meaningless boisterous ruckus accompanied by fragmented images. If you’ve never listened carefully, how can you know for sure what kind of world exists under the rainbow flag? People in the image are volunteers of LGBT Rights Movement, and the fluttering rainbow flag seen is composed of their movements and stories dwelling in the midst of the fragmented white space.
他和她
He and She
藝術家|彭徵維
He and She
藝術家|彭徵維
當我們看到一個人的長相,往往會因社會深植的主流價值來斷定一個人的性別,一旦與這種性別認同出現不相符的「例外」,我們便會對他人的性向感到質疑,而這樣既定的狹隘認知,導致我們在看待一個人時易於產生偏見,這種偏見往往造成的是歧視或甚至是暴力。 基於這點,本作品同時使用不同男性與女性的影像,分別以垂直和水平的方向排列,呈現貌似男性與女性的面孔。在互動上,當攝影機截取到觀者的頭像時,畫面中的影像將會與觀者的影像交錯呈現。透過簡單的互動,屏棄既定觀念,期待觀者能以更開放的心,從不同地角度去看待他人,體認每個人在本質上都是一樣的。
When we see someone, we are often driven by deep-rooted mainstream social values to dictate his or her gender, and when “exceptions” stray from conventional sexual identification, we then become suspicious of the person’s sexual orientation. Such narrow and preconceived way of identification can easily turn us into victims of prejudice, which can lead to discrimination and even violence. This artwork bears this point in mind and uses different male and female images arranged in vertical and horizontal ways, resembling faces that are masculine and feminine. The interactive component of the artwork captures headshots of audience members, and each image of the audience is then integrated with the image on the screen. Preconceived notions are made obsolete through this simple interactive mechanism, with the audience encouraged to see other people through different perspectives and to realize that everyone is intrinsically the same.
When we see someone, we are often driven by deep-rooted mainstream social values to dictate his or her gender, and when “exceptions” stray from conventional sexual identification, we then become suspicious of the person’s sexual orientation. Such narrow and preconceived way of identification can easily turn us into victims of prejudice, which can lead to discrimination and even violence. This artwork bears this point in mind and uses different male and female images arranged in vertical and horizontal ways, resembling faces that are masculine and feminine. The interactive component of the artwork captures headshots of audience members, and each image of the audience is then integrated with the image on the screen. Preconceived notions are made obsolete through this simple interactive mechanism, with the audience encouraged to see other people through different perspectives and to realize that everyone is intrinsically the same.
色色的
The Color of Love
藝術家|李冠宜
The Color of Love
藝術家|李冠宜
這是一項訪談計劃的呈現,呈現10-15位受訪者,關於他們第一次性經驗及從中聯想到的顏色的文字描述及影像顏色,受訪者的年齡、性別、性取向將不被觀者窺見。從文字中看見的是,無論受訪者是誰,第一次與他/她人發生親密關係的私密與珍貴,流竄之間的愛,與他與她與你與我色色的愛皆同般。
This is a project based on interviews. It involves 10-15 interviewees revealing their very first sexual experiences and words that describe the colors that are associated with the experiences and also images with the colors. Each interviewee’s age, gender, and sexual orientation are unrevealed to the audience. The words show that all of the first intimate experiences shared are private and cherished, despite who the interviewee is, and the color of love shared is the same between anybody.
This is a project based on interviews. It involves 10-15 interviewees revealing their very first sexual experiences and words that describe the colors that are associated with the experiences and also images with the colors. Each interviewee’s age, gender, and sexual orientation are unrevealed to the audience. The words show that all of the first intimate experiences shared are private and cherished, despite who the interviewee is, and the color of love shared is the same between anybody.
共生
We suffer each other to have each other a while
藝術家|徐叡平
We suffer each other to have each other a while
藝術家|徐叡平
從前人類分成三種,在男人和女人之外,還有陰陽人。其次,從前人是圓的,每個人有四隻手,四隻腳,頭上有兩副面孔分別朝向前後,生殖器一對。男人是太陽生的,女人是大地生的,陰陽人則是月亮生的。這些人的體力強大,圖謀造反,想飛上天去和神打仗。宙斯和眾神不能忍受人那麼囂張,又不想用雷把人滅絕以免以後沒人拜祂們,終於想到了一個方法,他把每個人截成兩半,這樣他們的力量就衰弱了。於是人被就切開了,肚臍就是縫口,人被截成兩半後,這一半想念那一半,常互相擁抱不肯放開。
People used to be categorized into three types: men, women, and intersex individuals. Also, people used to be round, with four hands, four feet, one face in the front, one face in the back, and a pair of genitals. Men came from the sun, women from the earth, and intersex people from the moon. These people possessed tremendous physical strengths and attempted to revolt by flying up to the sky to fight the gods. Zeus and the other gods were intolerant of these people’s arrogance, but they also didn’t want bring them to their extinction by striking them with thunder because they still wished for people to worship them. Ultimately, the gods decided to chop people in half to weaken their powers. This is how people came to be cut in half, with the belly button the seam where the cut was closed. After being cut in half, the two halves are always missing each other and are frequently found embracing each other without ever wanting to let go.
People used to be categorized into three types: men, women, and intersex individuals. Also, people used to be round, with four hands, four feet, one face in the front, one face in the back, and a pair of genitals. Men came from the sun, women from the earth, and intersex people from the moon. These people possessed tremendous physical strengths and attempted to revolt by flying up to the sky to fight the gods. Zeus and the other gods were intolerant of these people’s arrogance, but they also didn’t want bring them to their extinction by striking them with thunder because they still wished for people to worship them. Ultimately, the gods decided to chop people in half to weaken their powers. This is how people came to be cut in half, with the belly button the seam where the cut was closed. After being cut in half, the two halves are always missing each other and are frequently found embracing each other without ever wanting to let go.
日糸糸頁
Appear
藝術家|游惠喻
Appear
藝術家|游惠喻
生活中任何存在的事物都無法被掩飾,我們只是在假裝看不見,逃避它的存在,作品將日常事件自然的呈現在牆上、將本來就存在的事實含蓄的表達出來,反應人性自我的內心對話:「不是不知道,而是不想知道。」從一個一般人的角度去思考,在我們的國家中對資訊的流通是封閉的,我不能在一般的日常中去發現我想知道的訊息,即使我們都或多或少聽過婚姻平權、多元成家等議題,我想將這些存在的事實陳列在牆上,用手機掃描的自主性方法,讓人們自己去看見這些一直存在的事物,作品運用被動式的碼,來喚起人的主動感知,自主的去發現,這世界上存在著許多事情,可能在我們的記憶裡是模糊的,利用掃描顯示的方法,更清楚的表現實質存在的片刻。
Things that exist in life are impossible to conceal, and we are merely just pretending to ignore them and avoid their existences. This artwork displays everyday occurrences in a natural manner on the wall. With things that already exist expressed in a subtle way, reflecting words coming from people’s hearts: “It’s not that I am unaware but I just don’t wish to know.” Viewing from the perspective of an everyday regular person, the exchange of information in our country is actually quite confined. Information that I wish to know are unable to be attained in our normal everyday life, although we have all more or less heard about marriage equality, diverse family formation, and other related issues. My intention is to display these existing facts on the wall, and participants are given the autonomy to use their smart phones to scan the display and choose to see these things that have always existed. Through passive codes, the artwork calls upon people’s active perceptions and for them to actively try to seek out further information. There are many things in this world that are perhaps hazy in our memories, and through the gesture of scanning, realistic moments are then clearly expressed.
Things that exist in life are impossible to conceal, and we are merely just pretending to ignore them and avoid their existences. This artwork displays everyday occurrences in a natural manner on the wall. With things that already exist expressed in a subtle way, reflecting words coming from people’s hearts: “It’s not that I am unaware but I just don’t wish to know.” Viewing from the perspective of an everyday regular person, the exchange of information in our country is actually quite confined. Information that I wish to know are unable to be attained in our normal everyday life, although we have all more or less heard about marriage equality, diverse family formation, and other related issues. My intention is to display these existing facts on the wall, and participants are given the autonomy to use their smart phones to scan the display and choose to see these things that have always existed. Through passive codes, the artwork calls upon people’s active perceptions and for them to actively try to seek out further information. There are many things in this world that are perhaps hazy in our memories, and through the gesture of scanning, realistic moments are then clearly expressed.
黑暗裡我們相
To the Stranger who Meets Me in the Darkness
藝術家|王博彥
To the Stranger who Meets Me in the Darkness
藝術家|王博彥
黑暗之中憑藉微光依稀可窺見形體的輪廓,在此得以以一種曖昧不明確的姿態存在著。〈黑暗裡我們相遇〉透過一連串的空間場景映照出男同性戀者壓抑而神祕的情感狀態。這些多位於幽暗而隱密的場所具備了一定程度的安全感,進而提供男同性戀者被主流社會放逐所渴望之「家」之歸屬感。〈黑暗裡我們相遇〉雜揉東方文本和西方繪畫,試圖勾勒出男同性戀者一全面性跨越異質時空的地圖誌樣貌。
The outline of the form is faintly visible in the dimly lit dark space, as it takes on an existence that is elusive and ambiguous. To the Stranger who Meets Me in the Darkness is composed of a series of settings that reflect the suppressed and mysterious emotional states of male homosexuals. These settings that are dark and private seem to offer a sense of security, providing a feeling of belonging, a sense of home to those male homosexuals that are ejected by mainstream society. To the Stranger who Meets Me in the Darkness combines Eastern texts with Western paintings, and attempts to illustrate a comprehensive heterogeneous map of sexual transcendence for male homosexuals.
The outline of the form is faintly visible in the dimly lit dark space, as it takes on an existence that is elusive and ambiguous. To the Stranger who Meets Me in the Darkness is composed of a series of settings that reflect the suppressed and mysterious emotional states of male homosexuals. These settings that are dark and private seem to offer a sense of security, providing a feeling of belonging, a sense of home to those male homosexuals that are ejected by mainstream society. To the Stranger who Meets Me in the Darkness combines Eastern texts with Western paintings, and attempts to illustrate a comprehensive heterogeneous map of sexual transcendence for male homosexuals.
地圖詩歌/台北系列/「帥哥」、「正妹」
Map Poetry - Taipei City [Handsome boys], [Hot Chicks]
藝術家|張博傑
Map Poetry - Taipei City [Handsome boys], [Hot Chicks]
藝術家|張博傑
日常生活的找尋,依賴著「Google Map」精準的導航抵達目的地,沒有過程。糊裡糊塗的到達,還需要看一下定位才確定所在,才確定我在這個城市的哪裡,我想談的是距離,我想說的只有這裡,沒有那裡,從頭到尾只有這裡的事情,一行文字,一個錯誤精準的搜尋,一件會錯意產生出來的內容,動作,畫面,不經意……我逐一收集最後成詩歌。重新朗誦這個熟悉卻根本不認識的「城市」。使用「Google Map」以臺北市為基地,關鍵字搜尋「X」,出現「X」點,利用專業搜尋的錯誤資訊以作為創作文本,也探討所謂的搜尋、所謂的導航、所謂的自身、所謂的城市。打上關鍵字「帥哥」、「正妹」在日常生活所謂的帥哥與正妹,皆在看板上,皆在日常生活中的模範。臺北的「帥哥」,標點出現在三重市正中心,我一一收集在「X」點三公里範圍的臺北帥哥,搜尋「正妹」,結果得到一條松山區正妹美容保養泰式按摩工作室到信義區正妹全身舒壓按摩,於是前往找尋。重新構築帥哥與正妹的定義,也以廣告詞來試圖想像這兩位男女的生命故事。每張在廣告中出現的臉孔一一被後來的臉孔覆蓋上,臉孔漸漸變形模糊重新成為臺北男男女女的代表臉孔。最終臺北的男男女女在此,背對背的互相朗誦著各自的生命故事。
We depend on Google Map in our everyday lives to precisely guide us to our destinations, with the journey in-between seemingly lost. As we unwittingly arrive, we often need to double check to make sure where in the city have we landed. I want to talk about distance, and I want to talk about here not there. From the beginning to the end, all the events involved are about here, showcased with a line of words, an incorrect specific search, contents, movements, images resulted from confusion. All of them have been unintentionally and gradually collected and turned into a poem used to reiterate this familiar yet foreign “city”. The City of Taipei is used as the base on Google Map, with different subject matters (X) inserted to come up with different search results. The creative base of the artwork is derived from erroneous information resulted from using the professional search platform, leading to discussions on notions of search, GPS, the self, and the city. Keyword Inserted“Handsome Boys”, “Hot Chicks” People that are referred to in everyday life as “Handsome Boys” and “Hot Chicks” are seen everywhere on billboards, and are considered everyday role models. For “Handsome Boys” of Taiwan, the search result lands in the center of San Chung, and all the Taipei handsome boys within three kilometers of the “X” indicator are then collected. As for “Hot Chicks”, the result pointed to a full body Thai massage beauty parlor in Songshan District. As definitions for handsome boys and hot chicks are reconstructed, advertisement slogans are also used to re-imagine the stories of each pair of man and woman. The faces on each advertisement are covered with other faces, with the original faces gradually blurred and transformed into faces representing the men and women of Taipei. Finally, the men and women of Taipei are presented here with their backs to one another and reciting stories from each other’s lives.
We depend on Google Map in our everyday lives to precisely guide us to our destinations, with the journey in-between seemingly lost. As we unwittingly arrive, we often need to double check to make sure where in the city have we landed. I want to talk about distance, and I want to talk about here not there. From the beginning to the end, all the events involved are about here, showcased with a line of words, an incorrect specific search, contents, movements, images resulted from confusion. All of them have been unintentionally and gradually collected and turned into a poem used to reiterate this familiar yet foreign “city”. The City of Taipei is used as the base on Google Map, with different subject matters (X) inserted to come up with different search results. The creative base of the artwork is derived from erroneous information resulted from using the professional search platform, leading to discussions on notions of search, GPS, the self, and the city. Keyword Inserted“Handsome Boys”, “Hot Chicks” People that are referred to in everyday life as “Handsome Boys” and “Hot Chicks” are seen everywhere on billboards, and are considered everyday role models. For “Handsome Boys” of Taiwan, the search result lands in the center of San Chung, and all the Taipei handsome boys within three kilometers of the “X” indicator are then collected. As for “Hot Chicks”, the result pointed to a full body Thai massage beauty parlor in Songshan District. As definitions for handsome boys and hot chicks are reconstructed, advertisement slogans are also used to re-imagine the stories of each pair of man and woman. The faces on each advertisement are covered with other faces, with the original faces gradually blurred and transformed into faces representing the men and women of Taipei. Finally, the men and women of Taipei are presented here with their backs to one another and reciting stories from each other’s lives.
自由的邊線
The boundary line of freedom
藝術家|賴宗昀
The boundary line of freedom
藝術家|賴宗昀
權力/場域/邊界/身體在名為自由的廣場中、在我們稱為民主的社會裡,一條看似不存在卻明確切割著個人意志與政治權力的邊線,同時也割離了我們的身體和連續意識的當下。
Power / Domain / Border / Body On this so-called Liberty Square and in this society that we considered democratic exists an invisible line that clearly dissects personal will and political power. At the same time, it also separates our bodies from the continuous awareness connected to the moment at hand.
Power / Domain / Border / Body On this so-called Liberty Square and in this society that we considered democratic exists an invisible line that clearly dissects personal will and political power. At the same time, it also separates our bodies from the continuous awareness connected to the moment at hand.