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不舒適的明日—袁廣鳴個展

主辦人/單位: TKG+ 台北
活動類別: 展覽

首次展演日期: 2014-11-01 結束展演日期: 2014-11-02

活動地點: 耿畫廊 TKG+
活動地址: 台北市內湖區瑞光路548巷15號1樓

關於展演:

「不舒適的明日—袁廣鳴個展」，展出袁廣鳴最新的創作，包括錄像、攝影與動力裝置作品。展覽以「不舒適的明日」為題，隱含人們尋求安適歸依的不可得，此次創作圍繞著人們的日常生活狀態，延伸至生存處境的探問，思辨現代人的困頓與憂懼。

藝術家從2007年起開始拍攝家人、居住的環境，進行對「廢墟」、「家」及「逝去中」的探討，以一種詩意的方式呈現「日常」中的不安。此次展覽，藝術家的創作影像取自日常生活、廢墟、核能發電廠、太陽花學運時的立法院議場，透過鏡頭的紀錄，無論是日常場景、抗爭現場或管制禁區均無差別地呈現眼前。雖然現實取材有著難以迴避的政治情況，這卻並非藝術家此次展覽的首要主題；誠如藝評家王嘉驥所言，讓袁廣鳴更感興趣的，其實是在於發掘日常生活之中，受現實世界表象及常態的慣性遮蔽；或因為過於平淡平凡，以致於被視為理所當然，而持續受到壓抑、漠視，甚至不為人知的深層結構。或因如此，袁廣鳴的作品總是一再不安地顯露出各種對於栖居的憂懼，並且展現了家國隨時可能變故的難以安頓之思。

袁廣鳴生於台灣台北（1965~），是早期台灣錄像藝術的先鋒，自1984年開始從事錄像藝術創作，也是目前台灣活躍於國際媒體藝術界中知名的藝術家之一。他的作品以象徵隱喻、結合科技媒材的手法，深刻傳達出人們當下的生存狀態，並且對人的感知及意識有著極具詩意的深入展現。2007年之後袁廣鳴全心致力於錄像藝術新的可能，《逝去中的風景》（2007）開創出以一種介於錄像藝術與電影之間的新型格式的動態影像作品，展現出一種迷人的劇場式日常。2011年推出的個展「在記憶之前」，則集結了常年來對於動態影像深入看法，分別以同步多投影、月光粉殘影的形式呈現「時間與記憶」及「身體與感知」的大型創作。
袁廣鳴受邀大型展覽不勝枚數，橫跨了亞洲、歐美的各大美術館、藝術中心及畫廊，其中包括第50屆威尼斯雙年展台灣館（2003）、美國舊金山現代藝術美術館的「01.01:Art in Technological Times」（2001）、日本ICC媒體藝術雙年展（1997）、廣州三年展（2005）、英國利物浦雙年展（2004）、紐西蘭奧克蘭三年展（2004）、新加坡雙年展（2008）、台北雙年展（1998、1996、1992）、漢城國際媒體藝術雙年展（2002）等。

近期重要展覽包括今年在福岡三菱地所畫廊舉辦的個展「掃描記憶：袁廣鳴的錄像藝術1992-2014」、第五屆福岡亞洲藝術三年展（2014）、LV路易威登東京文化空間（2014）、第七屆亞太三年展（2013）。作品也受國內外美術館及私人收藏家等單位典藏，也曾擔任台北市立美術館典藏委員、台北獎、台北縣美獎、公共藝術、威尼斯雙年展台灣館、及美國亞洲協會美術獎評審等。

TKG+ is pleased to present the latest of Yuan Goang-Ming’s lens-based work in the exhibition An Uncanny Tomorrow－Yuan Goang-Ming Solo Exhibition (November 1 – 30, 2014, opening reception on Saturday, November 1, 6:30 p.m.). Comprising videos, photographs, and a kinetic installation, this solo exhibition revolves around the concept of dwelling, examining man’s relationship with the environment, and the profound impact they have on one another. Through a careful wielding of video techniques and film theories, Yuan challenges viewers’ perception of reality, and transforms quotidian imagery into a poignant critique of the status quo in Taiwan.

Dwelling (2014), a looping video piece inspired by German philosopher Martin Heidegger (1889-1976), captures the serene living room of a middle-class household that explodes and returns intact. Heidegger believed that harmony among the sky, earth, divinities, and man is key in peaceful dwelling of mankind. This belief is the starting point for Yuan’s own inquiry into human existence. Inspired by marriage, children, and domestic life, Yuan bases his art practice in the concept of home, with a focus on the abandoned and the fleeting, highlighting a lurking sense of anxiety in the mundane.

Turning his gaze from the domestic to the public domain, Yuan takes viewers on a journey around Taiwan in video piece Landscape of Energy (2014), from abandoned residential properties in Taichung, to an elementary school on Orchid Island, from the crowded South Bay of Pingtung that neighbors the nuclear power plants, to a simulated control room inside the plant. Juxtaposing the inhabitants with intangible danger of nuclear energy, Yuan questions the possibility of peaceful dwelling.

Critiquing the current political climate in Taiwan, video piece The 561st Hour of Occupation (2014) documents the Sunflower Movement, a student-led Taiwanese protest movement which opposes any trade deals with Beijing before an official cross-strait watchdog is established. Students-occupied Legislative Yuan became the subject under scrutiny through Yuan’s camera lens. Despite his apparent detachment from the scene, Yuan voices through this work his discontent with the failing state and his concern about the future of the people.

Yuan Goang-Ming (b. 1965) lives and works in Taipei, Taiwan. He received a master’s degree in media art from the Academy of Design, Karlsruhe (1997). He currently teaches the New Media Art program as assistant professor at the Taipei National University of the Arts.

Yuan has exhibited internationally, including at Artium Gallery, Fukuoka, Japan (2014); Fukuoka Asian Art Triennale, Japan (2014); Art Stage Singapore (2014); Seoul Museum of Art, Seoul, South Korea (2013); the 7th Asia Pacific Triennial of Contemporary Art, Australia (2012); Chelsea Art Museum, New York, USA (2009); Singapore Biennale (2008); Guangzhou Triennial, China (2005); Liverpool Biennial, UK (2004); Auckland Triennial, New Zealand (2004); the 50th Venice Biennale, Italy (2003); Gwangju Biennale, South Korea (2002); San Francisco Museum of Modern Art, USA (2001); Taipei Biennial, Taiwan (1998, 1996, 1992); and ICC Biennial, Japan (1997). His work is both in private and public collection at home and abroad. He has also been on the Collections Committee of Taipei Fine Arts Museum, Taipei Arts Award, Taipei County Arts Award, Public Art, Venice Biennale (Taiwan Pavilion), and the juror of Asia Society Arts Award in the United States.

不舒適的明日—袁廣鳴個展

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