20081226

"夜幕狂潮!夜文化筆記" ROOM19座談會




--- 夜都市生存攻略------------------
--- 越夜越美麗,夜戀時代來臨----
---- 屬於自己的ROOM19 -----------


2009.1月8日(四). 14:00~16:30 .台北藝術大學 關渡美術館 3F多功能會議室

報名方式 : 來電02-28961000轉2432

ROOM19座談會,由ROOM19策展人吳達坤主持,分享本展的策展概念與過程。
並邀請到兩位國際知名策展人跟藝評家 胡朝聖、鄭慧華一同參加,
以文化觀察及事件開創者的多重觀點出發,從個人參與的自身經驗出發談論夜間文化的豐富可能。
與會專家將對ROOM19的展覽,展開學術性的對談,跨領域的直接對話,精彩可期,並分享文化如何串連開放的新可能性!
請歡迎各界關心本展的藝文愛好朋友們共襄盛舉。

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主持人簡介:

[吳達坤]

藝術家暨獨立策展人

目前在台北生活及工作,台北藝術大學美術創作碩士,VT ARTSALON視覺總監。專事藝術創作及展覽策劃,主要媒材以空間裝置、新媒體及公共藝術為主,國內外展出經驗豐富,亦常發表評論文章於各類藝術雜誌。2002年北歐NIFCA國際藝術村駐村,2004年獲國巨科技藝術獎赴紐約Location One藝術村駐村,2006獲文建會紐約ISCP駐村,2008年赴東京Tokyo Wonder Site 駐村。近期展演:『感官拓樸-台灣當代藝術體感測』、『科光幻影2008 對話之外』、『Dumbo art under the bridge Festiva』、『波音計劃-Waveset Stretching』、『雅加達CP雙年展』、『2007 Art in TaeGu大邱國際藝術節』、『出神入畫―華人當代攝影展》、『第十屆大阪當代藝術三年展』等等。近期互動錄影作品『迷樓系列』,於國立台灣美術館、韓國光州美術館展出,並獲國立台灣美術館典藏。

其他跨領域影像演出作品:泰順街唱團『盜火計劃/前衛科技慢舞/中板』、與「NCO」合作劇場影像。參與策劃展覽有:「夜視‧台北」國際錄影藝術展、『腦天氣』錄影藝術節、『從這裡到那裡-藝術的移動經驗』文建會第七屆駐村藝術家聯展、Blue Dot Aisa「幻影劇場」—台灣當代新藝術、2008年底於關渡美術館策劃「ROOM19」…等展覽。


參與來賓簡介:

[胡朝聖 Sean C.S. Hu] http://blog.roodo.com/chao_sheng1008

獨立策展人

出生於台灣。現為策展人、國立台灣藝術大學與台北教育大學講師、作家、中華民國視覺藝術協會理事、忠泰建築文化藝術基金會董事以及胡氏藝術公司執行長。曾於2008年策畫上海國際當代藝術博覽會年度特展『Best of Discoveries』台灣區策展人、台北國際畫廊博覽會主題展『遊』、『既視之方』、2007年『流行的意外』、『粉樂町』東區當代藝術展、『晴耕雨讀』林銓居行為地景藝術展、『深呼吸』新媒體藝術展、2006年『共振』聯展、2005年『快感 奧地利電子藝術節25年大展』、2003年『南港軟體工業園區公共藝術案—實擬虛境』、『夜視‧台北』國際錄影藝術展、2001年『粉樂町—台灣當代藝術』國際巡迴展等。2005年出版『魔幻城市---科技公共藝術』專書。


[鄭慧華]

獨立策展人 ,藝術評論者及獨立策展人,工作和生活於台灣台北和加拿大溫哥華兩地。

自1995年開始撰寫藝術相關文章,95年至2000年任時報周刊特約作者、97年至99年任輔仁大學夜間部英文系兼任講師,並為《藝術新聞》雜誌特約撰搞;2000年開始任《典藏今藝術》溫哥華特約作者,現為該雜誌特約主筆。近年藝術評介與評論文章散見於:《今藝術》、《現代美術》(台北市立美術館出版)、《YiShu:Journal of Contemporary Chinese Art》等期刊。

2002年譯作〈左岸琴聲〉(商周出版)、2003年譯作〈嬉戲〉(商周出版)、2004年譯作〈正午的惡魔〉(源水文化出版)。鄭慧華策劃過的展覽包括: 看不見的城市(溫哥華亞洲當代藝術國際中心 2003),穿越-廢墟與文明 (台北誠品藝文空間2004)、與比利時策展人范黛琳(Barbara Vanderlinden)共同策劃2004台北國際雙年展:在乎現實嗎? (台北市立美術館 2004),以及疆界(台北市立美術館 2006)。


主辦單位:國立台北藝術大學關渡美術館、科技與藝術中心
時間:2009年1月8日(星期四),下午2:00~4:30
地點:國立台北藝術大學關渡美術館3F多功能會議室

20081218

Room19) 王琬瑜Wang, Wan-Yu



台北/ Taipei

Wednesday Party
黑白攝影/gelatin silver print, 20×30 cm × 20 pieces, 2008

操場,台北

我們總是在星期三的晚上10:00過後出現在操場。

起初我不熟悉也不喜歡這裡,直到被搖滾樂吸引,聽到記憶中的音樂大肆吶吼。在這個空間我們相擁並找到彼此,難得我選擇了停留。我在那看見別人的故事,發生我們的故事,我拍照,而後展覽,Wednesday Party 也持續著。

Party 就是要人不用想事情。

Fucking Place, Taipei

We always go to Fucking Place after Wednesday 10pm.

In the beginning I didn't feel familiar here and didn't like here either. I was attracted because of the rock n' roll turning on, the music in my past memory yelling and screaming. In this place we gave each other a hug and found out each other, and I seldom choosed to stay instead of leave. I saw somebody's story, I happened my story; I took photo shooting, I exhibited my photography. Afterward Wednesday Party is remaining.

Party is thinking about nothing.

Room18) 田中功起 Koki Tanaka



東京/ Tokyo

One Bed Room / 單人房
單頻道錄像/single channel video, 30", 2004

在城市裡漫步時,我在街上看到一間室內燈具店。店裡有一盞普通的落地燈。我當時就在想,如果把落地燈當成樂器,那麼出來的聲音會是怎麼樣呢。幾個月後,我終於能親身經歷,聽著在我房裡的落地燈敲打廁紙的聲音。

When I walked in the city, I saw an interior lighting shop on the street. Then I found normal floor lamp inside. I was wondering how the sound was if I use the floor lamp as a musical instrument at that time. After few months later, finally I became a spectator of the moment that the floor lamp made a sound hitting by toilet papers in my room.

Room17) 蘇匯宇 Su, Hui-Yu



台北/ Taipei

DANCE
單頻道錄像/single channel video, 4'13", 2006

《Dance》一作討論的是電視與我們人生的多重相關性。《Dance》裡面無止境的舞蹈,反映正是電視提供予我們的無聊消遣,以及此一無聊與我們日常生活之高度相似性。不論是在MTV台的舞曲大帝國節目裡,還是在夜店咚ㄘ咚ㄘ的舞池中,又或者我們匆匆忙忙的上班時光,黑白畫面與單調節奏才是我們人生的真正寫照。

"DANCE" is the piece of work discussing the multipal relationship connecting between VT programs and the daily life among human kindThis is what “Dance” tries to express under this status. In “Dance”, ceaseless dances demonstrate boring entertainment that TV brings to us and is highly similar to our daily life. Whether in MTV channel’s Maxi Kingdom or in dance floor of night clubs, or our busy working time, the picture of black and white and monotonous tunes are the best description of our life.

Room16) PTB



台北/ Taipei

PTB ( Peeping Tommy Boy )
裝置/installation, 30×160×120 cm, 2008


關於PTB ( Peeping Tommy Boy )這一系列作品,所有的影像都是由創作者本身扮妝拍攝而成,在配上第三者的聲音。拍攝影像的當下我嘗試穿透各個絕對位置的可能性,偷窺者與被偷窺者、男性與女性、販賣者與消費者。並且好奇將自己的身體處在不同的角色以及視點下,所觀看以及被觀看的狀態,可以帶給自己怎麼樣的反饋。

A series of PTB (Peeping Tommy Boy) works were created and recorded by the artist and dubbed the third-person voice. While recording, I attempted to find possibilities of every absolute position: peepers and victims, males and females, sellers and consumers. I was also curious about feedbacks I could get from being different roles under different perspectives and from conditions of watching others or being watched.

Room15) 乒乓 Ping Pang



台北/ Taipei

建造你自己的酒宴 Build Your Own Booze /
影像裝置/video installation, 2008

乒乓意圖呈現一個房間即生產的想法, 透過《建造你自己的酒宴(BYOB)》這件作品,同時反應兩種不同的社會性:其一BYOB─Brew your own beer,呈現著自家釀造的生產行為和紀錄,使人們在一個房間裡如同進入一個釀酒解說室般的情境;其二BYOB─Bring your own bottle產生一種自設需求,並提供分享(瓶子成事件)的社會意義:召集人群一同和乒乓同樂。

Ping Pang made an attempt to describe a room with the idea of production.

“BYOB-Brew Your Own Beer” is the work that reflects two different kind of socialization. One represents and keeps records of homemade wine production that bring the audience to the room that is similar to the room of wine-making. On the other hand, it arises from self-demand and social meaning of sharing (bottles as events)

Room14) 朴炳來 Park, Byoung Lae



首爾/Seoul

半月遊戲/ Half-Moon Game
單頻道錄像/single channel video, 8'41"

「半月遊戲」是一齣實驗短片。片中呈現二個平行的宇宙同時存在於個人之中。衝突與解決的方式,是由無意識世界中的真實碰撞所引發的,也說明逐漸找回過往無意識化身的另一個自我的過程。

“Half-moon Game” is an experimental short film, in which two parallel universes, exiting within one person at the same time, are represented. The conflict and its solution, resulting from collision of real with the unconscious world, are shown as a process of gradual self-finding of the main character who meets his personified unconscious, coming from the past as his alter Ego.

Room13) 劉瀚之 Liu, Han-Chi




台北/ Taipei

睡眠者的牆/ The sleeper's wall
動力機械裝置/mechanical installation, 2008


「睡眠者的牆」是由一個動力影像裝置及人的使用所組成的一個場景:在一間漆黑的房間裡,一張靠著牆的床上面躺著一個人,他側躺著面朝著牆壁,一個運轉中的機械橫亙在他的臉部與牆之間,他像觀看星象一樣觀看著牆壁上的光影。這個映照在牆上的空洞回眸對注視投以巨大的回報:長久以來遮蔽著黑暗的光正逐漸退去。

一間黑暗無光的臥房有著這樣的意象:那是等待睡眠來與其相會之所。

“The Sleeper’s Wall” is a scene comprising of dynamic image installation and human usage. In a dark room, a man is lying in a bed against the wall. A working machine stretches between his face and the wall. The man watches lights on the wall as if he watches stars. The hollow smile projected on the wall gives us great feedbacks: the darkness long-veiled by the light is going to fade away gradually.
A bedroom with darkness represents this kind of meaning: a place where we can meet while sleeping.

Room12) 李守連 Lee, Suyoun



首爾/Seoul

移動的瞬間/ The Movement of Infinite
錄像裝置/video installation, 5'59", 2005

我的作品主要由空間、心靈、空氣及氛圍創作而成。

對我的作品來說,了解藝術是從何而來比到底創造出什麼東西來的重要。作品的本質就是作品本身。在此時此刻,藝術被創造及欣賞的當下,都對作品本身極為關鍵。
「瞬間」:是直覺的,沒有特定的方向或隨心所欲的隨機。它是有靈魂但並非宗教的。空間、顏色、質感、感覺、情緒—這些都是構成瞬間的要素。

My work is based on space, spirit, air and aura.

For my work, it is more important to understand where the art comes from than what exactly is being created. The essence of the work is as much the work itself. The moment is now, and the moment in which the art is created and viewed that is critical to the work itself.
“The moment”: it is at once intuitive without distinct direction or arbitrary randomness. It is space, color, texture, feel and emotion- everything together makes the moment.

Room11) 李民中 Lee, Min-Jong



台北/ Taipei

我散步,走啊、走啊、…然後…碰!碰!碰!碰!碰!碰!碰!…真過癮/ I take a walk, walk, walk…then Bang! Bang! Bang! Bang! Bang! Bang! Bang!...
Really hit the spot

油畫/oil on canvas, 210×540 cm, 1987

本作品的畫面上如一張織錦,也如百寶箱中的集錦,應有盡有。作者創作的概念緣於集合藝術數量原則,推擠激撞達於量的飽和。作者將所見、所想,經驗過的、非經驗過的事物,袒裎於畫面上。造形是重疊的,也是共用的,大的造形被密度大的小形狀所肢解,變得支離破碎。作者把顏色通俗化,對比強烈,又在畫面上並存,形成極端吵雜的局面。作者散步、走路間、想的、看的盡入眼簾。一種時間性拖移,反映在造形的顯像上。

The painting resembles both a tapestry and a collection of assortments in a treasure box that can contain everything. The idea of creating this work results from the principle of assemblage, putting and stocking things together in a work at its maximum. The artist frankly expressed what he saw, thought, experienced, and things have not experienced by this painting. The shapes of the painting are shattered and shared. The big shape is also decomposed by the smaller one with high density. The artist used both accessible colors and strong contrasts in the painting which makes it extremely noisy and clearly shows what the artist saw and thought while taking a walk. The dragging of time reflects in the representation of shapes.

Room10) 李小鏡 Daniel Lee



紐約 I 台北/ New York I Taipei

Jungle / 叢林
影像輸出/digital print on photo paper, 200×600 cm, 2006

當太陽西沉時,卻喚醒了另類生命的狂野生活。 夜色中,顯露出有虎視耽耽的肉食動物,也有弱小無助的受害者等等。《叢林》系列就是以當今都市生活中,一些族群在沈迷於大都會叢林中,所顯露出他們的野性。人以肉食動物的本能與人際關係互動的描繪。

《叢林》是我進一步,將2001年《夜生活》場景拉回到大都會叢林中,進入到你我所熟知的環境之中,直接面對燈火昏黃下所隱藏的騷動與不安。

The setting sun often awakens a new landscape of wild life activity, one that is carefully watched by the eyes of predator, scavenger and prey...
My recent work "Jungle" is an extension from my previous work “Nightlife” series, imaging contemporary portrayal of the intrinsic animal interactions between people in a jungle-liked urban environment.

Room09) 賴珮瑜 Lai,Pei-Yu



台北/ Taipei


Neon City
影像輸出/ digital print on transparent film, 2008

作品中的●是由被攝影像所轉換的,將無數的文字符號轉譯為畫面的狀態,最終城市以自身的姿態再次現身,色彩的出現並未取代空間的伸縮感卻增加了空間的閱讀感,觀者以貼近自身的記憶與想像來觀看,以自身的經驗對應著作品形成了獨有的想像性。 於是,被人們所建立起的城市,成為另一種「原鄉」的所在,一種不斷集體追尋的處境感標示。

● in this work was coded through recorded images. Innumerous words were encoded as pictures, and then cities represent themselves as they are again. The representation of colors did not displace the expansion of space but increase readableness of space instead. The spectators can view the work from their own memory and imagination. Applying your experiences to view the work, the unique imagination will be created.
Cities built by humans become “hometown” which is a situational sign searched collectively.

Room08) KBN 凱比鳥+YEN



台北/ Taipei

Dance floor
多媒體裝置/ multimedia installation,2008

在燈紅酒綠的夜生活中,“Dance floor”提供主體與他者互動的場域,在這裡人人都是夜生活的主角也都是觀眾,角色互為主體。
“Dance Floor”以傳出強烈重拍的立體喇叭為中心,向外劃出直徑約3.5公尺的場域,四周圍繞九幅直立面板 (111cm*222cm),場域內播放凱比鳥歌曲 〈Far From Disco〉。 分隔出舞池的面板內外:各由 〈內 “IN”〉與〈外 “OUT”〉兩種型態的影像組合而成。

In the loud and noisy night life, “Dance floor” provides a place where you and others can have interactions. In here, everyone is both the main character and audience of the night life. The center of “Dance Floor” has stereos that spread out strong tempos, extending out 3.5M from the center and surrounding by nine vertical boards (111cm*222cm). The music of KBN “Far From Disco” is played in the dance floor. The boards, separating dance floor, consist of two kinds of images: “IN” and “OUT”.

Room07) 黃世傑 Huang, Shih Chieh



紐約 I 台北/ New York I Taipei

EX-SE-08
單頻道錄像/ single channel video, 2008

此錄影作品為描述科學研究、建造及完成專案過程的例子。這個研究在Smithsonian Institute National Museum of Natural Science執行。研究重點為海洋中的發光性生物。EX-SE-08專案不是去模仿棲息在海邊的生物,而是去探討海底下獨特的生命本質。

This video is an example of the process that consists of scientific research, construction and project completion. The research was conducted at the Smithsonian Institute National Museum of Natural Science. The focus of the research was bioluminescent organism in the ocean. Project EX-SE-08 is not to mimic the creatures reside in the ocean environment but rather an exploration of the unusual qualities of life underneath.

Room06) FBI Lab



台北/ Taipei

靈幻跳影
互動裝置 multiple media/interctive installation, 2007

在繁忙緊湊的生活中,身體不知覺的禁錮了我們的靈魂,我們渴望透過超現實的幻想,讓我們的靈魂器官一一脫離軀殼幻化成自在的幽靈。啜飲間,藉靈幻跳影讓我們的幽靈器官隨咖啡香悠遊。忙嗎?喝個咖啡!

Having a busy life causes our bodies unintentionally lock our souls. Through surreal imaginations, we would like to break through our physical bodies and get free. While taking a sip of coffee, the jumping images make our ghost-like organs to dance with the aroma of coffee. Busy? Have a cup of coffee!

Room05) 邱昭財 Chiu, Chao-Tsai



台北/ Taipei

1/2…
複合媒材/互動裝置 multiple media/interctive installation
170×91×105cm, 2008

請坐,準備來一段演奏,當轉動旋把,珠粒便自上方開始滾落,朝向下方的各個孔洞,並連動敲響某個音階,在這始與末間的過程中,珠粒不斷地作著二分選擇,1/2.1/2.1/2 …,無法掌控的軌跡,不可預測的機遇,一串接連,便成了這曲。

Have a seat. Prepare some music. When turning the handle, beads run down from the top, make some tunes and fall into holes. From the beginning to end, beads make 1/2 choices: 1/2, 1/2, 1/2…. With uncontrollable trace and unpredictable probability, beads fall one string by one string and this song is composed.

Have a seat, please. Prepare some music. When turning the handle, beads fall down from the top, make some tunes and fall into holes. From the beginning to end, beads make 1/2 choices: 1/2, 1/2, 1/2…. With uncontrollable trace and unpredictable probability, beads fall one string by one string and this song is composed.

Room04) 陳永賢 ●Taipei





▲W & C

數位影像輸出/Digital Print on photo paper, 143 x 110 cm x 2, 2007

身體的慣性動作是生活中一種不斷地重複,這些實際的狀態,無論處於覺醒或恍惚之精神邊界,都和日常的自我反射產生相互連結,也是當下身體與空間彼此碰撞後的再現,產生不斷循環。因此,身體、空間的對照現象,在於面對生活與社會存續價值,重複狀態下的真實與虛幻,就像在個人封閉式的迴圈層次,因抽取時間之凝結狀態,相互間充滿無數的對比與矛盾。

The habits of our body are repetitive in our life. These situations, whether we are awake or in a trance, are all connections from our self-reflections and continuous cycles from collisions of our body and space. Therefore, the comparison between body and space stands for values of life and society. The repetitive status of reality and illusion is like layers of personal closed cycles. Owing to freezing status of time, the interaction is full of innumerable comparisons and paradoxes.

Room03) 陳志建 ●Taipei




▲流自慢-虹
 Flowing pride - Rainbow                                     
  錄像裝置/video installation, 2008

作品透過視覺記憶的片段來陳述置身城市的歷程。記憶中的氣候是陰霾狀態,而視點垂直,是個放空的姿態,也是種觀看的習慣。記憶如行進車廂般滑移,這熟悉的時空基理即是我擅長營造的一種記憶維度。我刻意透過物理形變,使之進入我的思考樣貌。時序隨視點垂直排列,彼此之間保持著距離,模擬著浮流的搖晃力道,執行層間位移,透過時間作第三維的扭曲,空間一次又一次朝天際形變。About my method of survival in the urban driftThis work attempts to describe the process of positioning oneself in a city through fragments of visual memory. In this memory, the climate is hazy, and the viewpoint is vertical. It is an airborne position, as well as a habitual method of observation. And by intentionally allowing for physical metamorphosis, it facilitates entry into a representation of my thinking space. The succession is arranged vertically according viewpoint, keeping a constant distance between each object, and the positions between layers are readjusted according to oscillations dictated by the strength of currents. Under these conditions, this space changes once more, with time twisting the third dimension. Memory marches forward like a procession of train carriages. This familiar time-space principle is the type of memory dimension that I excel in building.

          


                           

                                       

Room02) 劉士達+陳家文+許素朱 ●Taipei





▲模因基流

互動裝置
interactive installation, 450 x 450cm

模因(meme)是一種與基因相似的現象,是靠複製而生存、通過模仿而傳播。本作品讓環境中的裝置具有模因擬仿能力,人跟裝置融為一體,人的身份資訊藉由iBox紀錄,經由iChair擬仿與傳播。藉由群聚交流,模因基流的音像即興而起,流串於空間中,整個空間無形中形成一個群體互動的模因光載體。

Meme is a kind of phenomenon that is similar to gene. It survives by cloning and transmits by imitating. This work empowers installations in the environment with the ability of meme imitation. Human beings and installations become the one. Personal identifications are recorded by iBox and imitated and transmitted via iChair. Through group communications, sounds and images of meme are crated spontaneously and streamed in space. The whole space is imperceptibly transformed as a meme interactive group.

Let’s go to「ROOM19」

文/策展人 吳達坤 Wu, Dar-Kuen

朵麗絲.萊辛( Doris Lessing)寫了篇短篇小說叫 「到十九號房」(to Room19)。描寫了一名職業婦女因為老公外遇而躲到旅館內19號房的故事;在這裡,19號房成為小說女主角生活上的逃逸之地 ,旅館的曖昧意象也讓她被世俗汙名化而走向另一結局。

萊辛的Room19是一個幽暗、孤獨甚且是逃避的空間,然而諷刺且巧合地,在現下的臺北,有一間名為Room18的人氣夜店,裡頭五光十色、笙歌達旦。相較於萊辛上世紀50年代的保守氛圍,現下的我們似乎多了更多選擇。而本展覽的主軸切入,即是談論:「在當代社會價值下,我們有幾間ROOM19?」

面對現實生活的諸多負面情緒,人都需要疏通的管道。 如果藝術家幸運的可以將創作當成生活上的出口,但一般人呢?從政治學角度看來,如果歡樂(fun)可以是政治的,那麼夜店(night club)就是某種政治實踐的場域,成為都會叢林中令人短暫逃逸放鬆的聖堂。 夜店也是其中選項,和小說中的旅館相同的,夜店也常被世俗價值貼上汙名標籤。 相較於萊辛的19號房,本展的藝術家都幸運的擁有一個無形的ROOM。 在這,你可以從1號房走到第19號房 ,任意打開一道無形的門,暫時讓腳步跟隨作品閱讀,窺見展閱那未竟的、私密的,天馬行空的ROOM19。這展覽本身是歡樂的,它不同於小說的結局。

「 ROOM19」它所提供的身體經驗跟實踐場域在某程度下可以改變了我們的思維、感官、行為與生活方式,雙重意涵上緊扣環繞在一個龐大到溢滿的主軸—「生活的虛無與面臨無聊社會道德壓迫之創造與自我價值追尋」。

Shake your Mind! 改變一下思維!一天有24小時,切割開白天,我們還有一大半的夜生活要過!因此, 我們需要一個更具創造力的心態來面對自己的「ROOM19」。

至於夜店?那真的只是一個巧合。

“To Room Nineteen,” one of the short stories written by Doris Lessing, describes a career woman who stayed in a hotel room No. 19 after discovering her husband’s extramarital affairs. Room 19, to the protagonist, is a place where she can get away from her life. However, the ambiguous symbol of the hotel has attached a discredited label to her and the story came to the other ending.

Lessing’s Room 19 is a place with darkness, loneliness, and even a place to escape. Ironically and accidentally, in Taipei, there is a popular night club called Room 18 where a variety of entertainments are provided and singing and partying last for all night long. In contrast to 1950’s conservative atmosphere in Lessing’s time, people living at the present time have more choices. The focus of this exhibition is to discuss “how many Room 19 we have under the current social values?”


Faced with various negative emotions in our daily life, we need some ways to cope with our stresses. Artists are found lucky to create their works as an exit; however, how about ordinary people? In the view of politics, if fun can be compared to politics, then the night club is the place where politics can be demonstrated and the palace in the urban jungle where we can find temporary rests. The night club is one of the choices and is similar to the hotel in the short story which is disgracefully labeled. In comparison to Lessing’s Room Nineteen, artists of this exhibition are lucky to have their own invisible ROOM. In this exhibition, you can walk from Room 1 to Room 19 and open any invisible rooms as you wish. You can temporarily let works lead your footsteps to explore secretes and unconstraint styles of ROOM 19. This exhibition is thus joyful which is different from the ending of the short story.

To some extent, physical experiences and the space provided by ROOM 19 can change our thinking, feeling, behaviors and lifestyles. The double meaning closely connects to the focus of this exhibition: void of life, creation under social oppressions, and the pursuit of self-worth.


Shake your mind! Change your mind! We have 24 hours a day. Apart from the daytime, we have to live for the rest of night life. Therefore, we should adopt more creative attitudes to face our ROOM 19.


As far as the night club is concerned, it is a mere coincidence.

20081216

交通位置---關美館怎麼去?






一、開車族:

從台北市區往士林方向,直行承德路左轉接大度路至底,接中央北路四段,左轉至學園路即可抵達。

二、非開車族:

1、捷運:搭至捷運關渡站,從關渡國小的方向出口(2號出口)出站,沿著學園路步行(也可搭乘大學區間車)抵達。



2、公車:搭大南汽車紅35在台北藝術大學學園路校門站下車即可。


紅35路線時間表為預估到站時間,請提早等候,搭乘費用比照一般公車標準收費或享有轉乘優惠務。


紅 35 路繞經北臺灣科學技術學院及荒山劇場再進入本校,行駛路線圖如後請參酌;本校校車經由學園路、陽關大道直接進入本校

相關網頁


20081126

18+1﹦ROOM 19。 顛覆你對夜生活的定義!

12月19日開始,國立臺北藝術大學關渡美術館即將展出




「ROOM 19」當代藝術展覽

展期:2008.12.19 - 2009.2.22

開幕酒會:2008.12.19 19:00

場地:關渡美術館201, 301, 401, 402展場

策展人:吳達坤 Wu, Dar-Kuen

新聞連絡人:蔡佩穎 (02)2896-1000 #2416 。

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本展邀請了旅居紐約久違的李小鏡,帶來他的“夜生活“以及曾代表台灣參加威尼斯雙年展的黃世傑,從首爾請來國際影展新銳朴炳來、東京則請到國際雙年展常勝軍田中功起,台北則有新生代創作團體「乒乓」及蘇匯宇、王婉瑜等。本展欲透過藝術家的眼光來顛覆你對夜生活的想像!

在這個失速的媒體時代,每天都有追不完的潮流和資訊,都會人們渴望「慢下來」的休閒方式,卻又總是慢得心不甘情不願,即使只是休閒,也得要跟上時代。因此,90年代晚期夜店Lounge文化開始在全球蓬勃發展,走一趟各大都會,標榜著 「潮流」、「放鬆」、「 最in 」、「時尚尖端」… 的各式夜店林立,這樣的文化現象已經改變都會人的生活方式。「型男」配上「潮女」成為夜店的常客,引領社會風潮,至少我們的媒體是這樣告訴我們。 如果歡樂(fun)可以是政治的,那麼夜店(night club)就是某種政治實踐的場域,成為都會叢林中令人短暫放輕鬆的聖堂。

本展分別透過流行音樂、身體空間、社會政治學等等的角度來討論夜店文化影響所及之生活範疇。它所提供的身體經驗改變了我們的思維、感官、行為與生活方式。展覽並且將關渡美術館區分成三個區塊,歡迎觀者憑藉想像對號入座。

A. 越夜越美麗 (The late of the night, the beauty comes from the high.)

B. 今夜你寂寞嗎?(Are you lonesome tonight? )

C. 下一個房間 (Room for next night.)

「 ROOM19 」﹦19間房 +19件作品。對應於另一家耳熟能詳的夜店,它可以單純是一種類比,也可以是一個房間,更可以是一個多增加的可能。當「 ROOM 19 」碰上 KdMoFA, 將擦出怎樣的火花?

最新最另類的夜生活定義,即將展開 !



參展藝術家:
AKIBO 台北
FBI 台北
PTB 台北
王琬瑜 台北
田中功起 東京
朴炳來 首爾
乒乓 台北
李小鏡 紐約/台北
李民中 台北
李守連 首爾
邱昭財 台北
陳志建 台北
陳永賢 台北
黃世傑 紐約/台北
凱比鳥KbN 台北
劉士達 +陳家文 +許素朱 台北
劉瀚之 台北
賴珮瑜 台北
蘇匯宇 台北

ARTISTS:

AKIBO / Chen, Chia-Wen+Liu, Shih-Ta+Hsu, Su-Chu / Chen, Chih-Chien / Chen, Yung-Hsien / Chiu, Chao-Tsai / FBI Lab / Huang, Shih-Chieh / KbN / Lai, Pei-Yu / Daniel Lee / Lee, Min-Jong / Lee, Suyoun / Liu, Han-Chi / Park, Byoung-Lae / Ping Pang / PTB / Su, Hui-Yu / Koki Tanaka / Wang, Wan-Yu

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