展覽標題「負地平線」一詞,藉法國哲學家保羅‧維希留(Paul Virilio)探討速度-影像-現代性暴力系列書籍之一的L'Horizon négatif (1984),批判性地將哲學意象的「負」置換為影像載體之底片負像,探問視覺上的平坦滑順,究竟象徵著效率的無阻,還是欲求的深淵?以物質性、身體感與在地脈絡詮釋此展覽標題。Negative既有消極、否定與陰性意象,也是底片的物質性與時間感,託寓著影像在載體上顯影的過程。Horizon是天與地之間動態的「界」,依據天候環境與觀者視角而異,將Horizon從地平線與界限延伸至視域,乃至全球化之跨國移動中可能的臨時集結。當Negative與Horizon結合成為此次台灣國際錄像展標題,「負地平線」指涉那些「正(常)可視」之外、之後、之下、之反面…的景況,這些不可視迫待可視,尤其當跨國/跨界移動逐漸成為日常生活之必須,移動是拓展了我們的眼界、認識與感受,抑或透過合理化的流動蒙蔽潛在的剝削?

2016年台灣國際錄像藝術展「負地平線」將從不同面向緊扣「移動」,包括邀請與國際徵件共計27位國內外的藝術家(團隊)參與:台灣影像藝術先驅高重黎以克里斯‧馬克1962年的經典散文電影〈堤〉為對話對象,批判影像、帝國與資本勾結;多明妮可‧貢札雷斯‧佛斯特(Dominique GONZALEZ-FOERSTER)與楊俊,分別從王家衛的香港與楊德昌的台北,淬煉出亞洲新興都會的異化與游移;然而,同樣以電影為美學援引,錄像藝術家程然則以467分鐘的動態影像向電影致敬;喬恩· 凱茨(Jon CATES)挪用1930年代西部電影的影像敘事,以當機美學介入屏幕政治,使潛在於美國國族主義中集體無意識的暴力顯影;Futoshi MIYAGI、阮純詩(Trinh-Thi NGUYEN)與露西‧戴維斯(Lucy DAVIS)也同樣以動態影像檔案為命題,藉敘事鬆動影像形式,重組影像與記憶政治的關聯。

面對失去歷史的記憶,紀錄片導演劉吉雄的關懷,逼迫我們反思冷戰結構下遭遺忘噤聲的澎湖難民營;王虹凱將日據時期由「蔗農組合」填寫的「甘蔗歌」為載體,用工作坊集結,重新連結受迫的身體經驗;這也呼應印尼雙人組蒂塔‧薩利娜與伊旺‧安米特(Tita SALINA & Irwan AHMETT)長期關注印尼非法移工的世界勞動經歷,強調結構暴力下受迫者的能動性;張乾琦以自身的移動現實對應著兒女出生前後,於其所到之處採集的搖籃曲,私密揪心呈現由攝影作品組成逐格動態影像。納達弗‧阿索爾(Nadav ASSOR)在以色列與巴勒斯坦邊境,進行的地景繪測影像動員;高山明(Akira TAKAYAMA)為北投量身打造的聲演旅途〈北投異托邦〉,此兩位藝術家作品期盼以觀者的身體經驗與記憶完成影像的動感/感動。

「負地平線」展覽著眼於影像與其物質性的敘事,藉著底片膠卷、機器、物件、文獻等裝置,在放映之外,策動視覺、觸覺、身體感知乃至記憶。期盼透過藝術家之眼及各種機械性之外的動態影像,使個人生命敘事與當代全球社會共享的歷史現實顯影。

 

 展覽手冊線上載點 Exhibition Brochure Download

 

Starting with this inquiry based on the epistemology of image, Negative Horizon, the 5th Taiwan International Video Art Exhibition (2016 TIVA), explores how the historical trajectory of image movements comes about and intertwines with the contemporary experience of displacement. The venue of 2016 TIVA is located in Beitou District, which is a starting point and will serve as a referencing point representing the compressed hundred-year history of movement and migration taking place in Taiwan.  Setting off from Beitou, 2016 TIVA tries to connect this specific locale to the whole world, summoning the emotive agencies of the audience.

The title of the exhibition—Negative Horizon— was derived from the title of Paul Virilio’s book published in 1984. In L’Horizon négatif, as a philosopher, Virilio discusses the violence caused by the newly-formed trinity of speed, image and modernity. By replacing the philosophical articulation of negatives with the material history of photographic film, 2016 TIVA attempts to question what the smooth visual experience symbolizes, wondering if it represents certain kind of efficiency without obstacle or the abyss of unsatisfied desire. The term “negative” is a word with multiple meanings, referring to passiveness, negation, femininity as well as an essential vehicle to mobilize image— the celluloid film which has played a vital role in the materialized process of appearance. The term “horizon” embodies the dynamics within the liminal space between the heaven and the earth, which is conditioned by the correlation between the perspective of the spectator and her/his circumstance of the surroundings; this term also bringing a sense of mobility embodied by the economic and political exiles, which result from contemporary geopolitics in conjunction with the disruption of citizenship caused by human trafficking beyond political borders. Negative Horizon thus stands for those invisible scenes that dwell opposite to, behind, or underneath the normative visibility, especially when these transnational/transregional voyages gradually become a part in the lives/life of the modern time, expanding our vision, understanding and feelings and at the same time transformed into underlying and legitimized exploitation.

2016 TIVA intends to follow the theme of the exhibition— “mobility”—from different dimensions closely. Twenty-seven foreign and domestic artists/artist groups, including the invited ones and the finalists from the international open call, participate in this exhibition. What follow are the brief introduction of some artists and their works:

KAO Chung-Li, the pioneer of Taiwanese image art, converses with La Jetée, Chris Marker’s classical omnibus film produced in 1962, via his work, which criticizes the collusion between image, the empire and the capital. Dominique Gonzalez-Foerster and YANG Jun separately but coincidently choose two Asian directors—Edward YANG and Kar-Wai WONG—to deal with the alienation and diaspora in the young metropolises (YANG’s Taipei and Wong’s Hong Kong). Similarly, dealing with the aesthetic of films, CHENG Ran, the video artists, composes a 467-min moving image to pay his attribute to films. John CATES hijacks the image narration in the western films, interrupting the screen politics with glitch art in order to show the violence in the collective unconscious of American nationalism. Futoshi MIYAGI, Trinh-Thi NGUYEN, and Lucy DAVIS also support their theses with moving images files. With the narration loosening the formation of image, they reconstruct the relationship between image and memory politics.

  
Coping with the topic of historical amnesia, Asio Chi-Hsiung LIU, a documentary director, forces us to reconsider the forgotten and muted Penghu Vietnamese Refugee camp under the Cold War structure. Hong-Kai WANG connects people via workshops to reconnect the oppressed physical experience in the matrix of the “Sugarcane Song”, which was composed by Sugarcane Farmers' Association during Japanese Occupation. Tita SALINA and Irwan AHMETT, Indonesian artists, have concerned the Indonesian illegal migrant workers’ working experience worldwide, emphasizing the mobility of the oppressed under the structural violence. CHANG Chien-Chi compares his migration reality with the real condition before and after his children were born. Following his navigation and trajectory, he has collected lullabies wherever he has been. His photos interweave his collection of lullabies, giving birth to the stop-motion moving images with his personal feelings. Nadav ASSOR mobilizes images on the border between Israel and Palestine by surveying and mapping landscape. Akira TAKAYAMA presents Beitou Heterotopia,an intersubjective tour performance perceived by our auditory sense with the local specificity of Beitou. Both TAKAYAMA and ASSOR’s works harbour the anticipation that audience can accomplish the art pieces with their memories and physical experience.

From the negative film, objects, archive, and installation, the exhibition attempts to interrogate the subject of “mobility” from various aspects as an effort to mobilize the feelings of visuality, tactility, corporeality, and even memory. The exhibition engages with artistic visions and their corresponding trajectories in engaging the mechanical motion pictures to expose a historical reality shared by global communities.

 
   
策展人,研究者,藝評人。倫敦大學人文與文化研究博士,研究興趣為當代策展研究之理論/實踐、off-site art(美術館之外的藝術實踐)、美術館議題等。近期出版《台灣當代藝術策展二十年》(2015)獲得第十屆ACC藝術中國「年度出版物」提名獎,其他出版包括主編“Off-Site Art in Taiwan, Hong Kong and China”專輯,Yishu: Journal of Contemporary Chinese Art(2010);《搞空間: 亞洲後替代空間》(2011),以及專書Off-Site Art curating(2011)。擔任2014年深圳雕塑雙年展「我們未曾參與」副策展人,2015年策畫「微型小革命」於曼徹斯特華人當代藝術中心(CFCCA)。曾任教於國立台北藝術大學,香港中文大學,現任國立台北教育大學文化創意產業經營學系助理教授,並擔任當代藝術評論與策展全英文學程主任。   Pei-Yi LU is a curator, researcher and art critic, based in Taipei. PhD in humanity and Cultural Studies (London Consortium), University of London. Her research interests are off-site art, museum studies and curating in theory and practice. Recently, a research-based book edited by her Contemporary Art Curating in Taiwan (1992-2012) is nominated the 10th Award of Art China. Her publications include “Off-Site Art in Taiwan, Hong Kong and China” Special Issue of Yishu: Journal of Contemporary Chinese Art (2010), the edited book Creating Spaces- Post Alternative Spaces in Asia (2011) and the book Off-Site Art curating (2011). She was an associate curator of 8th Shenzhen Sculpture Biennale “We Have Not Participated” (2014) and curator of "Micro Micro Revolution"(2015) for Centre for Chinese Contemporary Art (CFCCA). She had been teaching in the Taipei National University of the Arts and The Chinese University of Hong Kong. Now, as an assistant professor of Department of Cultural Creative Industry, National Taipei University of Education and programme leader MA in Critical and Curatorial Studies of Contemporary Art.



   
獨立研究者暨策展人,美國芝加哥藝術學院藝術策展學群碩士畢業,目前為新加坡國立大學社會科學所亞洲文化研究課程博士候選人,同時也是亞際跨界調研計劃「場景/亞洲」的研究員暨策展人之一,移動於亞際冷戰島鏈之間。研究興趣為冷戰美學的現代性視覺考研,以及記憶政治之於動態影像的關聯性。曾任職香港亞洲文獻庫數位典藏經理、國立台灣美術館助理研究員;近期策劃展覽包括於國立臺灣美術館展出的「在現場:卡帕百年回顧展(2013)」,於立方計畫空間舉行的「透工—萬迪拉塔那與他所捨棄的影像(2016)」;其他參與的跨界研究展演計畫包括新加坡藝術家羅子涵的「藝術家大會—朗根巴哈檔案」(2012-2013),以及由柬埔寨Sa Sa Bassac藝術空間與紐西蘭聖保羅藝廊協同舉辦的移動式駐村計畫「田野:柬埔寨流移探詢」。寫作散見於《今藝術》、《藝術界》與線上媒體「數位荒原」等藝評平台。   Fang-Tze HSU is an independent researcher and curator. She holds an MA in curatorial studies from the School of the Art Institute of Chicago and is a Ph.D. candidate in the Cultural Studies in Asia programme of the National University of Singapore. As a curator of the transregional research-driven project, Scene / Asia: Movements Toward Active Spectatorship, she is currently conducting field research across the Cold War archipelago of Asia. Her research interests include contemporary knowledge formation, Cold War aesthetics, memory, philosophies of technology, and the embodiment of artistic praxis in everyday life. From 2010 to 2013, she served as the digital manager for the Asia Art Archive. She was appointed as a curator for the National Taiwan Museum of Fine Arts in 2013. In 2010, she curated “On Site: A Centennial Retrospective of Robert Capa” at the National Taiwan Museum of Fine Arts. In 2016, she presented the curated research project, “Working-Through: Vandy Rattana and His Ditched Footages” at the Cube Project Space, Taipei. Her other cross-disciplinary research projects include Singaporean artist Loo Zihan’s Artists' General Assembly: The Langenbach Archive (2013), and FIELDS: An Itinerant Inquiry Across the Kingdom of Cambodia (2013) co-organized by the SA SA BASSAC (Cambodia) and the ST PAUL St Gallery (Aotearoa, New Zealand). Her writings can be found in ARTCO Magazine (Taiwan), LEAP (China), and the online art criticism platform, No Man’s Land.