| 匯融創作者、媒體理論與藝術史學者、教育家與電影檔案研究者等數種實踐於一身的美國藝術家喬恩‧凱茨，是以網際網路與媒體硬體機制為創作平台之當機藝術（Glitch art）的先驅。〈鬼鎮〉是凱茨近年來整理研究芝加哥電影資料館膠卷檔案時，面對二十世紀初美國大量拍攝的西部電影，做出美國國族主義內核某種男性陽剛氣質導致之系統性暴力的深刻反思，透過西部電影之影像敘事，檢視美國建國肇基至今仍難以面對的兩大暴行——對第一民族（所謂美國印第安人）進行的種族清洗以及對非裔族群的奴役歷史。〈鬼鎮〉以多重屏幕之錄像裝置，透過當機藝術美學中硬體屏幕所體現的媒體系譜學，乘載那些既存在於動態影像史、也實踐於生活中對種族與階級的暴行。本作品與華碩文教基金會合作，展覽期間同步於華碩奇岩大樓門口展出。 |
Chicago-based artist Jon CATES is an artist of many parts. He is a creator, an educator, a media theorist, an art historian, and a film archivist all rolled into one. Most importantly, he has been recognized as a pioneer of the Glitch art, the artistic practice and the aesthetic pursuing, adopting or creating signal failure from either a circuit of digital data or an analog device. Ghosttown is the reflection of CATES on the masculinity in the core of American nationalism resulting in the structural violence after examining the films in Chicago Film Archives, which has collected a huge amount of Western films made in the 20th century. With the narration of American Western films, CATES inspects two vital atrocities in American history after the establishment of the nation which by far cannot be faced by the population on the continent—the genocide of the First Nations (i.e. so-called American Indians) and the slavery of the African. Ghosttown is a video installation with multiple screens with Glitch art; by presenting the media genealogy, it also displays the violence existing in the history of moving image and the brutality against class and races in life. The work is supported by ASUS Foundation, and will be presented at ASUS Chiyen building entrance. |
