不可言說的生命印記－媒介考古學

策展人｜林裕軒&陳韋綸
藝術家｜王煜松、沈思坦、林盈潔、何彥諺、涂維政、陳冠宏、陳曉朋、楊祐丞、楊傑懷、劉致宏

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網路時代的出現,造就不同於傳統傳播媒介的資訊系統,在其後的發展,讓過去的詮釋方法獲得解放,作者單一的話語權同時也面臨挑戰。網路上最熱門的工具網站之一——維基百科,其網站架構廣納來自世界各地的編輯者,任何人都可以隨著意願對其內文進行修改,內容不同於過去具有權威性的知識學科,也包括流行資訊、網路媒體等等不同面向的訊息,它所ᨀ供的雖然具有參考價值,但仍無法保證沒有失真的可能性。如以維基百科為例,偽基百科對於知識的戲仿及錯誤理解,則成為對立於這個—具有主體性的虛擬機構—的反面敘述體系,也就是知識成為可以被再次詮釋的文本,在這樣正反相互對照的狀況下,和不同於過去知識生成的方法,我們似乎能依循媒介—從圖像、文字、紙本媒介、傳播媒介到網路—的發展來對其進行解構。

資訊的爆炸,不僅影響大眾的生活習慣以及接收訊息的方法,同時也對藝術創作產生相當程度的變革。現代藝術發展以降,媒介傳播的興盛伴隨如同拼貼方法的出現,如立體主義的畢卡索、布拉克等開始將報章雜誌等置入作品,以拾得物命名、成為現成物創作的肇始;普普藝術的安迪沃荷把商業的圖像作為形式加以挪用,過程中不乏將現實生活中的符號作為創作的內容以及新方法。若將藝術史上的作品作為參照的基準,那在當下的藝術——也就是當代藝術和現存的傳播媒介、媒體資訊又如何和藝術產生關聯,成為檢視生活的途徑?

本次展覽以非具象繪畫、平面影像、雕塑、檔案、錄像裝置等,這些充滿歧異性的創作形式,在展示空間中進行線性敘事安排達解構的手段,企圖找到重新審視主體生成的過程及其動能性。如果循著媒介發展的路徑往回推算,網路介面供的內容(context),混雜著的觀點令人難以區分,其並非全面且具有普世性的客觀概念,創作主體的形塑過程對現實進行充滿差異性(differance)的詮釋,形成一種更趨近於生活路徑的記錄,用以抽象化、圖像(或稱符號)以及文字的方式銘刻主體的印記。歷經不同世代的創作者,生活同時面對著龐雜的資訊體系,創作意識所顯現的特質也不盡相同,假如主體必須仰賴這些記號以達到記憶的目的,或是有被再次詮釋的可能,那便能找到有跡可循的方法。與其說是單純符號性的推演,更可以說當前資訊發展在進入下一個世代前,網路媒介所暴露的痕跡讓我們有機會透過不同的詮釋觀點,揭示隱含在主體—文本背後的本質性問題。

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Curators: Lin Yu-Hsuan & Chen Wei-Lun

Artists: Wang Yu-sung, Shen Si-tan, Lin Ying-Chieh, Ho Yen-Yan, Tu Wei-cheng, Chen Guan-Hong, Chen Hsiao-Peng, Yang Yu-Cheng, Yang Jie-Huai, Liu Zhi-Hong

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The emergence of the internet age has created an information system different from traditional media, and its subsequent development has liberated past interpretive methods while challenging the author's singular discourse authority. One of the most popular tools on the internet, Wikipedia, incorporates editors from around the world into its website structure, allowing anyone to modify its content at will. Unlike the authoritative knowledge disciplines of the past, Wikipedia includes various types of information such as popular information and online media, although its content is reference-worthy, it still cannot guarantee the possibility of distortion. For example, the parody and misinterpretation of knowledge by Uncyclopedia has become a narrative system that opposes this subjective virtual institution. That is, knowledge becomes a text that can be reinterpreted. In such a situation of positive and negative contrasts, and different from the past methods of knowledge generation, we seem to be able to deconstruct it according to the development of media—from images, text, paper media, communication media to the internet.

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The explosion of information not only affects the habits of the masses and the methods of receiving information but also brings about significant changes in artistic creation. With the development of modern art, the rise of media dissemination is accompanied by the emergence of collage-like methods. For example, in the Cubism movement, artists like Picasso and Braque began incorporating newspapers and magazines into their works, initiating the use of found objects as names and the beginning of ready-made art. Pop artist Andy Warhol appropriated commercial images as forms, often using symbols from real life as content and new methods. If we take works in art history as a reference, then in contemporary art—namely contemporary art and existing media information—how does it relate to the generation of art and become a way to examine life?

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This exhibition employs non-figurative painting, graphic images, sculpture, archives, video installations, and other diverse forms of creation, arranging them in a linear narrative in the exhibition space to achieve deconstruction, attempting to find a way to re-examine the process of subject generation and its dynamics. If we trace back along the path of media development, the content provided by the internet interface, mixed with various viewpoints, is difficult to distinguish. It is not a comprehensive and universally objective concept. The shaping process of the creative subject interprets reality with a difference, forming a record that is closer to the path of life, using abstraction, images (or symbols), and text to engrave the imprints of the subject. Through different generations of creators, life faces a complex information system, and the characteristics manifested by the consciousness of creation are also different. If the subject must rely on these signs to achieve the purpose of memory or has the possibility of being reinterpreted, then a traceable method can be found. Rather than being simply symbolic deduction, it can be said that the traces exposed by the development of information in the current era allow us to reveal the essential questions hidden behind the subject-text through different interpretive perspectives before entering the next generation.