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第25小時  The 25-Hour Days

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第25小時

策展人|林裕軒、黃郁捷

藝術家|車在民、陳為榛、丘智偉、鄭栖英、伊凡‧克萊達特&可可‧佩迪皮耶、黃博志、高雅婷、鄺鎮禧、賴科維、林冠名、毛利悠子、歐拉夫‧尼可萊、下道基行、鈴木悠哉、曾家偉、亞魯、楊健生

展期|2024.09.26-12.01

開放時間|09:30-17:00,週一固定休館,國定假日除外。

地點| 基隆美術館1樓、M樓與3樓(基隆市中正區信一路181號)

 

The 25-Hour Days

Date|26 Sep – 01 Dec, 2024

Curator|Lin Yu-Hsuan, Huang Yu-Jie

Artist|Cha Jeaminm, Chen Wei-Chen, Chiu Chih-Wei, Chung Seoyoung, Yvan Clédat & Coco Petitpierre, Huang Po-Chih, Kao Ya-Ting, Kong Chun-Hei, Lai Ko-Wei, Lin Guan-Ming, Mohri Yuko, Olaf Nicolai, Shitamichi Motoyuki, Suzuki Yuya, Eason Tsang Ka-Wai, Yaloo, Yong Kian-San

Open Time|Tuesday to Sunday 9:00-17:00 (Closed on Monday, except on public holidays)

Venue|Keelung Museum of Art 1F, MF, 3F(No. 181, Xin 1st Rd, Zhongzheng District, Keelung City 202099, Taiwan)

​​策展論述

類的一天從24小時,變成了25個小時,那麼在這第25個小時的時間和空間裡,生活會是什麼樣子呢?

 

展覽「第25小時」源自幾位參展藝術家與我們談起的故事,這些故事不約而同地都從他們一段特殊的生命經驗開始,提及「在這個經驗之後」,生活狀態和創作節奏發生意料之外的變化,彷彿在日復一日之外,延伸出另一時空,裝盛和衡量那些伴隨著改變而來的、盈滿的、尚未歸類的、無法言喻的情感和行為。

本展邀請來自7個國家,17組藝術家,試圖從「經歷(事件)後」,個人產生異於原本時空尺度的感性面向出發,開啟一段超越個人經驗的對話,從而探討個人和社會的相互影響。 無論是因為一場疫症或災害,人與周遭環境的距離開始變化,人與非人、公與私領域的重新排列組合;或是循著生命的運轉,帶來新的身份關係和感情羈絆;抑或是在遷旅的途徑中,身體和心理在規律步驟間暫獲調頻的契機。若「經歷(事件)」非如此不可地穿越我們的生活,足以改變習慣的軌跡,給予熟悉事物全然不同的意義,那麼各位觀眾,你現在所在的展場,便是將各種時空的抽象變化具現的實體場所。在這裡,我們得以跟隨作品的節奏,思索都市空間結構的分界、身體勞動的記憶,以及現代社會之下,那些藏於表象後的另一種真實。

 

時間和空間作為物理形式的存在,將我們的感受束縛在可控制的範圍內,展覽「第25小時」盼能用一個更為輕盈的步伐,帶領你我遊走在不同時空次元中,然後稍稍卸下既有的規則與框架,包裹自己投射於社會的情感。

STATEMENT

Imagine if a day extended from 24 to 25 hours. What kind of life would unfold in that extra hour?

 

The 25-Hour Days exhibition stems from stories shared by participating artists. These narratives begin with unique life experiences that brought unexpected changes to their routines and creativity. It is as if, beyond the daily grind, another dimension emerges, encapsulating the unclassified and indescribable emotions and actions accompanying changes.

 

Featuring 17 artist groups from 7 countries, this exhibition explores the sensibilities arising after significant “experiences (events)” shift perceptions of time and space. The goal is to spark a dialogue transcending personal experience, examining the mutual influence between individuals and society. Whether due to a pandemic or disaster, the distance between people and their surroundings starts to change, leading to new relationships between the human and non-human, public and private realms. Life’s cycles forge new identities and emotional bonds. During migration, the body and mind may recalibrate momentarily. If “experiences (events)” inevitably traverse our lives, altering paths and giving new meanings to familiar things, then the exhibition space becomes a tangible manifestation of abstract temporal and spatial transformations. Here, we follow the rhythm of the artworks to contemplate urban structures, labor memories, and another reality behind modern society’s surface.

 

Time and space, as physical forms, confine our perceptions within limits. The 25-Hour Days hopes to guide us with a lighter step, wandering through different dimensions of time and space, setting aside existing rules and embracing the emotions we project onto society.

計畫總監|黃恕慈

展覽監製|黃彥榕 

策展人|林裕軒、黃郁捷

展覽協調|朱家陵

視覺形象與設計|貳島設計

攝影與影像製作|三月影像

展場工程|國華室內裝修工程

燈光設計|牧晅有限公司

視聽技術|牧晅有限公司

展場視覺施作|布魯歐信廣告有限公司

展場佈展與運輸|翔輝運通有限公司

翻譯|滕孟哲

公關及媒體宣傳|翁氏工作室

Project Director|Cammier Huang

Exhibition Director|Debbie Huang

Curators|Lin Yu-Hsuan, Huang Yu-Jie 

Exhibition Coordinator|Chu Chia-Ling 

Visual Design|iiisland

Photography and Video Production|Aquamarinefilm

Exhibition Construction|Guo Hua Interior Decoration Engineering

Lighting Design|l’atelier muxuan

AV Technical Management|l’atelier muxuan

Visual Construction|Printel Digital Inkjet Printing Ltd. 

Logistics and Transportation|Sunway Express Co., Ltd.

Translator|James Teng

Public Relations|Studio Weng

指導單位|基隆市政府

共同主辦|基隆市文化觀光局、基隆美術館、志民有限公司

特別感謝|法國龐畢度中心、文心藝所、桃園市立美術館、就在藝術空間

贊助單位|路易莎咖啡

器材與作品輸出贊助單位|台灣視覺藝術協會、晶彩亞太科技、Avocado 

媒體協力|典藏ARTouch、今藝術&投資

感謝名單|德國艾根畫廊、Tokyo Arts and Space、TKG+、水谷藝術、侯文詠、黃彥樵、黃羿瑄、梁予瀞、廖聰顥、劉昱廷、白瑋、吳梓安

Advisor: Keelung City Government 

Co-organizers: Keelung City Cultural Affairs Bureau, Swun’s Corporation 

Special Thanks: The Centre Pompidou, Winsin Arts Foundation, Taoyuan Museum of Fine Arts, Project Fulfill Art Space

Sponsor|Louisa Coffee

Equipment and Print Production Sponsors|Association of the Visual Arts in Taiwan, Splenditech Asia Pacific Limited, Avocado 

Media Support|ARTouch, Artco Monthly & Investment

 

Thanks to|Galerie EIGEN+ART, Tokyo Arts and Space, TKG+, Waley Art, Hou Wen-Yong, Huang Yen-Chiao, Huang Yi-Hsuan, Liang Yu-Jing, Liao Cong-Hao, Liu Yu-Ting, Pai Wei, Wu Tzu-An

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下道基行《橋》2015,書,6300公分。

Shitamichi Motoyuki, Bridge, 2015, book, 6300cm. 

下道基行《14歲與世界與邊界》2019,書。

Shitamichi Motoyuki, 14 years old & the world & border, 2019, book. 

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下道基行《看不見的風景》,2010-至今,工作坊。

Shitamichi Motoyuki, Walk with Your Eyes, 2010-ongoing, workshop.

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鄺鎮禧

《綠燈》2024,水平珠、LED燈板、壓克力盒、不鏽鋼支架,每件120.4 x 30.2 x 9.5公分,共計6件。
《紅氈》2024,砂面防滑帶、防滑膠壓條,尺寸依場地而定。

Kong Chun-Hei

Green Lights, 2024, spirit level, LED light panel, acrylic box, stainless steel profile, 120.4 x 30.2 x 9.5 cm each, 6 in total.
Red Carpet, 2024, sand surface anti-slip tapes, PVC anti-slip bar, dimensions variable.

黃博志《一週八天》2024,藝術微噴、紙、玻璃、松木、聚酯纖維、碳纖維、不織布地毯,尺寸依場地而訂。

Huang Po-Chih, Eight Days a Week, 2024, Giclée print, papers, glass, pine wood, polyester, carbon fiber, non-woven fabric, dimensions variable. 

楊健生《玻璃百葉窗002》2024,玻璃、玻璃百葉支架、棧板、莎比利、12伏特馬達、窗簾拉繩,尺寸依場地而定。

Yong Kian-San, Glass Louver Window 002, 2024, glass, glass louver brackets, pallet, sapele, 12V motor, curtain draw cord, dimensions variable. 

鈴木悠哉《內庭/外庭》2024,複合媒材,尺寸依場地而定。

Suzuki Yuya, Reversible Garden, 2024, mixed media, dimensions variable.

陳為榛《家飾》2024,噴砂玻璃、鋁窗、瓷盤、磁磚、木、塑膠浪板、窗簾軌道、壓克力彩、玻璃杯,尺寸依場地而定。

Chen Wei-Chen, Household Items, 2024, sandblasted glass, aluminium window, porcelain plate, tiles, wood, plastic corrugated board, curtain track, acrylic paint, glass, dimensions variable. 

鄭栖英《2013,四點鐘》2013,單頻道錄像,8分26秒。

Chung Seoyoung, 2013,4 O’Clock, 2013, single-channel video, 8 minutes, 26 seconds.

曾家偉《瀑布》2019-至今,收藏級噴墨照片,尺寸不一,此次共展出5張。

Eason Tsang Ka-Wai, Waterfall, 2019-ongoing, archival inkjet print, dimensions variable, 5 pieces exhibited.

毛利悠子《Piano Solo-Ohara》2021,複合媒材聲音裝置,尺寸依場地而定。藝術家、就在藝術空間與桃園市立美術館提供。

Mohri Yuko, Piano Solo-Ohara, 2021, mixed media sound installation, dimensions variable. Courtesy of the artist, Project Fulfill Art Space and Taoyuan Museum of Fine Arts.

高雅婷《以母之名》
2024,絲、棉、毛料、玻璃珠、毛線、人造珍珠,(寬)124 x(長)444公分。

Kao Ya-Ting, In the Name of the Mother, 2024, silk, cotton, woolen material, glass bead, yarn, artificial pearl, 122 x 444 cm.

賴科維《一些杯子》2024,陶,尺寸依場地而定。

Lai Ko-Wei, Some Cups, 2024, ceramic, dimensions variable.

伊凡・克萊達特&可可・佩蒂皮耶《蔓舞奇境》2023,金屬、泡棉、布料,尺寸依場地而定。藝術家與法國龐畢度中心提供。

Yvan Clédat & Coco Petitpierre, The Plantamouves, 2023, metal, foam, fabric, dimensions variable. Courtesy of the artist and Centre Pompidou.

丘智偉《橋樑之下》2024,木作、水泥、攝影輸出燈片、燈泡、聲響裝置、影像投影裝置、戶外防水壁燈,尺寸依場地而定。

Chiu Chih-Wei, Under the Bridge, 2024, woodwork, cement, photographic lightbox, light bulb, sound installation, video projection installation, outdoor waterproof wall lamp, dimensions variable. 

林冠名《床》2022,複合媒材裝置,尺寸依場地而定。

Lin Guan-Ming, The Bed, 2022, mixed media installation, dimensions variable. 

亞魯《新千禧年運動》2014,單頻道高畫質錄像,5分鐘。

Yaloo, New Millennium Workout Routine, 2014, single-channel HD video, 5 minutes.

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車在民《綠幕與迷宮》2013,高畫質錄像,16分鐘。

Cha Jeamin, Chroma-key and Labyrinth, 2013, HD video, 16 minutes. 

歐拉夫・尼可萊《如何想像蠟燭熄滅後的光》2018,裝置、紫外線燈管、光激螢光底漆,尺寸依場地而定。藝術家與文心藝術基金會提供。

Olaf Nicolai, HOW TO FANCY THE LIGHT OF A CANDLE AFTER IT IS BLOWN OUT? 2018, installation, UV light, photoluminescent colour, dimensions variable. Courtesy the artist and Winsing Arts Foundation.

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