Measured in feet | yuhsuan901

一百坪的散步練習 Measured in feet

一百坪的散步練習

策展人｜林裕軒

藝術家｜何彥諺、鄭先喻、楊季涓、鄺鎮禧、魏柏任

展期｜2023.06.02-07.30

開放時間｜10:30－17:30，週一休館

地點｜鳳甲美術館（台北市北投區大業路166號11樓）

Measured in feet

Date｜02 June – 30 July, 2023

Curator｜Lin Yu-Hsuan

Artist｜Ho Yen-Yen , Cheng Hsien-Yu , Yang Chi-Chuan , Kong Chun-Hei , Wei Po-Jen

Open Time｜10:30 - 17:30, Closed on Monday.

Venue｜Honggah Museum (11F., No.166, Daye Road, Beitou District, Taipei City)

策展論述

「辦公室的牆體被拿掉，故視覺上的阻礙被摧毀了，整個樓層成為一塊巨大的開放空間，或者將私人辦公室設立在大型開放空間的周圍。把牆摧毀，辦公室設計者馬上會說，提高了辦公效率，因為要是人們整天暴露在彼此的視線之下，就比較不會聊天瞎扯，而是會單獨專心工作。」

——理查・桑內特（Richard Sennett）《再會吧！公共人》(2008年)

展覽「一百坪的散步練習」以寬敞的體感狀態，運用空間部署的方式，指向私人與公共的間隙在改變的過程。展覽將空間、身體與感知並置，以作品生成的多種系統，對當代社會提問——我們如何與個體共處。藉由行走空間的感知，將身體因爲慣性而產生的記憶，與空間的政治性交互討論，慣性是一種透過動作學習而來的機制，它會受到事件、經驗、環境與群體等多種因素的影響，進而養成或改變身體的記憶。本展邀請五位來自臺灣與香港的藝術家何彥諺、鄭先喻、楊季涓、鄺鎮禧與魏柏任展出，他們各自拆解身體的記憶、擾動秩序的平衡，以及私密性在我們所追求的「透明」社會中，私密漸漸浮現在公共空間，被攤在陽光下的狀態。

以身體在空間的情境來說，在建築的領域中，不管是街道、建築物或是以其他方式規劃的空間場所，一直都有透過行走來感知空間的習慣，空間感知實際上也隱含著一種「感受的行程」。隨著時代與技術的發展，支撐建築體的牆面換成了柱體、樑柱與樓板，室內裝潢的高度跟著降低，也運用多種具穿透性的材料，空間的流動性提高了、身體掙脫了束縛感，更也成了我們對於自由、平等與具開放性公共場域的嚮往，但卻同時讓人們成為彼此的視線之下，那個「被觀看的觀眾」。在這個非一眼就能望穿的展覽空間中，取代舊有牆面結構的是作品製造出的夾縫、通道與隔牆，作品因爲在空間裡擺放位置的不同，觀者身體在觀看時得隨之跟著低身、坐臥、跨越與繞行。

展覽以尚未看見卻先被迫接收到的作品Sandbox作為開端，鄭先喻以行動裝置本身就具有的私密和公共的雙重特性，藉由轉址觀眾行動裝置電信商的通訊訊號，再以簡訊傳達作品所設置的文字訊息，導引觀眾去想像那些被視為不在場的作品；鄺鎮禧的作品《反饋（逐步）》與楊季涓的作品《下雨了》與《春日午後巷子裡》，則是以「物」的在場來提出觀察，鄺鎮禧將秤擺放在空間的過道，去掉物品原先的使用功能，質疑身體對物品功能的習慣，以秤作為衡量多種標準的方式；楊季涓將作品垂吊於窗前，藉由捲動、掉落與擺盪的規律，將物質與空間的關係串聯，緊密的連起不同的有機生命，在看似隨意地擺設與佈局下，概括呈現出既彷若自然成形、畸形與奇異混合的物質體系；而鄺鎮禧的作品《虛構挪移》與魏柏任的作品《敗口》，則是分別透過玻璃的穿透與牆面夾縫的間隙，用材質去改變我們對於空間的想像。《虛構挪移》是一堵劃分出空間的可移動式玻璃拉門，在玻璃上面留下的刻痕則是他在這一場災難中缺席的痕跡。擷取自生活空間角落的《敗口》，魏柏任將微小的滴水聲、剝落的碎片與裂隙放大，把自身投放在這個空間的夾縫中，讓視線轉而望向無盡的向光之處；另一角度裡，鄭先喻與何彥諺則指向人、生命與自然環境之間的尺度，作品《生命的來來去去2.0》擺放在一個具單面鏡效果的空間，鄭先喻以防蟲燈終止了昆蟲的生命，將其轉移到遊戲中，玩家可以控制主角昆蟲來防禦人類的攻擊，當主角被終止時，則需要再次等待昆蟲的死亡；何彥諺的作品《睡眠大廈》，她以「睡眠時的腦波與潮汐的波形」進行看似不相關的雙實驗組對照，以「夢遊」去理解人類對於超出自⾝經驗所能之事物的渴望及焦慮，運用住宅空間中的傢俱位置，以淺意識中的行走動線來找尋身體的規律，藉此重新檢視人、身體和自然環境間交互作用的能量。

如果說，散步這個動作讓我們能夠感知空間裡的時間，與辨認意識的邊界，那展覽「一百坪的散步練習」則是藉由策展的方法，試著進入與調和個體無法被社會系統緩解的情緒，並展開關於觀看系統尺度、人類⾝體、社會環境和意識邊界種種⾯向的討論。

STATEMENT

“Visual barriers are destroyed by doing away with office walls, so that whole floors will become one vast open space, or there will be a set of private offices on the perimeter with a large open area within. This destruction of walls, office planners are quick to say, increases office efficiency, because when people are all day long visually exposed to one another, they are less likely to gossip and chat, more likely to keep to themselves.”

__Richard Sennett, The Fall of Public Man, 1978

The exhibition Measured in Feet points to the changing process of the gap between private and public by means of spatial disposition in a spacious soma-sensing state. The exhibition juxtaposes space, body and perception, and uses the multiple systems generated by the works to raise questions about contemporary society: How do we live with individuals? Through the spatial perception of walking, "the memory triggered by habits of the body" and "the political nature of the space" are interactively discussed. The habitual tendency is a mechanism learned through behaviors, which is influenced by events, experiences, environments, collectives and many other factors, thus shaping and changing the memories of the body. This exhibition presents five artists from Taiwan and Hong Kong, Ho Yen-Yen, Cheng Hsien-Yu, Yang Chi-Chuan, Kong Chun-Hei, and Wei Po-Jen. They each disassemble the memories of the body, disturb the balance of order, and expose our privacy being inevitably publicized in today’s “transparent society”.

In the realm of architecture, no matter urban design, architecture design, or places planned in other ways, there has always been a tradition of perceiving space through walking, and the spatial perception has always implied some kind of “itinerary of feeling”. With the development of technology, the load bearing walls have been replaced by beam-column modular structure, the height of indoor ceiling has been lowered. And with the use of permeable materials, the mobility of space has increased, the body has broken free from the sense of bondage, and it has also become our yearning for freedom, equality and public open space. But at the same time, this kind of transparency has also set us under each other’s surveillance, compelled us to self-regulation. In this exhibition space, which cannot be seen at a glance, the old wall structure is replaced by fissures, promenades and partitions created by the works. By the spatial disposition of the works, the viewer is encouraged to wander, cross, shuttle, detour, and make contact with the space.

The exhibition begins with Sandbox, a work which has not yet been seen but has been forced to receive. Cheng Hsien-Yu uses the duality of privacy-publicity of the mobile device itself to direct the viewer to imagine the works that are not present by intercepting and redirecting radio signals from the viewer’s mobile devices provided by local carriers. Kong Chun-Hei’s Feedback (step by step) and Yang Chi-Chuan’s It’s Raining and Alley on a Spring Afternoon offer observations in the presence of “things”. Laying numerous scales in an aisle of the exhibition space, Kong Chun-Hei questions the fixation of the object’s usage and meaning by removing the original function of the object; whereas under the seemingly random arrangement and layout, Yang Chi-Chuan generalizes a material system that looks like a composition of naturally formed, deformed and strange mixture, by hanging her works in front of the window, she links the relationship between matter and space, and connects different organisms in the rhythms of rolling, falling and swinging of her works.

Kong Chun-Hei's The Sliding Myth and Wei Po-Jen's Fissure respectively use the transparency of glass and cracks in the wall to change our perception of space and materiality. The Sliding Myth shows a movable glass door that divides the space, and the nicks left on the glass embodied his absence in the disaster. Extracted from the corner of the living space, Wei Po-Jen amplified the tiny dripping sound, peeling debris and cracks, throwing himself in the crevice of the space, looking into the endless light.

On the other hand, Cheng Hsien-Yu and Ho Yen-Yen point to the scale between human beings, life and the natural environment. The work Afterlife Ver. 2.0 is placed in a space with the effect of a one-way mirror, Cheng Hsien-Yu terminates the life of insects with a bug zapper and transfers them into a virtual game. The player can control the protagonist insect to defend against human attacks, and when the protagonist is terminated, the player has to wait for the insect to die again. In Ho Yen-Yen’s work The Sleep Building, she compares the seemingly unrelated two experimental groups of “ brain waves during sleep” and “waveforms of tides”. She uses "sleepwalking" to understand human's desire and anxiety for things beyond their own experience, and analyzes the position of furniture and the walking paths in residential spaces to find out the rules of the body in the state of the subconscious, so as to be able to re-examine the interaction between human beings, body and the natural environment.

If the action of walking enables us to perceive time in space and identify the boundary of consciousness, the exhibition Measured by Feet is an attempt to enter and reconcile the emotions of individuals that cannot be alleviated by the social system through the method of curation, and to begin a discussion on the scale of the viewing system, the human body, the social environment and the boundary of consciousness.

館所協力｜王敬希

共同研究｜曾哲偉

視覺設計｜陳奕志

技術協力｜丘智偉、林彥翔、劉昱廷、楊健生、郭恩碩、侯文詠、王楹凱

燈光設計｜劉欣宜（阿嵐）洌嵐

翻譯｜曾哲偉

特別感謝｜黃郁捷

主辦單位｜財團法人國家文化藝術基金會、策展人培力＠美術館專案、財團法人邱再興文教基金會

執行單位｜鳳甲美術館

指定投影｜奧圖碼科技

感謝單位｜誠品畫廊、TKG+

Institution Coordinator｜Wang Jing-Shi