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27.12.17

_EXHIBITION : HUAYU_YOUTH_AWARD



































5th Huayu Youth Award
2017 Art Sanya: Shared Vision

Artist Musquiqui Chihying is nominated for 5th Huayu Youth Award, an independent art prize focusing on artists under the age of 35 that kicked off this year's Art Sanya in South China's Hainan province. The 20 artists in shortlist will show their work in the group show 2017 Art Sanya: Shared Vision in new built Huayu Art Center from December 2017 to March 2018.

more info 
Action Media 
Art Sanya
Artron.Net




28.9.17

_EXHIBITION : RESISTANCE IS FUTILE

























Musquiqui Chihying
Resistance is Futile

Exhibition                       October 6–November 3, 2017, Mon.–Fri. 12–6pm
Opening Reception        Friday, October 6, 6–8pm
Artist-led Tour                Friday, October 6, 7pm
Extended Hours             Oct. 7–8, 1–6pm

The Chinese American Arts Council (CAAC) and Gallery 456 are delighted to present Resistance is Futile, an exhibition of installation works by Berlin- and Taipei-based artist Musquiqui Chihying (b. 1985). This is his first solo show in New York. Chihying’s recent works investigate the post-colonial and post-immigrant ideology embedded in the images and media culture of a globalized society, questioning the power structures around seeing and being seen. 


The exhibition features four media installations that the artist has created since 2016, which center around the complex tension between human beings and the camera. Printed on film, The Figure is a series of digital images of people covering their faces, representing a straightforward gesture to resist the intrusion of the camera. In keeping with Chihying’s interest in discovering the invisible in current historical narratives, Camera(36) and Camera(16) imagine the world behind the camera lens when subtle resistance took place. Turning the camera toward the people usually behind the machine, Camera(36) recreates the scene when Leni Riefenstahl shot Korean athlete Sohn Kee-chung trying to cover a symbolic Japanese icon on his shirt in the well-known documentary Olympics, while Camera(16) imagines a worker from a Korean entertainment company shooting the video, in which Chou Tzu-yu, the Taiwanese member of a popular Korean girl band, apologized for waving the Taiwan national flag on a variety show. Chihying’s fourth piece envisions the message from the camera itself, based on the fact that the act of looking is sustained with the existence of light. By using flash light and luminous paint, The Flash sends a message to humans -- resistance is futile -- from the perspective of machines.  

The exhibition is titled after a line delivered by a villain called The Borg from the popular sci-fi franchise Star Trek. The Borg assimilates the culture of those it conquers, turning its enemies into living machines without independent consciousness . As our perception is gradually replaced by digital apparatuses and our reality is constructed through the images and moving images circulated on social media, are we becoming an entity similar to the Borg in the future? 

CAAC and Gallery 456 Visual Arts Exhibition Series are supported, in part, by public funds from the National Endowment for the Arts, and the New York City Department of Cultural Affairs, in partnership with the City Council. This program is also made possible by the New York State Council on the Arts with the support of Governor Andrew Cuomo and the New York State Legislature. Special thanks to friends of CAAC.

The exhibition at Gallery 456 is organized by curator Shih-yu Hsu, with special thanks to SCREEN.






















《 抵抗徒勞無功 》

藝術家           致穎 Musquiqui Chihying
展覽期間        2017年10月6日 - 11月3日,週一至週五12 - 6 pm.
開幕酒會        10月6日週五,6 - 8 pm.
藝術家導覽    10月6日週五,7 pm.
特別開放        10月7日- 8日,1 - 6 pm.

美華藝術協會 (CAAC) 與456畫廊 (Gallery 456) 宣布將在2017年10月6日至11月3日呈現展覽《抵抗徒勞無功 (Resistance Is Futile) 》,為旅居德國柏林與臺灣臺北藝術家致穎於紐約首度個展。致穎近期創作著重在探討當代全球化社會中,後殖民與後移民時代的意識形態是如何嵌入在圖像與大眾媒體文化,同時對觀看與被觀看的權力結構提出質疑。

本展覽共展出藝術家從2016年開始創作的全新四件作品,呈現人與攝像機之間錯綜複雜的張力與失真。〈像〉是一系列被轉印在投影底片上的數位照片,當中的主角面對藝術家的手機鏡頭有意識或無意識地遮住臉孔,面對鏡頭做出最直接的抵抗。〈攝像機〉系列作品,藝術家重新挖掘被鏡頭記錄下的歷史事件中,攝影機後不為人知的世界。致穎在兩件作品〈攝像機 (36)〉與〈攝像機 (16)〉將鏡頭反轉,對準操控攝影器材的人們,試圖具象化被拍攝者在面對身份認同的掙扎抵抗發生時,那些不曾存在流通的大眾媒體影像中的視角。〈攝像機 (36)〉重現拍攝1936柏林奧林匹克運動會紀錄片導演蕾妮萊芬斯坦 (Leni Riefenstahl) 的劇組場景,當時紀錄片紀錄下贏得獎牌的韓國選手孫基禎,試圖用冠軍所得的小型橡樹遮住胸前的日本國旗;〈攝像機 (16)〉則虛構重建工作人員拍攝韓國偶像團體中台灣成員周子瑜被迫道歉影片的辦公室場景。這隻道歉影片出現在爭議的時間點,當中主角因在節目中揮舞台灣國旗而被迫道歉。作品閃光〉回到觀看需要藉由光線存在而成立的特質,嘗試以機器的視角,對人類發出訊息 ── 抵抗徒勞無功。


《抵抗徒勞無功》取自於熱門科幻影集《星艦奇航記》,其中外星種族博格 (Borg) 入侵其他文化時的著名宣言。博格吸收被侵略種族的文化,將其改造為無意識的機械混合體。如同當今社會,我們的感知逐漸被電子儀器拓增或取代,對於現實的理解往往建立在社群媒體中所見的圖像與影像,而當圖像與影像越來越脫離原先被生產的脈絡,人類如何建構現實?是不是我們正逐漸走向博格人的未來?
美華藝術協會與456畫廊視覺藝術計畫部分經費由國家藝術基金會贊助以及紐約市政府文化局與議會聯合贊助。紐約州議會與州長 Andrew Cuomo 的支持讓本計劃得以順利進行。另外特別感謝美華藝術協會之友們。

《抵抗徒勞無功》由策展人徐詩雨策劃,特別感謝線上媒體介面的協助。


press Kit 媒體資料 
Resistance is Futile

Artforum  
Critics Picks

more info 
CAAC Gallery 456








15.8.17

_EXHIBITION : OSMOSIS























OSMOSIS - Audiovisual Media Festival 2017

The ART SHELTER AND CINEMA, the host of the “OSMOSIS - Audiovisual Media Festival 2017”, has invited artists and curators from Austria, Argentina, Germany, Lithuania, Italy, Japan, Nigeria, Poland, Qatar, Russia, Spain, UK, United States and Taiwan. Each curator provides different topics or programs for the festival. The festival takes place from 19th of August to 3rd of September, 2017 in various venues including the Cultural and Creative district of Taiwan Power Company, Shin Min building, Sun Yun-Suan Memorial Museum, Waley Art space, The wall music, woolloomooloo and so on. The host and the curators presenting screenings, live performances, exhibitions, and forum focusing on moving, audiovisual and media art. In addition, some tours to the participating countries and regions are expected to be carried out by the end of 2017 or 2018.

Exhibition Programm /
Date: 26. August – 03 September, 2017
Time: 11:00 am - 17:00 pm
Opening Reception: 13:00 pm, 26. August, 2017
Venue:
Taiwan Power Company Shin Min building
No.1, Sec. 2, Xianmin Blvd., Banqiao Dist., New Taipei City, Taiwan 
(MRT Banqiao station Exit 2)

Curator /
Wang Wen-Chi

Artists /
Hung Yun-Ting, Fan Chih-Ming, Wang Lien-Cheng
Musquiqui Chihying, Wu I-Yeh, Chen HsienYu



滲透影音媒體藝術節 2017

OSMOSIS - Audiovisual Media festival 2017一個新興的影像藝術節,每次由不同的藝術家與策展人共同合作,並號召各國藝術節、藝術單位前來參與聚會並進行交流呈現。「滲透影音媒體藝術節 2017」,今年預計將邀請了來自日本、英國、波蘭, 俄羅斯, 西班牙, 奈及利亞, 阿根廷及台灣等約計10位策展人,分別策劃自定主題之影像展演節目,共含蓋14國藝術家作品於2017 81993日間,在各式展演空間呈現。整體藝術節節目含括:國內外藝術節作品展、藝術節邀請交流節目、藝術節現場表演單元節目、論壇、藝術空間平行單元、獨立策展人特別單元等活動展演呈現。

展覽單元 /日期: 2017年8月26日 至 9月3日
時間: 11:00 am - 17:00 pm

開幕: 2017年8月26日13:00 pm
地點:
 
臺電板橋新民大樓
臺灣新北市板橋區縣民大道1號
(捷運板橋站2號出口)

策展人 /
王文琪

藝術家 /
洪韵婷, 鄭先喻, 吳宜曄, 王連晟, 樊智銘, 致穎


more info 
http://ascjoin.wixsite.com/ascool/introduction-2017






3.8.17

_EXHIBITION : A CHEMICAL LOVE STORY

























A Chemical Love Story
化學之愛

Date / 05. August – 16 September, 2017
Time / 11:00 am - 18:30 pm (May-Oct)

Opening Reception / 16:00 pm, 05. August, 2017
Venue / 
Tang Contemporary (First Space)
Gate No.2, 798 Factory Jiuxianqiao Road, Chaoyang District
Beijing, China

日期 / 2017年8月5日 至 9月16日
時間 / 11:00 am - 18:30 pm (5月-10月)

開幕 / 2017年8月5日16:00 pm
地點 / 

當代唐人藝術中心(第一空間)
中國北京市朝陽區大山子酒仙橋路798工廠2號

Artists /
Carla Chan, Han Qingzhen, Liao Fei, 
Liu Yujia, Liu Zhangbolong, Musquiqui Chihying
Shi Zhiying, Yao Qingmei, Yorkson 

參與藝術工作者 /
劉雨佳,卡娜,姚清妹,廖斐,
石至瑩,致穎,陳奕敏,韓青臻


The exhibition title “A Chemical Love Story” comes from PiHKAL: A Chemical Love Story, a book about psychedelic drugs.
Through chemical compounds, we can overcome the self, permitting unreality to circumvent the retinas and sensory organs and move directly into the cerebral cortex. The senses become heightened, and the sense of rhythm in the body becomes more intense. These drugs often have serious side effects, but people are still entertained by them. All of humanity’s inventions are intended to liberate the body; they are an external way of banishing humanity’s lazy or greedy instincts. In contrast, drugs use chemical reactions with the blood stream to “exile” the mind and body, which puts the user at a moral disadvantage. You are doing obvious harm to yourself, and possibly because the pleasure of this act is limited to the individual, a communal social system is unable to accept this form of self-consumption and self-exile. ...
(Text / Bian Ka)
“化學之愛(A Chemical Love Story)”作為標題,最初來自一本書的名字——關於致幻劑的一部著作。
通過化學合成製品,在人體的內部攻克自我,讓那些不真實的信息繞開視網膜及所有的感官,直抵大腦皮層。感官會因此變得敏感,整個人的節奏感也隨之變得強烈。這類藥品往往伴隨著嚴重的副作用而存在,但很多人依然樂此不疲。人類所有工具的發明都是為了解放肉身,一種從外部介入身體的方式完成了對人類懶惰或者貪婪的本性的放逐,相比之下,藥物通過與血液的化學反應而製造出的身心的放逐則在道德上處於下風。一方面是對自身顯而易見的傷害,然後也可能因為這個行為的取悅僅局限於個體,作為一個公共化社會系統,無法接納這種自我消費和放逐的形式。...
(文/卞卡)



19.7.17

_EXHIBITION : BEYOND FREEDOM


















Beyond Freedom
r:ead#5 Documentation & Response Exhibition

自由之外
文獻回應展


Date / 23rd July – 15th August, 2017
Time / 1:00pm - 7:00pm
Venue / 

Unit 12, Cattle Depot Artist Village, 63 Ma Tau Kok Road, To Kwa Wan, 
Kowloon, HongKong

日期 / 2017年7月23日 至 8月15日 | 23rd July – 15th August, 2017
時間 / 1:00pm - 7:00pm
地點 / 香港 九龍 土瓜灣 馬頭角道63號 牛棚藝術村12號單位


Art Practitioners /
Oscar CHAN Yik Long, TANG Kwok Hin, CHENG Yee Man(Gum), 
CHEUNG Clara, QU Chang, HK Farm and Contributors, LO Lai Lai, Map Office, 
Trevor YEUNG, Frankie ZHANG, HYUN Woomin, TAKEKAWA Nobuaki, CHO Sunhe,
Yun CHO, KIM Dongkyu, JIN Zhen, LEE Jangwook, CHEN Guan-Jhang, Nicole LAI,  
WU Chi-Yu, SHEN Sum-Sum, Musquiqui Chihying 

參與藝術工作者 /
陳翊朗, 鄧國騫, 鄭怡敏, 張嘉莉, 瞿暢, HK Farm與參與者, 
勞麗麗, Map Office, 楊沛鏗 , 張碧霄, 玄宇民, 竹川宣彰, 
趙純惠, 崔允, 金東圭, 金真, 李將旭, 陳冠彰, 賴依欣, 
吳其育, 沈森森, 致穎     


About the exhibition /
Inspired by both the dialogue-based format and critical content from their previous experience in r:ead #4 during 2015, C&G Artpartment proudly takes turn to host r:ead #5 in Hong Kong this year, after many different attempts to look for funding and resources. While Hongkongers are still urgently in search for our identity and subjectivity, twenty years after the handover, many others in the globe are also re-considering multiculturalism and re-defining their identities as well. With the theme on "Myth・History・Identity," r:ead #5 attempts to examine our “identity” through looking into mythical stories and history writing, with a group of contemporary artists and curators from Japan, Korea, Taiwan and Hong Kong. 
Myths provide us more possible imaginations about time and space, and help break away from the linear thinking mode in traditional history-writing. Subjectivity is, thereafter, re-constructed and re-developed through traversing back and forth different boundaries in time and space. Many mythical stories from the ancient age interconnect with natural phenomenon, animals and plants, and often reveal the complex relationship between human beings and different elements in the world in a symbolic manner. There are also old myths, like the famous Greek mythology and the Jade Emperor in the Heaven for Chinese, which consist of vivid individual personalities, strong family networks and infinite care of the world. The Confucius’s saying: “Universal peace must be preceded by national harmony; national harmony, by familial solidarity; and familial solidarity, by personal integrity,” is well-known in Chinese culture. While many mythical characters do carry strong personal integrity, have a strong family network and rule out the world at the same time, they seldom process the concept of nation building. How much does such worldview without nations, in the old myths, resemble nowadays’ global vision? How much does it relate to the micro-perspective in Hongkongers’ identity? 

關於展覽 / 
r:ead這個文化藝術交流平台其中獨特之處,是希望不同地區的參加者可以利用自己母語去表達、分享和研討,所以設立一個特殊的角色—翻譯。翻譯作為日、韓、國、廣語言之間橋樑,搭通了所有參與者的溝通網絡。
閱讀神話有助我們開闊對時、空的想像,打破直線式的歷史書寫習慣,反覆穿越不同的邊界,去重塑自身。遠古的神話故事,多與自然現象或動植物緊扣互動,每每象徵著人與天地萬物的複雜關係,也有如希臘神話或玉皇大帝的天庭故事,由個人、家庭、以至天下都無所不談。我們傳統有句金科玉律:「修身、齊家、治國、平天下」,但在神話世界中,不少神話人物雖會修身、齊家、 平天下,治國的概念似乎很低。這更突出神話塑造的「超級世界觀」。而這與全球化視野有多少不謀而合?與微觀的香港身份定位又有多少牽連? 



more info 
http://candg-artpartment.com/gallery/read5.html





19.6.17

_PUBLICATION : ACT 70_MANDALAS OF MONSOON ASIA



















ACT 70: Mandalas of Monsoon Asia
藝術觀點70期:季風亞洲曼荼羅
Guest Editor: Hsu Fang-Tze
客座主編:許芳慈

東南亞作為一個知識型有其特定的歷史物質條件,從二次世界大戰乃至冷戰綿延而成的歷史經驗,成就了特定認識區域歷史的論述框架,當下的我們無意識或默許都不免承襲這種單一向度的翻譯政治,如同拉丁美洲人文學者華特・米格諾洛(Walter Mignolo)在他剖析政治地理歷史學之於知識的從屬性與邊際思維的專書《在地歷史/全球圖樣》中提出,我們是否能發展一種立足於外在的疆界(殖民現代性的命名與界而治之)與內在的疆界(獨立建國與袪殖的國族情懷)之間的「精神性邊際認知」(border gnosis)與所處的帝國地誌學代表的知識體系抗衡。
平行著戰略考量建構的區域政治符號體系,藝術、美學形式、文化展演在「東南亞」逐漸化作一股地方意識的歷程中也扮演著不可或缺的角色,當奧地利藝術史家羅伯特・馮・海涅格爾德恩(Robert von Heine-Geldern)於1923年以德文首次將「東南亞」(Southeast Asia)化作學術命題,那是個以南亞小乘佛教美感系譜世界觀劃度的界域;1963年剛剛成為馬來西亞聯邦一部分的星洲舉辦了「南東亞文化慶典 」(South-East Asia Cultural Festival)在冷戰框架下以文化之名進行地方連結,不但有當時仍是英國殖民地的香港與會,並略過印度邀得巴基斯坦參展。輿圖作為知識型的展示形式,也是地域政治的行動言說。
在此當下,不言自明的話語霸權不再挪移疆界,而是機制化地形成國家政策性的獎助文化生產體系,帶著這股知識關懷與身體的時間感,本專輯廣邀藝術史家、策展人、乃至藝術家與獨立研究者,將「東南亞」認知經緯佐以系譜式的分析,透過平行參照季風亞洲文化圈內外諸多以「東南亞」為對象的反身性省思,嘗試歷史化地探究驅動命名劃界的慾望,期待藉著回顧種種智識踐行的歷程,自我除魅彼此護持。




















季風亞洲曼荼羅專題企畫  企畫|許芳慈
東南亞的季風亞洲:區域認知框架與更迭的曼荼羅  許芳慈 
東亞與東南亞藝術的現代主義起於何時:兩者之比較與交錯  孫先勇  譯|林書全
例外涵括:論MoMA的「近代美國彩色版畫展」與「第一屆東南亞藝術研討會暨藝術競賽」  凱斯琳.迪哲格  譯|黃汝娸+黃暉峻
蘇利文話語空間的場域  林沁怡  譯|黃暉峻
藝術電影的「飛地」:阿比查邦與國際影展迴路  謝以萱
《比阿特麗斯戰爭》:東帝汶婦女的獨立之途?■ 林正尉
與塔西米克的對話——烏有(oo-iú)史的再記憶  陳冠彰
聲線計畫:聲音記事三則 (Sound Route: Three Notes about Sound) 
 吳其育、沈森森、致穎 (Wu Chi-Yu, Shen Sum-Sum, Musquiqui Chihying)
身體與邊界的精神製圖師  區秀詒 
圖繪多樣的馬來西亞  鄭家榮  譯|蘇芸若
跨文化對應:啟民文化指導所1942-1945年於印尼藝術中扮演之角  Antariksa  譯|簡德浩
火與海的墓 :面向南方的終結與流轉  柯念璞
公眾外交:一種新形式的宣傳或者人性的救主  谷地田未緒  譯|黃耀進
從「亞洲」的誕生到「非歐洲」的催生■ 高森信男
可疑的檔案——對檔案詮釋的偏見  洪子健  譯|刁俊春
台灣歷史皺摺裏曇花一現的左翼姿態:陳映真・《人間》■ 陳品君
編輯台的話|文字編譯是門手工藝■ 陳冠彰
影像紙上展覽|如夢之夢:1960年代台灣文化人肖像   企劃|張世倫   圖|戴文博
半個世紀前,一位美國青年在台灣:被遺忘的戴文博(Tom Davenport)攝影檔案  張世倫
戴文博(Tom Davenport)與1960年代台灣   安德魯・瓊斯   譯|張世倫 
訪問戴文博  安德魯・瓊斯  譯|張世倫


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