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。
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