出世神韻 - 神祕卜湳文明遺跡特展:涂維政個展
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出世神韻 - 神祕卜湳文明遺跡特展:涂維政個展

■ 「台北當代藝術館」商品館 所有商品  特別宣告


沉溺在物質化和非物質化的妄想喜悅中掙扎...

■ 商品說明

展覽名稱 | 搞破壞─出世神韻-神祕卜湳文明遺跡特展:涂維政個展

Exhibition | TAT@mocataipei:Taiwanese Artists Today─The Beauty and Mystery of Bu Num Civilization Revealed: Tu Wei-cheng Solo Exhibition

展覽時間 Date | 2003/08/08-09/28

展覽地點 Venue | 當代館一樓兩側展間 1F, MOCA Taipei

策展人 Curator | 沈怡寧 Yining Shen

 


 

展覽簡介 Exhibition Introduction

我於這種狀態中游移尋覓,沉溺在物質化和非物質化的妄想喜悅中掙扎。

當班傑明所謂靈光消逝的年代來臨之後,人對靈質空間的嚮望轉換到物理性、科學性的物質空間享受,失去對形而上的空間需求,投入於全然物質世界的空間氛圍,直到網際網路開啟了近似於靈質空間的一扇門,「想像」逐漸能被物化而具體呈現,虛擬和真實的界線也越趨模糊,甚至「超越真實」。人在面貌可以虛擬隱匿、沒有身份驗明的世界下,往往更能顯現心所欲往及本我的真實面貌。有人認為網路使人人在自己的桌上找到了理想的烏托邦,成日面對計算機祭壇朝聖,讓意識在虛擬空間中掌握自身主體性。

為了體驗這種說法與考掘自身主體性之謎,我藉由網路閱覽全球、綜觀史觀、環顧古文明,在飽受計算機語言困擾和繁多龐雜的訊息干擾,而無法找到自己的精神耗弱狀態下,愕然發現了近在咫尺的腳下泥土—「卜湳文明遺址」這個聊以自慰的身分證明。也企圖開始這個身分開創一個新的神話空間,並擬造此文明的存在真實。

【神秘卜湳文明遺跡特展】作品包括聞明遺址的實擬、表演行動、展演、週邊商品販售等;其透過博物館/美術館等特定場域所造成的「超級特展」形式(我稱為「新靈光場域形態」)—一貫是結合館方、其他產業、媒體與商業機制而建立的藝術與群眾互動成功模式,為我藉機親近各類型觀賞群眾的最佳外衣。選擇此龐大的運作體制所擁有的教化與詮釋權,除了可為擬真的物件合法化外,我尚企圖藉由展演作品表達我對藝術環境和機制運作、資訊文化和消費行為與時代性等問題的觀察,提出個人在理解資訊快速便利下普遍觀看方式與潛在心理狀態的轉變,和網路自己自足的特性,以及人與人因此溝通模式改變產生的精神效應等時代趨向。

我以擬造文明的方式,建構新聖像及新的神話系統,藉其凸顯荒誕確合理化的過程,指涉我所理解的當下或未來的文明狀態。選擇模擬再現、亂序而賦予系統性的組合,其合理化的運作方式卻顯現荒誕衝突的內容與其相互斷裂所代表的意指。而這一切所引發的非二元狀態與不確定的語境,也符合我個人處在當下的一種矛盾和自慰心境。至於使用壁畫、畫像石、石碑、石刻等不同古文明形制的混合意象物,與新世代資訊產物—電腦、電腦符號、亂碼等結合,這種「科技擬古物」與不同文明、不同世代的特有形制相互拼貼,產生時間與空間錯置的謬誤感,和擬造考古背景的真實所編造的合理解釋,此種操作將不同元素及內容相混而系統化的方式,與個人現下所處環境的複雜度及我所認知自己的「混統」性格有其必然相關處。

當真時可以造假,虛擬可以擬真,物種可以複製,視訊無所不能地進出今古未來,信念隨著信仰的物質主體游移,而自我也在尋找定位時迷失,生活充斥了懷疑和不信任感,也失去了可以具體依恃的立足點……直到當我站在這個失序錯亂的時空裡,對著每日呢喃的虛構神話,為之勞動、位之立碑、進而確立身分……,才感到莫名的慰藉。

藝術之於我而言,是釐清自我矛盾、表達自我對應於環境和反映外界事物的手段。我相信智識化是人類邁向文明的進程,但我不相信文明和理性形構的完美景像。

I find myself roaming through these conditions, searching, immersed in the wishful thinking and joy of materialism and non-materialism, struggling between the two.

After the arrival of what Walter Benjamin called an era in which aura will disappear (靈光消逝的年代) , our yearning for the spiritual was transformed into the enjoyment of things material and scientific. At the same time, we lost our need for the metaphysical and immersed ourselves in a completely materialistic world. Once the internet opened a door into a world that resembled a spiritual plane, “imagination” could be materialized or shown to be concrete, effectively blurring the lines of demarcation between virtuality and reality, even hyper- reality. We can always make things up or hide in a world with no clear identities. It is more possible then ever to show one’s true desires and real self. It has been said that the Internet gives us all access to our own private Utopia, spending the day facing the sacrificial altar of the computer, whilst our consciousness is in a virtual world, free to wander.

In order to experience this idea and to probe the mysteries of my own self-awareness I started using the Internet to surf the world, looking through history and ancient civilizations. Only when I had had my fill of the difficulties of computer languages and the interference caused by volumes of useless data without without finding myself, did I finally find something on my own doorstep, during a moment of spiritual weakness. The “Bu Num Civilization Archaeological Site” consoled me and gave me evidence of my identity. In response I have attempted to create a new mythology for my identity and made up “facts” about the existence of this civilization.

The Beauty and Mystery of Bu Num Civilization Revealed (神秘卜湳文明遺跡特展) includes imitations from the site, performances, documentary footage, exhibitions, and couvenir products. It utilizes the form of a “Special Exhibition” created by an (art) museum. Generally, this combines the art formed by museums, other industries, the media, business and successful models for interacting with the public, providing the perfect vehicle for getting close to a wide range of different viewers. By selecting the educational and interpretive authority possessed by this large operational establishment, I made imitation behavior and objects real. I also attempted to use these works to express my own observations on the art environment and established order, information culture, consumer behavior and the nature of the times. My aim was to discuss personal changes in the general way I look at things and the potential psychological condition in understanding the speed and convenience of information. Another issue is the self-sustaining nature of the Internet and the spiritual effect of changes it has caused in the way people communicate.

By creating an imitation civilization I have constructed new idols and a new system of myths, using these to highlight an absurd but rational process that refers to the now I understand, or to a future civilization. By choosing a virtual representation and systemizing disorder, the process of rationalization reveals a meaning that is contradictory. At the same time, the non-two dimensional state and uncertain language this gives rise to also accords with the contradictory and self-consoling state of mind I find myself in at present. As to using a mixture of images, including murals, stone reliefs, tablets, carvings and other ancient civilization forms, together with information products from the new age—computers, computer symbols, encryption etc. I would say that this “technological imitation of ancient objects” and the collage of shape and patterns from different civilizations and eras, create an absurd sense of displacement in time and space. The rational logic invented on the basis of facts from an imitated archaeological background, allows me to mix together different elements and content and present them in a systematic form. This approach has inevitable similarities to the level of reproduction in the environment I now find myself in, and what I understand of my own “mixed” character.

When reality can be imitated, falsehood can become truth. At the same time, objects can be replicated, information infuses past, present and future, conviction follows the material object of faith, and the self becomes lost in self-searching. As a result, life is filled with doubts and a lack of trust, and we lose all footholds on which to depend. I then stand in a time and place of disorder and confusion, looking at the artificial myths for which I work and worship, and through which I confirm my identity. Only then do I feel some baffling consolation.

For me art clarifies my own internal contradictions; it is a method that expresses how I deal with the environment and reflect the external world. I firmly believe that knowledge is the only way in which mankind can move towards civilization, but I do not believe that civilization and reason can create perfection.


涂維政

涂維政

涂維政

涂維政

涂維政


■ 商品規格

  • 出版單位:財團法人當代藝術基金會
  • 作者姓名:里昂.巴洛希德(總編輯 / 館長)
  • 出版日期:2003/08
  • 內容語言:正體中文、英文
  • ISBN:9572895710
  • 出版規格:平裝 / 26.10 X 19.10 cm,252 g / 普級 / 全彩 / 最後頁碼:55
    (最後頁碼數字並非本書實際頁數;實際頁數通常更多)

■ 商品配備

出世神韻 - 神祕卜湳文明遺跡特展:涂維政個展 X 1



■ 關於「台北當代藝術館」

簡介

台北當代藝術館是台灣第一座以當代藝術為導向的藝術專門機構,本館館舍原為日據時代的建成小學校, 1945 ~ 1993 年間轉為台北市政府辦公廳舍。市府於 1994 年遷往信義計畫區新廈後,基於古蹟再利用之政策,於 2001 年 5 月將市府舊廳舍轉化為「台北當代藝術館」及建成國中之用,不僅是台灣第一座由古蹟轉型為美術館的成功案例,也是全台唯一與校園共構的藝文展館。

自開館以來,在這個組合了古蹟建築與當代藝術、兼容了歷史記憶與當代文化的場域之中,展演著國內外最創新前衛的視覺造型、媒體科技、建築設計、時尚流行……等多元的藝術展演,刺激國內跨界域的創作火花,把創意帶進台北、把美感帶進社區、用日新月異的藝術展演創造歷史建築的新生命。


Introduction

Opened in May 2001, the Museum of Contemporary Art (MOCA Taipei) is the first museum in Taiwan devoted entirely to contemporary art practice. Our mission is to provide access to contemporary art from Taiwan and around the world to an increasingly globally-oriented, technologically-savvy audience.

The building which houses the museum is a designated Municipal Historical Relic. Built in the late 1920s, this Japanese colonial-style red brick structure served as an elementary school for two decades before a fifty-year stint as the site of the Taipei City Hall.

MOCA Taipei exemplifies a coming together of contemporary art, historical architecture, and high technology – resulting from the joint efforts of the Taipei City Government, the local community, artists, and corporate supporters.

As the world moves toward globalization, digitalization and technologically advancement – Contemporary Art provides an arena for artistic exchange and for the expression of cultural identity. From its inception, the museum has always recognized as main task to transcend the boundary that exist between art and the community at-large, constantly looking for new ways where art and the community interact, and striving to bring art beyond the confines of the museum walls and into the everyday lives of the community. MOCA Taipei will continue to move in this direction in the future. By stimulating inter-disciplinary creativity through multifarious and diverse artistic exhibition and performances, we hope to bring art into our community, and ultimately, to catalyze a spirit of innovation in the city of Taipei.


參觀資訊

地址|台北市 103 長安西路 39 號
電話|+886-2-2552-3721
傳真|+886-2-2559-3874
網址|http://www.mocataipei.org.tw


開館時間

週二至週日,每日上午 10:00 開館,下午 6:00 閉館,下午 5:30 停止售票
每週一休館,國定假日照常開館


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