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यह सामग्री अभी आपकी भाषा में उपलब्ध नहीं है (हिन्दी )

पहचान

नाम

世界不隨人類生滅 - The World Began without the Human Race and It Will End without It

अवधि

2021-10-23 ~ 2022-01-09

कार्यक्रम का स्थान

國立臺灣美術館101展覽室 Gallery 101, National Taiwan Museum of Fine Arts

पता

臺中市西區五權西路一段二號 No. 2, Section 1, Wu-Chuan West Road, West District, Taichuang

原本應沈浸於奧運狂熱的2020年，因突如其來的COVID-19讓都市陷入沈寂，前所未聞的現實讓政治經濟陷入混亂前景不明，對人類而言這是一場前所未見的大浩劫。 然而這場浩劫也帶來諸多省思。人類因為外出移動受限，活動量銳減，空氣污染影響減輕，環境獲得改善。若因人類限制行動，讓大自然恢復活力，我不禁要懷疑，這是否證明人類的存在對大自然就是一場災難？ 工業革命後約200年來，人類活動致使森林遭到破壞與氣候變遷，全球人口爆增，嚴重擠壓到大自然與其他生物的生存空間，人類世時代隨之問世。直到COVID-19蔓延，大眾才開始有切身感受。但這同時也是一個契機，讓大眾重新認知過去在人類中心主義掩蓋下存在的世界。正如同文化人類學家克勞德‧李維史陀（Claude Lévi-Strauss）在其著作《憂鬱的熱帶》中所言，「這個世界開始的時候，人類並不存在，這個世界結束的時候，人類也不會存在。」 ，遠在人類誕生前許久，大自然就一直屹立不搖的存在。 透過以人類為首的進步主義，人類免於大自然的威脅在壓榨其他生命的同時，人類也受到大自然曠日廢時地長期孕育。本展覽除了同時涵蓋上述兩個面向之外，在重新思考過往的典範移轉之際，也隱射出建構新生命循環以迎向未來的轉換期。 1 克勞德．李維史陀，《憂鬱的熱帶》，王志明譯，臺北；聯經出版事業股份有限公司，2017，頁626。 2020 was supposed to be a bustling year with the organization of the Olympics. The unexpected outbreak of COVID-19 has silenced all cities. This reality has exceeded the imagination of most people, bringing disorder and chaos to economy and politics. This is a disaster mankind has never encountered before. Nonetheless, we have also discovered in this situation other facts. For example, due to restriction of movement, human activities are limited, and we can see some improvements in the environment, such as reduced air pollution. If restriction of human movements enables nature to regain vitality, then it is only inevitable that people have this question: does this prove that, to nature, the existence of men is a disaster? In nearly 200 years after the Industrial Revolution, human activities have led to deforestation and climate change so severe that scientists have proposed the new epoch dating concept of “Anthropocene,” which shows that mankind has grown to a degree where we disregard nature and other beings. The COVID-19 pandemic has made this fact a question much more relevant to us. Also, this could be an opportunity for us to once again get to know the world we previously overlooked due to anthropocentrism. However, just as Claude Lévi-Strauss says in Tristes tropiques that “The world began without the human race and it will end without it.” nature had already been a kind of eternal and pure existence way before men were born onto this world. The humancentric progressivism has enabled mankind to escape the threats of nature, but on the other hand it has also enabled men to continually exploit other life forms; nurturing nature takes a very long time, and mankind is also a part of nature. This exhibition includes the two facts mentioned above, reconsiders past paradigms, and shifts the focus onto a transitional period towards the future, constructing a brand-new circle of life. 1 Claude Lévi-Strauss, Tristes Tropiques, Translated by John Russell. New York : Criterion Books. 2006. pp.397.

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#1

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宮永愛子Aiko MIYANAGA
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#2

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宮永愛子Aiko MIYANAGA
等待覺醒 - 椅子 waiting for awakening - chair

#3

等待覺醒 - 椅子 waiting for awakening - chair
宮永愛子Aiko MIYANAGA
層 Strata

#4

層 Strata
宮永愛子Aiko MIYANAGA
感染系列：共棲 Infection Series: Commensalism

#5

感染系列：共棲 Infection Series: Commensalism
莊志維 Chih-Wei CHUANG
多重廣島和平紀念碑（原爆圓頂館）小模型；《在百個太陽中燃燒》系列 A Maquette for a Multiple Monument for the Hiroshima Peace Memorial (Genbaku Dome). From the series of EXPOSED IN A HUNDRED SUNS

#6

多重廣島和平紀念碑（原爆圓頂館）小模型；《在百個太陽中燃燒》系列 A Maquette for a Multiple Monument for the Hiroshima Peace Memorial (Genbaku Dome). From the series of EXPOSED IN A HUNDRED SUNS
新井卓 Takashi ARAI
多重福島第一核電廠紀念碑小模型 A Maquette for a Multiple Monument for Fukushima Daiichi Nuclear Power Plant

#7

多重福島第一核電廠紀念碑小模型 A Maquette for a Multiple Monument for Fukushima Daiichi Nuclear Power Plant
新井卓 Takashi ARAI
北緯 37°21’ 26.99” 東經 140°59’ 52.62” N 37°21’ 26.99” E 140°59’ 52.62”

#8

北緯 37°21’ 26.99” 東經 140°59’ 52.62” N 37°21’ 26.99” E 140°59’ 52.62”
露口啓二 Keiji TSUYUGUCHI
北緯 37°28’ 46.31” 東經 140°59’ 15.70” N 37°28’ 46.31” E 140°59’ 15.70”

#9

北緯 37°28’ 46.31” 東經 140°59’ 15.70” N 37°28’ 46.31” E 140°59’ 15.70”
露口啓二 Keiji TSUYUGUCHI
北緯 37°33’ 42.07” 東經 140°47’ 24.94” N 37°33’ 42.07” E 140°47’ 24.94”

#10

北緯 37°33’ 42.07” 東經 140°47’ 24.94” N 37°33’ 42.07” E 140°47’ 24.94”
露口啓二 Keiji TSUYUGUCHI

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國立臺灣美術館 National Taiwan Museum of Fine Arts

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國立臺灣美術館 National Taiwan Museum of Fine Arts

國立臺灣美術館於民國77年（1988年）開館。以視覺藝術為主導，典藏並研究臺灣現代與當代美術發展特色，致力於多樣性的主題規劃特展與藝術教育推廣活動，提供民眾多元化欣賞藝術的環境。 以臺灣美術為研究核心，本館以建構臺灣美術史的詮釋內容與詮釋體系，開拓對美術發展現象及議題的多面向探討，創造數位及跨領域藝術發展之平臺，以擴大與國際相關藝術機構對話的空間，結合典藏、展覽、推廣等功能，打造兼具專業性、教育性與未來發展性的公共美術館。 依據三大核心主軸：「臺灣美術發展脈絡」、「媒材類別發展脈絡」、「藝術家風格與系譜」，本館研究調查國內外藝術生態與發展，近年並兼顧亞洲藝術家作品典藏，期能深化臺灣與亞洲當代藝術發展研究，拓展臺灣藝術與國際接軌的面寬和能量。累積的藏品，是建構臺灣美術史發展脈絡與研究藝術家風格表現之重要資產，亦可視為臺灣各時期社會脈動、經濟與文化發展樣貌的縮影。 本館並肩負守護臺灣美術資產的重任，建置圖像與文字豐富的多元資料庫，強化以資訊科技輔助藏品之自動化管理與服務機制，守護且活用本館所典藏的藝術資產，成為國家文化競爭力的資本與全民共享的資源。 身為國家級美術館，本館除了以展現臺灣藝術創作的特色與發展自許，更積極強化藝術研究、延展臺灣藝術的系譜研究、開展國際對話與視野，提升國家文化藝術的內在精神與涵養。在文化交流上，則強化館際合作，並與國際接軌，加強與國內、外美術館和專家學者的共同合作，規劃啟發視覺文化、分享藝術價值的展覽活動；同時以多元化的推廣藝術教育活動，引介臺灣藝術的特色，讓民眾了解藝術的精華，而達到以藝術向下紮根並向上延展文化認知的目標。 The National Taiwan Museum of Fine Arts (NTMoFA) was founded in 1988. The NTMoFA is dedicated to the education and promotion of visual arts. It places great emphasis on collecting works by Taiwanese artists and exploring unique characteristics of modern and contemporary Taiwanese arts. Its aims are: to organize the most diverse range of themed visual art exhibitions, to foster long-term art exchanges with overseas institutions, to actively participate in major international events, to promote art education, and to provide the public with a pleasing and multi-faceted environment for viewing art. The NTMoFA has primarily focused its research work on the fine arts of Taiwan. The Museum's research team sets the agenda and direction for the permanent exhibitions. From 2007 onward, the NTMoFA has organized permanent exhibitions on significant works from the NTMoFA's permanent collection. An all-encompassing artistic and educational institution, the NTMoFA serves multiple functions as an art collector, exhibition organizer and learning resource provider. The NTMoFA charts the trajectory of Taiwanese arts with its unique collection of artworks by Taiwanese artists from the 18th century to the present day. Its permanent collection includes artworks and historical documentation from Ming-Qing Dynasties, through the era of Japanese Colonial Era and the Modernist period, to the post-war period. To convincingly articulate the diversity of Taiwanese fine arts and its developments and transitions over time, the NTMoFA presents its collection of Taiwanese artworks based on two dimensions of development. Whereas the vertical axis charts the historical contexts of Taiwanese fine arts, the horizontal axis shows a genealogy of artists and their works. The presentation gives a clear picture of how artists and their works may relate to the social-historical contexts from which they have emerged and prospered. Digitalization of the museum collection and documentation has not only enabled the NTMoFA to manage and maintain its art collection with more efficiency, but also effectively enhanced understanding and dialogues among the art community worldwide, as it provides international art lovers with fast and easy access to the wealth of Taiwanese art and its diverse and unique characteristics. The NTMoFA is a national art museum dedicated to the research, education and promotion of Taiwanese art. In terms of research, the museum continues to concentrate on tracing the genealogy of Taiwanese arts. In terms of education, its aim is to enhance the artistic capacity of the nation. It should also be highlighted that the NTMoFA has always been a true ambassador of Taiwanese art, as it seeks to promote international cultural exchange by actively participating in international art exhibitions, and by collaborating with international arts-and-cultural organizations and individual experts in organizing arts events. By providing a diverse range of arts and educational activities, the NTMoFA introduces to the public the characteristics of Taiwanese arts and help the visitors appreciate the beauty of art. The ultimate aim of the Museum is to extend and deepen the public's interest in arts.
山峰潤也 Junya YAMAMINE

策展人Curator

山峰潤也 Junya YAMAMINE

山峰潤也1983 年出生，畢業於東京藝術大學。曾擔任東京都寫真美術館、金澤21 世紀美術館和水戶藝術館等機構 的策展人，爾後於創辦東京新興藝術空間ANB Tokyo 的東京藝術加速基金會擔任聯合總監。山峰潤也以其對媒體理 論的熟稔，策劃參與從新媒體到當代藝術的各種展覽，其重要策展有「嗨！世界：後人類時代藝術展」和「霧之抵抗： 中谷芙二子」（水戶藝術館當代藝術中心）。他也曾參與「肉眼之外」和第4 至第7 屆的「惠比壽映像祭」（東京都寫真美 術館），並曾擔任國際電腦藝術節（斯洛維尼亞；2011）和「生態延伸之城」（波蘭弗羅茨瓦夫藝術中心；2016）的客座策 展人。山峰潤也是日本藝術口述歷史文獻庫成員及東京寫真研究會副會長，並活躍於寫作、座談策劃、論壇主持和 授課講座等各類活動。 Born in 1983. Received his MFA from Tokyo University of the Arts. Worked as a curator at Tokyo Photographic Museum, 21st Century Museum of Contemporary Art, Kanazawa, and Contemporary Art Center, Art Tower Mito. Then, he became a co-director of Tokyo Art Acceleration which launch new art complex ANB Tokyo. Based on media theory, he has been involved in a wide range of exhibitions from new media to the field of contemporary art. Major exhibitions include “Hello World: For the Post-Human Age”, “Resistance of Fog: Fujiko Nakaya” (Art Tower Mito, Contemporary Art Center). He has also participated in “Beyond the Naked Eye” and “Yebisu International Festival for Art and Alternative Visions” (4th-7th) (Tokyo Photographic Museum). Other activities include guest curating for IFCA (Slovenia, 2011), Eco Expanded City (Poland, 2016, WRO Art Center), etc. He is also a member of the Oral History Archive of Japanese Art. He is also a vice-director of the artist collective Tokyo Photographic Research, and active in a wide range of other activities including writing, organizing symposiums, moderating, and lecturing.
宮永愛子Aiko MIYANAGA

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宮永愛子Aiko MIYANAGA

2008 年東京藝術大學研究所美術研究科先端藝術表現專攻碩士課程畢業。宮永以萘製作各式日用品主體，使用鹽、葉脈、陶器碰撞的聲音製作裝置藝術著名，作品藉由心靈的痕跡將時光視覺化而倍受矚目。2013 年榮獲第一屆「日 產藝術獎」首獎、2020 年榮獲「藝術選獎文部科學大臣新人賞」。主要個展有「宮永愛子：漕法」，高松市美術館（香川、2019）、「圓缺之間」（みちかけの透き間），大原美術館有隣荘（岡山、2017）、「宮永愛子：Nakasora（なかそら）―空中空―」，國立國際美術館（大阪、2012）等。 Born 1974 in Kyoto, Japan, where she is currently based. Graduated from Graduate School of Fine Arts, Tokyo University of the Arts in 2008. Miyanaga is known for her installation using materials such as salt, leaf veins, cracking sound of glaze and especially objects made with naphthalene into the shape of daily commodities. She visualizes time by tracing signs of it's presence. She received the Grand Prize at Nissan Art Award (2013), and the new face award of Minister of Education Award for Fine Arts (2020). Her recent solo exhibitions include "Rowing Style" (Takamatsu Art Museum, Kagawa, 2019), "between waxing and waning" (Ohara Museum of Art Yurinso, Okayama, 2017) and "MIYANAGA Aiko: NAKASORA-the reason for eternity-" (The National Museum of Art, Osaka, 2012).
莊志維 Chih-Wei CHUANG

कलाकार

莊志維 Chih-Wei CHUANG

1986 年生於臺灣臺中，目前居住於臺北。 畢業於臺北藝術大學新媒體藝術研究所和交通大學建築所。有著藝術與建築背景的莊志維，擅長運用光和空間創造互動裝置，探討人與環境之間的相互關係，至今於創作歷程中仍不斷追尋跨領域間的揉合，呈現理性與感性並存的藝術美學。2014 年獲選至東京Tokyo Wonder Site 創作駐村，2019-2020年臺中國家歌劇院駐館藝術家。受邀參加東亞當代藝術展( 釜山市立美術館)、台灣美術雙年展、韓國平昌雙年展、東京六本木之夜。 Born 1986 in Taichung, Taiwan and currently based in Taipei. Chih-Wei Chuang earned his master’s degrees from the Department of New Media Art, Taipei National University of the Arts and the Graduate Institute of Architecture, National Chiao Tung University. As an artist with a background in architecture, Chuang excels in utilizing light and space to create interactive installations that delve into the interrelationship between humanity and the environment. He has been pursuing a perfect fusion of different disciplines, in which his artistic aesthetics that reconciles sense and sensibility finds expression. He worked as an artist-in-residence at the Tokyo Wonder Site in 2014 and at the National Taichung Theater from 2019-2020. He has also been invited to present his works at “Botanica: East Asian Contemporary Art Exhibition” (Busan Museum of Art), “Taiwan Biennial”, “Pyeongchang Biennale” (South Korea), and “Roppongi Art Night” (Tokyo).