「曾祖父是個務農的人，他很勉強地從鄉下搬到大城市。但大城市並不需要種田，他唯一能做的就是坐在家裡，用塑膠袋做出一條條的塑膠繩。當然，這些塑膠繩不是拿來賣的，所以我們家充滿了塑膠繩。家人們被這個重複性的重要儀式神奇地祝福著。」

我對看似無聊的持續勞動很感興趣。重複性的記號看似沒有意義，但終將演變成一種新儀式，而我在等待藏在背後的敘事。

「人們如果不無聊，不會說故事。但我們的人生再也沒有地方讓我們發揮無聊。」

沃爾特·本傑明（Walter Benjamin）在1932 年發表於法蘭克福日報的短篇文章 < 手帕 >。

吳宣翰 Hsuan-Han, WU

1989年出生於台灣南投。作品以行為藝術、參與式計畫及其他的歷時性創作為主，探討語言結構、符號體系及其他溝通模式，關注翻譯與詮釋、溝通與中介、認識論、感官經驗與認知基模等議題，並試圖討論當代數位社群如何透過不同的符號體系來系統化對於世界的認知，以及社會如何被此間複雜的交互作用限制、形塑甚至控制，社會語言學、人類學、數據科學及機器學習等研究取徑因而常被運用於作品的相關討論。近幾年來的創作多運用數位工具及開放式框架，邀請群眾參與，進而紀錄集體卻也同時具有個體性的意義產製過程。

Born in Nantou, Taiwan, 1989. Lives and works in Taipei. Naifei is an emerging visual artist whose works include performance, web projects, and other process-based practices. Centering around topics such as languages, empirical experiences, and cognitive models, her practice aims to investigate issues critical to our contemporary (digital) society with the use of image, sociolinguistic tools, and technology (data science and machine learning). An interpersonal approach is often employed under an open-ended framework that invites participation, whereas verbal/written, audio or sometimes visual documentation of the process is one of the main forms to be shown in exhibitions with purposefully minimal aesthetic treatments.

吳迺菲 Wu Nai Fei

我創作上使用的主要媒材是繪畫與陶瓷雕塑，這種可以比較仰賴直覺的表現模式，利用透過藝術力探討如何展現與連結過去及未來；在一個沒有草稿而直接開始的過程中，利用色彩比較鮮明的顏料一點一點堆積組合，並以充滿想像的生物作為作品結束的形式。這樣的生物靈感是來自於卡通，動畫以及神話故事當中，造型浮誇, 設定荒謬的角色被反映在我的潛意識當中，進而轉化成新的創造物。在我看來過去與未來並不是相反的，而是彼此相對的，就好像黑洞與白洞一般。而藝術的角色就是蟲洞，將這兩面連結在一起。

盧惟中 Lu Wei Chun

沈默在這裡失去語言
   文字使聽覺可以被閱讀
   文字是情緒的聲音
   而那種聲音跳脫了物理範圍
   分離了影像,把日常聽見的理所當然
   獨立了一個新的存在空間

作品體現出對於平凡期望與規格化所產生的困惑與不解，探討所謂的真正的普通生活的定義與社會中令人無法專注的焦躁與失衡狀態

蔡涵 Tsai Han

我關注的是那些想被抹去的零碎記憶，這些「壞事件」對我來說都是以刺目的情況存在於活中。這些生活片段都是曾經親身參與，有些是當下覺得煩躁想捨棄，有些是當時不以為意，也根本沒有留下任何紀錄，但確真實刻在心底。

王浩宇 Wang Hao Yu

「窯」表示燒製瓦器的地方，本義燒磚瓦陶瓷器的灶，我們取其燒製含義，在此處作為醞釀和創造的過程，希望創作者以及觀眾在經歷此地的淬煉後能以嶄新的姿態離開。「座」在詞語解釋上有「托底」之意，為器物的基礎部分，我們希望能成為創作者的基底，成為支撐的那一方。
窄巷內，黃色外觀，公寓門前還有著像鳥居的建築標的窯座位於一棟1962年完工的步登公寓，三層六戶半，窯座這戶原已荒廢五年，目前替代空間執行 中，聚落集散中，祭典籌備中。想要辦有趣的展覽，讓台中較為弱勢的藝術環境也能百花齊放，利用台中圈子較為小眾的氣質轉化成為一個讓藝術家不受限的搖籃。
想法很簡單，就是當一個底座，給創作者展示自己的意念、支撐他們的信仰。

“Yao” means kiln in Mandarin, it generally implies an oven for processing a substance by burning, firing, or drying. We take the meaning of firing as a process of brewing and creat- ing. Hoping the artist and visitors can come to experience in Yao and leave as the brand new version of themselves. “Zuò” in Mandarin means base, the basic foundation of the ar- tifact. We hope this space can serve as the creator’s foundation to support them.
Yao alternative space is sitting in an old yellow apartment that was built in 1962, in a tiny ally with a torii(a traditional Japanese gate). As of now, Yao functions as an alternative space and a settlement that hopes to gather creators, and is in the process of creating an art festival.
The core idea of Yao is very simple, it will become a “Zuo” that offers creators a place to showcase their works and supports their beliefs.

窯座 Yao Alternative Space

窯座

抹平與重組 Regroup

有樹的地方 In Remembrance of Trees

想法賽車 Racing Thoughts

無題 untitled

聲音角子老虎 Voice Slot Machine

我們他們 (2020年版本) We and They (2020 Edition)

沈默在這裡失去語言 Silent Conversation

Plan B

守衛者 Guardian

與珊瑚共舞 Deep

日記 The Diary

播種計劃 Project Semear

樹影斜疏 Dappled

長條形的

霧霧的

大眼睛的

空心的

缺一角的

disconnected

#蔡涵#與珊瑚共舞#盧惟中#泡泡外面很危險

#吳迺菲#雲想#盧惟中#泡泡外面很危險

#王浩宇#雲想#盧惟中#泡泡外面很危險

#吳宣翰#游火#盧惟中#泡泡外面很危險

#盧惟中#守衛者#盧惟中#泡泡外面很危險

因為另一個我比較小

都是門的走廊

Covid-19的出現導致2020年至2021年間，全球藝術生態受到巨大的影響。各國家、城市紛紛出現封城、停飛等各種阻斷了實體交流的方式，讓還在發展中的線上展覽突然成了最紅的展覽形式。然而，是否所有類型的作品及創作者都適合呢？

對於藝術這項以「人」為根本的產業來說，觀者與創作者及其作品無法互動的疫情期間，將如何轉變原有創作及展出形式去過渡抑或是進化？若線上展覽僅作為實體展覽線上化的附屬品，與實體展覽走相同形式和觀看方式，而非了解線上展覽的特性與特質，去實驗僅有線上展覽能做到的方式會有點可惜。

帶著這樣的想法，我們想利用線上展覽對作品的呈現造成的不完整性與片面性。邀請了五位藝術家參加此計畫，每位提供3-5件作品照片作為素材，我們將這些素材提供給五位藝術家，像做一張拼圖，由他們自己「重組再製」出新的作品。線上展場展出的是五位藝術家製作的拼圖，而每一塊拼圖（碎片）點進去都會有那件原作品的介紹及外部連結（或是藝術家想給觀者的訊息）。

線上展覽的出現雖然讓某些類型藝術家作品的呈現受到限制，但同時能做到現場展覽沒辦法達到效果，即是利用網路、數位作為創作媒介，藝術家換個方式讓作品適合網路觀看，同時提醒大眾（創作者、空間、觀者等），線上展覽是一個特殊的觀賞過程、新穎的觀看方式，且去思考網路與藝術的關係。



The hallway with doors 

The emergence of Covid-19 has brought a huge impact on the global art industry from 2020 to 2021. Countries and cities have seen lockdowns, flights suspended, and in-per- son communication became seemingly impossible, making online exhibition— a method that still requires much development, the most common way for organizers to present art works. However, are all types of artists and works suitable for online exhibition?

The art industry is basically formed by human, yet in the age of Covid-19, audience are not able to interact with artists and see their works in a venue, so the question is how do we transit from this period? Or could this actually be an evolution for exhibition methods so that we can transform the way how art works are shown? It would be a shame if online exhibitions can only serve as the virtual presence of a physical exhibition, instead of trying to experiment the possibilities of online features. With this in mind, we want to use the incompleteness and sidedness of online exhibition to create an online experimental exhibition. 

Hence, we have invited five artists to create an online experimental exhibition, each of them will provide 3-5 photographs of their works as materials, which means every artist will have 15-25 photos to use. These artists will "reassemble and reproduce" a new work, much like a building puzzle. The online exhibition will present the puzzles, and when you click each piece of the puzzle (fragments), you can see the information of the original work, or the message the artist wants to convey.

Although online exhibitions restrict the presentation of certain types of art works, it could achieve the result that on-site exhibitions cannot achieve. The internet as a cre- ative medium, offers a different way to present art works, it also reminds us that online exhibition(artists, spaces, audiences) is a special and novel way to see a show, on the other hand, it is a chance to think about the relationship between the Internet and art.
-
關於台灣當代一年展

視盟秉持自由、多元、開放的藝術平權初衷，自 2002 年起創辦台灣唯一以藝術創作者為核心的「台灣藝術家博覽會」，2016 年更名為「台灣當代一年展」，一路以來不斷挑戰自我、嘗試不同的展出內容與形式，曾於文化創意園區、歷史街區、百貨商城、花博爭豔館盛大展出，或是 2016-2018 年與「混種現場」、「白晝之夜」等藝術季連袂結合等等，每年致力為創作者提供與廣大藝術愛好者、專業社群、國際網絡連結的機會。

以平權為衷的一年展，「一年聚焦」展區多年來不限身份與媒材公開徵件、「一年培力」展區扶植策展新秀、「評審團獎」促進創作者未來發展機會、公共藝術展區與資料庫展區邀請大家多元思考生活與藝術的發展等，我們舉辦多樣活動與講談，同時積極拓展國際網絡，讓台灣與全球另類、實驗或替代空間共同展演，提供有別於一般以畫廊為單位的藝術博覽會機制。

自 1999 年起，一年展與台灣視覺藝術界一起見證了全球性的劇變—過去的二十年，網際網路根本性影響我們的生活與當代藝術的多元演化；過去的短短二年，病毒對我們而言，除了身體上的衝擊，也讓我們更清楚藝術的力量，不在於實體或虛擬，而在於重新省視內在本質，在混亂的時代中重整步伐，更明白心之所向，與變動的未來，共感共生。

二十年，銜接過去與未來的的交叉點，藝術的感染力、人與人之間的真誠互動，只增不減。誠摯邀請你與我們一同開啟台灣當代視覺藝術的下一個二十年 !

Association of the Visual Arts in Taiwan (AVAT) upholds the faith of freedom, diversification, and open-minded equal rights since 1999.

The Artist Fair Taiwan (former TAIWAN ANNUAL) was organized in 2002 and renamedin 2016, which has been challenging itself, trying different exhibition contents and forms every year. It has been exhibited in cultural and creative parks, historical districts, department stores, and Taipei Expo Park. In 2016-2018, it was once combined with art festivals such as “On Site” and “Nuit Blanche”. Every year, we are committed to providing creators with opportunities to connect with art lovers, professional communities, and international networks.

As an annual exhibition focuses on equal rights, the Focal Annual section has open-called for many years without restrictions on identity and media, the Foster Annual section supports curatorials, and the Jury Award promotes future development opportunities for creators , The Public Art Area and the Taiwan Contemporary Art Archives (TCAA) Area invite everyone to think about the development of life and art. In addition, we hold various activities and talks via international networks that the alternative, experimental or alternative art spaces are connected to perform together.

Since 1999, TAIWAN ANNUAL has experienced drastic social evolution with everyone.In the past two decades, the Internet has comprehensively affected our lives and the diversified development of contemporary art. In the past two years, the virus has changed our lives. The most important part is that it made us realize more about the power of art is not depending on the physical or virtual existence, but is the inner essence re-examining, and the deeper understanding of the direction of the heart in the chaotic era, which equip us with stronger mutual sensibility of an uncertain future.

In the past twenty years, the communication between the past and the future, the charm of art and the interaction between people have only increased.

TAIWAN ANNUAL sincerely invites you to join the journey of contemporary visual art development in Taiwan for the next 20 years!

2021 台灣當代一年展活動網站

都是門的走廊

尺寸：規格視場地而定
媒材： 聲音檔案

作品介紹：此作品運用大家熟知的google translate聲音，朗誦美國作家Silvia Plath死前的日記 《完整版的普拉斯旅程》共180篇短文，機械式的單調語音與內文中狂放炙熱的情感形成強烈的奇異對比。 當語音合成系統在各領域的應用越見普遍，許多科學家與研究者也致力研究能夠更自然模擬人類使用語言與發音的演算系統。除了演算子音、母音的結合之外，與人類的情感表達更為相關的語音元素，如重音、語調、節奏與音調等，是語音合成系統的一大挑戰。人工智慧如何理解這些語音表達較為抽象的面向？當人工智慧朗誦文章的時候，他們又是如何掌握情感的表達，並將之轉換為語音呈現出來？他們是否也能夠體會文章中喟嘆與哀愁呢？

Dimension: dimensions variable
Material: 180 sound files: 8 hours 41 minutes