綠川計劃 + 社後藝術工廠 Open Studio

綠川計畫 + 社后藝術工廠 Open Studio
Green River Project + Shehou Art Factory

開放工作室日期Open Studio Date: 2014/6/28 18:00 – 21:00 (周一休館)
地點Venue: 新北市汐止區福德一路386號

綠川計畫開幕展 Green River Project Open Exhibition
展期 Date: 2014/6/28 – 2014/8/10 13:00 – 17:00

策展人 Curators:
尹洙竫 Soo-Jung Yoon
吳尚霖 Shang-Lin Wu

開幕酒會+表演Cocktail + Performance:
19:00 李大一 Daeil Lee + 心電樂 Heartones

參展藝術家與團體 Artists & Group: (依工作室順序)

社后藝術工廠/ Shehou Art Factory
郭慧禪 Hui-Chan Kuo
葉怡利 Yi-Li Yeh
福室繪工作室 Fortune House Studio
楊培君 Jean Yang
駱麗真 Li-Chen Loh
台灣科技藝術教育學會 InfoDATE
闕巧涵 Chiao-Han Chueh
廖堉安 Yu-An Liao

綠川計畫 / Green River Project
李大一 Daeil Lee
金珉廷 MinJeong Guem
潘羽祐 Yu-Yo Pan
林旺廷 Wang-Tin Lin
佐藤未來 Miku Sato

特別邀請:
美麗台灣關懷協會Beautiful Taiwan Care Association

社后藝術工廠 Shehou Art Factory

環繞在汐止工業區緊鄰基隆河，原為長興鐵工廠的社后藝術工廠，為新形態的藝術聚落。此次夜間開放工作室在微涼的傍晚，邀請社后藝術工廠藝術家與綠川計劃交流藝術家共同開放工作室。並邀請聲音藝術家李大一Daeil Lee與知名電子樂團「心電樂」Heartones 於開幕當天搖滾演出，歡迎大家蒞臨欣賞。

원래 금속공장이었던 서호아트팩토리는 기룽강을 끼고 시즈산업지역에 새롭게 형성된 아트타운이다. 서호아트팩토리와 그린리버프로젝트를 초대하여 6월 28일 밤에 공동오픈스튜디오를 진행한다. 이 오픈 행사를 위해 한국 사운드 아티스트 이대일과 대만 일렉트로닉 밴드 ‘헐트원스’는 멋진 퍼포먼스를 선보일 예정이다.

많은 참여 부탁드립니다!

綠川計劃 Green River Project 그린리버프로젝트

韓國或台灣如許多的亞洲工業國家，很早以前便開始注意有關環境的問題，並以綠色城市、環境保護主義或綠政治作為改革口號。綠作為顏色的象徵，代表自然與環境。同時它也代表和平、安全、平等與舒適。「綠川」就像一個虛情假意的名字常被當作新市鎮、新建公寓的美化名稱，就像日常生活中沒有真正的「綠」自然。「綠川計畫」的概念正啟始於揭發為擴大城市開發造成自然資源與生態損失的偽裝。從前的城市發展圍繞在河川的周遭因人們大多住在城市當中，如交通、經濟與文化都圍繞著城市開發。多數人為了工作之便居住在城市中造成人口集中。城市依河川而生，然而為了城市的願景，城市失去其原來的樣貌。如果河流從城市中消失，我們的生活又會變得如何？

延續對淡水公司田溪的踏察與探究，今年阿斯匹靈計畫Hot Spring Project與韓國水與石 Stone & Water ,Community-space Litmus在台灣新北市的淡水和汐止，與韓國京畿道的安養市與安山市，就環境、生態、社區、城市變遷等議題進行對話與駐地創作。此計劃將邀請韓國聲音表演藝術家李大一 Daeil Lee與新媒體藝術家金珉廷 Minjeong Guem於六月至七月期間分別進駐淡水阿斯匹靈計劃工作室與汐止社后藝術工廠，台灣藝術家潘羽祐與新媒體藝術家林旺廷也將在八月至九月前往韓國駐村，於兩國四地的在地民眾及藝術家們面對面進行交流。在台灣的駐地計畫部分，我們也特別邀請日本藝術家佐藤未來 Miku Sato延續對公司田溪的環境觀察。

한국뿐만 아니라 대만 및 아시아는 급격한 공업화를 통해서 국가를 이룩하였고, 최근에는 자연주의, 그린시티, 친환경운동, 녹색정치 등을 홍보하며 자연과 환경을 강조한 사회적 운동과 분위기를 고조시키고 있다. 좀 더 넓은 지역까지 도시를 개발하고 친환경적인 도시를 만들겠다는 슬로건을 내걸고, 더 많은 자연을 갈취하고 있는 건 아닐까 하는 반성에서 이 프로젝트는 시작된다. ‘녹색’은 ‘자연’과 ‘환경’을 상징하는 색이다. 일반적으로 평화와 안전, 중립을 상징하며 우리 눈에 가장 편안함을 주는 색이기도 하다. 그러나 신도시에는 그런 의미의 진정한 녹색자연이 없다. ‘그린리버’는 신도시에 지어지고 있는 고층아파트들의 친환경브랜드네임과 같은 페이크네임이다.

‘그린리버프로젝트’는 자연자원과 에코시스템을 파괴하고 있는 거대한 도시개발의 진상을 밝히는 것에서 초점을 두고 있다. 옛날부터 도시는 큰 강 주변에 발달하였고, 강 주변으로 인구가 집중되고 경제, 행정, 문화, 교통이 발달하였다. 강이 있어 도시가 형성되었지만 더 나은 도시를 만들기 위해 도시 속의 강은 본래의 모습을 잃었거나, 사라져가고 있을 뿐 아니라 미래상을 잃었다. 정말 모든 도시에서 강이 사라진다면 우리는 어떻게 될까하는 의문이 든다.

담수이구의 공스티엔강을 관찰하고 연구한 후에, 핫스프링프로젝트와 한국의 스톤앤워터, 리트머스는 환경, 생태, 커뮤니티 그리고 도시개발에 관한 담론을 나누기 위해 한국의 경기도 안산시와 안양시 그리고 대만의 뉴타이페이시의 담수이구와 시즈구에 각각 1명의 작가들을 위한 레지던스프로그램을 시작한다. 한국의 사운드아티스트 이대일과 뉴미디어아티스트 금민정을 6월부터 7월에 걸쳐 담수이구의 핫스프링스튜디오와 서호아트팩토리에 초대한다. 대만작가 판유요와 뉴미디어아티스트 린왕팅을 8월부터 9월에 걸쳐 한국에 초대할 예정이다. 2개의 국가 4개의 지역에 초대된 4명의 작가들은 자신이 머무는 지역의 로컬작가들과 직접 소통을 하게 된다. 추가적으로, 대만 레지던스프로그램에는 특별히 일본아티스트 사토미쿠를 초대하여 함께 공스티엔강의 환경을 계속 관찰하려고 한다.

Nowadays, industrialized Asian countries like South Korea and Taiwan seem to turn their attention to environmental problems with slogans such as Green City, eco-friendly movement, and Green Politics. ‘Green’ is a symbolic color of ‘Nature’ and ‘Environment’, and comfortable impression like peace, safety and neutrality. However, there is no real green nature in the new town. ‘Green River’ seems refer to a fake name of these brand-new buildings.

The departure point of ‘Green River Project’ concept is to expose the disguise of massive developments of cities while destroying natural resources and ecosystem. Since cities have developed around rivers and the population concentrating to the cities, transportation, economy and culture always follow these developments of cities. Cities were born based on rivers. On the contrary, cities have lost their original appearance for the sake of their ‘future vision’. If rivers vanish from every city, what will happen in our life?

After the observation and research of Tamsui Gongsitian River, Hot Spring Project, Korean Stone & Water and Community-Space Litmus began an artist in residence program in Tamsui/ Xizhi district, New Taipei City, Taiwan and Anyang/Ansan City, Gyeonggi-do, Korea, which is discuss on environment, biology, community and urban development. We invite Korean sound artist Daeil Lee and new media artist Mingeong Guem to stay at Hot Spring Studio in Tamsui or Shehou Art Factory in Xizhi from June to July. Taiwanese artist Yu-Yo Pan and new media artist Wang-Tin Lin are going to stay in Korea from August to September. The artists and local residents will have face-to-face communications in the 4 areas in the 2 countries. Additionally, we specially invite a Japanese artist Miku Sato to the residence in Taiwan and continue to observe the environment of Gongsitian River.

主辦單位 Organizer :
阿斯匹靈計劃 Hot Spring Project

合作單位: Co-Organizer:
雍和藝術教育基金會 Yonghe Arts and Education Foundation
福室繪工作室 Fortune House Studio
美麗台灣關懷協會Beautiful Taiwan Care Association
竹圍工作室 Bamboo Curtain Studio
韓國Community Space Litmus
韓國Stone & Water

贊助單位 Sponsors :
雍和建設 Yonghe Land Development Corporation
韓國藝術委員會 Art Council Korea
韓國京畿道 Gyeonggi-Do
韓國京畿道文化基金會 Gyeonggi Culture Foundation

The unknowable reality

The unknowable reality:

A brief critic about Wu Shang-lin’s solo exhibition Inner Landscape

By Louise Hsu

On a warm sunny day of May in Tainan, a southern city of Taiwan, walking on the streets of Tainan, it was not difficult to find those Bungalows with western-oriental mixed styles standing in between the modern shops.  In one of the beautiful Bungalows, it launched the solo exhibition of Wu Shang-lin, Inner Landscape. The house, used as the most common family house in the past 30 years, now known as Howl Space, is an independent art center for contemporary art.  The house was renovated in a minimalist style.  In response to the space, the exhibition Inner Landscape revealed a very natural unstructured form as well. You could not find a piece of exhibition poster on the wall, neither the artist statement nor word caption.  What was presented is nothing but the artwork itself. Then you saw the visitors walking around the space casually, talking about the works pleasantly.  Somehow the “label of art” has been removed from the space. The scenes happened in the space seem to belong to the daily life of the visitors. Far beyond it’s original task of presenting artworks, what Inner Landscape in this space presents is the state of human life, as well as the spirit of the local community culture.

Following the presentation of his works like a whirlwind in recent years, shifting from many international artist villages in Europe and Asia, Wu Shang-ling has made the most important turning point in the end of 2012, that is, he built a family and welcomed their daughter to the world at the beginning of 2013.  As a result, his consideration about art could be found with a great change. 

Regarding Inner Landscape, his first solo exhibition in 2013 in Taiwan, we see Wu Shang-lin extending his survey from industry world, urban life and community relationship into a new field, which is closely related to his personal life:the family.  Concept of the exhibition was based on the space philosophy of Gaston Bachelard. To be presented are 2 installation works, for which he invited visitors to participate in the process of creation. Significantly, he intended to break up the concrete image of a family house through his sound-image installations and to reveal its true existence in emotional aspect. He also tries to fill the space with many different family’s peceptions and memories collected from the participators. In this way, the house is able to leave its own past behind and to experience the entire new life as an art center.

The first installation was a platform located near the entrance. Some soft toy bricks were spread casually on the ground. Visitors were invited to sit on the ground and played with the soft bricks. Most of them took the bricks to build up their ideal houses. While they were playing, they could hear audio records taken by the artist. The voices were broadcast through the loudspeakers hung on the wall. They heard others talking about their own family stories or ideas about “what is a family”.

The second installation placed in the next room presented family photos of the house owner. This work means to represent the emotional connection between the house and the family members. The house, used as home and small factory in the past 30 years, has witnessed both the growing of the family and the living situation of the age of economic boom in Taiwan 30 years ago. Feelings and memories are embraced at the same time in the house. The artist was obligated to represent this special atmosphere with the photos that the family has given.  However, the owner did not want the faces on the photos to be identified for the reason of privacy. Therefore, Wu Shang-lin decided to blur the faces, only to recreate an unfocused effect on the photo.

A Photo is known as a still image of an object or action. However a blurred image on a still photo disclosures the existence of “speed and motion”.  The photos that Wu Shang-ling recreates with blurring effect reveal the first step of the interesting co-existence of “still and motion”. Two phenomena, which are not able to be experienced at one time according to the theory of phenomena world of Kant,[1] are frozen on one photo as a still image. Creation and recreation, the ability of art which can defeat the rules of rational world, has been proved by this work.

After blurring the faces, it’s impossible to recognize the persons on the photos. The visitors who see the photos without knowing the background of the house and the family will only have the impression to the images, which are slightly fading, and seem to carve someone’s memories. Among all, it’s someone who is a stranger, and is totally unrelated to the viewer. So the viewers can create a new life for the one with incredible imagination. 

In his early photo paintings, the German painter Gehard Richter always defaced the figures with blurring skill to remove the “identity tag” of the figure.[2] “I blur things to make everything equally important and equally unimportant,”[3] The statement of Richter expresses his intention to decrease the importance of the “real identity” of the figures. Furthermore, he admits his incapacity of presenting and representing “reality”. [4] Like Richter, Wu Shang-lin gives up to present the photos as they really are. He blurs the faces to confuse people when trying to recognize the figures. Consequently, this action evokes the interests of viewers even more. The blurred faces on the photos catch the eyes of the viewers and bring them even closer to seek for the “reality” behind the images

Is it real? How real is it? These questions come often from the viewers when seeing seemingly realistic presentation of art. Susan Sontag overthrows the existence of absolute reality by saying “photographs are a way of imprisoning reality”.[5] Wu Shang-lin frees the “prison” in the way of erasing the identity of the faces. Not only the family photos, but also the platform installation are dedicated to break up the stereotype of a family. He invites people to join the creation of the work and to enrich the space with more stories, memories and associations. Meanwhile, his efforts to create the atmosphere of poetic abstraction for the images should not be neglected in any way.

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[1] Ralph Blumenan, Kant and the Thing in Itself, Philosophy Now, Issue 31, May/Jun 2013, http://philosophynow.org/issues/31/Kant_and_the_Thing_in_Itself

[2] Moira Weigel, The painted illusions of Gerhard Richter, The Guardian, Saturday 25 April 2009, http://www.guardian.co.uk/artanddesign/2009/apr/25/gerhard-richter-painting

[3] Gerhard Richter: Text, Writings, Interviews and Letters 1961-2007, Thames &Hudson, London, 2009, P33, http://www.gerhard-richter.com/quotes/techniques-5

[4] “I can make no statement about reality clearer than my own relationship to reality; and this has a great deal to do with imprecision, uncertainty, transience, incompleteness, or whatever. But this doesn't explain the pictures. At best it explains what led to their being painted.” Gerhard Richter: Text, Writings, Interviews and Letters 1961-2007, Thames &Hudson, London, 2009, P60, http://www.gerhard-richter.com/quotes/techniques-5

[5] Susan Sontag, On Photography, New York, 1977, P.85

瞬間也好的（集體）逃逸—吳尚霖的「畢業照」計劃 文: 陳敬寶

藝術家吳尚霖近年的幾個創作計劃多與學子相關，從小學生、國中生，到高中生。援用的媒介則涵括了攝影靜照和錄像。二○○九年，吳尚霖首先發表在日本駐村的成果：「畢業照計劃一」，六幅攝影作品個別呈現大約是一個班級的高中生，身著制服端坐或站立，整齊排列於走廊或川堂拍攝的，畢業照一般的照片。構圖中正光線柔和，與一般畢業照不同的是，並排比肩的人們僅佔畫面中央相對較小的面積，他們所處的空間因而被突顯出來；再一細看，所有影中人都閉上雙眼。二○一二年，吳尚霖完成「畢業照計劃二」：和臺東縣三民國小合作出版的畢業紀念冊。這本一年兩個畢業班的紀念冊，前五分之三與一般畢業紀念冊相去不遠；後五分之二則是同樣由吳尚霖拍攝，全體教職員與畢業生集體與個別，閉上雙眼的肖像照。

肖像攝影中，被攝者的視線是個值得細察的子題，因為它標示了影中人的心理狀態，以及在個別發生的攝影行為中的「參與度」。東西方兩大攝影家沃克•艾凡斯（Walker Evans）和荒木經惟各有一組拍攝地鐵乘客的作品。和狗仔隊一樣，這些照片在當事人毫不知情的情況下被拍攝；被攝者的視線絕大多數沒有面對鏡頭，他們完全沒有所謂的「相機意識」，也因此，可以看作完全意義之下的「紀實」。相對地，理察•艾維東（Richard Avedon）和北島敬三晚近的肖像照，則與證件照一樣，要求被攝者包括視線在內，百分之百的「臨在」；不得分神無所盾逃。攝影史上一個罕見的特例是茱莉雅•瑪格麗特•卡美崙（Julia Margaret Cameron）：她的肖像照有許多被攝者直視鏡頭，但由於早期粗簡的攝影光學和長時間曝光，使得被攝者的眼神空濛迷茫；出神，視線彷彿穿越過相機鏡頭／攝影者／觀眾，到達無盡的他方。卡美崙鏡頭前的人，因而看來「在」（身體）也同時「不在」（意識）。從這層意義來看，吳尚霖的「畢業照」似乎更接近卡美崙。只是被攝者的狀態是順應了藝術家的意志，正襟危坐地，閉上雙眼。「閉眼」進而成為一種面對世界的姿態，標示了藝術家的意向：原本屬於社會性的、集體性、儀式性甚至帶些強迫性的畢業合照這件事，藉由一個單純微小的器官動作翻轉了意涵。這些被集合起來的人們在閉眼的瞬間，暫時離開客觀實存的世界，進入個別意識的回憶、想像或空白：逃逸或遠颺。凡此種種，俱成為一幀幀靜止照片的畫外靜音，此起彼落。

攝影的悖論是：如實錄存可見的，藉以呈顯不可見的。在吳尚霖的「畢業照」中，不可見者仍不可見，封存於被攝者的意識之中；觀者實則難以在照片裡動作劃一的被攝者身上，閱讀到更多或更深層的意涵。然而，此「不可見」終究被相機錄存了痕跡或印記，以略供追索，此即人的衣裝體態，及特別是「大頭照」中的，臉孔：髮型、膚色、各各不同的五官，或隱或顯的笑容；索引，眼神缺席的面像學。畢業生們在作品中如此被呈現；而「畢業照」計劃中，同樣應該被討論，也是吳尚霖作品中的當代性，或許更體現於他的工作方式。吳尚霖笑稱自己始終沒能離開校園：剛從法國完成藝術研究所的學業，因緣際會地開始了在日本高中的拍攝計劃；在緊接著兩三年當中，開展在韓國和台灣各地的中小學校園裡，看似相關卻又各個不同的後續工作。在這樣密集的跨國、異地移動之中，藝術家面對的，或需要解決的情境與難題，較之從前更為立體而多樣。而其中最為關鍵的差異在於，整個創作行為的過程中，藝術家一定程度地讓渡出主體的意志，邀請計劃對象，共同合作完成作品。這使得藝術創作與社會學式、人類學式的工作型態類同起來。行動、參與及溝通協調，取代了原本藝術家可能閉門造車的，為藝術而藝術的工作方式。

青青子矜，悠悠我心。還沒能真正離開校園的吳尚霖，在一次討論會上坦言自己在學期間作為青少年，學業表現並非優良，經常處於某種游離狀態：醉心於信手塗鴉、等待翻牆買便當，放學以後快打旋風Ho-Liu-Ken。看來是那些學習生涯裡的非官方時刻，讓藝術家至今低迴沈吟。或許正因為如此，我們彷彿在成群閉目遠颺的孩子們身上，看到了一個幽默，甚至捉狹的身影。

(文: 陳敬寶 圖: 2012吳尚霖個展 | 內觀感於台南海馬迴光畫廊)

移動中的創作

「現在人還在國內嗎？」雖然熟識已久，多少次我們的線上對話是從這樣開始的，因為吳尚霖喜歡旅行，目的不在尋找那條回家的路，而在移動的過程中累積生命裡的質量。在法國第戎藝術學院畢業的那年，當大家還在忙著寫論文、完成畢業製作，尚霖就以進駐藝術村的創作形態開始專業藝術家生涯，理直氣壯四處過著遊牧般的創作生活。

藝術村的生活形態之於藝術創作者，不如我們想像的浪漫，藝術家必須暫時遠離自身創作基地，撇開異地生活上的語言不便，還得開放工作空間，在作品尚未公諸於世前，創作過程將被檢視著，在這期間對於當地社會、贊助者要提出相當的回饋，創作的脈絡也將因此面臨更多變數。面對眼前新鮮事物藝術家都已經來不及消化了，更不用說在接受這樣的考驗同時可以準確的將創作意念投注作品中。在這樣的遊戲規則下，文化的吸收與創作的釋放，尚霖像是游泳選手，熟練呼吸節奏，劃破重重阻力在水裡向前划行，從一個城市移動到另一個城市。

藝術家身分就是尚霖向陌生人問候的通行證，親切的談話是他的天賦，讓嚴謹的柏林人毫無保留對著簡便的錄音設備說著他們的故事，生命與生命的相遇勾勒出一張私房城市地圖。在東京駐村期間，正好遇上畢業季，受過西方美學薰陶的批判性思考的他與文化差異擦出了火花。原本應該是高校生制式的畢業照，在藝術家邀請下，同學在鏡頭前列隊排排站，拍攝的剎那，與其看著三腳架上陌生機械鏡頭，閉起雙眼用心記下這個難忘的瞬間，3、2、1再次張開雙眼，展新的旅程正等待大家。我們以為按下快門就可以保存的集體記憶，當快門的一開一闔由雙眼取代，記憶的底片放在心裡， 柔性質疑過度依賴高科技產品的文明社會。

這樣引動社會的藝術「微」革命，最近也在台北發生，吳尚霖把器材放手交給剛認識的高中生朋友，羞澀也好、活潑也行，藝術家走進校園引導學生透過相機邊拍照邊說故事，無邊的想像力，領著觀眾在一個陌生的學園場域遊走。走出校園轉個彎，街頭年輕人的紀錄片，舞技挑動著我們的四肢，每個人的遭遇故事引領我們追溯至這個聚落的源頭。觀眾的記憶也慢慢的回到那個什麼都不怕的勇敢年代。旅行的意義延伸，移動的定義從人與人的距離、客觀的地理空間轉化到時間。

移動過程中的探索，與其說面對人，藝術家面對的不在國家間的疆界或是語言文化差異，而是人與人之間那道隱形的牆。目前藝術並沒有那麼大的影響力直接改變冷漠的社會，但是藝術家吳尚霖投入真實的行動，從早期的一人行走行動藝術計畫，走著走著，走出了預設框架進入人群，參與計畫者與觀眾間建立無數個共感經驗，似橋樑如街廓，建構出一張藝術家的世界地圖。

文／吳玗倩 Yu-Chien WU 2011年秋

2010_吵鬧計畫節目單

2010 吵鬧計畫-2 / 吵鬧紀念堂

2010 吵鬧計畫-2 / 吵鬧紀念堂

行為/表演共同創作計畫

參與藝術家:

湯皇珍、張雅萍、林文藻 、葉育君 、林姿吟 、吳玗倩 、Verena Kyselka

林志銳、莊惠琳、陳淇榜 、黃藍白 、吳建緯 、吳尚霖

表演時間: 2010/12/10 16:30 - 18:30

Party: 18:30 - 20:30

地點: 板橋435國際藝術村(枋橋大劇院)

220台北縣板橋市中正路435號　聯絡電話：02-2960-1601

80年代藝術家李銘盛在北美館前的一坨大便，讓我們瞭解了原來藝術品可以''發生''在任何地方，而不只是在美術館裏。今天藝術家湯皇珍在她遠行人的系列創作計畫中，透過行為表演與民眾參與，讓我們再度思考藝術家的自主性與其職業與身分的認同。法國左翼哲學家齊-德博（Guy Debord）於其著作「景觀社會」(La société du spectacle) 對法國當時過度資本主義的社會情境進行批判。如今，在萬花筒般的雙年展與百花齊放博覽會並置的台北，我們似乎也已經習以為常這個不斷需要刺激與更刺激的世界。

「身體」，一個接近創作零度的材料(material)，在今天這個科技至上的社會中似乎也變得亢奮甚至隱晦不明。 面對一個已經蒼老了而又原為政治主體性的集會空間，我們是否可以以每個身體與腦袋提供不同的見解？

延續在吵鬧計畫-1對廢棄與歷史空間的跨領域創作對話。我邀請了12位來自不同世代、國籍、創作方式的藝術家們在現在板橋435國際藝術村的大劇院裡來ㄧ場即興的行為/表演活動。這個名為中正紀念堂而如今成為婚紗客時常作為背景的市公所辦公處，其巴洛克式的水泥外觀建築體內仍保存著一個看似戒嚴時代的劇院空間。被環快道路、舊社區、眷村、殯葬業、海釣場等等圍繞的''藝文''特區，其存在看似荒謬，卻也提供一般民眾休憩散步與藝術家鍛鍊體能的好地方。吵鬧計畫在城市的邊緣欲擺脫一個過度包裝且商業化的''制式''藝術環境，讓藝術家的工作姿態直接與觀眾對話，並且透過場域與空間背景的連結在各自的創作脈絡中尋找可能性。

策劃: 吳尚霖

吵鬧計畫-1: http://revecharlie.blogspot.com/2008/12/blog-post_14.html

吵鬧計畫video: http://www.wushanglin.url.tw/2008_Noisy_3chennels.html

「偽同語/稍縱即逝的錄影館」False Friends / An Ephemeral Video Library

巴黎網球場國家藝廊的錄像展出

台灣參展藝術家: 吳尚霖、李明宇，徐家維

展出時間: 2010/9/28 - 2011/2/6

網站連結: http://www.jeudepaume.org/

法國國家廣播電台英文頻道訪談:

http://www.english.rfi.fr/visiting-france/20101005-taiwanese-artist-digs-through-layes-city-life

False Friends / An Ephemeral Video Library

FROM 28 SEPTEMBER 2010 UNTIL 06 FEBRUARY 2011

The logic of mainstream media coverage of events is usually based on constant renewal, in order to keep the spectator interested. They therefore have a relatively limited lifespan, which is why information is sometimes forgotten or goes straight into the archives. At the same time, however, it is clear that the events themselves evolve and gain in complexity, and continue to exist outside the main media circuits.

The advent of digital platforms, fostering new communications networks and blogs, has helped to attenuate the impact of the mass media by creating alternative modes of access to information. This is precisely the context in which the “ephemeral videotheque” project can be interpreted.

The works brought together in “False Friends / An Ephemeral Video Library” feature stories from the margins of history and mainstream media. Using tension, humour and testimony, these micro-narratives work to shed light on events outside the history books and mainstream media.

This selection of films made by artists from all over the world offers a fragmented description of the real that is rich in nuances. In a sense, these works highlight dissonance and failings of synchronisation, perhaps even shaking our convictions or preconceptions. They are interested in the reality that we know, but do not describe it in a classic, conventional way. Nor do they seek to mediate it, or to make it easier to understand by simplifying it. They are “false friends” – inadequate translations of events that still contain echoes of reality.


Curator: Marta Ponsa

The exhibition “False Friends / An Ephemeral Video Library“ is supported by Les Amis du Jeu de Paume.

It was produced with the participation of Taiwanese Cultural Centre in Paris, the Polish Cultural Institute in Paris, and the Centre National des Arts Plastiques – Ministère de la Culture et de la Communication / FNAC, Paris.

Acknowledgments
Art: Concept, Paris; Bugada & Cargnel, Paris; carlier | gebauer, Berlin; Foksal Gallery Foundation, Warsaw; Galería Juana de Aizpuru, Madrid; Galerie Chantal Crousel, Paris; Galerie Jan Dhaese, Ghent; Galerie Les Filles du Calvaire, Paris; Galerie Michel Rein, Paris; Galerie Peter Kilchmann, Zurich; Galerie Yvon Lambert, Paris; Galleria Gió Marconi, Milan; gb agency, Paris; La B.A.N.K, Paris; Maureen Paley Gallery, London; Murray Guy Gallery, New York.