After Our Dear Country Failed
“Failed state”remains a real but also unreal experience of the Taiwanese due to the odd situation in the international politics and complex historical settings of Taiwan. The reality lies in the experience of Taiwanese people, from different generations, going through various historical events that pushed the state to the edge of collapse. On the other hand, these events coincidentally helped Taiwan have narrow escapes from the doom of failure, and the close calls brought a sense of unreality of the unsteady nation. From the tension of being on alert all the time to the state of being numbed and detached under the long-lasting oppression, how the collective mental states shape the unique social spectacle? After Our Dear Country Failed traced the aesthetics of digital technology and political control technology to interpret the local social context. We brought a line-up of international artists to present an imaginative space of “failed state” via illustrating the current issues and crises around the globe, employing mechanical installations, and projecting visions toward the future, and to figure out what lies in the present, as it has become a picture of dystopia.
Artist:
Bang & Lee
Fiat Frost
Mulugeta Gebrekidan
TSAI Chi Min
TSAI Tsung Hsun
WANG Yu Hsuan
WU Ping Sheng
Curator
Nobuo Takamori
Opening & Guide tour
2019/12/14 17:00
duration:2019/12/14~2020/01/18
Bang & Lee Workshop
2019/12/14 13:00~16:00
Forum後亡國論壇：政治控制技術與藝術表現
2020/01/18 14:00-17:00
Bang & Lee
南韓創作團隊「Bang & Lee」由藝術家方慈英（방자영）及李允準（이윤준）組成，他們的計畫經常使用各類媒體及科技媒材，來諷刺當代生活處境的荒謬。透過針對全球都會的串聯及介入計畫，「Bang & Lee」發展出一系列充滿高度互動性的都市空間計畫。本次計畫「Bang & Lee」將結合駐村及工作坊，為台北發展出專屬的計畫。
The Korean artist group, Bang & Lee, teamed up by Ja Yeong Bang and Yun Jun Lee focuses on satirizing the absurdity of contemporary living situations by hiring multimedia and digital tools. Through the campaigns and intervention projects on the metropolises across the globe, they have developed a series of highly interactive plans on urban space. Bang & Lee will be taking the opportunity of artist-in-residence and launching a workshop to establish a unique project for Taipei.
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飛雅特．弗洛斯特 Fiat Frost
飛雅特．弗洛斯特為泰國年輕導演，其作品充滿了各類流行文化及通俗劇情的元素，藉此創造出一個充滿特色、卻又自溺的宇宙觀。飛雅特在其許多作品中自行擔綱演出，從英雄人物到流行巨星，藝術家將自己置入於各式的流行文化想像之中，發展出一系列看似喜劇，卻實則認真製作的「科幻影片」。飛雅特的作品不僅代表其自身的狂想，更同時反映出了通俗文本的敘事結構。
As a young director from Thailand, Fiat Frost’s works feature elements of pop culture and soap operas and build up a distinguished but self-indulgent philosophy. Fiat is starred in the many of his films. From an epic hero to a pop superstar, he engages himself in the great fantasy of pop culture and develops a series of comedies with the seriousness of the “sci-fi” topics. Fiat’s films represents the artist’s own fantasies and reflects the narrative structures of the texts in pop culture.
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穆魯給塔．葛布列其丹 Mulugeta Gebrekidan
衣索比亞藝術家穆魯給塔．葛布列其丹的作品尖銳的剖析了當代社會的危機處境，以荒謬卻又寫實的方式來介入社會空間之中。在錄像作品《等待》（Waiting）中，藝術家化身為一位旅客，獨自站立於施工中的月台等待一輛永遠不會來到的電車。作品《傲羅巴》（Auropa）則是企圖結合非洲人對於歐洲的幻想以及近日的難民危機：穆魯給塔在歐洲各地扮演身穿救生衣的難民，並想知道路人的反應為何。
The Ethiopian artist, Mulugeta Gebrekidan, sharply cuts in the crises in the contemporary society, adopting realistic but absurd expressions to intervene the social space. In his video work, Waiting, Gebrekidan is a traveler who stands alone on the platform under construction and waits for a train that will never come. In Auropa, Gebrekidan plays a refugee wearing a life vest at plenty of places in Europe to see the reactions of pedestrians, and attempts to combine the issues on the fantasy of the African toward Europe and the recent refugee crisis.
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蔡濟民 TSAI Chi Min
《1945之後》文獻計畫是研究員蔡濟民針對其已逝祖父蔡榮堂所進行的一系列文獻蒐集及調查研究，期望藉著祖父的視角來理解戰後的台灣社會。《1945之後》除了討論到戰後台灣人的國族及政治認同問題外，更關注於台灣戰後的地方政治及管控技術。本研究計畫企圖透過針對這些治理技術進行分析，藉此了解並對應當代的政治影響技術和系統的差異。
After 1945 is a documentation project launched by researcher Tsai Chi Min, based on the collection of documents and surveys on his grandfather, who has passed away. Tsai desires to perceive the postwar Taiwanese society from the lens of his grandfather. In addition to the national and political identity issues of the postwar Taiwanese, the documentation project cares for the postwar local politics and technology of governing in Taiwan. By analyzing the technology of governing, the project aims to approach a deeper understanding and strategies toward the differences between systems and technologies of spreading political impact at our time.
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蔡宗勳 TSAI Tsung Hsun
藝術家蔡宗勳的作品常結合尋常都市景觀，並在其基礎之上建構出有如幻覺一般的場景。蔡宗勳的作品利用平面螢幕所造成的錯覺，讓媒體與現實場景之間的界線顯得十分模糊。藝術家所喜歡描述的新興住宅開發區，一方面指涉了人們對於未來的想像，但卻又因為藝術家透過拼貼、錯置等方式進行介入，而創造出潛在的不安與影像張力。
Tsai Tsung Hsun builds illusory scenes in his works based on ordinary urban landscapes. He takes use of the illusions created by screens to blur the lines between media and the scenes in reality. Newly developed neighborhoods, Tasi’s favorite subject, imply the public’s vision of future, a sense of potential insecurity, and tension brought by images.
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王友璿 WANG Yu Hsuan
研究計畫《（像個藝術家一樣）裝配時間》針對台灣數位技術發展過程中的審美及影像創作經驗進行剖析，企圖討論「數位藝術」之外的「數位民藝」。透過針對數位技術發展、數位平台建構與視覺審美經驗的互相滲透關係，研究員王友璿將試圖建構出台灣數位文化發展的美學史，並藉此嘗試討論台灣數位文化背後所蘊藏的社會結構。
The research project, (Like an Artist) Assemble the Time, analyzes the aesthetics and experiences of video creating during the development progress of digital technologies in Taiwan and aims to discuss “digital folk crafts” rather than “digital art”. Wang compiles the history of the aesthetics of and examines the social structure behind the developing digital culture in Taiwan.
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吳秉聖 WU Ping Sheng
藝術家吳秉聖擅長透過尋常的物件來創造出異質的聲音聆聽經驗，並藉此改變觀者與空間的關係。本次展出作品《何處》除了試圖透過機械結構自身的構造來針對創造出藝術家認為的「造音者」之外，吳秉聖也企圖將聲音、空間及發音構造串聯為一種整體的感官經驗，並期望藉此發展出一種迫使觀者放大自身感受的特殊觀賞經驗。
Wu Ping Sheng concentrates on creating miscellaneous listening experiences to change the relationship between space and audience via playing with the sounds of ordinary objects. The installation, Where, as a sound maker designed by the artist, creates sounds by its own mechanical structure. Through the installation, Wu connects sounds, space, and the sound generator to offer an integrated sensory experience which amplifies the audience’s feelings and reception.
