DACU DELTAHEDRON
𝔻𝔸ℂ𝕌 DELTAHEDRON
DELTAHEDRON Video Art Exhibion breaks the boundaries of creative fields and also redefines the spaces within DAC. Through showcasing various types of video works, this exhibition aims to use DAC exhibition spaces and office spaces as the venue for experimental video displays. It invites the audience to freely roam around the exhibition hall, lobby, and even areas like staircases and meeting rooms, which were not originally considered as exhibition spaces, challenging the possibilities of various forms of video presentation.
Responding to the relationship between this space and its surrounding environment, we project Alfred Hitchcock’s classic film Rear Window and Wang Chung-Ping’s Moving in Stillness onto the large floor-to-ceiling windows of the office area, directly confronting residents of the residential area, blurring the boundaries of artistic space. Works such as Wang Yu-Ching’s Pigeonese, Lu Chih-Kai’s Nobody, but my body and FRĖĖ ËNTRY, along with the artist group Ming Shih-Han and Chen Chih-Yang’s Hell live prodcast are placed in the heterogeneous space of the art center. By showcasing these works in public spaces, it aims to provoke the audience’s thoughts on the boundaries of art institutions and life. Finally, artist Chen Chun-Yu’s Encouragement of Love brings the audience closer to the artwork through an interactive installation that uses sound as a medium for soulful control and mutual encouragement.
As the final video art exhibition at the Taipei Digital Arts Center, it gathers classic films, video installations, and digital imaging works, not only transcending different types of video but also intentionally drawing out a subtle axis of video history. From changes in video technology to the intertwining of video texts and the diversity of presentation, it offers the audience a viewing experience different from traditional ones in art galleries and cinemas. In DAC’s space, encounters with various contemporary images showcase the complexity of DAC’s contemporary images.
Artist
Wang Chung-Ping, Wang Yu-Ching, Chen Chun-Yu, Chen Chih-Yang, Ming Shih-Han, Lu Chih-Kai, Lu Miao-Ying
feat. Alfred Hitchcock’s Rear Window
Works Introduction
Wang Chung-Ping
Wang, Chung-Ping is currently pursuing a Master’s degree in the Fine Arts Department at National Taipei University of the Arts. His primary artistic medium is photography, and his work centers around the relationship between image interfaces and the everyday experience of viewing flat surfaces. In addition to being a creator, He’s also a photographer in his regular activities.
Moving in Stillness
Unlike in the past where I presented my work in exhibition spaces, this is my first attempt at site-specific creation. Similarly utilizing photography with windows as subjects, previous operations were more like interventions before shooting, transforming the window’s imagery into an unidentifiable mixed state while simultaneously disturbing or preventing the viewer from retracing the spatiotemporal connections of the image, thereby eliminating a certain presence of the image; whereas this time, I directly executed and presented on the windows of the second floor of the Digital Art Center. The previous methods couldn’t be established in this work because the image itself was present at that location. How to change the viewing experience on-site while the image must return to the scene to present itself is the problem to be dealt with this time.
I noticed that there’s a layer of reflective heat insulation film on the windows of the second floor of the Digital Art Center. Therefore, the office scene inside the windows cannot be seen from the outside of the building. As I moved and observed the reflection on the windows during the process, the image reflected by the reflection also changed with the movement of the body. When I stopped, the reflection naturally became still. Interestingly, while the reflective film blocked the view of the interior scenes through the windows, it instead clearly reflected the windows of the opposite residences. The windows that were not intended to be observed ended up paradoxically reflecting the windows of the neighbors across the street.
I photographed the reflections on the windows, tore off the original heat insulation film from the inside of the windows, and pasted the photographed images back to their original positions inside the windows. At this point, when viewed from the outside of the building, a displacement of visual perception occurs between the reflection on the windows and the reflected image. When the viewer walks to a specific position, the reflection aligns with the reflected image like focusing a camera’s double exposure. The viewer not only stands in the position where I originally took the photo but also seems to be in the process of moving their body to find a position, returning to the scene where the image was captured. At this moment, the scene is also divided into two different temporal states: the present where the viewer is and the past when I captured the image. While the reflection and the image overlap, they reveal the inevitable irreversibility between the present and the past through the intervention of photography.
Moving Image: Liu Yao-Jin
Wang Yu-Ching
Yu-Ching Wang was born in Taipei, Taiwan, and now lives and works in New York. She is a multidisciplinary artist whose work spans spatial installations, video, performative action, and photography. Her recent works focus on exploring the social and cultural elements in the environment around her through her identity as a foreigner. Based on objectively observing the living environment and society, then she creates artworks through subjective thinking. Wang collects information and clues from the outside world and associates them with her thoughts on culture, society, politics, and her personal experiences about race and her cultural background. Through intervening in specific situations, such as public spaces, to create artwork from her perspective, she enjoys creating unusual and humorous scenes that reveal hidden critical and political concepts and meanings. She strives for the moment when people become aware of the unexpected realities her project sparks.
Wang received her Master’s degree in Fine Arts at Pratt Institute in 2022. She holds a BFA from the Taipei National University of the Arts and an MFA in Plastic Arts from the Tainan National University of the Arts. She recently had solo exhibitions at 2023 ART TAIPEI, an international art fair, and at the Museum of Contemporary Art Taipei. In 2022, she was selected for the performance festival in New York. Her work has been presented in the U.S., France, Italy, South Korea, Serbia, and so on.
CV ：https://www.wangyuching.com/cv
Pigeonese
Pigeonese is inspired by the identity of pigeons which are foreigners and immigrants from outside of the U.S. When I see pigeons, I think about people, like myself and others having specific identities, and feel closer to pigeons. We are living in the same city and also in a similar situation. Pigeons are a metaphor for people struggling to adapt to a new city and environment.
Someone has told me the pigeons in New York City are from Europe. I researched and found that most of the pigeons in New York City are rock doves (Columba livia). Their natural habitats are Southern Europe, Northern Africa, the Middle East, and Western Asia. In the 1600s individuals initially imported them for their meat. So, I wonder if pigeons still remember Europe and their languages.
In this project, I talk with them in European languages that were supposed to be their native languages 1600s years ago and record the process of our conversation. These questions that I asked pigeons reflect the real-life problems encountered by certain groups, such as language problems, ethnic and cultural differences, changes in eating habits, etc. I once saw a group of pigeons eating fried chicken. The sight shocked me. On the one hand, they were eating other birds, and on the other hand, they seemed completely “Americanized.”
The form of the project is a video taken by myself, which forms the film from a first-person perspective. I want to create an illusion for viewers who may feel that they are the person talking with pigeons. It is both a performance and a video work, and my role is both recorder and performer.
Chen Chun-Yu
Chen Chun-Yu was born in 1989 in Kaohsiung, Taiwan, and currently lives and works in Taichung.
His works are inspired by observations of the micro-world and correspond to an exaggerated (impossible) method of realization. To face problems with a sincere and practical approach is not the artist’s intent, and Ohau prefers to humorously tackle moral principles and ethics that seep through irrelevant associations and paralyze social imaginations that require restructuring.
Encouragement with Love
What exactly prompts us to summon the courage, brimming with confidence, to foolishly face challenges? Is it adolescence, ignorance, courage, or the protection of hormones? Or perhaps it stems from someone dear, someone revered, offering the most sincere and heartfelt encouragement.
Facing such encouragement can boost our confidence, making us feel invincible and empowering us to bravely bring forth everything we have to challenge the unknown. If luck is on our side or if we happen to strike the right chord, success is possible. However, for the most part, it may end in failure, don’t you think? Perhaps in such contemplation, the emphasis is on the prelude to execution, questioning what guides (encourages) us toward… hahaha…..”
Chen Chih-Yang
born in 1999 in Tainan City, currently resides in Taipei and is studying in the Graduate Institute of New Media Art at Taipei National University of the Arts. His personal works excel in creating fictional heterogeneous spaces through sound and light installations, often using anti-media methods as the basis for his creation. He often collaborates with Min Shihan to research traditional Taiwanese culture and peculiar scenic spots, and they also collaborate on photography projects.
Ruined 18 Arhats Cave
The artist uses a mobile phone to 3D scan the ruine 18 Arhats Cave in Keelung. However, due to its subsequent vandalism, the artist attempted to recollect the events that occurred during the earlier exploration while the memories were still fresh. To aid in this recollection, the artist sought out two other companies to recall and reconstruct in a blend of many stories, some seemingly true and others possibly fabricated, all intertwined with the shared memories of the past adventure.
Lu Chih-Kai
Lu Chih-Kai was born in 1993 in Taipei and grew up in Taoyuan. He is currently studying in a master’s program in New Media Arts at the Taipei National University of Arts. He mainly takes photographs, filming videos and making performance arts as well. Lu Chih Kai is often inspired by his personal memories. He observes and reflects with subversion on the functions of some daily spaces. By using the distinct viewing angles and camera movement of a drone, his works reveal the body–space relations and create a visual illusion with many layers that makes it like being in a bizarre world. He was recently dedicated to shifting the visual center on the boundary between the states of weirdness and aesthetics, trying to disturb the normal ways of seeing, and then brought out the unusual feelings beyond the reality.
Lu Chih-Kai was selected for Kaohsiung Award 2024: Honorable Mention, the Proyector/Festival de Videoarte 2023: Honorable Mention, and awarded with Next Art Tainan Award 2022, Yilan Art Award 2021: Merit Award, and TNUA (Taipei National University of the Arts) Contemporary Art Prize 2021: Honorable Mention. His works have been exhibited in Taiwan, Greece, Spain, Italy, and other places.
Lu Miao-Ying
Starting from a social education background, I perceive art as the broadest social arena or a method to experience the world. My creative focus is on the connection between non-human animals and humans. I combine abstract perceptions of the environment with realities through installations and videos. I often delve into documentaries but more frequently wander around the confines of documentation.
FRĖĖ ËNTRY
When reality is extremely lucky, it is like the disparity between the world around us and images — in the perceivable space, it is the reflection of a dream.
This project is a mirror installation with a pathway and trees inside, where imagination pierces through the virtual entrance to the other side: bird droppings are never just a means of marking territory, but the sounds of them quietly leaving their nesting grounds.
Supervisor
Taipei City Government
Organizer
Taipei City Government
Digital Art Center, Taipei