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Paradise, Under RE-construction
Video Screening in Studio 203 @ ISCP , MAY 12th ---MAY 15th
Curator: Jau-lan GUO (郭昭蘭) jaulanguo@gmail.com
Paradise, Under RE-construction is a video exhibition, curated by Jau-lan GUO. This is one of the events in OPEN STUDIO of ISCP (International Studio & Curatorial Program, New York) from MAY12th to MAY 15th.
How is the body tattooed with the collective memory of the time and the specific site? How can the drifting body be RE-located in a RE-constructed paradise? What is left to transgress, metabolize, practice, shuttle, or prospect among the spectrum of changing culture and historical imprint? The above is what Paradise, Under RE-construction concerns.
Seven artists take part in Paradise, Under RE-construction, including Masaru Iwai（Japan）、Gonzola Puch (Spain)、Wu Tien Chang (Taiwan)、Yao Jui-chung (Taiwan)、Yuan Goang-Ming (Taiwan)、Wu Chi-Tsung (Taiwan)、Charwei Tsai (Taiwan).
Yao Jui-chung, Phantom of History (2’28”), March Past(2’28”), Ｍt. Jade(1’01”),
Video, color single channel projection, 2007
Growing up in the 1960’s, Yao Jui-chung took the collective memory of Taiwan’s martial law at the time and brought them back to life. In the Phantom of History series, the artist seems to have been possessed by the phantom of history itself, which shows itself in three different scenes: Jade Mountain, a march past the Office of the President, and the Chiang Kai Shek Memorial Sculpture Park in Cihu. The first two image prototypes are from the martial law era, when the national machine created a kind of leader-worshipping in the media. Remolding memory is often a necessary tool in the formation of the nation. But if the nation is phantomized, then the spirit will reside in the individual.
Ｗu Tien Chang, 孌(luan ) , 15’20”, single channel video, 2010
Ｗu Tien Chang’s Luan deals with the borderline between the vitual and the reality, and approaches the extreme of somewhere between the man-made and the living body . If hyperréalité is what Baudrillard’s opinion toward the world; Wu Tien Chang seems to ask “How fake is the faked？”in the world with hyperréalité.
Ｍasaru Iwai, Galaxy wash, HDV 14'34" , single channel video with sound
2008
Ｍasaru Iwai, Old Japanese house, Full HD video 4'30" , single channel video with sound ,2010~
In Masaru Iwai’s video, the act of cleaning establishes a subtle relationship between space and human. Iwai’s work implies the collective sanitation-OCD (obsessive compulsive disorder) of Modernity. The performance of cleaning in “Old Japanese House” also gently reminds viewers of “the sense of place,” which is undermined by globalization.
Yuan Goang-Ming , Disappearing Landscape—Scotland, 6’, video, 2009
Disappearing Landscape – Scotland involves installing a camera on straight steel wires, with motors attached to the cameras to allow them to slowly move along. After computer post-processing, the images are suddenly thrust into everyday scenes, rotating around as if to flee. The images that slip into Disappearing Landscape – Scotland compress real time and the timing of moving cameras into one. The timing of the image frames are sliced into pieces, overlapped with the timing of the physical movement, giving people an image of time itself collapsing.
Chi-tsung Wu, Still Life 01 – Pine , Single-Channel Video, 2009
Chi-tsung Wu, Still Life 02 – Orchid , Single-Channel Video, 2009
Wu Chi-tsung borrowed the still life images from Chinese Ink Painting, transferring the ink-aesthetics into video aesthetics. The Taoistic world view embedded in ink painting was also translated well into the visual expression with the up and down of the water.
Charwei Tsai, Sea Mantra (Sydney),14’34”, Video, 2009
Also concerning the relationship between human and nature, Charwei Tsai’s performance of writing Heart Sutra approaches the emptiness , the essence of Buddism. The nature is changing all the time behind the artist while she concentrated on writing Heart Sutra, which demonstrate how human shall turn back to emptiness, to where that shall be the paradise.
Gonzalo Puch, 5’35”, THE NEXT CYCLON ON THE PARADISE, Video, 2011
Gonzola Puch is now a residential artist in LOCATION 1. Gonzola’s working methods and environment are hermetic; nevertheless the work itself addresses and tries to make order of the chaos of the world.
Jau-lan Guo is currently an Adjunct Professor at Graduate Program in Fine Arts Department of National University of Arts, instructing the class in “Modern and Contemporary Art“. Her work is based on her study of the contemporary art related to visual culture. Her curatorial experiences include : 1.Polyphonic MosaicCO6 Avant-Grande Documenta , 2.Exercise of 0 and 1, 3 .Anti-type: Floating over the Stereotype, 4.Nostalgia for Future, and 5. Somnambulism: Phantasmagoric Fugue.
樂園，重建中
Paradise, Under RE-construction
策展人：郭昭蘭 jaulanguo@gmail.com
台灣藝術大學美術系兼任副教授
「樂園，重建中」（Paradise, Under RE-construction）是策展人郭昭蘭在ISCP所作的開放工作室（Open Studio）主題錄像作品展。這個展出是一個進行中的研究筆記。
在現實的裂隙中，那些被藝術家的想像所打開來的空地，投射著纏繞在身體從時間與場所，所被打印出來像刺青一樣的圖騰。如何將漂泊的身軀重新安置在新的樂園?如何在變遷的文化光譜與歷史印記的疆界上穿梭、演繹、回眸、投身、代謝、自溺、伸展、進而前瞻，是「樂園，重建中」（Paradise, Under RE-construction）想要觀照的。
此展共邀請了七位藝術家：日本藝術家岩井優（Masaru Iwai)、西班牙藝術家拱薩羅·普奇（Gonzalo Puch) 、吳天章、姚瑞中、吳季璁、蔡佳崴、袁廣鳴，共同參與展出。
姚瑞中以幽默戲謔的方式重提台灣強人政治的歷史記憶，以幽靈化作為集體記憶的存在隱喻，代謝歷史刻打在身上的印記。「歷史幽靈」系列，藝術家彷彿被歷史幽靈給附身、在三個場景分別「顯靈」：玉山、總統府前的國慶分列式、大溪慈湖的蔣公銅像雕塑紀念公園。前兩個影像原型可說是戒嚴時期，國家機器塑造領袖崇拜的媒體影像手法。
吳天章的「孌」(luan) 觸及影像與慾望的邊界 、將虛造的真實活體與影像展開時間的技術，像鍊金術一樣的凝結在一個錄像/表演之中，準確地打中現實與虛擬疆界的間隙。日本藝術家岩井優建立了一種將清洗作為人與物，以及人與空間串聯的關係美學。「日式老房舍」是他在台北駐村期間所完成的日式房舍清洗錄像作品。由於日本殖民的歷史，在台灣到處可見日式老房舍。岩井的清洗一方面反應現代性中的清潔衛生強迫症，一方面又將全球化浪潮下逐步消失的地方感（the sense of place）與場所記憶詩意的召喚出來。
超寫經文本來就是佛家修煉儀式行為之一，蔡佳崴的 「海經」在重建樂園的想像中，似乎是選擇以身體修煉的方式重新體驗東方古老哲學對人與自然關係。大自然在藝術家身後以潮水的樣貌起落，書寫的行為儀式性的成為重返空無狀態的可行途徑。袁廣鳴的「逝去中的風景—蘇格蘭」藉著一部架設在鋼索上的相機，創造了往畫面深處飛逝而去的滑移影像，彷彿將時間與空間切開、穿透，試探了重置時間與空間裂縫的想像可能。
吳季璁的「小品系列」取自水墨花鳥的圖像傳統，以錄像語彙重新演繹東方哲學中關於宇宙生滅、生生不息的宇宙觀。 拱薩羅·普奇目前是紐約新媒體藝術機構Location 1的駐村藝術家。他的「 下一個降臨樂園辦公室的風暴」以日常的與有機的材料作為道具，演出神話般場景。奇異的後工業生態劇場，在尋常工作室上演。即使對於此刻地球的災難有所察覺，普奇的幻想似乎是以異度空間的想像作為排開現代理性的避難所。
郭昭蘭，活躍於台北，目前是台灣藝術大學美術系兼任副教授，教授現代與當代藝術導論。曾經策劃過的展覽有《離魂症：幻影神遊者》、《未來的鄉愁》、《非典:漂浮於典型之上》、《0與1的練習題—觀念水墨、CO6 前衛文件展」之《複音馬賽克》。關注涵蓋新媒體藝術以及視覺文化相關的當代藝術研究。郭昭蘭入選文建會「２０１１年視覺暨表演藝術人才出國駐村計畫」，前來紐約ＩＳＣＰ進行為期四個月的策展人駐村。ＩＳＣＰ藝術村向來以密集邀訪國際策展人參訪每年兩次的開放工作室（ＯＰＥＮ ＳＴＵＤＩＯ）聞名。 今年五月十二至十五日的開放工作室，郭昭蘭即將在他的工作室呈現一個小型的錄像藝術展【樂園，重建中】（Paradise, Under RE-construction）。
Video Screening in Studio 203 @ ISCP , MAY 12th ---MAY 15th
Curator: Jau-lan GUO (郭昭蘭) jaulanguo@gmail.com
Paradise, Under RE-construction is a video exhibition, curated by Jau-lan GUO. This is one of the events in OPEN STUDIO of ISCP (International Studio & Curatorial Program, New York) from MAY12th to MAY 15th.
How is the body tattooed with the collective memory of the time and the specific site? How can the drifting body be RE-located in a RE-constructed paradise? What is left to transgress, metabolize, practice, shuttle, or prospect among the spectrum of changing culture and historical imprint? The above is what Paradise, Under RE-construction concerns.
Seven artists take part in Paradise, Under RE-construction, including Masaru Iwai（Japan）、Gonzola Puch (Spain)、Wu Tien Chang (Taiwan)、Yao Jui-chung (Taiwan)、Yuan Goang-Ming (Taiwan)、Wu Chi-Tsung (Taiwan)、Charwei Tsai (Taiwan).
Yao Jui-chung, Phantom of History (2’28”), March Past(2’28”), Ｍt. Jade(1’01”),
Video, color single channel projection, 2007
Growing up in the 1960’s, Yao Jui-chung took the collective memory of Taiwan’s martial law at the time and brought them back to life. In the Phantom of History series, the artist seems to have been possessed by the phantom of history itself, which shows itself in three different scenes: Jade Mountain, a march past the Office of the President, and the Chiang Kai Shek Memorial Sculpture Park in Cihu. The first two image prototypes are from the martial law era, when the national machine created a kind of leader-worshipping in the media. Remolding memory is often a necessary tool in the formation of the nation. But if the nation is phantomized, then the spirit will reside in the individual.
Ｗu Tien Chang, 孌(luan ) , 15’20”, single channel video, 2010
Ｗu Tien Chang’s Luan deals with the borderline between the vitual and the reality, and approaches the extreme of somewhere between the man-made and the living body . If hyperréalité is what Baudrillard’s opinion toward the world; Wu Tien Chang seems to ask “How fake is the faked？”in the world with hyperréalité.
Ｍasaru Iwai, Galaxy wash, HDV 14'34" , single channel video with sound
2008
Ｍasaru Iwai, Old Japanese house, Full HD video 4'30" , single channel video with sound ,2010~
In Masaru Iwai’s video, the act of cleaning establishes a subtle relationship between space and human. Iwai’s work implies the collective sanitation-OCD (obsessive compulsive disorder) of Modernity. The performance of cleaning in “Old Japanese House” also gently reminds viewers of “the sense of place,” which is undermined by globalization.
Yuan Goang-Ming , Disappearing Landscape—Scotland, 6’, video, 2009
Disappearing Landscape – Scotland involves installing a camera on straight steel wires, with motors attached to the cameras to allow them to slowly move along. After computer post-processing, the images are suddenly thrust into everyday scenes, rotating around as if to flee. The images that slip into Disappearing Landscape – Scotland compress real time and the timing of moving cameras into one. The timing of the image frames are sliced into pieces, overlapped with the timing of the physical movement, giving people an image of time itself collapsing.
Chi-tsung Wu, Still Life 01 – Pine , Single-Channel Video, 2009
Chi-tsung Wu, Still Life 02 – Orchid , Single-Channel Video, 2009
Wu Chi-tsung borrowed the still life images from Chinese Ink Painting, transferring the ink-aesthetics into video aesthetics. The Taoistic world view embedded in ink painting was also translated well into the visual expression with the up and down of the water.
Charwei Tsai, Sea Mantra (Sydney),14’34”, Video, 2009
Also concerning the relationship between human and nature, Charwei Tsai’s performance of writing Heart Sutra approaches the emptiness , the essence of Buddism. The nature is changing all the time behind the artist while she concentrated on writing Heart Sutra, which demonstrate how human shall turn back to emptiness, to where that shall be the paradise.
Gonzalo Puch, 5’35”, THE NEXT CYCLON ON THE PARADISE, Video, 2011
Gonzola Puch is now a residential artist in LOCATION 1. Gonzola’s working methods and environment are hermetic; nevertheless the work itself addresses and tries to make order of the chaos of the world.
Jau-lan Guo is currently an Adjunct Professor at Graduate Program in Fine Arts Department of National University of Arts, instructing the class in “Modern and Contemporary Art“. Her work is based on her study of the contemporary art related to visual culture. Her curatorial experiences include : 1.Polyphonic MosaicCO6 Avant-Grande Documenta , 2.Exercise of 0 and 1, 3 .Anti-type: Floating over the Stereotype, 4.Nostalgia for Future, and 5. Somnambulism: Phantasmagoric Fugue.
樂園，重建中
Paradise, Under RE-construction
策展人：郭昭蘭 jaulanguo@gmail.com
台灣藝術大學美術系兼任副教授
「樂園，重建中」（Paradise, Under RE-construction）是策展人郭昭蘭在ISCP所作的開放工作室（Open Studio）主題錄像作品展。這個展出是一個進行中的研究筆記。
在現實的裂隙中，那些被藝術家的想像所打開來的空地，投射著纏繞在身體從時間與場所，所被打印出來像刺青一樣的圖騰。如何將漂泊的身軀重新安置在新的樂園?如何在變遷的文化光譜與歷史印記的疆界上穿梭、演繹、回眸、投身、代謝、自溺、伸展、進而前瞻，是「樂園，重建中」（Paradise, Under RE-construction）想要觀照的。
此展共邀請了七位藝術家：日本藝術家岩井優（Masaru Iwai)、西班牙藝術家拱薩羅·普奇（Gonzalo Puch) 、吳天章、姚瑞中、吳季璁、蔡佳崴、袁廣鳴，共同參與展出。
姚瑞中以幽默戲謔的方式重提台灣強人政治的歷史記憶，以幽靈化作為集體記憶的存在隱喻，代謝歷史刻打在身上的印記。「歷史幽靈」系列，藝術家彷彿被歷史幽靈給附身、在三個場景分別「顯靈」：玉山、總統府前的國慶分列式、大溪慈湖的蔣公銅像雕塑紀念公園。前兩個影像原型可說是戒嚴時期，國家機器塑造領袖崇拜的媒體影像手法。
吳天章的「孌」(luan) 觸及影像與慾望的邊界 、將虛造的真實活體與影像展開時間的技術，像鍊金術一樣的凝結在一個錄像/表演之中，準確地打中現實與虛擬疆界的間隙。日本藝術家岩井優建立了一種將清洗作為人與物，以及人與空間串聯的關係美學。「日式老房舍」是他在台北駐村期間所完成的日式房舍清洗錄像作品。由於日本殖民的歷史，在台灣到處可見日式老房舍。岩井的清洗一方面反應現代性中的清潔衛生強迫症，一方面又將全球化浪潮下逐步消失的地方感（the sense of place）與場所記憶詩意的召喚出來。
超寫經文本來就是佛家修煉儀式行為之一，蔡佳崴的 「海經」在重建樂園的想像中，似乎是選擇以身體修煉的方式重新體驗東方古老哲學對人與自然關係。大自然在藝術家身後以潮水的樣貌起落，書寫的行為儀式性的成為重返空無狀態的可行途徑。袁廣鳴的「逝去中的風景—蘇格蘭」藉著一部架設在鋼索上的相機，創造了往畫面深處飛逝而去的滑移影像，彷彿將時間與空間切開、穿透，試探了重置時間與空間裂縫的想像可能。
吳季璁的「小品系列」取自水墨花鳥的圖像傳統，以錄像語彙重新演繹東方哲學中關於宇宙生滅、生生不息的宇宙觀。 拱薩羅·普奇目前是紐約新媒體藝術機構Location 1的駐村藝術家。他的「 下一個降臨樂園辦公室的風暴」以日常的與有機的材料作為道具，演出神話般場景。奇異的後工業生態劇場，在尋常工作室上演。即使對於此刻地球的災難有所察覺，普奇的幻想似乎是以異度空間的想像作為排開現代理性的避難所。
郭昭蘭，活躍於台北，目前是台灣藝術大學美術系兼任副教授，教授現代與當代藝術導論。曾經策劃過的展覽有《離魂症：幻影神遊者》、《未來的鄉愁》、《非典:漂浮於典型之上》、《0與1的練習題—觀念水墨、CO6 前衛文件展」之《複音馬賽克》。關注涵蓋新媒體藝術以及視覺文化相關的當代藝術研究。郭昭蘭入選文建會「２０１１年視覺暨表演藝術人才出國駐村計畫」，前來紐約ＩＳＣＰ進行為期四個月的策展人駐村。ＩＳＣＰ藝術村向來以密集邀訪國際策展人參訪每年兩次的開放工作室（ＯＰＥＮ ＳＴＵＤＩＯ）聞名。 今年五月十二至十五日的開放工作室，郭昭蘭即將在他的工作室呈現一個小型的錄像藝術展【樂園，重建中】（Paradise, Under RE-construction）。
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