林葆靈 LIN Bao Ling: 補「牆」計畫

▎策　　展丨沈耿立
▎展　　期丨06/17(Sat.) - 07/16 (Sun.)
▎開　　幕丨07/08(Sat.) 4:00pm
▎地　　點丨索卡藝術．台北
▎地　　址丨台北市中山區堤頂大道二段350號
▎參展藝術家丨林葆靈 x 黃耀鋅 x 黃柏勳 x 蘇郁嵐 x 陳若云 x 蔡煒廷 x 陳卉穎 x 蔡士弘 x 王韋中 x 許晉瑜 x 闕巧涵 x 黃文塑 x 官孟玄 x 林厚成 x 陳劭彥 x 張致中 x 莊志維 x 高登輝

明天起索卡空間每天邀請一位藝術家進行現場的展覽佈置，其過程間也將同步進行行為的活動紀錄。空間內的現場資料將上傳到虛擬「牆」上的網路工具─臉書．facebook，一週六天，一天一位藝術家，並且持續進行三週共18位藝術家。想要親眼目睹藝術家本人者請洽詢Soka Art臉書且準時鎖定。

林葆靈｜《泛黃的夜》｜複合媒材於製圖膠片｜59 x 141 公分｜ 2017
LIN Bao Ling ｜Yellowed Night ｜ mixed media on multi-media vellum ｜ 23.2 x 55.5 in ｜2017

林葆靈｜《泛黃的夜 II》｜複合媒材於製圖膠片｜131 x 60 公分｜2017
LIN Bao Ling ｜Yellowed Night II｜mixed media on multi-media vellum ｜ 51.5 x 23.6 in ｜2017

林葆靈於作品前留影

《泛黃的夜 II》於展出現場

補「牆」計畫

「牆」在建築學上，是指垂直向的空間隔斷結構，用來圍合、分割或保護某一區域，是建築設計中最重要的元素之一。「牆」，一直以來也是我們慣以與視覺經驗同步的介面之一，這個連結的方式尤其以我們身處在美術館或畫廊的白盒子空間中，更加為感官所熟悉。現今的視覺由數量龐大的資訊所編纂，充斥著各類副本、模擬、複製的組成。面臨當代藝術發展如此的混雜多元性，「牆」的功能隨著日益改變的創作屬性，遂也逐漸無法足以支撐作品所指涉的結構或說明。這個情況一如科技工具領域的進化，同樣促使在建築學上觀念的突破，也不再發展純粹垂直或水平的結構象限。在當代這兩個字的概念下，設計方法造形的多維、幾何的有機；或是藝術觀念材料使用的限制以及展覽場域的觀看，都已經逐漸在破壞我們視覺經驗的定義！

我提出《補牆計畫》這一個展覽方式的推論，企圖讓展覽地域之間的限制擁有穿越性，並且轉變過去以第一人稱觀賞作品的方式；跨越虛擬結構空間的「牆」，在視覺第三人稱的位置內，進行各種符號訊息的傳遞，共築數位與現實之間的多元性參照。參展的藝術家群體無不出自網路世代(Network Generation)，並且於創作思維、工具以及形式上的操作中深受這個特殊世代崛起的影響。虛擬的科技工具，是工業革命下的產物，工業革命將社會帶進資本主義的社會，並且奠定下所謂「平」的宇宙語言。這種「平」的創新性，讓區別個人文化性向的特徵被逐步輾平，不再具有任何地域附屬特性的品味。這雖然算是一種新語言所帶來的困擾，但視覺的意義從原本脆弱的地域性出走，把社會多義的現實片段或意識架構，以藝術和被視為藝術之外的事物有所融合，藝術的內涵卻反而轉為多元亦多意。

如果藝術世界觀念的使用正在轉變，作為傳遞藝術觀念的操作不也是如此？！

網路是另類的地理學，作為一種打破全球化語境的工具，繼而造就經濟、科技和文化的全球化趨勢，無不逼近藝術家思考自身創作、打破觀念，並且探討藝術可能性的素材。所以「牆」的存在結構，同樣隨著這項工具隨機竊取、重新組合與傳遞速度的刺激，則開始產生不同的作品特徵概念：

一、複雜化─受到資訊超載的刺激，藝術家透過不同拆解圖面空間、剪輯構圖技巧以及組裝創作主題的面向，讓原有作品從具有裝飾功能的戲劇性的繪畫平面性(flatness)，轉而成更為不受限制的複合主題方式。

二、去物質─觀看的距離走下原本與公眾保持模糊的界線，脫離固有空間的第一人稱視角，作品存在螢幕的色光下，轉而成為一種可相互傳遞的數位格式。觀眾所閱讀到的格式實為符號，感受的相異性因符號而不同。

三、整合性─隨著現實觀察的界線逐漸被模糊，作品的內涵強調捕捉正在消逝或消費的當下，雖然不受與某種類型的藝術形式進行優越或低俗的比較，但美感經驗的預測結果已具有多重的解釋經驗。

《補牆計畫》除了展覽現場之外，在於進行另一種傳遞同步指令的工具，利用結合聲音、影像和文本內容，將過去提出的展覽定義合併作為像是影像流動的串聯平台，並且滲入現在隨處可見的移動電子裝置。網路的場域條件是很奇妙的，它由各種不同位置的客觀關係組成一個開放性的結構，看不見也摸不著，卻又如影隨形的指揮著我們的思想和行動。《補牆計畫》即是利用這種路徑回饋的特殊性，在展覽期間逐一進行不同藝術家的資訊上傳動作。展覽每天只有一位藝術家進行現場的展覽佈置，其過程間也將同步進行行為的活動紀錄。空間內的現場資料將上傳到虛擬「牆」上的網路工具─臉書．facebook，一週六天，一天一位藝術家，並且持續進行三週共18位藝術家。

展覽所提出的跨越性，促使作品在現場與虛擬的兩道牆中，因為與多媒體間的互補，而能和作品之間的溝通多產生一種共生狀態。共生，不在乎什麼規則的混合方式，對於不同風格、範疇和形式的藝術都能相互援引或借用。我們對事物的認知，並不只是停留在具體的形象上，還要同時在形象外部的抽象基礎上進行感知的分析。也就是說，大腦的思考活動除了能求得事物本質的規律性，而且還能在保留與回憶經驗的過程中，重新組合成事物新的形象。《補牆計畫》的參展藝術家群體，各自呈現不同深淺層次所撞擊的文化內涵、社會議題與作品意識。順沿著跨越性，我希望這道虛擬與現實的牆，兩者之間並不會被特殊的劃分為一個問題。因為這一種排它的自律性，只要透過對各種合適的系統仔細觀察，都能消化成合理的邏輯性。

系統和生活世界本來就是相輔相成的發展層次，影像在視覺文化中扮演許多不同的角色，它們為媒體提供資訊，透過廣告販賣產品，勾起個人的回憶，並提供科學數據。我們對影響的經驗和詮釋，從來都不是單一、分離的事件，而是受制於更廣泛的情境和因素。『補「牆」』就在於建立一個不受限制，且能與不同受眾者進行對話的分享。「牆」，作為一種證據的視覺影像，透過相互文的實體與虛擬結構，目的是要探索實體理性的作品溝通本質，從而提出面對虛擬觀看的媒合方式，以試圖促成系統與生活現實兩者之間的相互了解，轉成另一種作品觀看方式！

—沈耿立
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The Traversal Project

The concept of “wall” in architecture, refers to the vertical structure that cuts off a space, used to enclose, split or protect a specific area. It is one of the most important elements architectural design. “Wall” has always been one of the interfaces we used to synchronize with our visual experience, especially in the white, box-like spaces of many art galleries. In today’s world, a given image is usually compiled by a large amount of information, filled with all kinds of copies, simulation and composition. Faced with the ever-changing creative attributes and diversity of contemporary art, the concept of "wall" has gradually become unable to support the description or structure involved in the works. This is similar to the how we’ve seen the evolution of technology and tools has promoted a breakthrough in architecture, where we no longer develop a purely vertical or horizontal structures. Under the contemporary concept, elements from multi-dimensional design methods, organic geometrics, to the restricted use of artistic concepts and re-thinking of the viewing experience, have all gradually undermined the definition of our visual experience!

Here I put forward the “The Traversal Project”. It is an attempt to transcend the restrictions between exhibition areas and to change the way we used to only observe from a first person point of view. The “wall” that cross the virtual structure space transmiss various symbols and messages from a third person perspective, building a reference between digital and reality. Many of the participating artists are from the so-called “Network Generation”, where their creative thinking, tools, and forms of operation are particularly influenced by the rise of the generation. As virtual technology tools are a product of the industrial revolution, the revolution itself then led us into a capitalist society that created a “flat” global language. This new “flatness” has flatten personal and cultural distinctions and made them no longer subordinate to geographical characteristics.

Although this is part of the troubles brought by the new language, it also free the visuals from carrying meaning only on a fragile, regional level. It takes in fragments from the polysemous reality or consciousness structure and integrated with art itself or even elements greater than are, making the content of the art itself richer and polysemous.

If the usage of concepts in the art world is changing, isn’t it also true for the the operations used to transfer artistic ideas?

The Internet itself is an alternative geography. As a tool that breaks the context of global language-zones, it then created the globalization of economy, science and culture, all similar to how artists think about their own creations, from breaking concepts to exploring possibilities of artistic materials. So the structure of this “wall” also produces different features and concepts as it uses this tool to randomly steal, re-combine, and transmit the stimulus.

I. Complexity - Stimulated by the information overload, many artists dismantle the graphic space, edit the compositions and reassemble creative themes, to transform what used to be a flat, dramatic painting used for decoration into a more unrestricted compound.

II. Removal of material - the relationship between audience and the work has moved away from the traditional first-person point of view and the vague agreed-upon distance and transformed into a digital format that can be exchanged. What the audiences are reading are in fact symbols, and that their feelings will vary based on the symbols.

III. Integration - the content captures the passing moment and blurs the boundaries for observing reality. Although it no longer subjects to the critique of a specific artform, the aesthetic experience can have multiple interpretations.

In addition to the exhibition site, “The Traversal Project” also utilizes another tool to transfer instructions. It integrates sound, image and copy, merging the traditional form of exhibition with the mobile platform. The realm of internet is curious, it is composed by the subjective relationship of various location to form an open structure. It is both invisible and intangible, yet it is always there to command our thoughts and actions. “The Traversal Project” utilizes this nature, uploading the work of various artists during the exhibition. There will only be one artist arranging the exhibition each day, and the process will be recorded for the event. The live data from the space will be uploaded to the web tool of this virtual “wall” - Facebook. One artist a day, six days a week, and lasts for three weeks totaling 18 artists.

The transcendental nature of the exhibition complemented by multimedia allow the artworks to create a symbiotic state with each other between the two walls of virtual and reality. The symbiosis disregards any rules for the mixing, borrowing from arts with different styles, categories and forms. Our knowledge for the things we see also does not limit to the specific imagery but can go beyond form and analyse the abstract perceptions. In other words, the way our brain works - it not only seeks regularity in the existing nature but also reassembles new imageries from experiences and memories.

The participating artists of “The Traversal Project” each showing different depth of cultural connotations and social issues in their work. Following the transcendental nature, I hope that this wall between virtual and reality would not become subjected to a single issue. Because this kind of exclusive self-discipline can be digested into a reasonable logic with careful observation of a variety of systems.

The system and the world itself are inherently complementary developments. Images play many different roles in the visual culture, they provide information for the media, sell products through advertisements, bring back personal memories and provide scientific data.

Our experience and interpretation of influence are never single, separate events, but subject to broader contexts and factors. “The Traversal Project” seeks to create an unrestricted conversation shared among the various audiences. As a visual evidence, the “wall” uses the exchange between virtual and reality to explore the nature of the works. It proposes a way of virtual observation with the physical works, seeking to gain mutual understanding between the system and the reality, creating an alternative for viewing the art works.

—Shen Keng Li