🚩 New Media Artist Hsin-Chien Huang Leads "Garden Taipei/Formosa: Taiwan Grand Tour" with 22 Taiwan's VR and New Media Artworks to 2021 Ars Electronica Linz in Austria🇦🇹
2021 ARS ELECTRONICA FESTIVAL Ars Electronica has chosen “A New Digital Deal” as its annual theme, centering around the social and cultural transformations under the influence of technology from different countries. Also, it pays attention to changes of “the New Normal” due to the pandemic.
Hsin-Chien Huang, this year’s curator of the “Garden Taipei/Formosa”, resonates the theme with the “Taiwan Grand Tour”, hoping to waken our desire and ability to move freely during the journey via different kinds of media, also make more people see the marvelous results and how hard Taiwan has devoted to technology, culture, tradition, and tradition via international digital platforms. The tour will have become a window between the world and Taiwan.
The scale of this year’s exhibitions has been brought up a notch. Not only did it carry on displaying the VR and AR productions from last year, but the curator Hsin-Chien Huang has collaborated with three other, Hsiao-Yue Tsao, Billy Chang, and Chung-Hsien Chen, to call out many VR directors, new media artists, start-up companies and government institutions to join the project. There are 22 magnificent programs in total, which will be shown in categories such as “Immersive Tour”, “Animated Tour”, “New Media Tour”, “Earth Tour” and “Action Tour” respectively.
“Immersive Tour”, as the first part of the “Taiwan Grand Tour”, viewers can wander among the mountains, oceans, and rivers in the digital world, even outer space! Six scenes inspired by unique Taiwanese landscapes with cultural and biological features will be shared with the audiences, such as “The Starry Sand Beach” (Directed by Hsin-Chien Huang and Nina Barbier), “Moondream Reality-Rebirth”(Directed by Chi-Yen Chiang, Ami Wu), the shuttle VR 360 stereo video of “TAIPOWER D/S ONE.” (Directed by Ghung-I Hung and Shih-Chou Wen), “Floating Childhoods” (Directed by Hakka Public Communication Foundation and Wen-Chieh Chang), “Blue Tears EP1” (Directed by Hsiao-Yue Tsao), and “Samsara” (Directed by Hsin-Chien Huang).
In the “Animated Tour”, viewers can devote themselves to the characters via different programs. Whether it is the abstract or figurative visual style, audiences can experience anxiety and frustration all the way to happiness and growth. Getting rid of this disappointing reality, viewers shall continue the “Taiwan Grand Tour” through their imagination. This program consists of four animations: "Go Go Giwas: Sowing Dream Seeds"(Directed by Vick Wang, Yi-Feng Kao), "My grandmother is an Egg"(Directed by Wu-Ching Chang),"Inside"(Directed by Yu-Ting Hsueh), and "The Wayward Kite"(Directed by Yu-Ting Hsueh).
In the “New Media Tour” program, nine brilliant pieces created by Taiwanese artists will be shared as the relay points for the “Taiwan Grand Tour.” They use video, sound, electronic music, installation, and various new media to explore different topics, such as family, memory, city, society, landscape, and environment. We firmly believe that digital tools can also capture the warmth and emotions in reality. This program consists of nine artworks: "Surrounding Spectrum"(Directed by Hsiu-Ming Wu), "Nanyang Express II : Eternal Wandering and Tropical Pursuing"(Directed by Yi-Chi Lin), "Wave Waves"(Directed by Sio-Pang Hong), "That ・ This"(Directed by Ching-Chuan Hu), "Signal"(Directed by Chin-Hsiang Hu), "Tower of Babel by the sea"(Directed by Wei-Chung Feng), "How to explain love to an iPhone"(Directed by Jie-Huai Yang), "U+617E_v2.∞"(Directed by Jia-Hua Zhan), and "Absence in Presence"(Directed by Ning Tsai).
In the program “Earth Tour”, viewers will participate in a performance art called “Taste Soil”, which intends to rethink the relationship between humans and land by means of “eating.” The program brings together international eminent chefs Andre Chiang, dancer Billy Chang, new media artist Hsin-Chien Huang and Wen-Chieh Chang, fusing Taiwan’s unique traditions and customs with cuisines and dance performances via VR experience. A feast to the eyes and tastebuds awaits.
Looking back at the present time, humans need to take more efficient scientific actions in the digital world to reduce the consumption and pressure of resources and the environment and cope with the impact in the post-pandemic times. Two important technology units in Taiwan make their debut in the “Action Tour”: Miniwiz Co., Ltd. and the Taipei Urban Intelligence Center. The former is devoted to the sustainable development of materials science with digital technology and design, while the latter is the integration of big data and streaming technology to create a new technical model of urban governance. Combing these two, an answer to developing a sustainable society with digital energy is born. During the tour, a new performance art project is inspired by the digital cross-field cooperation for the first time. The Taipei Urban Intelligence Center will join hands with new media artist Chin-Hsiang Hu and the founder of Inwheel Ghung-I Hung, to create a new media artwork “The Weight of Data” by integrating both virtual and physical materials from different domains and sharing data resources.
The brilliant curatorial concept and lineup of the Taiwan Grand Tour have attracted the interest of the officials of the festival and been in the limelight. Therefore, the festival has invited three creators behind the “Earth Tour”: Andre Chiang, Billy Chang, and Hsin-Chien Huang, to an online interview called “Highlight Channel” at 18:00 on September 1 (Taiwan Time). The link will be provided by the official later on. Moreover, Miniwiz Co., Ltd. and the Taipei Urban Intelligence Center are also invited to share their ideas and experiences in an online show called “Home Delivery.”
The theme of the Garden Taipei/ Formosa is presented in a diverse form of performances by combining different fields multiply. The audience can easily follow the step of the “Taiwan Grand Tour” to explore Taiwan’s magnificent local digital creativity and illustrate a new digital landscape unitedly that only belongs to Taiwan. The 2021 Ars Electronica online exhibition will be held from September 8 to 12, 2021. Click the link below to take a sneak peek of this year’s shows.
📍ARS ELECTRONICA FESTIVAL 🔗 https://ars.electronica.art/newdigitaldeal/de/formosa-grand-tour/
📍ARS ELECTRONICA FESTIVAL “Home Delivery” 🔗 https://www.youtube.com/c/arselectronica/playlists?view=50&sort=dd&shelf_id=5
📍 Garden Taipei/Formosa: Taiwan Grand Tour 🔗 http://garden2021.metarealitylab.com/
#奧地利林茲電子藝術節
#arselectronica21 #gardentaipeiformosa
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abstract landscape artists 在 張國耀 Chong Kok Yew Photography Facebook 的最佳貼文
2016中國大陸連州國際攝影年展 (2016 LIANZHOU FOTO, China )
再凝望-台灣當代攝影的新視野 (Yet Another Gaze – A New Horizon for Contemporary Taiwanese Photography) (海報設計 / 湯詠棉)
策展人 / Curator : 沈昭良 (Chao – Liang Shen)
藝術家 / Artist : 李立中 (Li - Chung Lee) – 神遊 (Space Out), 李岳凌 (Yehlin Lee) – 黑暗聆聽(Listening to the dark), 李雅妍 (Ya - Yen Lee) – 俄頃的呢喃 (Flash of Whispering), 杜韻飛 (Yun - Fei Tou) – 生殤相(MEMENTO MORI), 陳以軒 (I - Hsuen Chen) – 遍尋無處 (Nowhere in Taiwan), 陳伯義 (Po - I Chen) – 遺留 (Remains), 陳淑貞 (Shu - Chen Chen) – 婚移全家福 (Interracial marriage family portrait), 黃建樺 (Chien - Hua Huang ) – 編碼者 (Transcoder), 羅晟文 (Sheng - Wen Lo) – 白熊計劃 (White Bear), 蕭又滋 (Arron Hsiao) – 列車計畫 (Train Project) 。
開幕導覽 / Guided Tours : 2016. 11. 20 / PM : 18 : 30 - 19 : 45
地點 / Location : 二鞋厂3、5 展示区 / Shoe Factory - Display Area 3 & 5
展期 / Duration : 2016. 11. 19. - 12. 9
http://www.lianzhoufoto.com/exhibition.aspx
再凝望 - 台灣當代攝影的新視野
文 / 沈昭良
台灣整體藝術創作的發展,自1987年解除戒嚴令以來,明顯透過對於歷史、土地的溯源,聚焦在更為貼近現實的議題建構與意識盤整上,援引生命、生態、環境、城市、空間、能源、消費、權力、殖民、國族、全球化、後工業與內在探索等個別或複合紋理,進行兼具結構性與時代性的回應與提問。
其中,攝影創作的發展,自然也在這種內外衝擊的交流轉向中,一方面逐步調整視覺語法,一方面扎根於在地關注、全球論述與數位融合的基礎上,透過直視景物、排除 / 貫徹個人情感、對於生命哲理與存在價值的探究、關注人類與環境間的議題,數位材料技術的引用,以及大尺幅或視覺群化展示等等形式特徵,具體產生了各式發想自現實題材,時而宏觀遠眺,時而微觀凝視的創作。
此次的<再凝望-台灣當代攝影的新視野>展,則是在上述的發展脈絡下,針對台灣內部,相對具備特定方向與論述的攝影創作內容,所進行的集結與梳理。包括杜韻飛(Yun-fei Tou)的「生殤相」 (MEMENTO MORI),藉由西方藝術史裏的肖像語境,拍攝台灣數家公立收容所內的流浪犬,於安樂死當日的最後身影。在觀看與被觀看、主體與客體的轉換中,以接近人身大小的作品展示,探討人類與他者間的支配與宰制關係。羅晟文 (Sheng-wen Lo)的「白熊計劃」 (White Bear),則是透過在全球各地所拍攝,人類圈養的白熊與其所處的人造環境,進而延伸人與自然環境、動物圈養及動物權等命題。
陳以軒 (I-hsuen Chen)的「遍尋無處」(Nowhere in Taiwan),主要描述自身因為留學而經歷了反向的文化衝擊,在非純粹風景與城市景觀的曖昧交界,透過公路攝影,不自覺望向孤立疏離的自我身影。李岳凌 (Yehlin Lee)的「黑暗聆聽」(Listening to the Dark),試著將抽像聽覺做為視覺書寫的因子,隨著攝影,徘徊在日沒微光的幽暗邊界。李雅妍 (Ya-yen Lee)的「俄頃的呢喃」 (Flash of Whispering),則是藉移動在都市裏的無預警遭遇,透過直覺反射式的隨機抓拍,一方面回應來自城市街頭的呢喃召喚,一方面探索周遭景物與自身靈魂間的密碼囈語。
陳淑貞 (Shu-chen Chen)的「婚移全家福」 (Interracial marriage family portrait)系列作品,內容聚焦在外籍配偶的家庭合照。藉由她們所居住的空間、內部陳設與神韻樣態,進一步思考異國婚姻在語言、文化、習慣乃至於信仰的融匯上,可能的和諧與曲折。蕭又滋 (Arron Hsiao)的「列車計畫」 (TRAIN PROJECT)則是搭配高速閃光燈,以無差別的隨機方式,拍攝快速行進中的列車車廂,呈現個體在封閉空間與人群中的精神樣態。陳伯義(Po-i Chen)的「遺留」(Remains)系列,主要拍攝台灣自1949年起至1960年代,來自中國大陸各省的國民黨部隊及眷屬所居住的眷村,在拆遷後現場所遺留的物件,藉以回溯在大時代下的顛沛遷徙,所隱含的政治、社會、族群與認同議題。李立中(Li-chung Lee)的「神遊」 (Space Out),則是針對現今台灣廟宇內部的空間採集,探索靈界的空間配置在現代化進程中,展現的特異與多元組合。
另外在數位攝影的創作實踐上,黃建樺(Chien-hua Huang )的「編碼者」(Transcoder),透過詼諧馳騁卻猶如社會縮影的樂園,試圖在社會形態、生存機制與角色身份的相互指涉中,折射出人們對於世界的想像與追尋。
最後,期望透過<再凝望-台灣當代攝影的新視野>-這個群展,階段性描繪,在全球當代攝影的發展進程中,台灣新世代攝影創作者的凝望和步履。
Yet Another Gaze – A New Horizon for Contemporary Taiwanese Photography
By Chao-liang Shen
The evolution of the creation of art in Taiwan as a whole has been calling for an answer to the structural questions of the times since Martial Law was abolished in 1987. Undoubtedly, through tracing back to the sources of history and the origin of the homeland, artists have been able to focus on agendas that are closer to reality and the correction of ideology, leveraging individual or compound cases of life, ecology, environment, the city, space, energy, consumption power, authority, colonization, nation, globalization, post-industrial revolution, and inner searching.
Amid these topics, the development of photography naturally echoes the aforesaid internal and external shocks and changes, and different visual languages have gradually been generated. Moreover, photographers have begun to plant their creative roots in the combination of local focus, global discourse, and digital convergence. These concepts are characterized by direct view, including and excluding one’s emotions, combing through life philosophy and the value of existence, addressing human-environment relations, borrowing digital material or techniques, large-scale pieces, conceptual grouping, and so on. All of these have led to concrete creations inspired by real-life topics in views both macro and micro.
The “Yet Another Gaze – A New Horizon for Contemporary Taiwanese Photography” exhibition collects and combs through the aforementioned context, featuring Taiwanese photography pieces with specific angles or arguments. MEMENTO MORI by Yun-fei Tou presents euthanasia in a couple of public animal shelters in Taiwan with the images of the stray dogs on the last day of their lives through portrait works in the style of western art history. Switching roles between the gazing and the gazed-upon, or the subject and the object, the influx of true-to-size photography works probe the dominance relationship between human beings and others. White Bear by Sheng-wen Lo, on the other hand, discusses topics extending to animal rights and captive breeding from the interactions between human and Mother Nature through images, taken all over the world, of captive white bears and the artificial environment in which they are fenced.
Nowhere in Taiwan from I-hsuen Chen mainly illustrates the photographer’s reverse culture shock after returning home from studying overseas. On the vague line between atypical sceneries and city landscape, the photographer looks into his own isolated and lonely shadow. Listening to the Dark by Yehlin Lee attempts to write visually through the abstract sense of hearing. The photographer has been wandering along the dim boundaries in the low light of sunset with his camera. Flash of Whispering by Ya-yen Lee is a collection of reflective snapshots as the response to the summons of the city streets. The images are the code-talk of her surroundings and her soul.
Interracial marriage family portrait by Shu-chen Chen features portraits of foreign spouses and their family in Taiwan. Through representation in details of their facial expressions and living space and interior decorations in their families, Chen’s images demonstrate both harmony and conflicts reflected in the contrasts of their languages, culture, habits and regional beliefs. TRAIN PROJECT by Arron Hsiao uses high-speed flash to engage in a “shooting spree” to capture moving trains. The photographer intends to show the psychological states of individuals in a confined space and among crowds. Remains from Po-i Chen mainly shoots the things left behind by the families of KMT troops who moved from various provinces in China to Taiwan from 1949 to 1960 in their military villages after the demolition and relocation of the military communities. The photographer reviews the historical journey as well as hidden political, social, racial and identity debates. Space Out from Li-chung Lee focuses on picking up of pieces of space in Taiwanese temples to build his narration of the bizarre and diverse combination of space planning of the invisible world in modernization.
On the implementation and practice of digital photography, Transcoder by Chien-hua Huang seeks the refraction of people’s imagination and wants of the world through inter-references of forms of society, the survival mechanism, and role/identity playing in humorous ways, as if society were an entertainment park.
In conclusion, I hope that the group exhibition “Yet Another Gaze - New Horizon of Contemporary Taiwanese Photography” can bring together the creative momentum of the new generation in Taiwan to portray the gazes and steps of the stage we are now at as part of the progress of global modern photography.
abstract landscape artists 在 Gucci Facebook 的最佳解答
Ananda Nahu for #24HourAce
Ananda Nahu é uma street artist brasileira que cria murais pelo mundo todo, contribuindo ao legado de outros street artists brasileiros como Os Gêmeos. Com formação em fotografia e gravura, a arte de Ananda Nahu integra padrões abstratos e texturas em abrangentes paisagens coloridas. Para as #24HourAce da Gucci, ela criou um mural inspirado no imaginário do ACE sneaker, incluindo pássaros, borboletas e diferentes tonalidades de rosa que aparecem nos sneakers na coleção Gucci Garden. O dramático emblema do raio do ACE também forma o padrão do mural. Seu mural encontra-se em uma parede pública na praia da Macumba no Rio de Janeiro, uma paisagem idílica com o mesmo esplendor natural de sua arte. - Kyle Chayka
Ananda Nahu is a Brazilian street artist who creates murals around the world, building on the legacy of other Brazilian street artists like Os Gemeos. Emerging from her education in photography and printmaking, Nahu’s art combines abstract patterns and textures into all-encompassing landscape of color. For Gucci’s #24HourAce, Nahu creates a mural from the imagery of the Ace sneaker, including the birds, butterflies. And bright-pink hues that also appear on the sneakers in the Gucci Garden collection. The Ace’s dramatic lightning bolt patch informs the mural’s pattern as well. Nahu’s mural appears on a public wall on Macumba beach in Rio de Janeiro, an idyllic landscape with the same natural splendor as her art. #GucciAce - Kyle Chayka
See more works here: gucci.com/24hourace
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