Screen 介面

06/13/2021

Rochel Rosheger, Niagara Falls, 2021. @microscope_gallery

Rochel Rosheger, Niagara Falls, 2021. @microscope_gallery

12/25/2020

What Kind of Borderline? -- Museum Lab of Lives in Disorder

Wearing rose-coloured glasses, people often romanticize about how mental illness influences artistic creation, with examples such as Vincent van Gogh cutting off his ear and Yayoi Kusama committing herself voluntarily into a psychiatric clinic. These stories are told with mythical reverence, as if to affirm the resilient strength that human beings possess in their endurance of great suffering. In this narrative, art becomes the sought-after sublime of human existence, but do we empathize with the actual personal experiences of those veiled behind this mythology? These representations persist throughout history, while people labeled as sufferers of mental illnesses are inevitably affected by such stories. Museum Lab of Lives in Disorder, presented in C-LAB from July 4th to August 2nd 2020, brought together residents of Easy Clubhouse (Cih-Fang) with contemporary artists to work with the collection of the National Palace Museum (NPM) as a starting point. The over six-month-long collaboration reconsidered how art and mental illness could interact to dually destigmatize mental illness sufferers as well as cease its romanticization in the arts.

The exhibition opens with artist Xu Wei of the Ming Dynasty from the NPM collection. According to historical records, Xu Wei was suspected of having mental issues. Using a newspaper format, the first section of the exhibition attempts to tell the story of Xu in a relatively objective manner: from being identified as a child prodigy, his failure in the civil examinations eight times, the criminal charge of killing his wife, to his twilight years selling paintings to sustain his impoverished life. Through detached reports, the audience can learn about the plights Xu faced, without a romanticized correlation made between his art and his life. Meanwhile, viewpoints from the residents of Easy Clubhouse are exhibited alongside the newspaper. Reading these, the residents’ desires for empathy and understanding become palpable.

The following section, ‘The Heart as Home’, exhibited replicas of works from the collection of NPM. Installed by the Easy Clubhouse residents, the display realizes their ideal presentation in an imaginary home for Xu. As a collaborative process during the six-month duration, residents wrote their interpretations of the works and their imaginations on the surface of the replicas, which included NPM’s famous porcelain piece Pillow in the shape of a recumbent child with white glaze and the Ru ware Lotus-shaped warming bowl in light bluish-green glaze. In the gallery, the audience are also invited to write down their own thoughts after reading the texts of the residents.

The exhibition continues with the collaborations between contemporary artists and the Easy Clubhouse residents. Artist Tu Wei-Cheng adopted his signature molding technique to cast objects that represent residents’ identities and memories. He prompted the residents to choose these objects by asking them two questions: “How do you want to be remembered after your death?” and “What do you hope to leave behind?” One resident chose a key, and another a comb, reflecting how personhood is entangled with possessions. Conversely, artist Yi-Lun Lu did not use his modus operandi of photography. Instead, he chose to make paintings with the residents, inviting them to paint their dream houses and furnishings. In the exhibition, these paintings were installed in a triangular space, with the participants introducing the works in their own words, which in their sincerity compensate for what they lack in professional terminology.

The collaboration between artist Yung-An Wang and the residents of Easy Clubhouse focused on the tactile perception of images. The needs for care and comfort are universal, and should not be excluded from a stigmatized person’s experience. On the other hand, sound, considered the medium that evokes memories most directly, is utilized in the work of artist Alice Hui-Sheng Chang’s work. She invited residents to recall their most impressive auditory experiences. Wen-Hsuan Chang, continuing her practice of writing, asked the participants to write love poems, which were then inscribed on multiple columns of mirrored surfaces, standing on a bright yellow carpet in the exhibition. The sensitivity revealed in these expressions can be regarded as a sign of madness, while also being the beginning of the creative process.

Some of the residents are amateur artists, creating works intuitively. Lung-Chiuan Su, an enthusiastic singer, crafted a mannequin wearing a shiny stage suit and singing without restraint. Yan-Qing Zhan exposed his desires, arranging the exhibition space as his bedroom, which included po*******hy magazines. He wishes the audience to understand that the residents of EasyClub House also have bodies which long for intimacy. Wan-Shan Tsai documented her cat with video over a ten-year duration, recording the warmth and companionship it has provided her throughout her daily struggles.

Interactive experience is extended further in a section of the show. The audience is able to take fragments of the residents’ personal experiences to create alternative narratives and make decisions based on the stories. Through this process, the audience is invited to think about the nature of narration, and what consequences these narrations may have. Are prejudices merely caused by different narrative perspectives? Is inaction sometimes the most harmful act?

The exhibition closes with a return to the artworks of Xu Wei. He made a living in his old age by selling paintings. The brazenness of his paintings echo the oscillations in his life. They are an inseparable part of him, and not to be glorified as the aura of a prodigy, nor as an unmentionable dark madness. Likewise, Museum Lab of Lives in Disorder is an attempt to make the voices of the residents of Easy Clubhouse heard. Taking place in a site named a cultural lab, the exhibition is a tripartite collaboration between heritage museum, mental institution and contemporary art. By mutual exploration and friction, these three different institutions working outside the original framework of their functions is effectively an experiment. In the research of scholar Tony Bennett, the idea of the ‘exhibitionary complex’ refers to museums as the display and wielding of power by the ruling class. This same function can be applied to a mental hospital, with its disciplining of a body through a collective regulatory power. If both art and mental illness can be seen as a rupturing of existing frameworks, why do people regard the latter with discrimination or indifference? Perhaps through this exhibition, the audience is able to empathize with the specific personal and embodied experiences of each individual who falls under this label. Sometimes, what we may need is an attempt to be grasped - in nuanced understanding, not stigmatized generalization - when falling out of the borderline.

10/16/2020

SCREEN | 介面: 關鍵字：加速 – by 陳璽安

《關鍵字時代 – 當地理作為一種隱喻》關鍵字：加速主義

陳璽安用科幻作家巴拉德的作品，呈現了哲學家布雷西耶對加速主義的辯護。其中用小說裡描寫二戰神風特攻隊從飛機離地到死亡的過程，時間不完全作用在人上，去打破所謂「脆弱的平衡」和對於時間觀的認識。

http://www.onscreentoday.com/conversation/2020-07-09-a-debate-of-accelerationism?lang=chnt

布雷西耶為加速主義的兩個重要根據進行哲學辯護：其一是從現代性的認識論和時間觀的角度，因為加速主義基本上就是現代建制的延續，其二則是加速主義飽受批評的技術倫理問題。布雷西耶的辯護是這樣開始的：「認知需要...

10/12/2020

SCREEN | 介面: 關鍵字：媒體考古學 – by 徐詩雨

《關鍵字時代 – 當地理作為一種隱喻》關鍵字：媒體考古學

提出媒體考古學的德國學者Zielinski 曾說：「在不同的時空中我們往往經歷相似的事物，就好比在巴勒斯坦發現克拉科夫，在紐約遇上羅馬......我幾乎辨不清身在何處、今夕何夕了；那些時刻與光明，意義交疊，價值互滲。」此段話可代表Zielinski對媒體發展的想法。Zielinski認為媒體並不是由低到高、由簡入繁的進步史觀，反而是循環的「復現」。

作者徐詩雨在這篇文章中，以弗朗西斯‧埃利斯（Francis Alÿs）個展《消耗》當中的作品《龍捲風》結合媒體考古學的理論，去探討這件作品想傳達的意義，而我們又該如何去思考。

http://www.onscreentoday.com/conversation/2019-11-24-francis-alys-tornado?lang=chnt

如果地理學中的深層時間作為一種隱喻，在這裡，我想試圖想像，如果將跨度超越一般創作時間尺度的的影像剪接在同一件基時作品裡？那這種隱含著媒體考古學式精神的創作，將帶來一些什麼樣的思考？

10/05/2020

SCREEN | 介面: 關鍵字：北京 – by 郭 娟

《關鍵字時代 – 當地理作為一種隱喻》關鍵字：北京

最近新聞的熱門話題似乎是模擬臺海的武力衝突、北京會如何應對無止盡的國際糾紛...當未來被無限預測、審核與計算，帶來的卻是更為複雜、不穩定的未來；但離我們最近的，仍是日常生活中機械性與無目的性的荒謬感。讓我們來看看郭娟如何寫下她的北京。

http://www.onscreentoday.com/conversation/2020-07-11-the-distance-between-reality-and-us-hao-jing-ban-cao-fei?lang=chnt

#SCREEN #MediaArt #ArtMedia #郝敬班

「速度」在這裡喚起的聯想是多重的，包括這個國家發展及其城市化進程的加速度，一種社群結構和生活形態消失的速度，或許也包括了全面管制下信息被抹除、事件被淡忘的速度；慢不僅釋放了暴力，也以反諷的方式捕捉到了...

09/25/2020

SCREEN | 介面: 關鍵字：空間 – by 王 柏偉

《關鍵字時代 – 當地理作為一種隱喻》關鍵字：空間

用空間與形象的轉換將外在記憶「內化」成身體的記憶。王柏偉在文章中解析余彥芳《關於消失的幾個提議 III》裡余彥芳是如何呈現將逝去父親的形象內化成自己的一部分，從視覺層面的身形和持續的敘事，到外在日常與內在記憶的轉換，清楚的敘述能讓我們瞭解作品裡的故事。

http://www.onscreentoday.com/conversation/2020-06-25-on-the-transition-of-image-and-space-in-yu-yen-fangs-a-few-suggestions-on-disappearance-iii?lang=chnt

余彥芳的《關於消失的幾個提議 III》一作，是關於如何將記憶中的逝去者形象內化成自己身體記憶，而成為可持續性之日常現實的一部份的問題。就此而言，在表演過程當中，形象與空間脈絡的性質就成為理解「內化」與「可.....

09/12/2020

Screen 介面

09/11/2020

SCREEN | 介面: 關鍵字：世界外 – by 方 彥翔

《關鍵字時代 – 當地理作為一種隱喻》關鍵字：世界外

我們如何去想像世界外的世界？如何去建構世界外的邏輯語法則？作者方彥翔嘗試在這篇文章進行虛構書寫、突破現存世界的概念，並結合總是被沒入新聞吵雜背景的氣候議題。

http://www.onscreentoday.com/conversation/2020-07-08-the-extro-world-z?lang=chnt

一個熱帶的氣旋在短短600秒之間聚合形成又旋即消解。

12/31/2018

SCREEN | 介面: The Age of Keywords: Geography as Metaphor – by SCREEN Editorial

Please follow up our new editorial in the New Year! Happy New Year!

a new column features essayistic reviews and/or fictions.

01/31/2018

離線瀏覽 2018 台灣國際錄像藝術展

Shout out to video artists! Submit your work to Taiwan International Video Art Exhibition. The deadline is April 30, 2018.

本屆主題為「離線瀏覽」（Offline Browser），晚期資本主義在全球網絡化的加速過程中，以大數據作為基礎建設，漸漸演化成最先進的平台資本主義模式，進一步許諾著生活及日常的效率，使每個個體皆化為資訊進入數位的荒流之...

10/31/2017

We have to stand up and be silent no more. #notsurprised @notsurprised2017

10/07/2017

We are opening today, 1-6pm.
3fl, 456 Broadway, New York, NY, 10013.

10/06/2017

come and join us for the opening tonight. Resistance is Futile, Artist: Musquiqui Chihying. 6-8pm, 3fl, 456 Broadway, New York, NY, 10013.

09/16/2017

Come and join us for the opening today! Tall Non-fat Raspberry White Mocha Latte, curated by @n.i.h.a.o and @anedham. ☕️opening reception: 9/16 1pm-5pm EST.🚪425 5th Ave. #42A, New York, NY 10016 🍸5th Ave.🍺The Tower 🍹You're Fired. Cocktails from Trump Tower will be served. 👙bring your swimwear and enjoy swimming pool and steam room on 11th Fl.👙🏊🏻🏊🏊🏾

08/02/2017

Samson Young @labiennale. #HongKongPavilion #soundart #installation #contemporaryart #art #film #BiennaleArte2017 #vivaarteviva #venice #venicebiennale #Hongkong #collateralevent

07/10/2017

Bedtime...Pipilotti Rist: Pixel Forest. 2016. Installation View. @newmuseum #goodnight #dreamcatcher #dream #dreams #contamporaryart #weekendvibes

07/07/2017

#TehChingHsieh #DoingTime #vivaarteviva @labiennale #labiennalevenezia #BiennaleArte2017 #taiwanpavilion #performanceart #mediaart #artmedia #artgram @themuseumofmodernart @Tate @barnesfoundation

07/05/2017

Hale Tenger, Balloons on the Sea, 2011. #vivaarteviva #videoart #mediaart #artmedia #HaleTenger #BiennaleArte2017 #labiennalevenezia #artgram #contemporaryart

07/05/2017

Felix Gonzales-Torres at @rockbundartmuseum #Shanghai #contemporaryart #mediaart #artmedia

07/04/2017

The must-see exhibition in Venice this summer. "The Boat is Leaking. The Captain Lied." Experiencing images as ghosts in different mediums. @FondazionePrada #pradafoundation #venice #mediaart #artmedia #transmedia #alexanderKluge #ThomasDemand #AnnaViebrock #UdoKittelman #art

06/13/2017

#martaminujin the pantheon of books #documentakassel

03/31/2017

SCREEN | 介面: Film – by Danni Shen

“Having already counted a few distinguished awards in video in his rising career, as well as a background in architecture, Lek creates speculative worlds and site-specific simulations using gaming software, video, installation, and most recently, VR feature film. As stated by the artist on Sinofuturism, Western media presents China as exotic, strange, bizarre, kitsch, tacky, or cheap. In domestic media, China is portrayed as heroic, stable, historic, grand, and unified. Rather than counteract these narratives, Lek’s work pushes them even further. By embracing seven key stereotypes of Chinese society — Computing, Copying, Gaming, Studying, Addiction, Labour and Gambling — Lek’s prototypal pseudo-documentary Sinofuturism, proposes that China's technological development constitutes a new form of Artificial Intelligence. ”- Sinofuturism: An Interview with Lawrence Lek by Danni Shen
http://onscreentoday.com/conversation/sinofuturism

"Sino-Futurism is an invisible movement. A spectre already embedded into a trillion industrial products, a billion individuals, and a million veiled narratives. It is a movement, not based on individuals, but on multiple overlapping flows….it is often mistaken for contemporary China. But it is not.…

02/21/2017

SCREEN | 介面: Tales of Our Time – by Danni Shen

“How can I break the rules of how art history is written?” asks Guggenheim curator Xiaoyu Weng, the critical mind behind Tales of Our Time on view at the Guggenheim through March 10, 2017. The exhibition is a striking, and for many, surprising selection of contemporary art from China. - written by Danni Shen. Solomon R. Guggenheim Museum Danni Shen http://onscreentoday.com/conversation/tales-of-our-time

In addressing the specificity of locality, Tales of Our Time critically explores today’s territories, boundaries, and even utopias with candid nuance. And if the essential function of utopia as “no place” is first a critique of what is present, the idea of “China” too, is presented here, as a cue fo...

02/08/2017

Screen 介面's cover photo

09/17/2016

#kennyscharf #abcartberlincontemporary

09/13/2016

Check our new screenshot on Agnieszka Polska's screening at @newmuseum. Thanks to Elizaveta Shneyderman and Erin Prinz Schwartz. 🎉🎉🎉 #onscreentoday #screening #videoart #contemporaryart #newmuseum #newyork

http://www.onscreentoday.com/screenshot/agnieszka-polska-at-the-new-museum

08/30/2016

SCREEN | 介面: Floating with Weights – by Yu-Chieh Li

Gwangju Biennale - 광주비엔날레 will launch its 11th edition this Friday. Jeamin Cha is one of the participating artists. She's interested in the overlap between the personal and the historical, and how to re-member the past.

光州雙年展將在本週五熱鬧展開，1986出生於首爾的車在民是本次參展的藝術家之一。她探討個人及國家之間錯綜的歷史議題，以及非紀錄片的影像如何喚醒歷史與個人記憶。

http://bit.ly/2bNwWuM

This series of interviews focuses on artist’s perspectives on that which remains offscreen in moving image. It accompanies our summer program of screenings: Seoul-based artist Jeamin Cha (born 1986), known for her sensitive interpolations of the personal and the historical, here voices her approach…

08/28/2016

SCREEN | 介面: All That Is Solid... – by David Borgonjon

Hito Steyerl's work will be featured in this year's San Paolo Biennale, which launches its 32 edition on Sep. 7.

第三十二屆聖保羅雙年展即將在九月七號熱鬧展開，黑特·史德耶爾的作品也入選這個在今年在巴西舉辦的另一盛事！

http://bit.ly/1TTSG59

SCREEN's review on Hito Steyerl's semi-retrospective at Artists Space in New York City 2015. Her installation and essay film questioned the existing financial structure and the capital circulated in the world.

08/27/2016

SCREEN | 介面: Nummer Veertien, Home – by Richard Kuan

Last chance to see Guido Van Der Werve's Nummer Zes at Kansas City Art Institute. on view til Sep. 2.

好好把握欣賞圭多·范·德·维沃（Guido Van Der Werve）作品 〈第六號〉的機會，在坎薩斯市立美術館展出至九月二號。

http://bit.ly/1V5TTGW

The 54 minute video Nummer Veertien, Home by Guido Van Der Werve shows to advantage as the only work in the cavernous architecture of M Woods, a 2500 sq. m. former munitions factory in Beijing’s 798 District. Solemn choral music laced with explosions fills the space, accompanying the video of the ar...

08/26/2016

SCREEN | 介面: Cao Fei's Chaotic Fable of Modernity – by Diane Zhou

Last week of Cao Fei's retrospective at MoMA The Museum of Modern Art PS1. Our new writer Diane Zhou unveiled Cao Fer's chaotic fable of modernity.

曹斐在紐約 MoMA PS1 的個展已經接近尾聲，新加入的作者周佳佳帶我們觀看曹斐充滿現代性的混亂童話。

http://bit.ly/2bsXcqu

Cao Fei's retrospective at MoMA PS1, her first museum solo show in the United States, charts these chaotic social changes, by visualizing their impact on both geography and flesh.

08/24/2016

SCREEN | 介面: The Art of Living IX – by SCREEN Editorial

Robert Joseph Sandler ’s paintings, made on the iPad and iPhone, address tensions between traditional modes and practices of painting and the current ubiquity of the digital image.

羅伯特·沈德勒使用 iPad 和 iPhone 創造他的畫作，藉以探討傳統範式，繪畫實踐，以及數位影像的普遍性三者之間的張力。

http://bit.ly/2bfa6tW

Between New York-based SCREEN and Beijing-based I: project space, a group of young artists in New York, Berlin and Beijing will respond with images and links to a questionnaire on their living and working conditions. This survey will be published on SCREEN’s website and I: project space’s Wechat cha...

08/22/2016

SCREEN | 介面: I DON'T HONESTLY KNOW – by Jiayin Chen

First Light: A Decade of Collecting at the The Institute of Contemporary Art/Boston shares the same name with Paul Chan's installation work, which will be featured prominently in the museum.

藝術家陳佩之（@Paul Chan）的作品 First Light 在波士頓當代美術館（The Institute of Contemporary Art/Boston )成為常設作品，而該美術館最近的收藏展 First Light: A Decade of Collecting 也以此件作品命名。

http://bit.ly/1ZA3dSP

Many labels are associated with Paul Chan: multi-media artist, political activist, and publisher, to say the least. Categories seems rather futile for understanding his practice. Selected as the winning artist of 2014 Hugo Boss Prize, Chan is clearly well loved by the art world at the moment; curato...