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1999-2012 Orange Marble (Taiwan-Canada )〈橘玻璃珠—加拿大與台灣交流展〉 2001 2/24-3/31
Group exhibition / Hua-Shan Art District / Taipei

橘玻璃珠創作自述

交流計畫?什麼是交流?閒置空間展場因部分年久失修所造成的頹廢氛圍,交流展於此舉行。交流必須像釀酒一樣,經過時間的質變,而酒場是有計畫生產質變物的場所;聲音,影像,敘述,符號與資訊同樣在意識與時空的介質中飄浮。不是清晰的,卻是隱隱約約像是在釀作著什麼。「華山」的爭取是無限的夢想和角力,如果說「加拿大」是個地名,我們對它的認知亦復如是。無論是旅行或異介質間的接觸,藝術家總是喜歡它們大量混淆游移與需要選擇的徒勞。展場將佈置成類似迷宮的結構,又像是水流的漣漪回繞,中央有燈箱,影像依稀可見一不明泡體;水聲,方向指標,加拿大風景照片和華山的後工業景象,混雜出一個醞釀的場域。也是藝術家對「交流」的參與與解讀。

Green Bubbles 2001
Exchange programs? What is exchange? The exchange exhibition happens in the decaying atmosphere of Hua-Shan’s abandoned warehouse. Exchange should be like making wine; it needs fermenting for a certain period of time. The wine factory is a site for programmed fermenting. Sound, images, narrative,, signs, and information all float like intermediates in consciousness and in time and space. They are not clear, but seem to be fermenting. The Taiwan art world’s struggle for the Hua-Shan Art District epitomizes the immense amount of dreams and imagination, and so does our perception of Canada as a place. Whether in traveling or in exchange with heterogynous others, artists usually are inclined to mixtures and the futility of choice. The exhibition space is made into a maze which looks like a whirlpool as well. At the center of the maze is a light box on which the viewer can vaguely see an obscure bubble. The sound of a water, directional signs, landscape photos of Canada , and the post-industrial atmosphere of Hua-Shan are interwoven into a site of fermentation. This embodies Tang’s idea of exchange.

橘玻璃珠楓葉

橘玻璃珠瀑布

橘玻璃珠草圖

橘玻璃珠草圖三

橘玻璃珠草圖二

橘玻璃珠計畫原稿

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