采泥藝術:「Super Penetrating—張永達個展」


  • 14/21

SeenUnseen-Entropy n º2 2018 影像裝置(電腦、LED、Arduino、投影機、蓋格偵測管、客製化微電腦控制晶片、網路攝影機、低頻喇叭、加熱元件、玻璃、木板、海綿、鋁、乾冰、異丙醇(IPA)) 48x48xH140cm(記者 非池中藝術網編輯整理/編輯)


  • ▪Duration:2018/11/15 — 2019/01/01
    ▪Opening:11/17(Sat.) 15:00
    ▪Forum:12/01(Sat.) 15:00
    與談人:王柏偉(藝評人) x 張永達
    ▪Forum:12/15(Sat.) 15:00
    與談人:郭昭蘭(北藝大美術系副教授兼國際事務長) x 張永達
    ▪Venue:采泥藝術 Chini Gallery

  • 「藝術家想像中的形象並非一張圖,而是對『不可見者』的探索。…」

    —— 梅洛·龐蒂


    「Super Penetrating」的命題,試圖想像回歸到萬物起點,對「不可見」、具有超級穿透力之物質能量的偵測與探索,其影響微小至身體DNA細胞,大至都市運作、全球活動狀態更甚至是宇宙星系;從宇宙生成之初至今日,我們所處的環境,其實無時無刻接受來自未知源頭與千萬光年之外的宇宙射線(Cosmic Rays)的衝擊,與背景輻射值(Background Radiation)的環繞,因爲不可見而無感於其存在,只能藉由感測器所測得之數據呈現。本次個展的作品透過科技微感裝置,對宇宙射線、自然背景輻射值及人造輻射等進行長時間持續量測,將不可見的物質,以偵測紀錄即時數據的方式,藉由不同型態轉化與訊號放大,形成「可見的」、「可感的」視覺與聽覺裝置,而在不斷偵測監控、數據轉譯再現的過程中,給予我們的是理想安全的數據範圍?還是對科技世界前景不明的焦慮、危機徵兆的浮現?

    “The image in the artist’s imagination is not a picture, but the exploration of the invisible…”


    The world today that constructed from technology symbolizes the extreme development of human intelligence and culture. The enormous volumes of data behind this are formed from zeroes and ones, and although the data is invisible, they are violently dominating the world, human actions and our modes of thinking. We continue expanding the scope of our awareness, consciousness and knowledge with the development and extension of technological assistive tools,; in the meantime, the underlying, invisible data, message and energy that accompany technology are steadily accumulating, bringing with them warnings of impending crises and a sense of anxiety. For me, this sense of crisis originated from 2011, when I resided in a Japanese village as the Tohoku earthquake and the Fukushima disaster struck the country. From Chernobyl to the Fukushima disaster, they are all results of technology backfiring on mankind, showing the arrogance of man in his manipulation of technology, yet at the same time being possessed by the fear of the uncontrollable radiation. At this point, the ideal technological society of human beings, that is, the perfect utopia between man, machine and nature that is interlinked and operating in equilibrium, is instantaneously upturned and disintegrated.

    The name of the exhibition, Super Penetrating, was given in an attempt to return to the origin of all things; to detect and explore the invisible, the unseen substance and energy that hold super penetrative powers, which are able to influence things from as diminutive as DNA and cells in the human body, to the operation of cities, global activities, or even the galaxy and universe at large. From the formation of the universe till this point in time, the environment where we are in is being endlessly pummelled by cosmic rays that are of unknown origin and from tens of millions of light years away, while we are simultaneously surrounded by background radiation. As these things cannot be seen, there is no sense of their existence. Thus they can only be expressed as numbers detected by sensors and instruments. The artworks in this solo exhibition use technological micro-sensors to continuously detect and quantify cosmic rays, natural background radiation and manmade radiation over long periods of time. These invisible entities are detected and recorded as real-time data, transformed through different formats and their signal amplified, to create visible, sensible visual and audio installations. In the process of continuously detecting, monitoring, translation and reproduction of data, does that provide us with data of the ideal and safe range? Or is it simply the emergence of the anxiety and warning signs of crises in a technological world that has an uncertain future?

采泥藝術張永達Super Penetrating


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