電火．紅龜．豬公．普傢伙
Dian hué, On-gu, Ti-kang, Po Ge-hué

李勇志、汪紹綱Ｘ馮志銘、林佳儀、張瑋倫、唐唐發、黃博志
LEE Yung-Chih, WANG Shao-Gang X FENG Zi-Ming, LIN Jia-Yi, CHANG Wei-Lun, TANG Tang-Fa, HUANG Po-Chih

臺北數位藝術中心位於臺北市士林區蘭興里，位居士林、芝山、天母三地的交匯地帶，「士林街，普電火；石牌仔，普紅龜粿；山頂，普豬公尾；湳雅，普傢伙。」這一段富饒趣味的話流傳至今，描繪了熱鬧的士林架設許多街燈、石牌豐收的稻米用來製作普渡時的紅龜粿、陽明山上的許多養豬人家、以及蘭雅地區住著許多家產富足的有錢人，這段話為如今依然繁榮的士林區下了貼切的註解。

今日的士林可以說是臺北市這個國際化都市的縮影，不斷有外來文化落地生根，並與當地發展出獨一無二的人文風景。許多選擇來到這裡生活的外國人一代接續一代，在巷弄間發展許多特別的咖啡店、特色小吃，一樣豐富的人情味，似乎不難想像過去這些光景，本次展覽將邀請多位長期以數位藝術為創作媒材的藝術家，將這段豐富的人文歷史與藝術作連結，傳遞給今日的大眾。讓在地的脈絡成為創作的養分，歡迎所有觀眾前來體驗過去與現在、數位媒體與記憶碰撞的火光。

Digital Art Center, Taipei is located at Lanxing Village, Shilin District, Taipei City. The spot is in the central Shilin district, surrounded by Shilin, Zhishan, and Tianmu areas. " Shilin, full of lighting; Shipai, full of rice; Suann-tíng, full of pork; Nanya, full of rich people. " This fun folk saying has been passed down to depict the crowded streets in Shilin with lots of streetlights, red turtle cakes for rituals for the spirits made of rice harvested in Shipai, pig farmers in the Mt. Yangming, and the rich living in Lanya area at the time. Nowadays, it is still an accurate footnote to the prosperity of Shilin District.

Today's Shilin District can be seen as the miniature of the international City with foreign cultures constantly taking roots and developing unique cultural landscapes within the local community. A lot of expats choosing to live here, from generation to generation, have developed feature coffee shops and specialty small bites in the alleys. The warmth and kindness of the local lasting in the neighborhoods can easily connect people with the prosperous scenes of the past. This exhibition invites artists having long-term dedication in taking digital art as their creative approach to link the art with the rich humanity and history of the community and present the stories to the public. The local context can nourish more creative works. We would like to welcome everyone to experience and appreciate the sparks between the past and the current, and of digital media and memories.

2020.08.29-10.10

2020.8.29 15:00
開幕導覽 Opening & Guide Tour

2020.08.29, 09.04, 09.05 11:00-18:00
唐唐發藝起加菜趣
TANG Tang-Fa’s Pop up Vendor
地點：家樂福天母店旁
Location: Next to Carrefour Tianmu Store

2020.9.12 16:00-18:00
地質複寫–石頭拓印工作坊
Litho Printing of Geology Workshop
講師：李勇志
Facilitator: LEE Yung-Chih
＿＿＿＿＿＿＿＿＿＿＿＿＿＿＿＿＿

作品簡介
Artworks

李勇志
LEE Yung-Chih

《芝山石》
Zhishan Stone

移植即將剝落的油漆背面如同靈芝般的紋路，用現成廉價的方式虛構的芝山石，表面上說是回應著芝山與芝山岩背後的悠遠歷史，實際上像是以「探索歷史」為名的起點，但依舊是那自已習慣的日常旅程：走在路上，對乏人問津的荒廢之物的想像與賣弄。
將路邊石塊偽裝成可以帶來幸運的石頭，又或者跟展場周邊的商店合作，宣稱那是可以帶來財富的招財石，並且可以名正言順鼓勵觀眾去店內消費，達成藝術在社區中某種的用處。於是就這麼上演吧，無名之物的神秘好奇，又同時對照著知名之物無可想像的...悲傷。

The artist LEE Yung-Chih transplanted the texture of the back of the paint that is about to peel off like Ganoderma lucidum to create a fictional Zhishan stone in a cheap and hands-on way. Superficially, it is a response to the long-last history behind Zhishan and Zhishanyan. In fact, it is still some kind of the daily journey that artist is used to: walking in the streets, imagining and showing off the wastes that no one cares about.
The artist can disguise the roadside stones as stones bringing luck, or cooperate with the stores around Digital Art Center, Taipei; claiming that it is a lucky stone that can bring wealth, thus it may draw the audience to go to spend money in those stores and the art may somehow be useful for the neighborhood. So let it be that, a stone drawing curiosity and a sense of mystery as an object with no name reflects the unimaginable sorrow of those with big names.

汪紹綱Ｘ馮志銘
WANG Shao-Gang X FENG Zi-Ming

《彼岸》
The Other Shore

《彼岸》是兩位藝術家透過聲音來召喚意識與思念的作品計畫，「有沒有一首歌，是你／妳想送給一位目前不在身邊的人？」藝術家將以歌曲與情感記憶出發，從中取樣每個人生命經驗中，那些難以忘懷的故事，開啟一個個與聲音有關的情境場域。此計畫強調了兩種空間形式，第一種是音場空間：將邀請在地居民錄製屬於他們的歌聲，擷取vocal，並到自然環境中取樣海浪的背景音，混音兩者，製造如同在大海中歌唱的情境。第二種是裝置物理空間：將製作一個沉浸式劇場環境，虛擬一艘航行中的船，使觀者身歷在演唱者的歌聲與意識的汪洋之中，感受《彼岸》那關於記憶彼端的想像。

The Other Shore is a project to evoke consciousness and a sense of missing through sounds. "Is there a song that you want to give to someone who is not around?" The artists start with songs and emotional memories, draw the unforgettable stories from each participant’s life experience, and open up the contextual fields related to those sounds. This project highlights two spatial forms. The first one is the sound field space: the local residents will be invited to record their own singing voices. As the artists capture the vocal sounds, they will also record the sea waves as the background sound in the natural environment, and mix both to create a scene as if singing in the sea. The second one is the installation in physical space: an immersive theater environment will be created to be a virtual sailing ship, so that the viewers will be engaged in the ocean of singing and consciousness of the singers, and capture a sense of imaginations of the other side of memories of The Other Shore.

黃博志
HUANG Po-Chih

《七個在海上的人：賽鴿》
Pigeon: Seven People Crossing the Sea

此次展出《七個在海上的人：賽鴿》中的幾個片段，內容受棚仔攤主—何應的生命故事和他發起的反棚仔迫遷運動所啟發。
「棚仔」（Pang-Jai）自一九七八年靠著攤商自我組織，有機地發展成一個有系統的布料市場。早期棚仔布販之貨源，往往來自具港資背景的廠商所用剩的零星布料，俗稱「士多布」（stock布）。待售布料層層堆疊，橫跨四十年，香港與亞洲成衣產業的盛衰，都被壓縮其中。因都市更新計畫，近年面臨被香港政府迫遷的問題，也引起小販的合法性／正當性、基層生活空間等的探索和思考。

A few parts of Pigeon: Seven People Crossing the Sea are exhibited this time. This work was inspired by the life story of a vendor of Pang-Jai, Ho-Ying, and the campaign he initiated against ejectment of Pang-Jai by the government.
"Pang-Jai" has been organically developed into a systematic fabric market since the vendors stood in solidarity in 1978. In the early years, the supplies for the fabric vendors of Pang-Jai usually came from the scattered cloths left by manufacturers with funds from Hong Kong. The cloths were commonly called "stock cloth". The cloths for sale stacked one after another over four decades, compressing the rise and fall of the garment industry in Hong Kong and Asia. Because of the urban renewal plan, Pang-Jai has been faced with the fate of ejectment by the Hong Kong government in the recent years. The situation attracts discussions upon the legal issues around the vendors, basic living space for grassroots, and so forth.

林佳儀
LIN Jia-Yi

《意念的物質化》
Materialized Conscious

宗教中的不可見,是人們自身的「靈」到肉眼無法直接看到的「超自然現象」，宗教在可見跟不可見之間變成了一個管道，透過各種儀式、或是利用神佛之名去干涉我們生活空間中所發生的事件，而藝術家認為宗教中的神明就在這之間成為一個讓人們依託的「對象物」，而這個對象物是某群人將那不可見視覺化後的產物，在時間久後成為一種理所當然的形象，當這個對象物被賦予教義並且被加以擁戴後就成為了信仰，在這個作品中，藝術家到士林區做實際的街訪調查，詢問該區民眾對神明的印象，並請他們畫在紙上,以最直接的、線條的方式表現，在取樣一定的數量之後用「蠟」將民眾所繪的神明雕刻出來，並將它們以聚集的方式擺放，讓觀眾可以比對他人與自己對「神明」的想像。作品試圖去呈現信仰中的再詮釋，以及反映意識的集合讓信仰得以成立。

The invisible in religions are across people's "spirits" and "supernatural phenomenon" that are not received by the naked eye. Religion then becomes a channel between the visible and the invisible to interfere with the events in our living space through various rituals, or in the name of gods. The artist LIN Jia-Yi consider gods in religions "objects" that people rely on. These objects are the products from the act of a group of people visualizing the invisible. As time passes, the objects have their natural images. When they are added doctrines and supported by people, they become beliefs. For this work, LIN went to Shilin District to conduct a street interview, asking some residents about their impressions of gods and to draw them in lines on papers in the most straightforward way. Attracting a certain amount of the drawings, LIN used "wax" to carve out the gods drawn by the residents and gathered them, so that the audience can compare the imaginations of "gods" by themselves with others'. The work aims to present re-interpretations about religions and reflect that gatherings of consciousness verify beliefs.

唐唐發
TANG Tang-Fa

《豬肉攤》
Butcher’s Stall

初始為探詢台灣庶民文化特色，開始將焦點放在生活環境、人文景觀，經過多方探索搜尋慢慢聚焦於傳統市場，產生將藝術與生活結合的企望，和拓展藝術展演空間，讓它能自然連結大眾生活空間。12年來對市場觀察中，唐唐發覺得傳統市場給人的旺盛生命力，來自於「競爭」，攤商彼此為生存而競爭；顧客為好價錢好品質而競爭，傳統市場可說是市井小民的生活競技場，亦或許對庶民而言為生存而競爭已經內化於血液展現於生活中。

Initially, to explore the cultural characteristics of Taiwanese grassroots, the artist TANG Tang-Fa focused on living environments and humanistic landscapes. After exploring and searching, TANG gradually moved to the traditional markets, hoping to combine arts and life and expand art space to have arts connected to public living space. Through 12 years observing markets, TANG feels that the strong vitality of traditional markets comes from "competition". Vendors compete with each other for survival; customers compete for good prices and good quality. Traditional markets can be seen as arenas for living to the grassroots. Perhaps, the senses of competing for survival have been internalized in their minds and displayed in life.

張瑋倫
CHANG Wei-Lun

《人人為我為人人》
All for One for All

2020年全球經歷天災人禍連番襲擊，世界各地都有人因防疫、抗爭蒙面上街，猶如幽靈般穿梭在現實生活和各類影像畫面中，最後集體匯入龐大的網際網路資料庫，與各類假訊息、迷因梗圖扁平化為數碼和檔案，共同拼貼出當代人類荒謬的處境。而此時，日常大量的影像製造和觀看代表著什麼意義？是否能回返人性共感，視人類為一個整體？終究誰又能永遠在數位科技介面的觀景台上以遠眺之姿自外於這個世界，抑或走向更為非人的冷眼旁觀。

（本作品將邀請工作坊參與者一同完成。）

作品攝影：柯善文

The world has been hit by natural and man-made disasters coming thick and fast in 2020. People around the globe have been covering their faces and flocked into the streets for the pandemic and protests. They shuttle between real life and tons of images like ghosts and in the end converge into gigantic online databases to be flattened into digits and files with all kinds of fake news and memes, collaging the absurd situation of contemporary human beings. Meanwhile, what do the massive production and seeing of images in everyday life represent for? Is it the return to a shared sense of humanity that sees human beings as a whole, stating that no one can always look out to the world on the deck formed by interface of digital technology as a bystander; or, is it the revelation of further non-human indifference?
(The work was completed in collaboration with workshop participants.)

Photography: KE Shan-Wen