于艾君
Yu Ai Jun
我的作品通常以塗鴉、行動、繪畫與裝置的「中間物」和（動畫）視頻實現，用以探究「形式」與作為形式出處的世界的聯繫。至於繪畫，更多時候，我是將「繪畫」整體性地作為一種使用或干預工具，而不是在（傳統）繪畫的範疇內安全地經營某種一勞永逸的風格。因此，我一直嘗試將塗鴉、素描、物與詩，甚至更多的「不動產」混攪至更廣闊的領域，以期實現自洽邏輯下的「媒介虛無」和當代藝術的表達平權和思想自由。我認為自己的作品「永遠關乎克制的情感現場而非視覺數理」、「關乎剎那而非永恆」，因此，我愈來愈以極大的興趣將那些「社會主義市井形式」以「低科技」的方式，轉換、改編成繪畫或其他媒介的作品，它們矛盾化地結合了自傳和政治、無聊和恐懼、戲劇化和俗世荒涼。在此過程中，行動性（繪畫）所帶來的未知性常常使得蛛絲馬跡在弱控中成為主角，我謂之「神秘的行動」。
本次展題名為「渙散」，這個具有所謂氣象和意象的詞彙實際是中性詞，具有多重指涉，這裡不僅意指具體作品的語言面貌和氣質，也是我借助繪畫這種手段所展開的媒介想象，當然，也提示了來自複雜的當代藝術現實和社會現實對創造力的圍攻與要求，作為藝術工作者，在面臨此種焦慮的時候，我的體會是，惟有開放地接納這一切並以「去中心」的方式將進入使用考量和表達邏輯的資源進行重新編排，才可能化普遍存在的焦慮為個人表達契機。

The title of this exhibition is called "Obscurity". This term which describes both the atmosphere and the imagery is actually a neutral word containing multiple references. It not only refers to the linguistic features and characteristics of specific works, it is also the medium through which my imagination is revealed with the help of these artistic methods. Of course, it also portrays the complex contemporary artistic and social reality which have simultaneously restricted and demanded from creativity. My experience is that the only way to universalize anxiety as an opportunity for personal expression is if we accept it openly and consider an expression logic which rearranges resources in a “decentralized” manner.


張光琪
Chang Kuang Chi
《變腦（Being John Malkovich）》電影主角史瓦茲（Craig Schwartz）在婚姻失敗後，任職於某大樓的七又二分之一層，並在發現且走入一扇暗門後，隨即走入知名的馬克維奇（Malkovich）先生腦中，並得以通過馬克維奇的眼睛看事物。或許是七又二分之一的夾層特性，以及進入他人視野凸顯了的交流性質，某種程度具體化了一種關於自內不可見向外進行聯通交流的拓樸想像。

人類這種內外互相進行交流的欲望及揣想其來有自，多表徵了原初的宇宙創生觀，諸如早期道教的混沌觀與飲食器物、古代的占卜、星相學，甚至是現代攝影觀相術，不管是投射自身於外，還是相信具體可見形像中暗藏與人相通的抽象通則，暗示出的是人和宇宙自然相對應的思維，及從認識外在事物以定位自身的現象。漸漸地，古代具有神話色彩的宇宙自然想像語境，在文明及現代化之後，逐漸轉變成將事物視為能以理性來認識把握的客體，確立了人做為主體與客體的二元分化。但是，現代性的危機（美學或人文與社會衝突），卻是再引發人對這遠古的內外交流想像的欲望的主因，產生了某種懷舊主義。正是這種懷舊主義啟動了這種交流，是在時間而非空間的想像與記憶。郁伯曼（Georges Didi-Huberman）亦曾語眾心常地道出「面對圖像便是面對時間」的癥候性圖像想像。《夾層獨白》便是這樣一種從時間向度進行懷舊想像的實踐嚐試，由兩片透明壓克力板懸置出的以撕、黏組合形成的不規則片斷紙形，或由絹布、畫布重疊的層次光影形式表現。


This desire and theorizing for human beings to communicate with each other both from within and without is not incidental. In fact, it is far more representative of the original theory of cosmic creation which includes the early Taoist concepts of primal chaos and the dietary artifacts of that era as well as the practices of ancient divination, astrology, and even modern photography. Whether it is to cast a light on oneself or to believe that there are indeed concrete abstractions hidden in tangible visible images, it reveals the thinking which corresponds the nature of man with that of the universe. Moreover, is also hints at the phenomenon of positioning oneself according to one’s knowledge of the external realm. After the dawn of civilization and modernity, the mythological elements and naturally imaginationative context of the ancient world gradually transformed into objects which can be regarded as rationally comprehended and known and thus establishing the dual differentiation of people as both subject and object. However, the crisis of modernity (the conflict between society and aesthetics or humanities) is one of the primary factors rekindling people's’ desire for this ancient internal and external form of communication which has resulted in this form of nostalgic expression. It is this kind of nostalgia which sparks this type of communication where imagination and memory exist in time rather than in space. Georges Didi-Huberman has also employed the mood of symptomatic imagery to express "Facing the Image is equivalent to Facing Time". The “Interior Monologue” is a practical attempt at inspiring nostalgic imagination through the concept of time. It consists of two pieces of transparent acrylic plates that are suspended by adhesive and irregularly shaped pieces of paper which are covered by cloths or canvases. The canvas brilliantly overlaps the light and shadow forms.