＊為配合防疫措施，請觀眾務必配戴口罩、配合測量額溫及實名制入場。

繼2020年合作「話鼓電台」線上系列廣播節目後，立方計劃空間非常榮幸再次邀請旅居維也納的台灣藝術家陳庭榕回台進行駐地研究，並發表她在台灣的首次個展「諧波失真」。

立方計劃空間自2016年起展開「駐地研究」（research residency）項目，每年選送（至少一位）藝術家或策展人來台或出國進行駐地研究。2021年，立方邀請曾於2018年獲得維也納市立美術館獎（Kunsthalle Wien Prize 2018）的陳庭榕，回台北進行為期四個月的駐地研究計畫。在駐地期間，她將以「聲響作為身份認同與群體建構的工具」為主題與方向進行研究，並運用聲響、雕塑、影像和環繞場域為媒介發表個展「諧波失真」。本展邀請觀眾親身沈浸體驗以聲波構築而成的虛實。

這項計畫，同時也是立方計劃空間於2020年所啟動的「聲經絡」計畫的延續項目之一。在此駐地計畫之後，立方亦將公佈「聲經絡」第二階段的內容。陳庭榕的個展「諧波失真」預定於9月4日（週六）開幕，展期至11月7日。展覽期間，藝術家亦將舉辦相關座談，日期另待公佈。

｜關於展覽｜
「我在微笑；我總忍不住想微笑；我腦袋裡有個小裂片被摘除了，感覺可真輕鬆啊，心裡空蕩蕩的！精確的來說，不是空蕩蕩的，而是再也沒有什麼陌生的東西了，所有可能妨礙我微笑的東西都不存在了。」
—《我們》，薩米爾欽（Yevgeny Zamyatin）

「諧波失真」（Harmonielehre）個展，聚焦於我近年來對記憶、身份概念及其與政治宣傳、權力體系和訊息傳遞間向量關係的研究關注。

「諧波失真（harmonic distortion）」，是一種聲音在被放大傳遞時，由於能量訊號轉換不完全，使原始聲音波形因而不準確得再生的物理現象。這種短缺及失真，反而突顯了變形的不相等波形間的共同性及其共擺的運動週期，帶給聽者一種神秘、特殊的「和諧溫暖共感」。越被擴大的訊號，再現的偏差會越明顯；換言之，聽者也越反而感受到被聽覺景深擁抱的和諧溫暖經驗。這樣的「失真」，似乎成為美好的理想波。
以此物理現象作為切入點，展覽希望探討在訊息主宰的現代社會中，失真缺陷的訊息片段帶給視聽者的謎之和諧共感共情，以及由此所投射腦補成像的「理型」與「真實」。

「通訊傳遞」作為展覽的關鍵字，在場中被裁切呈現：在暴力的框架下，訊息似乎成為單向的片段獨語，被同質化的抒情撰寫朗誦，成為文獻證據以及系統化知識的量尺單位。在以此量尺繪出的圖式（scheme)分類包覆下，他者被分斥排出，「我們」成為「我們」。以對戰爭聲音武器和廣播放送的文本研究為核心，我取樣並重置歷史截面的文化人工物（artifact)成為聲音裝置、影像和雕塑作品，展開關於群體身體（collective body )、角色（character）工具化、異者（Fremdkörper/foreign body)認識與全知敘述者（omniscient narrator)的討論。它們將作為刺激物（trigger），對來訪者進行感性引導，在空間中共同結構出一經驗迴路。

「Harmonielehre」可被翻作和聲教育，同時也是作曲家荀白克（Arnold Schönberg）顛覆傳統調性的著作《和聲學》(Theory of Harmony)。我邀請來訪者以在場中建立的和諧與違和經驗來審視情感結構，反思感覺與認知之間的差異與補償作用、知識生產與建構的弔詭；並進一步反抗應對（react/respond/resist）不對等的權力關係對身份的建構力量。

｜關於藝術家｜

陳庭榕
1985年生於台北。哲學系畢業後，她轉到德國漢堡、奧地利維也納學習藝術創作。目前穿梭生活於台北與維也納之間。

陳庭榕的作品扎根於她對文化差異、政治符號，及其所生衍的變形文本和混種聯覺的反思。藉由對文化人工物的複製重置，她探討挪用、賦權、疆界；探索記憶、意識價值與身份，在全球化移動性社會中的呈相與轉型。或慣習、徵徽、手勢、修辭、節奏；或聲響、言語、行為、影像、物——她將消費材料與非物質性指喻，結為空間裝置，展演出發聲多重社會音譯及覆疊時空經緯的立體寰圖。

陳庭榕是2018維也納市立美術館獎的得主，也是2019維也納應用藝術美術館MAK-Schindler獎學金的獲獎人。她的創作受到不同單位獎助：2020奧地利聯邦政府視覺藝術獎學金、2020台灣國藝會創作補助、2020台灣文化部MIT新人推薦、2017日本橫濱黃金町駐村獎助、2015/16德國國家獎學金……等。近期參與的聯展包括：「複數的單數性」（美景宮21er Haus美術館 ＆ Xhibit，維也納，2020）、「最終計畫 XLIX」（洛杉磯MAK藝術與建築中心，洛杉磯，2020）、「海浪」（18街藝術中心，加州，2019）、「讓我靠近你. 陳庭榕 ＆ 葉慧。維也納美術館獎2018」（維也納市立美術館，維也納，2018）、「薛西弗斯 Ver. 20.18」（國立台灣美術館，台中，2018）、「雙面外牆——他者的意義」（黃金町藝術節2017，橫濱，2017）、「HISCOX美術獎2015」（德國漢堡美術館，漢堡，2015）、「臺北美術獎2015」（台北市立美術館，台北，2015）……等。
陳庭榕個人網站：www.info-tingjungchen.com

主辦｜立方計劃空間
展覽贊助｜台北市文化局
製作贊助｜國家文化藝術基金會
駐地贊助｜文心藝術基金會
＊立方計劃空間由國藝會、台北市文化局、RC 文化藝術基金會、文心藝術基金會、陳泊文先生等贊助營運
＝＝＝＝＝＝＝＝＝＝

Harmonielehre ─Ting-Jung Chen Solo Exhibition
Opening | 4 September 2021 (Saturday, 3-6pm)
Date | 4 September 2021 - 7 November 2021 (Wed-Sun, 2-8pm)
Venue | TheCube Project Space

*Please wear a mask at all times during the opening and fill out the registration form.

Following its cooperation with Vienna-based Taiwanese artist Ting-Jung Chen in the online broadcasting programs of the Talking Drums Radio in 2020, TheCube Project Space is pleased to invite Ting-Jung Chen again as an artist-in-research residency who will present her Taiwan first solo exhibition Harmonielehre this year.

Initiated in 2016, TheCube’s research residency program has annually supported artist(s) and curator(s) to Taiwan or foreign countries for their respective research projects. In 2021, TheCube invited Ting-Jung Chen, the winner of the Kunsthalle Wien Prize 2018, back to Taipei for the four-month research residency. Orientating her research toward the subject of “sound as a tool for identity and community construction,” the artist is going to stage her solo Harmonielehre that treats surround sound, sculpture, and image as the media. Visitors are welcomed to this exhibition where they can immerse in the mesmerizing world of sound waves interlaced by the real and the virtual.

Harmonielehre is also the launch of the second phase of TheCube’s Sound Meridians－Cultural Counter-mapping through Sound project. It is scheduled to be on view from 4 September (Saturday) to 7 November 2021, during which the artist will deliver related talks, dates TBA.

｜About Exhibition｜
“I am smiling; I cannot help smiling; a splinter has been taken out of my head and I feel so light, so empty! To be more exact, not empty, but there is nothing foreign, nothing that prevents me from smiling.”
—We, Yevgeny Zamyatin

“Harmonielehre” is my solo exhibition focusing upon my research into memory, identity, and their vectorial relations to political propaganda, power system, and message transmission.
As a physical phenomenon, “harmonic distortion” refers to the distortion of an original waveform caused by the incomplete conversion of energy signals as sounds are amplified and transmitted. Such a glitch and deformation highlight the commonalities among different distorted waveforms as well as their periods of oscillatory motion. This phenomenon ergo brings the listeners a peculiar, mysterious “synesthesia of harmony and warmth.” The greater extent to which a signal is amplified, the more conspicuous distortion its representation shows. To put it another way, it will give the listeners a stronger harmonic and warm feeling, as if they were embraced by the depth of sounds. Following this trace, we might conceive that “distortion” generates an ideal wave.

Taking this physical phenomenon as its intro, this exhibition seeks to discuss the receiver’s synesthesia, projection, and transference/empathy evoked by the distorted and flawed information fragments in the message-dominated contemporary society. Meanwhile, the exhibition tries to explore the “ideal form” and “reality” pictured in the receiver’s mind.

“Transmission,” as the keyword of the exhibition, is presented in a trimmed form in the venue: Within the framework of violence, messages are dead ringers for unilateral monologues written and recited in homogenized lyricism, and eventually turned into documentary evidence and scale of simplified knowledge. In this metrological scheme from which the Other is excluded, "We" become "Us."

Revolving around the textual studies on sonic warfare and broadcasting, I sample and imitate artifacts in history and reconfigure them into sculptures, images, sound, and a spatial installation. Therefrom I bring the collective body, instrumentalization of characteristic, Fremdkörper (foreign body) cognition, and omniscient narrator up for discussion. They will trigger the visitors＆#039; perception and collectively build an experiential circuit in the exhibition space.

The term “Harmonielehre” can be translated as harmony training. It is also the German title of the composer Arnold Schönberg’s monograph (Theory of Harmony in English) intended to topple the traditional edifice of harmony. I invite the visitors to examine their respective emotional structures through the experiences of harmony and disharmony they undergo in the venue and cogitate on the discrepancy and compensation between perception and cognition as well as the paradox of knowledge production and construction. What is thus being provoked is a reaction against the constructed violence of asymmetric power relations toward identity.

｜About Artist ｜
Ting-Jung Chen
(b. 1985 in Taipei) After her Bachelor＆#039;s study in philosophy in Taiwan, she went to Hamburg and Vienna, where she obtained her Master＆#039;s degree in Fine Art. Now she lives and works in Vienna and Taipei.

Ting-Jung Chen＆#039;s art practice includes various critical-theoretical formats which relate to language and historiography, often with a performative approach. It is rooted in multilayered investigations into cultural differences, political semiotics, and hybrid synesthesia. By reproducing acoustics and artifacts of the culture industry and their relationship to human beings, she discusses "transformed identity" within the context of globalization, commodity fetishism, and mobility society. Habitus, insignia, rhythm, gestures, rhetoric. Or, objects, images, sounds, and textuality. Combining material and immaterial into complex spatial installations, she performs multiple social transcriptions and the overlapping culture minglings into a spatial atlas.

Ting-Jung Chen obtained the Kunsthalle Wien Prize 2018, and she is the recipient of the MAK-Schindlers-Scholarship 2019 from MAK Museum Vienna. She has been awarded various prizes, scholarships and fellowships, including the Visual Arts Grant 2020 from Federal Chancellery of Austria; the Visual Arts Grant 2020 from Taiwan National Culture and Arts Foundation; the "MIT "Fellowship 2020 from the Ministry of Culture of Taiwan; the Koganecho residency fellowship 2017; the Judges Award of the Taipei Arts Awards 2015; the Deutschlandstipendium 2015; the Karl H. Ditz Scholarship 2014, and several other fellowships and project funding fellowships. Her works have been shown in numerous venues internationally, including Belvedere 21erHaus, Vienna, Kunsthalle Wien, Kunsthaus Hamburg, National Taiwan Museum of Fine Arts, Taipei Fine Art Museum, Parallel Vienna, Koganecho Bazaar 2017, Yokohama, Japan, MAK Center for Art and Architecture, Los Angeles, and 18 Street Art Center, Santa Monica, U.S. among many others.
＊Artist Website: www.info-tingjungchen.com


Organizer | TheCube Project Space
Production Sponsor | Department of Cultural Affairs, Taipei City Government
Exhibition Sponsor | National Cultural and Arts Foundation
Research residency Sponsor | Winsing Arts Foundation
＊TheCube Project Space is supported by NCAF, Department of Culture Affairs, Taipei City Government, RC Culture and Arts Foundation, Winsing Arts Foundation, and Chen Po-Wen.