▍展覽介紹

在幾何學上，與某一個圓只有一個交點的直線，被稱作此圓的切線。

站在切點上，向個人深感興趣的——以一個圓來比喻——研究領域望去，錯綜的學科分支編織成了形形色色的風景，景色之大，無法從單一觀點描繪全貌，在任何領域皆然。

而兩位藝術家各自對不同領域懷抱熱情，就像邊界上的一個切點，他們以個人的感性與詮釋，從生活中親身觀察、踏查的經驗出發，並消化在不同學科中所掘的養分，進而發展為作品。各自描繪出一條認知的切線，切線的一方延伸至未知，另一方則交會在此次展覽當中。

陳姿尹的創作遊走於感官與科學的界線之間，思考兩者間的相異與相似之處是如何影響人類對現實的認知。人類建立對於現實的認知的途徑，包含著「感官」及「學習」兩種途徑，在接受系統性的教育之前，皆是以身體感官建立認知，然而在開始接受科學教育之後，兩者之間卻開始出現矛盾。科學透過邏輯推導、量化實測，試圖探究的世界，相較於感官受限於生物構造的人類來說，遠遠超過人類感官可企及的範圍。雖然人類認知的宇宙尺度有限，但身體無法反駁地確實存在於宇宙之中。

本次展出作品以天文影像作為發想，透過科學儀器 — 攝影機、光學鏡片，拍攝生活日常中反射的陽光與遙遠的宇宙之間的連結，隱喻身體經驗與科學理論看似矛盾、實為相切的認知關係。

葛大乘的創作則是關注都市地景下的歷史與自身的關係，以網路世界得知的歷史資訊形塑不同時代的濾鏡，並且此濾鏡觀看現今所生活的都市空間，從建築或設施中去指認它們可能的過去或是錯置的原因。創作以自導自演的第一人稱錄像為主，嘗試以幽默的口白講述自身對生活週遭的歷史與地景的聯想，並對與其地景相關的文本深感興趣，從影像資料出發到實地探索，透過介於紀錄與表演之間的方式，將親身參與未能參與的歷史的過程展現出來。

本次展出錄像作品從講述圓山周遭曾經存在的兒童樂園、太古巢、再春游泳池、明治橋......等設施，開啟找尋樂園究竟何去何從的故事，思考高度是否為樂園的決定性因素，並且試著從實地造訪此區如今存在的設施中重新發現樂園的可能。

「認知的切線」兩位藝術家，試圖透過與科學相切的、與歷史相切的，不同的切線，一同指向感官認知的創作路徑。


▍展覽資訊

日期｜2021 . 9 .12（Sun） – 10 . 17 （Sun）
時間｜13:00 - 19:00 （週三至週日）
開幕｜2021 . 9 . 18（Sat）14:00
地點｜良室藝術空間（Serendipity art space）
地址｜臺北市大同區承德路三段225巷6號 B1（圓山捷運站1號出口）
贊助單位｜台北市文化局

▍About

Exhibition Title | The Tangent Line To Cognition – Dual Exhibition of Chen Zi Yin ＆ Ko Ta-Sheng

Date | 2021. 9. 12 (Sun) – 10. 17 (Sun)

Time | 13:00 - 19:00 (Wed - Sun)

Opening | 2021. 9. 18 (Sat) 14:00

Venue | Serendipity Art Space

Address | B1F., No. 6, Ln. 225, Sec. 3, Chengde Rd., Datong Dist., Taipei City (R14 Yuanshan Station EXIT 1)

Sponsor | Department of Cultural
Affairs, Taipei City Government


▍Exhibition

In geometry, a straight line that has only one intersection point in a circle is called the tangent of the circle.

Standing on the tangent point (of a circle, for instance), and looking towards the research field that one is very keen on, branches of disciplines intricately weave a diverse landscape so enormous that it simply cannot be illustrated by a single view from a single discipline.

As the tangent point on the parameter with their endeavors in different disciplines, artists Chen Zi Yin and Ko Ta-Sheng probe into their everyday life and empirical observations. Stemming from their own perception and interpretation alongside the knowledge they have attained from different disciplines, the artists have now transformed their experiences into artworks. While each of them draws a tangent line of cognition extending to the unknown on one end, the other end lands into this very exhibition.

Chen Zi Yin wanders between perception and science. Her artworks are a contemplation of how similarity and disparity of the two may influence human perception of reality. The way human beings establish such sense of reality involves “perception” and “learning”. Before receiving systematic education, the sense of reality is established through cognition, only until human beings receive education of science, the latter and the former become ambivalent. Science tends to explore the world through logic and quantitative research. Comparatively speaking, perception is delimited by biological constructs, and science is beyond the reach of human perception. Chen recognizes despite the human perception of the universe is finite, the human body irrevocably exists in this universe.

Inspired by astronomy images, the artworks of this exhibition document reflections of sunlight and its connection with the remote universe in everyday life through scientific instruments such as camera and optical lenses. It is an analogy of the ambivalent yet relevant aspects of bodily experience and scientific theory in human cognition.

Ko Ta-Sheng’s artworks concern personal relationship with urban landscape. Ko reckons that information of history on the internet are shaping different generations like a lens filter. Through this lens filter, he attempts to investigate the urban landscape he currently resides in, identifying the architecture and infrastructure their potential past or reasons of displacement. Ko’s artistic practice is mainly first-person narrative video with humorous narration to illustrate his association with personal living experience, local history and landscape. It does not only show his deep interest in the context of landscapes, but also, by incorporating documentary and performance, it is a manifestation of Ko’s participation, as well as his inability to participate, in the process of history.

This exhibition showcases Ko’s video work that depicts infrastructures once existed in Yuanshan, such as Children Amusement’s Park, Taigu Chao, the Zaichunswimming pool, the Meiji Bridge. It embarks on a journey of finding the story of the amusement park, questioning whether height issue is the determinant for closing, Ko attempts to find new alternatives for the park in the existing infrastructure from his field trip.

Through intersecting with science, history and others, the two artists of “The Tangent Line To Cognition” together draw a perception-cognition line of artistic practice.


贊助單位｜台北市文化局
特別感謝｜安格士科技玻璃、吳芸頡、李亦凡、周子筠、林沛儀、林哲志、莊向峰、陳冠中、陳湘汶、陳雁蓉、陳靖瑜、蘇粲淵