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【膨圈日光,觀察者,一場討論】林怡君駐村發表展

  • 展期

    日期:2021-11-20 ~ 2021-12-18

  • 地點

    立方7F(台北市大安區羅斯福路三段241號7樓)

  • 參展藝術家

    林怡君

「膨圈:日光,觀察者,一場討論」林怡君駐村發表展
The Pong: the Sun, Observers, and a Discussion
日期|2021年11月20日-12月18日
開幕|2021年11月27日(六)3-6PM
地點|立方7F(台北市大安區羅斯福路三段241號7樓)

*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。

立方7F很榮幸呈現台灣藝術家林怡君的駐村發表展「膨圈:日光,觀察者,一場討論」。本次展覽為藝術家於2019年,在洛杉磯聖塔蒙尼加的18街藝術中心進行為期三個月的駐村後,返台首次的發表。透過檔案文件、拼貼影像、聲音等多樣媒材,藝術家進一步探討時間與空間、記憶和身份的產出與轉換。展覽將於11月27日開展,展期至12月24日。

|關於本展|
文/林怡君
「那裡沒有雨,光線總是一樣的,溫度沒有變化,一百萬年一度,水是 H2O。冰像雪一樣純淨,因此空氣是 N4O,長話短說。那是一個物理天堂。⋯⋯如果將它的外殼移除,它將是一個足以摧毀地球的太陽⋯⋯」—— Cat. #0024, Letter from Edward
觀測站(observatory),是人類制高的觀測點,是部落與泛靈通訊的神聖之地,也是封建社會以降,結合占星術與統治技術的展現。現代的觀測,立基於攝像技術與科學的觀察方法,透過反覆捕捉與攝像比對,逐步解析對遠方的想像。今日的觀測,在肉眼、指令手指與視覺介面間交纏與跨越。日常擾動,氣層,誕生,光亮的地方,娛樂,日間光害,挑戰著對純然物理環境的想像,持續創造新類型的模糊與距離。
引力,在宇宙的尺幅思考檔案,或是在移動的時間上凝視出遺落的時間。如果說,工業社會的大量複製,是關於功能與用途的重複,那麼,當話語開始變得瑣碎,動作愈發混沌不明的時候,或許這些便只是對時間延展的渴望,以及對於別離的最大抵抗。
「膨圈」在滿屋子的太陽裡,時空坍縮,器官錯落照耀,各式記憶相互折射。這裡的陽光沒有重量,而是倏忽在聚會的叢林裡現身:檔案管理者、天文學家、業餘觀察家與民眾,在帶領我們緩緩駛向山頂之際,通過日常觀看、科學觀測、記憶影像拼接,開展環繞在跨脈絡與非主流的知識建構、主體經驗與想像推測的對話與討論。

|關於藝術家|
林怡君
畢業於倫敦大學金匠學院藝術創作碩士,關注於現代生活系統中「過渡」與「破碎化」的概念,透過物質—(心理)身份—記憶的邏輯轉換,嘗試開啟更接近本質性的討論。目前以計畫類型的方法進行橫跨創作與策展的實踐。近年參與多項國內外藝術社群交流與展出,包括「煉身史PLAYBOUR」(本事藝術,2021),「流浪的土地公 : 北投社保德宮的神明地誌學」(保德宮,2020)、「挑戰的時刻:台泰線上交流駐村」(鳳甲美術館、Jim Thompson Art Center,2020)、沖繩亞洲國際和平藝術季(南風原文化中心,2020)、洛杉磯十八街藝術駐村(2019)、「向同儕學習」—台印當代藝術共學計畫(Gudskul, 2019)、烏蘭巴托媒體藝術節(MN 17 Gallery,2019) 等。曾入選臺北美術獎;為2018年國立臺灣美術館數位方舟策展案「薛西弗斯 Ver. 20.18」策展人之一。
林怡君個人網站:https://www.linyichun.studio/

協辦|立方計劃空間
展覽贊助|文化部
*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
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The Pong: The Sun, Observers, and A Discussion
Lin Yi-Chun Post-Residency Exhibition
Date|27 November – 24 December, 2021
Opening|27 November (3-6pm)
Venue|TheCube 7F (7F., No. 241, Sec. 3, Roosevelt Rd., Taipei)
*Please wear a mask at all times during the opening and fill out the registration form.

TheCube 7F is pleased to present The Pong: The Sun, Observers, and A Discussion, Lin Yi-Chun Post-Residency Exhibition. This is the first exhibition associated with the artist’s 3-month residency at 18th Street Arts Center, Los Angeles in 2019. By reference to archival documents, image collage, and sound, this exhibition explores the relationships and production among time and space, memory and identity. The exhibition is scheduled to open on 27 November,2021 and runs until 24 December,2021.


|About the Exhibition |
Text/ Lin Yi-Chun
“…There is no rain there The light is always the same and the temperature has not changed One degree in a million years The water is H2O. The Ice is as pure as snow and consequently the air is N4O and To make a long story short. That is a physical paradise…. If the crust Was removed, it would be a Sun bright enough To destroy the earth…”
— Cat. #0024,Letter from Edward, To The Scientific Community Thru The Mount Wilson Observatory
“Observatory,” a vantage point for human observation, has been regarded as the home of God and a sacred place, where indigenous people worship; it has likewise been considered as a demonstration site for the complexity sanctioned governance, and eventful astrology, since the time of feudalism. Astronomical observation in the past, from naked eye, photographic technology to wave detection, has allowed us to interpret the mysteries of distant unknowns by constantly capturing and comparing cosmic images and invisible waves with scientific methods. The observation today is conducted not only through the eyes, but more through engaging the fingers following instructions, data calculations and the visual interface with each other. Daily disturbances, atmospheres, births, places with light, entertainment, daytime light pollution; those phenomena are constantly hazing human’s imagination of purely physical environments, creating the distance, and blurring toward new forms.
The force of Gravity, one thinks about archiving under the scale of the universe or gazing at the passage of time when it’s moving forward. It is said that the massive duplication of industrial society is about the production and repetition of functionality and purpose. In this sense, its operations may be merely the longing for the extension of time, as well as the greatest resistance to the sense of separation, while the explicating discourse begins to become trivial, and the resulting actions become more chaotic and their purpose finally unclear.
“The Pong,” a surrounding force field in a room full of sunlight. Time and space collapse. The materialized time appears as specimens of organs in the archival room, shining with all kinds of memories refracting each other. The sunlight here has no weight, but has suddenly appeared, as if in the jungle magically gathered: the archive managers, astronomers, amateur observers, and the public, slowly driving us to the top of the mountain, rustling in haste. From daily observation, scientific measurement to memory images collaging, the journey opens up dialogues and discussions of cross-textual and non-mainstream knowledge construction, subjective experience, imagination, and speculation.

|About Artist|
Yi-Chun Lin (Esther Lin)
Yi-Chun Lin (Esther Lin) is an artist living and working in Taipei, Taiwan. In 2016, she completed her MFA degree in Fine Art at Goldsmiths, University of London. She focuses on the storytelling of transition and segmentation in the modern life mechanism, as well as exploring the transformation and fluidity of identity and value. Through exploring the transiting of substance, identification, and memories, she tries to open up the discussion approaching these subject matters as such. Her research and interests include the production of materials in relation to memory, the spatiality of time, duration and process in space, and the relationship between object and documentation. Her current practice focuses on connecting experimental narratives between literature and installation, and their dynamic interaction with society.
In recent years, she participated in a number of domestic and international exhibitions and art exchanges with art communities, including PLAYBOUR (Solid Art, 2021), Migratory Earth God: The Divine Land History of Beitou Bau-De Palace (Bau-De Palace, 2020) , Challenging Time: Online Exchange and Research Residency Program between Thailand and Taiwan (Hong-gah Museum, Jim Thompson Art Center, 2020), Okinawa Asia International Peace Art Project 2020 (Haebaru Cultural Center, 2020), 18th Street Arts Center AIR Program (Los Angeles, 2019), Peer Learning-Taiwanese/Indonesian Contemporary Art Co-Learning Project (Gudskul, 2019), Ulaanbaatar International Media Arts Festival (MN 17 Gallery, 2019), etc. She received the Judge's Award in Taipei Awards in 2015; she was one of the curators of Sisyphus Ver. 20.18 at National Taiwan Museum of Fine Arts, Digital Ark in 2018.
Artist’s website: https://www.linyichun.studio/

Supporting Organizer|TheCube Project Space
Exhibition Sponsor|Ministry of Culture

*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.

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