尊彩藝術中心即將參與2014 Art Stage Singapore藝術登陸新加坡博覽會，以「失訊之城」為題，集結了多位以「都市焦慮」為創作觀點與能量的藝術家，並帶給觀賞者台灣當代藝術的多重樣貌。

都市化的開發過程中，加速了人們生活型態的轉變，而人們透過時間節奏的加速，不斷挑戰時間的隙縫，這種「高速的時間感」，已經是島國都市共同的宿命。然而，速度破壞著日常的體感，這種加速後體感的「消失」，如同後現代哲學家保羅‧維希流Paul Virilio（born 1932）在其著作《消失的美學》（Esthétique de la disparition ）中，提到「速度越快、感知越慢」，這種失速論，就如同都市中的居民，在不斷與時間競賽之下，形成某種制式後的身體機器，並慢慢進入「失神的縫隙」，最終這種時間節奏，就好像都市開始「失去訊號」，人們也將隨之進入無訊息的無意識，不停的振動與運作，被速度與時間所控制，雖想逃離訊號的控制，又無法在無訊中失去對外的連結，這種試圖逃獄又無法真正逃出的狀態，延伸成都市的快感，與非自主機器結合起來的某種狀態，這種狀態類比不斷跳動的心臟，雖然震動，但又是無功能的肌肉所運轉帶動，在不實的快速與沒有功能的運作下，形成都市的焦慮。

劉文瑄的作品《古根暈眩三連作》，以自身在紐約古根漢美術館工作的經驗，運用古根漢美術館的空白門票為創作媒材，試圖詮釋古根漢美術館建築結構體的「暈眩」，也帶出留學時文化衝擊下的暈眩感。吳耿禎的作品《影像剪紙系列－仰望冬日》，依據對於環境與空間的敏銳度，透過平面結構的鏡射，把生活中的圖騰與符號融合在剪紙裡，作品雖為平面，卻有著空間的結構。林宏信的作品《也許雲知道》《薄霧之城》，用繪畫形式，構思都市中的某一景色，使其畫面形變與失焦，讓景色產生出「奇觀」，顛覆平時熟悉的感知。王建文作品當中的風景，宛如文章或樂曲的章節段落，多層次地表現光影、色彩，如監視器失訊般的垂直畫面，營造出一種謎樣空間。戴翰泓的作品《我那椅子上的房子》，從自身的建築背景，以及對於木材的依戀與建築的著迷，創作出是椅非椅、是房非房的雕塑作品。

展覽中的五位創作者，雖然求學背景與創作媒材都不同，但皆有著某種對於環境改變與突破的渴望，其渴望也帶著某種鄉愁，回歸自身的經驗，並試圖透過自己的作品，與自身所在的城市溝通，找尋都市化之下，速度機器的逃生出口，一方面檢視著自己的過往，也試圖讓觀者，反思速度快感的失真，希望讓觀者思考與感知生活、環境的重要。


The process of urbanization rapidly transforms people’s lifestyle and sometimes in an irreversible way. People perceive the tense rhythm of time ticking away, and thus constantly feel challenged to seize each space in-between the moments. This "high level of time-pressure" has become the common problem of every city. However, irregular pace in daily life will lead to mental and physical stress, and people’s sensory receptors tend to become weaker when responding to stimuli. Referring to the post modern philosopher Paul Virilio’s (born 1932) work, “Esthétique de la disparition”, fast pace in life will slow down perception. Symbolically, the urban residents resemble a machine-like body, when fighting against the high level of time pressure; the body will inevitably sink into "absent-mindedness". As for the city, controlled by the speed of time, it could eventually become distorted by excess signals. "Distortion" is the alteration of the original shape of something, such as an image, sound or waveform. Distortion is usually unwanted, and so people strive to eliminate distortion, or to minimize it. However, distortion may be desirable sometimes, just as the time pressure of an urban city. People cannot walk away from the highly industrialized society without forming anxiety.

The exhibition "Distortion City" recommended the contemporary artists in Taiwan who have creative ideas and energies. Mia Liu's works "Guggen' Dizzy", use Guggenheim Museum’s entrance tickets as the inspirational medium, and indicates artist’s stressful experience of working in the Visitor Services of the Guggenheim Museum in New York. This work also acts as the initiator in transforming the Guggenheim building structure and artist Mia’s culture shock. The works of Jam Wu’s "Photo-cutting Collection - Looking at Winter Light” reflect his sensitivity of the environment and personal experiences as an artist-in-residence. Artist Jam transformed city images into totem and symbol by using Chinese traditional paper-cut techniques.

The work of Lin Hung-Hsin’s ”City Mist “”If the Clouds Know ”, creates surreal city landscape in a realistic way, and makes every familiar corner of Taipei city deformed and defocused, giving a subversive perception to daily life. The new works of Leo Wang use different techniques and mix media to visualize sound signals into abstract paintings. Creating a mysterious space with flowing rhythm and monitor signals by using the vertical composition of light and shadow. The work of Tai Han-Hong "The House on a Chair #1", by artist’s architecture background and the obsession of wood texture, as an anti-functional furniture and sculpture, giving viewer a distorted view of a simple daily chair.

Although the five exhibiting artists all had different background and use various materials for their creation, they all share the ambition to find a breakthrough in the everyday environment, while searching for that familiarity in the city that belonged to their prior experiences. Using their works, artists communicate or escape in the highly time pressured city while reflecting their life experiences. Bringing in various focuses of distorted view, the exhibition aim to bring viewers into deep questioning about the time pressure and speed of life.