Y世代，略指1981年~2000年出生的世代，此世代年幼時數位科技並不普及發達、成年後週邊充斥著數位化與訊息化的生活環境。藝術家詹嘉華身處於這個時代當中，逐漸發覺現代人真實身體感知被虛擬感知侵蝕的狀態，其創作常以感官衝擊的視覺元素為呈現主軸，長期關注「數位科技／身體感」的相互關係。

“The Y Generation” refers to those born during 1981 and 2000. This generation grew up in an era when digital technology had yet become popular; but as they entered adulthood, they have found themselves living in an environment characterized by digitization and information. Zhan Jia-Hua has gradually discovered that modern people’s genuine physical perception is eroded by virtual perception in this era. Her work often focuses on visual elements that can create a perceptual impact and continuously explores the relationship between “digital technology” and “corporeality.”



「Y世代：人造知覺─詹嘉華個展」以邁倫．克魯格(Myron W. Krueger)所提出的「人造現實」(Artificial reality)為概念，人們藉由科技創造虛擬現實供人們體驗，當逐漸與科技產物接觸更為親密時，其感知世界便已經從五感擴張成與電子產品接觸後所產生出虛擬的「人造知覺」。藝術家希望透過本展覽探討人造的虛擬產物所構成的感知所帶來的感受之真實性，並提出「這樣的感知是否可以像虛擬世界般被快速刪除？」的提問，試圖引導觀眾釐清真實的身體感知與虛擬的人造知覺之間的界線。

The Y Generation: Artificial Corporeality - Solo Exhibition by Zhan Jia-Hua adopts the concept of “artificial reality” proposed by Myron W. Krueger. Through technology, people can experience virtual reality. When the distance between people and technological products becomes much shortened, our bodily senses expand into “artificial corporeality” incorporated with electronic products. With this exhibition, the artist hopes to explore the authenticity of perception created by artificial and virtual products. Meanwhile, she also poses a question: “can such perception be deleted immediately like that of the virtual world?” Through her work, she attempts to guide viewers to discover the boundary between real bodily perception and virtual artificial perception.



本展覽延續藝術家長期對「數位科技／身體感」的關注，以希臘文對身體(Soma)的描述為觀點切入，將「時間」的元素導入身體長、寬、高的固態形體概念之中，認為身體會因著時間的推移而累積成長，成為一個即時且不斷更新的狀態，而藝術家則運用科技媒體將身體即時更新的狀態再現於作品之中。展覽從《虛擬角色:藝術家 詹》開始，點出虛擬世界中「身分」之議題；透過其從2012年開始的《身體構圖II》系列作品，討論透過虛擬結構，重建人與自我和空間環境的關係；為本次展覽而創作的《訊息》L系列，則著重在討論人類行為受網路訊息控制的現況；展覽最後呈現的作品《公民擠壓》系列則回應「人的身體」作為抗爭的手段，紀錄人與社會的關係。

Continuing her long-term focus on the subject of “digital technology/corporeality,” Zhan employs the idea of the Greek word “soma” (body) and incorporates a temporal element into the concept of solid forms defined by length, width and height. For the artist, the human body grows and accumulates as time progresses and is in a real-time and constantly updating state, which is represented with technological media in her work. The exhibition opens with the work, Virtual Role: Artist Zhan, which pinpoints the issue of “identity” in the virtual world. The series, SomaMapping II, started in 2012 discusses the possibility of using virtual structures to re-construct the relationship between the self and spatial environment. The Message L series, created specifically for this exhibition, evolves around how human behaviors have become controlled by online information. The Squeezing Citizenship series, displayed at the end of the exhibition, serves as a response to using “the human body” as a means of resistance and documents the relationship between people and the society.