因為通訊軟體與線上網路平台的高度普及，幾乎佔滿了人們生活的所有時間，手機不離手、眼睛時時盯著發光的螢幕，不管是如手掌大小的電子螢幕或是辦公室電腦、走在街道上琳琅滿目的LED廣告看板，絢麗的畫面和影視內容，殖民了我們的思想與大腦。當代藝術家的創作即時反映了他們的生活狀態，資訊串流、網紅影片、迷因素材已經滲入了許多年輕藝術家的創作內涵，臺北數位藝術中心規劃「屍變．靡靡．壞天氣」邀請三位藝術家，透過他們的作品來呈現當代網路藝術或新媒體藝術中，將網路資訊媒體以諧擬、迷因、以及透過裝置藝術將個人感官經驗重新表達出來。

Communication apps and online platforms outstretch to everywhere and occupy every moment of everyday life. Keeping hands sticking to smartphones and eyes fixed on glowing screens, by mobile devices, monitors in office and view-packing LED advertising boards on street, fancy images and video contents colonize our thinking and brains. Artworks timely reflect their creators’ living states. Streaming information, videos by social media influencers and meme materials have penetrated creations of many young artists in substance. Digital Art Center Taipei curated Walking Dead, Meme, Bad Weather and invited three artists to tell the stories of personal sensual experiences in Internet art or new media art at present via parodies, memes and installations in their productions.

2020/05/30-2020/07/25

開幕導覽 Opening & Guide Tour
5/30 15:00

座談 Artist talk
6/20 15:00
徐詩雨X陳呈毓X陳俊宇X謝詠程
HSU Shin-Yu X CHEN Chen-Yu X CHEN Jun-Yu X HSIEH Yung-Cheng

表演 Performance
7/18 16:00
小嫩豬特別場：給我好好演哦
Little sexy young pig/special issue: Do your Best.
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藝術家簡介
Artists

陳呈毓近年的創作在探視資本全球化及工業數位化下的地景，以及人與其大量生產的物質與影像之間的作用關係。作品結合錄像、裝置、雕塑等媒材，透過影像和物件的拼貼再製，試圖以寓言式的敘事，描繪出在技術−資本的掌控下，人、物、環境所相互滲透建構的關係與邊界。曾參與駐村計劃於紐約水磨坊藝術中心、首爾衿川藝術空間、武漢K11藝術村。近期參與展覽於台北市立美術館、鳳甲美術館、香港藝術中心、貝魯特Ashkal Alwan、首爾藝術空間、卡塞爾紀錄片及錄像節等。

CHEN Chen Yu’s works look into the landscapes under the construction of digital industrialization and globalization of Capital, and the interactivity between human, commodity and image. Works with moving images, installations, and sculptures, he juxtaposes distanced events through images and objects. Often his works peak into the subjects through some allegorical lenses. The works on one hand, depict the phenomena created by the desire and belief driven resource extraction, re/production, and consumption, one the other hand, try to explore the interpenetrative relationship and boundary between human, object, and environment under the Technocapitalism. His works were exhibited in Taipei Arts Award, Hong Kong Art Center, Ashkal Alwan Beruit, Seoul Art Space Geumcheon, Kasseler Dokfest.


陳俊宇的創作一直用身體力行的方式，進行著各種敵對觀念上的辯證，作品結合影像、裝置、現成物等媒材。2018年之前與垃圾們（至少2人）有一個以社福機構為目標的樂團（歇業很久），收容各種邊緣的珍禽異獸一起發聲，防止大家壞掉。
近期自覺好像不小心就錯過自媒體（網紅影像）的熱潮，只好回味在中二的古典影像並模索新鮮的影音技術，嘗試在這個影音氾濫的時代，創造一些有趣的風景。

CHEN Jun Yu has been creating works around dialectics among a variety of opponent ideas by combining mediums, such as videos, installations and objects. By 2018, CHEN had been a member of a band (activities suspended for a long time) that he formed with his “trash” friends (minimum 2 persons). They tried to settle the band as a shelter for the marginalized to keep from idling and a stage to voice up. Though aware of his reckless absence from the trend of self-media (videos of social media influencers) recently, CHEN turns to indulge himself in traditional images and exploration of edgy audio-visual tech, trying to create intriguing scenes in the overwhelming age of overspread images and sounds.

謝詠程1995年生，作為一位網路原住民，他的過去是一部部在網路上可調閱的文本，儘管畫質低了一些，當影像與它的意識形態歷歷在目，他更好奇自己的身體如何與訊息一起長大。目前就讀北藝大美術創作研究所，藉由訊息導向的創作方法，不論書寫、演說或是影像生產，他試圖在運算的過程中描繪一具處理器的身體。

HSIEH Yung-Cheng was born in 1995. Being a digital native, his past was pied up by texts after texts that can be accessed on the internet. Despite their sorry resolution, the images remain screaming out the ideology behind. And that makes him wonder how his body has grown up with information. HSIEH is currently studying MFA in Taipei National University of the Arts, working on the information-based creative methods. Employing processing such as writing, lecturing, and image-producing, he attempts to depict a body of CPU.