Room 920 錨點_泊點

展覽概念 Exhibition Concept

全球化並不只是縮短了國家與國家之間點的距離。我們也透過科技、文化、環境，來稍微舒緩了錨點與泊點之間的緊張關係。點與點之間連成線，拉伸、收縮、扭曲、纏繞，我們在錨點與泊點之間反覆的徘徊，為生命留下證明。而旅行可以說是人類付諸行動最好的證明之一。

跨國，或者說長距離的移動行為，讓家的概念變得更為複雜。何謂家？是家人？是房子？還是那張從小躺到大的床？家是一個非常古老的概念。不單是一個定居所，同是讓人產生歸屬感的某種關係。人們可以居無定所卻無法沒有歸屬。而這份歸屬感就如同錨點一樣是難以輕易被影響的。

藉此，由五位來自不同國家、文化背景，共同討論「錨點\泊點」。基於不同的視角進行分享及實驗，針對主題提出各自的子題，並嘗試在這個短期滯留台灣的期間以現地製作的方式闡述自身經驗。

Globalization has not only shortened the distance between countries, but also let us slightly ease the tension between anchors and moorings through technology, culture, and environment. Dots are connected into lines, stretched, shrunk, twisted, and entangled, as we wander from anchor points to mooring points, leaving evidence of living. The action of traveling can be one of the best proofs of that.

Cross-country, or long-distance movement, makes the concept of home even more complex. What is home? Is it a family? Is it a house? Or is it the bed that you have been lying in since you were a child? Home is a very old concept. Not only is it a place to settle, but it is also a relationship that gives people a sense of belonging. People can live in a place without a place to belong. This sense of belonging, like an anchor point, can hardly be affected when anchored.

In this exhibition, five artists from different countries and cultural backgrounds share their thoughts on “anchor points and mooring points". From different perspectives, they experimented with their own sub-topics and tried to elaborate on their experiences in made-on-site artworks during their residency in Taiwan. 陳信瑋 Chen Hsin Wei

出生於台灣台中，現居東京，就讀東京藝術大學大學院美術研究科。從事藝術翻拍以及表演藝

術記錄，有多次與藝術節及國際展覽單位的合作經驗。結合影像專業作為藝術創作手段。作品多為探討記憶與資訊變遷之間的關係，時間及運算邏輯的絕對性。以一種非常理性的方式去處理感性的話題，試圖讓觀者重新去想像攝影背後的意義。

Chen Hsin Wei was born in Taiwan Taichung, and currently based in Tokyo. He is studying in Tokyo University of the Arts and works as an artwork photographer, over 8 years of photographing artwork experience for domestic and international Art Festivals, Artists, and Arts Organizations. Hsin Wei uses his own profession as one of the means of artistic creation. Most of his works focus on the relationship between memory and advances in information technology, or absoluteness of time and calculation logic. He deals with emotional topics in a very rational way, tries to let the viewers to re-imagine the meaning behind photography.

2023 Where we belong, Tainan, Taiwan

2022 Beyond Code & Time Pavilion 0/4, Venice, Italy

2022 WHATZ Art Fair, Taipei, Taiwan

2021 Pavilion 0/3 GAD Venice Biennale of Architecture, Venice, Italy

2021 Nakanojo Biennale 8th, Gunma, Japan

2021 Whaaaaat's Art Fair, Taipei, Taiwan

2021 Nakanojo Biennale Prelude, Gunma, Japan

2020 Origins of Originality, Tainan, Taiwan

2020 Mediations Biennale 7th, Lodz, Poland

2020 Hanover Pavilion 0/2, Hanover, Germany

2019 Nakanojo Biennale 7th, Gunma, Japan

2019 Synthetic Mediart, Taipei, Taiwan

​2019 Theft Wrangle, Tainan, Kaohsiung, Taiwan

2018 Field Experiments The Roving Exhibition of Three Schools, Tainan, Taiwan

2016 Essential photographic aesthetics, Kaohsiung, Taiwan

2015 Taichung Salon Artist Association, Taichung, Taiwan

​2014 Chao Jhong painting group exhibition, Taichung, Taiwan

吳思睿 Wu Si Rui

吳思睿的作品通常是基於時間的、互動的、多感官沉浸式的復古和前沿技術的混合體。他試圖的在更廣泛的全球背景下重新定義如霓虹燈，書籍等傳統媒介。在製作藝術家創作書過程中，他將敘事與書籍形式中的未知可能性可視化，於觀念藝術的角度以書做為展示空間。現居東京，藝術創作同時以傳統裝訂工藝修復舊書，在東京藝術大學的全球藝術實踐碩士項目中學習。

Works produced by Sirui are often time-based, interactive, immersive, multi-sensory, or hybrids of retro and cutting-edge technologies. His practice repositions traditional icons while using conventional mediums such as neon and book, within a broader global context. Sirui also makes artists’ books, attempting to visualize the unknown possibilities to be found in storytelling and the form of books. He is now based in Tokyo, practicing restoring old books and historical binding crafts while continuing his study in the Global Art Practice MFA program at the Tokyo University of the Arts.

Activities and Awards

2023 Assistant, “Prometheus the Fire-Bringer” (by Meiro Koizumi), Theater Commons Tokyo’23, Tokyo

2020 Saturday Talk, Artist talk, Mudita (ムディター), Tokyo, Japan

2019 SAIC 2019 Fall BFA Show, Sullivan Gallery, Chicago, US

2018 SAIC Short film showcase, Gene Siskel Film Center, Chicago, US

2018 Book Exploration, Group Exhibition, Zhou B Art Center, Chicago, US

2018 Chicago Art Book Fair 2018, Chicago Art Book Fair, Chicago, US

2017 Chinese paintings of Coke-ink landscape, NanShan Gallery, Shanghai, China

2021 Japan Game Awards 2022 Amateur Division Semifinalist,

Art Director & Animation Storyboard

2016 Cities of Love Shanghai 2015 Film Festival Best Production Design,

Director & Co-producer of “The Stall” 趙慧庭 Jo Hyejung

趙慧庭的作品著眼於難以用語言描述的感知和情感。她常從科學和形而上學概念的交集中汲取

靈感，通過各種媒介，如動態裝置藝術、影像，用動態形式於她創造的虛構空間中影射表達這些難以言喻的情感。趙慧庭現居東京，在東京藝術大學的全球藝術實踐碩士課程學習碩士課程。

Hyejung Jo (b.1995) is interested in embodying senses and emotions that are difficult to describe in words. These are generally expressed by insinuating them to form of movement through various mediums such as installation, kinetic sculpture, and video in order to create her fictive space and it is often inspired by the interaction between notions of science and metaphysics. She is currently based in Tokyo, continuing the MFA Global Art Practice course at the Tokyo University of the Arts.

Record of Activities

2022 Assistant for Aï Kitahara

2022 Assistant for Max Hooper Schneider

2021Graduation Exhibition, Ecole Supérieure des Beaux-Arts de Montpellier, France

2021ZONE Virtual Group Exhibition, Montpellier, France