乾隆潮新媒體藝術大展
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你/妳也可以是乾隆:一位受上天特別眷顧的天子;一生追求「十全」的皇帝;一個愛好藝術的創作主導者、收藏家亦是鑑賞家。 這是第一次,十八世紀乾隆皇帝與二十一世紀當代人最親密的距離。
乾隆潮新媒體藝術大展

乾隆潮:每個人都可以是現代乾隆

你/妳也可以是乾隆:一位受上天特別眷顧的天子;一生追求「十全」的皇帝;一個愛好藝術的創作主導者、收藏家及鑑賞家。這是第一次,十八世紀乾隆皇帝與二十一世紀當代人最親密的距離。

 

清高宗乾隆皇帝收藏的文物,蘊含著帝王品味的養成(傳承)、自發性的鑑賞製作(創作),以及豐富多元的生活情趣(藝術)。無論他鑑賞品評的角度、仿製與創新的嘗試和東西方藝術手法的雜揉,影響力遠遠泛及宮外庶民的藝術風格,並且引領了該時代的美學潮流。乾隆皇帝透過他的藝術品味構建出一個獨特、多元、豐富且飽滿的小宇宙。

以現代觀點詮釋:乾隆對收藏的具體嗜好、對藏品評鑑的自我態度以及引領潮流的開創性格,即是我們可以解讀的「潮」(C.H.A.O.)。既然是「潮」,那又該如何「潮」?抽離階級概念,不談歷史上的「乾隆」,我們藉著展覽,溝通一個文化上的「乾隆」,將「乾隆」轉譯為一個符號,並且大膽讓古文物蘊含的「帝王文化」與當今「次文化」做一場跨時代的對話。透過街頭藝術(Street Culture)、角色扮演(Cosplay)、 DJ 唱盤騎士(Disc Jockey)、卡漫 (Anime & Manga)、公仔 (Action Figure)、電音 (Electronic Music)、前衛時尚(Avant-Garde Fashion)、電玩(Video Game)等多方位探討,辯證藝術品味與文化現象間的微妙。

歷史上,乾隆皇帝的藝術收藏貫穿當時的古今,橫跨東西;本展覽詮釋下的「符號乾隆」以多重的「文化混音」(Culture Remixing),將「歷史」、展覽虛構的「平行時空」,以及參觀者所身處的「當代」這三者搭起互通的橋樑。

 

展覽中,我們邀請了數十位藝術家或創作團體,以乾隆收藏的文物為文本,解構此文本的美學與實用性,提出現代的詮釋觀點,並重新演繹與創作而成當代文物。在這裡,貫穿本展的核心「新媒體」並非創作的主體,而是創作的手法之一,是載體。載體可變化萬千,但回歸「媒體」的本質,便是人與自己、人與他人「溝通」的介質。

這介質在數位科技及網路技術不斷質變,傳統媒體與新媒體形式交錯演化下,其實早已沒有「新」與「舊」之分。我們期待參觀者在觀展過程中,漸漸解構「媒體」的形式,進而體悟「媒體」的本質,並且扣合詮釋的文本參與創作,與自己、與他人溝通出「新」的思維或情感,那便應該是所謂「新」媒體的精神。亦代表 20 世紀末,資訊及網路時代後,「人人皆可閱讀」、「人人皆有詮釋權」、「人人皆是創作者」的時代符號。

 

乾隆潮新媒體藝術展共分為六區:首先,通過以〈皇清職貢圖〉與乾隆肖像構成的「時空洞」,這裡是通往乾隆文物奇幻世界的過道,而你/妳,開始被冠上了乾隆之名。接著,踏入以花瓶物象解構生成的「乾隆的奇異山水」,悠遊其中,解析你/妳的時尚品味與藝術品味。穿越山水,是一座以〈漢宮春曉圖〉為本、時空並置的虛擬城市—「乾隆的春曉慶典」,在城市間你巧遇了另一個與你/妳一樣墜入奇幻世界的他,且一同經驗一個微細的感動。踱步於市街,你/妳停駐在以巨大的多寶格展示的藝術品櫥窗—「乾隆的小宇宙」,欣賞櫥窗內藝術家們以文物為發想原點,所全新創作的當代藝術品。而旅途的盡頭,你/妳與那座反射出自我內在心理的「十全乾隆」 四目相對。環顧四周,又可見貼佈著「人人都是乾隆」,娓娓訴說著相片中「乾隆」的收藏與生命故事。別忘了,一路上最美的風景,當然是人。

 

是的,你/妳就是乾隆!走進這個以創意(Creativity)的概念,詮釋乾隆收藏文物(Heritage)的美學,再以藝術(Art)手法構建出的奇幻世界,並且經歷一段誘發探索的旅程(Odyssey)。這就是我們的乾隆「潮」(C.H.A.O)。

這趟「乾隆潮新媒體藝術」的旅途,也許沒有精確的指標,但滿佈著符號:也許可辨識,也許不可辨識。也許,你/妳可以試試,偶爾欣賞迷路中從未見過的風景。

 

請進,你/妳,這位乾隆。

 

Qianlong C.H.A.O.-Everyone can be a Qianlong in the modern world.

You, too, can be a Qianlong—a Son of Heaven specially gifted, an emperor who sought for “the Ten Great Campaigns” in life, and a director, collector and connoisseur who embraced art. For the first time, we connect Qianlong from the 18th Century to people nowadays.

 

The private collection of Qianlong (AKA Qing Gao Zong) implicates the cultivation of an emperor’s taste (Legacy), spontaneous appreciation and organization (Creation) and rich and multiplex delight of life (Art). He influenced the art style of the common people during his time with his way of evaluation, the attempt to imitate and innovate, and his way to mix oriental and western art. Qianlong constructed a unique, multiplex and rich petit universe.

 

From a modern perspective, we may interpret his love and attitude for his collection and his innovation to lead the trend as “C.H.A.O.”.

 

But how “C.H.A.O.” should it be to be “C.H.A.O.” enough? Let’s try to see “Qianlong” as an icon instead of the great emperor in Chinese history, and boldly arrange some connection between this “Emperor Culture” and “Pop Culture” (Subculture). Via topics about Street Culture, Cosplay, Disc Jockeys, Anime & Manga, Action Figures, Electronic Music, Avant-Garde Fashion and Video Games, we dialectically understand the relationship between art taste and cultural phenomenon.

 

Qianlong’s art collection runs through time and space. The “Qianlong’s Icon” we interpret uses a Cultures Mixing to build a connection among history, the “parallel time and space” we fabled for this exhibition and the “contemporary time” the visitors are currently in.

 

For this exhibition we invited tens of artists/groups to deconstruct the beauty and practicality of the relics that Qianlong collected, interpret them from a brand new point of view and re-deduce them to fit in a modern perspective. The “New Media” that runs through this exhibition is rather a technique or carrier than a subject. Carriers can vary, but the essential of “Media” refers to being the medium of “communication” among people.

 

This medium keeps transforming nowadays due to the non-stop renewal of our digital and network technologies. The cross-evolution between traditional and new media has made it difficult for people to tell which is “New” or “Old”. We expect visitors to gradually deconstruct the media form and comprehend the essential of “Media”, followed by building a “New” way of thinking or affection within themselves, or between them and others—which means a real spirit of the “New” Media, as well as a symbol that represents “Everyone Reads”, “Everyone Interprets” and “Everyone Produces” since internet era has fallen.

 

The Qianlong C.H.A.O. New Media Art Exhibition is divided into six parts. The first part is a “Rabbit Hole” consists of Qianlong’s portrait and “Illustrations of Official Tribute”, a pathway that leads to the fantasy world of Qianlong’s relics, where visitors are crowned under his name.

 

The second part is “Qianlong’s Fantastic Landscape” consists of deconstruction of vases and utensils, which analyses your fashion/art taste. After this area comes a virtual city based on “Spring Dawn in the Han Palace” called “Qianlong’s Spring Morning Celebration”, where you might bump into someone who’s also wandering in this fantasy world and together you experience the touching moments this journey brings.

 

After that you may stop by a window called “Qianlong’s World” which presents the contemporary art works of nine artists/groups inspired by ancient relics with Chinese Miniature Curio Cabinets.

 

At the end of the journey, you look into the eye of “Qianlong with Ten Great Campaigns” and all around you are other visitors who were crowned to be this icon with their own stories and collection, reminding you that human beings are of course the most beautiful scenery wherever you go.

 

Qianlong C.H.A.O. New Media Art Exhibition is a journey of Creativity, Heritage, Art and Odyssey (C.H.A.O.). It’s a journey that may not have an accurate directions but full of symbols—recognizable or unrecognizable ones. Even if you’re lost in it, you may see something unexpected that surprises you.

 

Please come in and have a look.

介紹
資訊
地圖

乾隆潮:每個人都可以是現代乾隆

你/妳也可以是乾隆:一位受上天特別眷顧的天子;一生追求「十全」的皇帝;一個愛好藝術的創作主導者、收藏家及鑑賞家。這是第一次,十八世紀乾隆皇帝與二十一世紀當代人最親密的距離。

 

清高宗乾隆皇帝收藏的文物,蘊含著帝王品味的養成(傳承)、自發性的鑑賞製作(創作),以及豐富多元的生活情趣(藝術)。無論他鑑賞品評的角度、仿製與創新的嘗試和東西方藝術手法的雜揉,影響力遠遠泛及宮外庶民的藝術風格,並且引領了該時代的美學潮流。乾隆皇帝透過他的藝術品味構建出一個獨特、多元、豐富且飽滿的小宇宙。

以現代觀點詮釋:乾隆對收藏的具體嗜好、對藏品評鑑的自我態度以及引領潮流的開創性格,即是我們可以解讀的「潮」(C.H.A.O.)。既然是「潮」,那又該如何「潮」?抽離階級概念,不談歷史上的「乾隆」,我們藉著展覽,溝通一個文化上的「乾隆」,將「乾隆」轉譯為一個符號,並且大膽讓古文物蘊含的「帝王文化」與當今「次文化」做一場跨時代的對話。透過街頭藝術(Street Culture)、角色扮演(Cosplay)、 DJ 唱盤騎士(Disc Jockey)、卡漫 (Anime & Manga)、公仔 (Action Figure)、電音 (Electronic Music)、前衛時尚(Avant-Garde Fashion)、電玩(Video Game)等多方位探討,辯證藝術品味與文化現象間的微妙。

歷史上,乾隆皇帝的藝術收藏貫穿當時的古今,橫跨東西;本展覽詮釋下的「符號乾隆」以多重的「文化混音」(Culture Remixing),將「歷史」、展覽虛構的「平行時空」,以及參觀者所身處的「當代」這三者搭起互通的橋樑。

 

展覽中,我們邀請了數十位藝術家或創作團體,以乾隆收藏的文物為文本,解構此文本的美學與實用性,提出現代的詮釋觀點,並重新演繹與創作而成當代文物。在這裡,貫穿本展的核心「新媒體」並非創作的主體,而是創作的手法之一,是載體。載體可變化萬千,但回歸「媒體」的本質,便是人與自己、人與他人「溝通」的介質。

這介質在數位科技及網路技術不斷質變,傳統媒體與新媒體形式交錯演化下,其實早已沒有「新」與「舊」之分。我們期待參觀者在觀展過程中,漸漸解構「媒體」的形式,進而體悟「媒體」的本質,並且扣合詮釋的文本參與創作,與自己、與他人溝通出「新」的思維或情感,那便應該是所謂「新」媒體的精神。亦代表 20 世紀末,資訊及網路時代後,「人人皆可閱讀」、「人人皆有詮釋權」、「人人皆是創作者」的時代符號。

 

乾隆潮新媒體藝術展共分為六區:首先,通過以〈皇清職貢圖〉與乾隆肖像構成的「時空洞」,這裡是通往乾隆文物奇幻世界的過道,而你/妳,開始被冠上了乾隆之名。接著,踏入以花瓶物象解構生成的「乾隆的奇異山水」,悠遊其中,解析你/妳的時尚品味與藝術品味。穿越山水,是一座以〈漢宮春曉圖〉為本、時空並置的虛擬城市—「乾隆的春曉慶典」,在城市間你巧遇了另一個與你/妳一樣墜入奇幻世界的他,且一同經驗一個微細的感動。踱步於市街,你/妳停駐在以巨大的多寶格展示的藝術品櫥窗—「乾隆的小宇宙」,欣賞櫥窗內藝術家們以文物為發想原點,所全新創作的當代藝術品。而旅途的盡頭,你/妳與那座反射出自我內在心理的「十全乾隆」 四目相對。環顧四周,又可見貼佈著「人人都是乾隆」,娓娓訴說著相片中「乾隆」的收藏與生命故事。別忘了,一路上最美的風景,當然是人。

 

是的,你/妳就是乾隆!走進這個以創意(Creativity)的概念,詮釋乾隆收藏文物(Heritage)的美學,再以藝術(Art)手法構建出的奇幻世界,並且經歷一段誘發探索的旅程(Odyssey)。這就是我們的乾隆「潮」(C.H.A.O)。

這趟「乾隆潮新媒體藝術」的旅途,也許沒有精確的指標,但滿佈著符號:也許可辨識,也許不可辨識。也許,你/妳可以試試,偶爾欣賞迷路中從未見過的風景。

 

請進,你/妳,這位乾隆。

 

Qianlong C.H.A.O.-Everyone can be a Qianlong in the modern world.

You, too, can be a Qianlong—a Son of Heaven specially gifted, an emperor who sought for “the Ten Great Campaigns” in life, and a director, collector and connoisseur who embraced art. For the first time, we connect Qianlong from the 18th Century to people nowadays.

 

The private collection of Qianlong (AKA Qing Gao Zong) implicates the cultivation of an emperor’s taste (Legacy), spontaneous appreciation and organization (Creation) and rich and multiplex delight of life (Art). He influenced the art style of the common people during his time with his way of evaluation, the attempt to imitate and innovate, and his way to mix oriental and western art. Qianlong constructed a unique, multiplex and rich petit universe.

 

From a modern perspective, we may interpret his love and attitude for his collection and his innovation to lead the trend as “C.H.A.O.”.

 

But how “C.H.A.O.” should it be to be “C.H.A.O.” enough? Let’s try to see “Qianlong” as an icon instead of the great emperor in Chinese history, and boldly arrange some connection between this “Emperor Culture” and “Pop Culture” (Subculture). Via topics about Street Culture, Cosplay, Disc Jockeys, Anime & Manga, Action Figures, Electronic Music, Avant-Garde Fashion and Video Games, we dialectically understand the relationship between art taste and cultural phenomenon.

 

Qianlong’s art collection runs through time and space. The “Qianlong’s Icon” we interpret uses a Cultures Mixing to build a connection among history, the “parallel time and space” we fabled for this exhibition and the “contemporary time” the visitors are currently in.

 

For this exhibition we invited tens of artists/groups to deconstruct the beauty and practicality of the relics that Qianlong collected, interpret them from a brand new point of view and re-deduce them to fit in a modern perspective. The “New Media” that runs through this exhibition is rather a technique or carrier than a subject. Carriers can vary, but the essential of “Media” refers to being the medium of “communication” among people.

 

This medium keeps transforming nowadays due to the non-stop renewal of our digital and network technologies. The cross-evolution between traditional and new media has made it difficult for people to tell which is “New” or “Old”. We expect visitors to gradually deconstruct the media form and comprehend the essential of “Media”, followed by building a “New” way of thinking or affection within themselves, or between them and others—which means a real spirit of the “New” Media, as well as a symbol that represents “Everyone Reads”, “Everyone Interprets” and “Everyone Produces” since internet era has fallen.

 

The Qianlong C.H.A.O. New Media Art Exhibition is divided into six parts. The first part is a “Rabbit Hole” consists of Qianlong’s portrait and “Illustrations of Official Tribute”, a pathway that leads to the fantasy world of Qianlong’s relics, where visitors are crowned under his name.

 

The second part is “Qianlong’s Fantastic Landscape” consists of deconstruction of vases and utensils, which analyses your fashion/art taste. After this area comes a virtual city based on “Spring Dawn in the Han Palace” called “Qianlong’s Spring Morning Celebration”, where you might bump into someone who’s also wandering in this fantasy world and together you experience the touching moments this journey brings.

 

After that you may stop by a window called “Qianlong’s World” which presents the contemporary art works of nine artists/groups inspired by ancient relics with Chinese Miniature Curio Cabinets.

 

At the end of the journey, you look into the eye of “Qianlong with Ten Great Campaigns” and all around you are other visitors who were crowned to be this icon with their own stories and collection, reminding you that human beings are of course the most beautiful scenery wherever you go.

 

Qianlong C.H.A.O. New Media Art Exhibition is a journey of Creativity, Heritage, Art and Odyssey (C.H.A.O.). It’s a journey that may not have an accurate directions but full of symbols—recognizable or unrecognizable ones. Even if you’re lost in it, you may see something unexpected that surprises you.

 

Please come in and have a look.

展覽日期:2013/10/08 ~ 2014/03/16
營業時間:
服務/預約專線:
地址:111台灣台北市士林區至善路二段221號
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