2041 X 潛艇：關係提詞
2041 X Submarine: prompt /////
展期：2024年3月1日 - 2024年4月14日
地點：潛艇Submarine（台北市中山區中山北路1段105巷22號1樓）
參展藝術家：程仁珮、邱俊達、方彥翔、黃建樺、林正偉
策展人：方彥翔
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Dates: 1 Mar 2024 - 14 April 2024
Venue: Submarine (1F., No. 22, Ln. 105, Sec. 1, Zhongshan N. Rd., Zhongzheng Dist., Taipei City, Taiwan)
Artists: Cheng Jen-Pei, Chiu Chun-Ta (Yves), Fang Yen Hsiang, Huang Chien-hua, Lin Cheng Wei
Curator: Fang Yen Hsiang
關於本展覽////
「Prompt」，引起、提示與協助記憶，形容詞是迅速、立即之意，作為名詞，意思是指示與指令。在今天這個刷屏社會中，顯示於銀幕上「prompt」表示系統準備接受輸入符號或指令的狀態，也指對程式用於執行特定任務的命令。這個開始大量出現在生活視野中的溝通詞令，被我們借取來當作啟動這種立即交誼狀態的指令。
在這次「2041」集體行動策展項目中，我們試圖將本群體持續在探討的「交友」與「藝術社群」可能性的概念延伸，展覽從藝術概念作為「社會交往的意念」，如何放置自身在關係的網絡與循環中，以「2041 X 潛艇Submarine」和此場域之特殊屬性為想像：地下作為感官擴張的地帶、條通街區作為浮動的慾望流域，進行轉化與造場。
如同 prompt 提示詞，在《關係提詞》中我們透過幾個基本設定，作為創作者之間的互動規則與構成展覽的遊戲性指令，來形成相互編織和共同任務：參展計畫成員們提出給彼此之提示詞，不同創作者依據所給定的指令自行想像延伸、發展創作，包含：「非人社群」、「和成員的小孩去旅行」、「不用食物來談論遷徙、家鄉、記憶的創作」、「傳染的途徑能視覺化，我們會看到什麼？」、「如果反社會有一個規則，那是什麼？」，並以「潛艇 Submarine」 作為社群指令的介面，進行不同關係創造、非視覺性、商品化作品等嘗試與探討；從潛入環境、感知、故事、記憶等，試探異質對話及藝術社群連結的可能性實驗與想像。
"Prompt" signifies to incite, cue, and aid memory. As an adjective, it means rapid or immediate, while as a noun, it refers to indications and commands. In today's screen-saturated society, a "prompt" displayed on the screen indicates that the system is ready to accept input symbols or commands, and it also refers to commands used by programs to perform specific tasks. This communication term, which has started to appear extensively in our field of vision, is borrowed by us as a command to initiate an immediate state of interaction.
In this "2041" collective action curatorial project, we attempt to extend the concepts of "socializing" and "art communities" that our group has been continuously exploring. The exhibition takes the art concept as a "notion of social interaction," examining how to position oneself within the network and cycle of relationships, imagining with "2041 X Submarine" and the unique attributes of this venue: the underground as a zone for sensory expansion, and the through-street district as a floating basin of desire, undergoing transformation and scene-setting.
Similar to the cue word "prompt," in "Prompt /////," we utilize several basic settings as interactive rules among creators and playful instructions that constitute the exhibition, forming a tapestry of mutual weaving and common tasks: Participants in the exhibition project provide cue words to each other. Different creators imagine and develop their creations based on the given instructions, including: "Non-human communities," "Taking Yves' child on a journey," "A work that discusses migration, hometown, and memory without involving food," "What would we see if the pathways of contagion could be visualized?" and "If antisocial behavior had one rule, what would it be?" Using "Submarine" as the interface for community commands, various attempts and explorations are made in creating different relationships, non-visual, and commercialized works; delving into the environment, perception, stories, memory, and more, probing the possibilities and imaginations of heterogeneous dialogues and art community connections.
關於 2041////
2041，又稱「雄雄交友」，是一個以台灣南部城市高雄出發的藝術家、文化工作者群體，成員有著包括藝術創作、評論和策展不同藝術領域的背景。建立這個藝術集體是基於對生活環境關注、探究與行動的渴望。以高雄作為思想基地，試圖畫出一些交織線，其經緯將錯落於海洋檔案、社群關係、語言觀察，以及藝文生態等面向；試圖在不受嚴格的指引規範中將實踐、研究和生態觀察交織在一起。此外，作為一種生活運動，定期以「雄雄交友」的名義組織社交聚會和社群活動。
About 2041
2041 is a collective of artists and cultural workers based in Kaohsiung, a city in southern Taiwan. Our backgrounds span various artistic disciplines, including art creation, criticism, and curation. We have initiated this collective based on an awareness of our living environment and a desire for inquiry and action. Kaohsiung serves as our intellectual hub, and without strict guidelines, we aim to interweave practices, research, and ecological observations. Additionally, we regularly organize social gatherings and community events under the name K.K. Engaged Art as part of our lifestyle movement.
關於參展藝術家////
程仁珮
1983 年生於台灣高雄，視覺藝術家。創作形式多以「參與式藝術」進行，經由訪談搜集日常口述歷史，從「生態環境」與「人文議題」兩方面研究「飲食文化」在當今時代裡的姿態。
飲食研究創作所探討的飲食文化層面不單侷限於食物或料理，更多是囊括飲食文化背後的構成因素，如：物產種植、食材運輸、食品加工、產業歷史、政治性食物、民族遷徙等項目，試圖以視覺藝術，描繪飲食在文史中的樣貌。
在法國、越南、菲律賓、芬蘭和日本，多次駐村經驗中, 針對各地不同飲食文化提出許多展演計畫，探討民族遷移和飲食風俗之間的關聯性，並聚焦在飲食文化和歷史記憶。最近，她在各國進行採訪行動，挖掘當地居民的回憶與故事，她將食材與個人物件，組裝成食物雕塑，以攝影裝置呈現。
Cheng Jen-Pei
Born in Kaohsiung, Taiwan 1983. Works are in the form of participatory art. The statement is about food how to be expressed in history and culture, as well as to explore the local conditions and customs of their own cultural differences.
She participated in many art residency programs in Finland, Japan, France, Vietnam, and the Philippines for food research and artworks. She is interested in food regarding the way to be expressed in history and culture, as well as explores the local conditions and customs of their own cultural differences. From the summer of 2014, she started a long-term project with strangers in Paris focusing on the relationship between food culture and memory.
Recently, she conducted interviews in various countries to discover the memories and stories of local residents. She assembled food and personal objects into food sculptures and presented them in photographic installation.
邱俊達 Chiu Chun-Ta (Yves)
現任職於淡江大學教育與未來設計學系，關注研究基礎創作、優柔寡斷的辯證法以及形容詞的存有論。曾獲2009年世安美學論文獎〈朝向廢墟的詩意空間：從空間詩學到廢墟空間〉、2017年世安美學論文獎〈朝向一種場造美學：共享域思維下的當代社群藝術〉。
2008年從哲學仿歐式象牙塔逃出，卻滑入當代藝術生態的廣闊泥沼，如今深陷其中。從西方哲藝思想與大師創作獲得數不盡的天啟靈感，但比較喜歡聽自己的神說話，思考如何從偽社會學方法描繪真實的社會形貌，從偽論述方法來進行知識生產，並且關心藝術創作如何與社會、與生活真正發生關係。
Assistant Professor of Department of Education and Futures Design (DEFD), Tamkang University. 2009 S-An Aesthetics Award “Towards the Poetic Space of Ruin: From The Poetics of Space to Ruin”, 2017 S-An Aesthetics Award “Toward the Fielding Aesthetics: Contemporary Community Art in the Thought of Commons”.
Chiu Chun-Ta (Yves) escaped from the ivory tower of philosophy in 2008 to enter into the field of contemporary art and has been deeply immersed in it ever since. He is very much inspired by the works of western philosophers, art theorists and masters, but prefers to listen to his own masters. He is interested in the methodologies of describing the real society by pseudo-sociology and the production of knowledge by pseudo-discursive. He is also concerned about how art practice is able to form relationships with society and life authentically.
方彥翔
目前居住與工作於台灣台北，從事當代藝術策展、藝術評論、書寫、研究與創作等⼯作。關注當代藝術與社會實踐之間的聯繫光譜，視當代策展與書寫為⼀種跨域性的聚集⾏動，近期研究重⼼為全球化境況下之⽂化⽣產與美學政治。
曾為⾼雄市立美術館展覽部助理策展⼈（2018-2023）、台北當代藝術中⼼策展⼈（2015 - 2016）、乒乓藝術⼯作站成員、打開-當代藝術⼯作站成員。
Fang Yen Hsiang
Fang Yen Hsiang is a curator, art critic, writer, researcher, and artist currently residing and working in Taipei, Taiwan. His practices revolves around the connection spectrum between contemporary art and social practices. He considers contemporary curating and writing as cross-disciplinary actions that assemble and serve as creative mediums in contemporary society. His recent studies focus on cultural production and the aesthetics of politics in the context of globalization.
Fang’s institutional and curatorial experiences include: Assistant Curator of Kaohsiung Museum of Fine Arts (2018 - 2023), Curator of Taipei Contemporary Art Center (2015 - 2016), the co-operator and programmer of alternative art spaces Ping Pong Art Space and Open-Contemporary Art Center.
黃建樺
國立台南藝術大學藝術創作理論研究所博士，專攻當代攝影創作。大學主修雕塑，碩士班時期轉而趨向影像發表，試圖將實體時空的存有看法帶入當代數位影像。思考聚焦於非人生物與社群間的關係，意圖對人類存在於攝像操控時代的身分定位做探討。
作品多以數位合成與裝置手法，指向攝影之於世界所面臨的關於生態系統、治權邊界，以至於文化意識形態的平等(衡)議題。藉此關注影像與觀看行為質變的同時，亦透過數位語彙、語言符號與遊戲性回應當代人們的生存經驗，進而凝塑出多重且帶有脫序趣味的人性寓言。
Huang Chien-Hua
Specializing in contemporary photography, Huang Chien-Hua earned his Ph.D. degree from the Doctoral Program in Art Creation and Theory, Tainan National University of the Arts. He majored in sculpture during his college years, and then focused on image presentation at the graduate school where he tried to introduce his opinion on the very being in physical space-time into contemporary digital images. He pays extra attention to non-human creatures and their relations to communities, seeking to investigate the identity of humankind in the era of photo manipulation.
His works features the combination of digital synthesis and installation, addressing the issues of ecosystem, sovereign territory, and the equality/balance between cultural ideologies that photography has encountered in this world. In addition to being interested in the qualitative change of image and viewing behavior, Huang responds to contemporary people’s real-life experiences via digital logic, linguistic symbols, and gameplay, which conjures multifaceted human fables with a humorous touch of disorder.
林正偉
國立臺北藝術大學新媒體藝術研究所。長期從事藝術創作以及藝術教育。
作品中經常運用現成物與魔術的原理進行創作，並藉由物件重新觀看的方式，來引發物件本身的另一種意圖。作品中帶有詼諧以及挑釁的元素，對於觀者、展覽單位、機制充滿挑戰性。
討論的議題經常與政治、環境、歷史、集體記憶、空間有關。近年將許多實驗性的藝術教育項目帶入校園，並參與多項當代藝術教育扎根計畫。
Lin Cheng Wei
Graduate Institute of New Media Art, National Taipei University of the Arts. Lin has been engaged in art creation and art education for a long time.
In his works, he often utilizes the principles of readymade objects and magic in his creations, and by re-viewing the objects, he triggers another kind of intention of the objects themselves. The works contain humorous and provocative elements, challenging the viewer, the exhibition organization, and the mechanism.
The topics discussed are often related to politics, environment, history, collective memory and space. In recent years, he has brought many experimental art education projects to the campus and participated in many contemporary art education programs
相關報導////
以溝通詞令，讓交友與藝術社群的可能性延伸——《關係提詞 prompt /////》