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集體製造

當期展覽集體製造

線上3D展廳:https://my.matterport.com/show/?m=WRs3QQLkaJK&lang=en&play=1


自1769年瓦特(James Watt)改良蒸汽機引領工業革命以來,為人類生活帶來爆炸性的發展,人力的勞動也逐漸轉向機械的勞動,使社會發生了巨大的變革。新竹作為臺灣高科技工業重鎮,大量的精密科技之代工與研發製造廠房,也刻劃了本地的經濟活動樣態,可以說,科學園區的興起即是集體製造的最佳代名詞。伴隨著全球化浪潮、AI/物聯網、數位科技的崛起,難以計數的製造物形塑我們的日常生活至今,你我都活在集體製造之下,而我們的生活勞動也參與、成為了集體製造的一環。本展邀集五位擅用不同媒材之當代藝術家,分別以創作、觀念及行動參與介入,藉由多重的觀點詮釋,回應在此命題下所產生的各種想像,試圖引導觀者思考科技高度發展下的功與過,並進一步從此關係中尋求解決方案。

後工業化帶來快速式的消費主義,而低成本的製造模式也促使商品更加低廉化。藝術家黃海欣以灰色幽默的風格,描繪她在美國99分廉價商店中所觀察到的各式圖像。在眾多的一元商品上,人們追從的商品模特兒形象被大量挪用並且簡化、壓縮、變形、變色,不斷地出現在不同的包裝當中,淪為純粹功能性的指標;公園作為聚集群眾的公共場域,時常能呈現人們某些集體意識。黃海欣另一幅紙本素描《巴黎公園》則敏銳地捕捉在法國黃背心運動時期巴黎公園內的人物眾生相。公園內的人們透過各自的動態展現,共同構築屬於這座公園內的場所精神(genius loci)並且沈浸其中,似乎能將當時的社會動盪相隔於圍欄之外,呈現狂躁的現實下異常輕鬆愉快的日常。

自從監視器被發明以來,即揭示了人類對影像的掌控與窺視欲望,這些重複的分割影像透過機械之眼,如同蔓延的數位雜草一般地被大量製造出來,無所不在地監視著當代社會。藝術家郭奕臣的作品《顯影》引以為喻,透過手機軟體隔空擷取來自全球各地監視器即時畫面並輸出成照片。好奇觀看監視器的野鳥、空無一人的街景、建築物上的雕塑…在每張照片中,被攝物雖真實存在,攝影者的位置卻缺席於照片中的時空現場,藝術家得以透過遠端之外的擷取形成另一種對照片的「存在/缺席」。觀者可遊走於灑滿近萬張截圖畫面的輸出照片之中,重新思索攝影的本質;現今大量的精密製造為迎合消費需求的提升,從而導致過於頻繁的淘汰與巨量的浪費。頭髮作為人類有機體的延伸,其中也隱含著集體意識的連結,在作品《一道黑色的彩虹》,藝術家郭奕臣蒐集、拼組多臺無法顯示影像的損壞液晶面板,將人類髮絲透過在面板螢幕中央畫面所顯示出的色光混色之下,照映出如彩虹色般的光線,藉以回應人類演化與科技演進之間的關聯性。

美術館二樓則是以人力集體意識及勞動、訊息的重組、製作為思考開展。臺灣的鐵路便當伴隨日治時期軌道建設與旅遊產業而興,當時鐵路沿線的風土物產圖景亦被精巧地設計在便當盒的外包裝圖紙-掛紙(kakegami)上。藝術家侯怡亭攝影錄像作品《White Uniform》即以此為歷史背景,邀請七堵臺鐵便當廚房內一群身著白色制服的作業員,參考七十年前鐵路便當掛紙,以海苔剪下圖樣,反覆加工製成便當。侯怡亭試圖將作業員在集體意識下的日常勞動行為,翻轉為藝術行動,從而探討藝術生產與日常勞務的生產之間的關係;錄像作品《冷鍊》援引自物流供應鏈專有名詞,始自侯怡亭走訪哥倫比亞跨國切花工廠,精細觀察當地工作場域的生產鏈景況,指涉在當代社會治理之下,人類在製造物以及其被製造的各樣生產關係裡,依循著工業化的系統,透過分配,進行價值交換及資訊傳遞之間的互動關係。

2002年,臺灣加入WTO之後,納入全球化經濟版圖,伴隨著自動化趨勢及產業大規模移轉,成衣紡織產業自此更行蕭條,在此時空背景之下,藝術家黃博志透過攝影及文字將自己母親遭逢職業流變,從農業到工業再回到農業的生命勞動歷程書寫成散文集《藍色皮膚:老媽的故事》,而這段家族經歷,也如實地反映著臺灣近二十年以來,農業、經濟體制的改革與社會變遷歷程。

展覽以藝術家杜珮詩作品《想像的製造》作結,在三頻道的錄像中,她以多位紀實攝影師的著名攝影作品作為影像串聯(Story Solitaire),使原先不具任何關聯的影像產生看似互相牽制卻又非線性的敘事結構。「想像」本身即是一種「製造」,透過重新拼組、再製手法,原屬於「現實」的影像物件,已然脫離了原先脈絡,進入「想像」層面,最終相互交疊、組織成一部帶有幻想與客觀的感性故事。

如今在當代社會之下,人類雖深陷於這不可輕易分割的循環模式與結構組織,我們仍得以透過藝術家之眼,直視集體製造所產生的種種疲弊,重新檢視這些根深於生活中的事物,不僅僅是一種對於「集體的、普遍的」的反動,亦期望觀展者迴返自身的經驗,覺察在集體中的個人運作,從而意識個人的勞動又是如何對應於集體製造。

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「集體製造」

❖ 展期|2021/11/7 (日) – 2022/1/2 (日)
❖ 地點|新竹市美術館 ( 新竹市中央路116號 )
❖ 藝術家|杜珮詩、侯怡亭、郭奕臣、黃海欣、黃博志
❖ 主辦單位|新竹市政府
❖ 承辦單位|新竹市文化局
❖ 策展團隊|恆禾藝創
❖ 特別感謝|TKG+


Since James Watt's improvement in the steam engine drove the Industrial Revolution in 1769, machinery has gradually replaced the labor force, bringing explosive development and transformation to society. In Hsinchu, the center of Taiwan's high-tech industry, precision manufacturing and
research/development factories have portrayed the shape of the local economy. Put it differently, the rise of Hsinchu Science Park fully demonstrates the meaning of collective manufacturing. In the tide of globalization and the rise of AI/IoT and digital technology, we all lead a life shaped by countless productions, as our daily labor has contributed to collective manufacturing. In the exhibition Collective Manufacturing, 5 contemporary artists gather to interpret their thoughts on this topic through creations, concept presentations and activities, trying to inspire reflections on the pros/cons of hightech's rapid development, further questing for solutions.

Post-Industrialization led to Consumerism, in which low-cost manufacture has resulted in cheap products. In HUANG Hai Hsin's paintings, various images from the American 99-cent-only stores are portrayed with gray humor. The unique figures of models are simplified, compressed, transformed and discolored, then printed on different packages as pure icons. On the other hand, parks, as public space, gather the crowd's collective consciousness. HUANG captures the gathering participants of Paris' Yellow Vests Protests in such space in her sketch work ”French Park”. The participants construct and immerse themselves in the genius loci, where chaotic reality is blocked outside the fences and an extraordinarily relaxing scene is presented.

The invention of surveillance cameras reflects human!s desire for monitoring and peeking. Through the eyes of machinery, repetitive monitor images are manufactured as widespread as grass, omnipresently monitoring the contemporary society. Involving such concept, KUO I Chen captures surveillance camera images in his creation "Snapshadow”, by linking his smartphone to the cameras around the world through apps. In each images, the subjects were existed veritably, however, the position of photographer were absent from those situation. The action of screenshot became to another "Attend / Absent”. In the exhibition, audiences are invited to stroll amidst thousands of captured images, then reflect on the essence of photography. On the other hand, as precision manufacturing increases to meet the skyscraping consumption need, excessive replacement and waste are generated. And hair, the extension of human body, includes collective consciousness. Combining both elements in his work "Black Rainbow”, KUO places hair in collaged broken LCD panels, which radiate rainbow-like beams that reflect the connection between the evolution of human and the progression of technology.

On the 2nd floor of the museum displays artists' thoughts about collective consciousness and the reconstruction/creation of labor/information. The Taiwan Railway bento sprang up during the railway construction and traveling industry development in the Japanese Colonial Era, when sceneries along the railway are delicately printed on the bento kakegami. Based on this history, HOU I Ting's video creation “White Uniform'' features a group of food operators from TR bento kitchen, who refer to the bento kakegami from 70 years ago, then cut out the sceneries from seaweeds, finally complete the lunch box manufacture. Through turning the collective consciousness and labor force into artistic actions, HOU discusses the relationship between art creation and labor. On the other hand, in her work “Cold Chain'', the terminology which originated in the logistic supply, HOU closely observes the production chain in Columbia's cut flower companies, indicating how people follow the distribution of the industrialization system, and trade value/info through various contemporary production.

Since the participation in the World Trade Organization (WTO) in 2002, Taiwan has become part of economic globalization and has experienced automation and massive industrial shift, resulting in the decline of our textile Industry, which influenced HUANG Po Chih's mother drastically. Recording his mother's labor shift between agriculture and textile industry in the book “Blue Skin”, HUANG depicts Taiwan's agricultural/economic reformation and social transformation in recent 20 years.

Wrapping up the exhibition, TU Pei Shih's video work “Making Fantacies” presents a story solitaire of several documentary photographers' works, creating a non-linear storytelling structure that links all unrelated photographs. “Imagination” itself is a way of “manufacture”. The images from reality are detached from its original form through recollage and reproduction, becoming part of imagination, creating a story mixing fantasy and reality.

We are deeply tangled in the undetachable cycle and structure of collective manufacturing nowadays. Meanwhile, through appreciating artists' creations, we still can face and rethink all related concerns. The exhibition is not only a reaction to the collective common reality, but also a chance for audiences to reflect on their experiences, notice the way individuals work amidst the mass, thus realize how to deal with the collective manufacturing with their own labor.

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