給火星人類學家 To Martian Anthropologists

王雅慧 王雅慧的創作形式涵括錄像、裝置、攝影、繪畫，從現實與影像的交會重疊處，提出許多關於虛／實、內／外空間、影像本質、觀看經驗的問題。在主題上，則關注在東方的自然哲學中，人與世界的關係與思維方式，並從當代生活的經驗中，探索重新納入這種思維方式的可能性。 Draw a Circle  2020｜互動響應式網頁 在 Draw a Circle 當中，使用者必須順著畫面上的圓形搜索才能找到感應區塊，因此，當他們在這個介面停留期間，眼與手也必須協調一致地回應這個圓形。一旦觸動感應區塊，便會啟動長度一分鐘的錄像作品。藝術家在創作時，常感覺像在浩瀚的宇宙中尋找發亮的星星，而太空船雖然必須由人來駕駛，但也須遵循著宇宙的規則才能順利航行，唯有人與宇宙合作時，方能踏上尋找星星的旅程。 https://martian.beauxarts.tw/artwork/wang_yahui_draw_a_circle Ya-Hui WANG Engaged in video, installation, photography and painting, the artist raises questions from the overlap of reality and imagery about virtual/real, interior/exterior, essence of imagery and viewing experience. The subject in her work concerns the nature in Oriental philosophy and the relationship between human beings and the world. From contemporary experiences of living, she is genuinely interested in the possibilities to incorporate the Oriental thinking into modern life. Draw a Circle  2020｜Interactive and responsive web page Users of Draw a Circle must follow the circle on the screen to find the sensor zone. Therefore, during the time when they keep in touch with the interface, the eyes and hands must also respond coordinately to the circle. Once the sensor zone is triggered, an one-minute long video will be played. During the conception, the artist often feels like looking for bright stars in the immense universe. Although the spacecraft must be piloted by human beings, it has to follow at the same time the rules of the universe in order to travel safely. Only when human beings cooperate with the universe, the voyage in search of stars is able to embark. https://martian.beauxarts.tw/artwork/wang_yahui_draw_a_circle Powered by Firstory Hosting

謝佑承 謝佑承的專長為複合媒體及空間裝置，其創作擅長製造臨場的觀察誤區，關注影像、機器和錯覺現象之間異動的主體性，進而對應至人與世界的認識經驗與存在關係。 星叢 / 藍幕 2020｜互動響應式網頁 夕陽低垂，各種光在夜裡浮動閃現。熙來攘往的公路車潮與通明深邃的街燈，遠看是點點微光與星叢，構築了現代生活與城市。流水時間隨一幀幀靜態影像片段切格，循序播放，造就了真實般的觀視錯覺。而現在，超級逼真的巨量影像以各種介面，朝我們襲來。在此刻所有人被迫遣返的獨處時刻，眼前唯留發光的屏幕與影像，這一切也許是從一個碰撞的火花開始，光以點綿延成線，以線拓展為面， 構成時間與文明。 星叢 ▸ https://martian.beauxarts.tw/artwork/hsieh_yucheng_star_cluster 藍幕 ▸ https://martian.beauxarts.tw/artwork/hsieh_yucheng_blue_screen Yu-Cheng HSIEH Specialized in mixed media and spatial installations, the artist often creates skillfully on-site optical illusions to explore the floating subjectivity among image, machine and illusional phenomena, in the hope to reflect upon by correspondence the relationship between empirical world and existential state of human beings. Star Cluster / Blue Screen 2020｜Interactive and responsive web page The sun goes down and all sorts of shimmering lights linger at night. The bustling highway traffic and bright, deep street light, seen from far, have turned into dispersed dim lights and a star cluster, both of which constitute the modern urban life. The flow of time is cut into static frames of fragmented images, which are played in sequence to create a visual illusion of reality. Nowadays, a great amount of images of super verisimilitude, through all sorts of interfaces, have invaded us. At the moment when everyone is forced to regain the life of solitude, all left in front of us are the glowing screens and images. In the beginning, it might start from a collision of sparkles from which light stretches out by spots as a line expanding into a surface, by which time and civilization are thus constituted. Star Cluster ▸ https://martian.beauxarts.tw/artwork/hsieh_yucheng_star_cluster Blue Screen ▸ https://martian.beauxarts.tw/artwork/hsieh_yucheng_blue_screen Powered by Firstory Hosting

李明學 李明學反轉生活周遭物件的使用方式，轉換其外觀造型或被觀看的角度，在探索當代藝術的可能性上，創造出輕盈的另類解讀。他以幽默的手法，重新檢視媒體、教育與社會框架下，對各種事物／物件的慣性理解。 遙望的空洞 2020｜互動響應式網頁 人們總傾向相信「呈現」所帶來的一切，無論是透過視覺上所謂的「有圖有真相」，或是任何有形的證據紀錄，都是「眼見為憑」所衍生出的意識形態。講究科學邏輯的「呈現」，攻佔了人們大部分的生活，然而，作為「呈現」反面的「缺席」所連繫的無形情感，抑或是稍縱即逝的無法描述，卻成了一個難以遙望的空洞。令人感到可怕的是，這種空洞並非不存在，而是人們的視而不見。 https://martian.beauxarts.tw/artwork/james_minghsueh_lee_distant_hollow James Ming-Hsueh LEE His work often spotlights on the objects found in all sorts of stores. With a penetrating sense of humor, he reexamines and challenges the conventional understanding of ‘things’ indoctrinated by the media, education and society. Through reversing the concept of objects--correct usage, appearance or human perception, the artist is able to offer refreshing and amusing interpretations so as to explore other possibilities of contemporary art. Distant Hollow  2020｜Interactive and responsive web page As always, people are inclined to believe what the “presentation” brings about, whether by visual effects, as the saying goes — “Pictures don't lie,” or by recorded evidence of any physical form: each bears an ideology derived from “To see is to believe.” The “presentation” with a meticulous logic of science has invaded most people's lives, and yet, in contrast to the “presentation,” the “absence” connected to invisible emotions or fleeting descriptions beyond words becomes a distant hollow hard to glance over. It is frightening that the hollow is not non-existential, but people chose to ignore it deliberately. https://martian.beauxarts.tw/artwork/james_minghsueh_lee_distant_hollow Powered by Firstory Hosting

牛俊強 牛俊強長期從事錄像和平面複合媒材創作，作品以「視覺作為一種存在的形式」出發，延伸至時空向度中，讓不可見的關係連結、個人至群體的生命意識得以浮現，擅長闡述「存在的本質」。 Self Portrait 2020｜互動響應式網頁 藝術家在臺灣盲人重建院擔任了一年多的志工，期間接觸了十二位全盲的視障者。經過一段時間的相處後，藝術家問他們：「你覺得我的外表是什麼樣子?」他們以聲音、氣味、移動的感覺等「非視覺」的經驗描述藝術家的長相，他再將這些描述外表的文字，以布萊爾點字（盲文）的方式打在與身等高的牛皮上。這些點字如同從皮膚裡長出的疹子，也像年代不詳的古卷地圖。這件作品是可見與不可見的辯證，也是對視覺藝術外在形態追求的省思。明眼者無法從點字內容得知藝術家的外表，而學過盲文的視障者則能從這些點字，「看見」事物形貌下更深刻的本質。 https://martian.beauxarts.tw/artwork/niu_junqiang_self_portrait Jun-Qiang NIU The artist focuses on video, film and mixed media installations which departs from the idea of “seeing as a form of existence” to elaborate the nature of objects.
During the creative conception, the artist endeavors to investigate the invisible relations between materiality and spirituality to foreground the individual, even collective life consciousness. He has worked with different sorts of participants to narrate their pasts to create a more united experience. Self Portrait  2020｜Interactive and responsive web page The artist has worked as a volunteer at the Institute for the Blind of Taiwan for more than a year, during which he contacted 12 persons of complete visual loss. After getting along with them for a while, the artist asked them, “What do you think of my appearance?” They described the artist's appearance with “non-visual” experiences such as sound, smell, and movement. Then, he translated into the tactile writing system (Braille) the description, typed on a piece of cowhide equal to a person's height. The embossed transcription is similar to rashes growing out of skin as well as to dateless ancient scroll maps. The artwork serves as a dialectics of visible and invisible, and as a reflection in pursuit of the external form of visual art. The visually abled have no access to the artist's appearance by Braille, but the visually disabled who have learned Braille can “see” by the embossed code a more profound essence from the appearance. https://martian.beauxarts.tw/artwork/niu_junqiang_self_portrait Powered by Firstory Hosting

郭文泰 × 河床劇團 郭文泰是雕塑家和裝置藝術家，於1998年創立河床劇團並擔任藝術總監。他們的演出從「意象」出發，橫跨視覺藝術與表演藝術之間的界線，先後於亞洲雙年展、Venice Biennale Collateral Events、Kobe Biennale以及國內外美術館展出。 The Out There is Truth 2020｜互動響應式網頁 在過去四十年間，導演大衛．林區在電影創作中將人們所熟悉的事物陌生化。因其生涯早期的藝術家經歷，他的電影不像傳統的敘事故事，而是一件又一件的動態繪畫與雕塑，將觀眾包圍在超現實的另類世界中。展出作品是來自河床劇團2015 年《夢見大衛．林區》作品中的一個短景，頌揚神秘之物，以及對理性思維的共同抵抗。正是“out there”才是真相。https://martian.beauxarts.tw/artwork/craig_quintero_riverbed_theatre_the_out_there_is_truth Craig QUINTERO × Riverbed Theatre Sculptor, installation artist and artistic director of Riverbed Theatre that he founded in 1998. The image-based production of Riverbed blurs the boundary between visual and performing arts. Riverbed has been invited to many well-known domestic and foreign events and prestigious locations, including Asian Biennial, Venice Biennale Collateral Events, Kobe Biennale, Taipei Biennale, Taipei Fine Arts Museum, Taipei MOCA, the Kaohsiung Museum of Art, Eslite Gallery and Shanghai Museum of Contemporary Art. The Out There is Truth  2020｜Interactive and responsive web page For the past forty years, David Lynch has been creating films that defamiliarize the familiar. Drawing on his early career as an artist, Lynch's movies operate more like moving paintings and sculptures than as traditional narrative stories, as he envelops the audience in his surreal, alternative worlds. “The Out There is Truth” is a short scene from Riverbed Theatre's 2015 production Dreaming David Lynch that celebrates the mysterious and our shared resistance to rational thought. The “out there” is truth. https://martian.beauxarts.tw/artwork/craig_quintero_riverbed_theatre_the_out_there_is_truth Powered by Firstory Hosting

時永駿 時永駿的創作類型涵蓋繪畫、雕塑、裝置、攝影與文字，以探討日常生活的私人經驗及人類行為作為主軸，作品形式大多以電影與戲劇的拍攝手法進行前置作業，近年來多以計畫型展演發表。 家庭劇院 2020｜互動響應式網頁 居家裡的「風景」令人感到神秘，它們成形的方式相當微妙，除了因實用性而存在，也為了裝飾目的，以及一些因個人喜好而產生的無以名狀、難以歸類的陳列方式，未曾有什麼道理可言。最近「居家隔離」或是「避免群聚」變得非常普遍，人們待在家裡的時間變長了，日常物件突然之間變得更貼近我們。在《家庭劇院》裡，日常物件與人的角色關係切換了原本的對應關係；從原來的理所當然，轉而串連起好幾幕日常故事：櫃子裡、沙發上、冰箱裡、通往二樓的樓梯轉角處。在我們避免戶外接觸的同時，無意之間卻在私有的居家室內拉近了距離，原本存於日常中的微小，在此刻被放大，就在離我們很近的眼前，隨手可得。 https://martian.beauxarts.tw/artwork/shih_yungchun_home_theater Yung-Chun SHIH Mainly engaged in painting, sculpture, installation, photography and writing, the artist explores private experiences in daily life and human behaviors as the major axis. A photographing technique of films and dramas as a preparatory process is employed in most of his works. In recent years, he has published his creation in project-based performances. Home Theater  2020｜Interactive and responsive web page Mysteriously formed with subtlety, the household “landscape” has never been justified, except for the purposes of both utility and decoration, and for personal tastes of arrangement, inexplicable and difficult to categorize. Recently, “household isolation” or “gathering ban” has become common to all. We stay longer at home and, all of a sudden, the daily objects are getting closer to us. In Home Theater, the relationship or correspondence between daily objects and human beings has been changed. Several snapshots of the daily are connected out of a matter of course: in the closet, on the sofa, in the refrigerator, on the corner of the stairs to the second floor. Avoiding outdoor contacts, we inadvertently shorten the distance inside the private residence. The quotidian tininess, thus magnified at this moment, is right in front of our eyes, within reach. https://martian.beauxarts.tw/artwork/shih_yungchun_home_theater Powered by Firstory Hosting

澎葉生 聲音藝術家澎葉生，利用周邊物件、電聲與表音文字來進行創作，對動物、大自然、城市以及異常的聲音現象著迷。他同時和視覺藝術家、舞蹈家合作並設計電影音效。自2007年起長居臺灣，探索島上的「音」景，與生物學家共同進行藝術與科學的計畫。 徐瑞謙 × 澎葉生 材料行 2020｜互動響應式網頁 此作品從藝術家徐瑞謙曾使用過的材料著手，建構一個如同建材行裡分類得當的型錄，但材料沒有常規的尺寸或說明，而是以各自的「聲響」取代。各品項在介面中被使用者滑動、抽取與挑選，像是參與藝術家創作前篩選媒介的過程。那些在型錄中的媒材，並非各自為政，而更像是一個個團塊，在數位的彼端躍躍欲試地等待，等待被擷取，等待一個未來的觸動。 https://martian.beauxarts.tw/artwork/hsu_juichien_yannick_dauby_material_store Yannick DAUBY Background in musique concrete and improvisation, the sound artist uses found objects, electroacoustic devices and phonographies for creation. As a field recordist, he has particular interest for animals or nature sounds as well as urban situations and unusual acoustic phenomenon.He often collaborates with other musicians, visual artists and dancers and makes sound design for films. Based in Taiwan since 2007, he keeps exploring the island’s soundscape and creating art & science projects with biologists. Jui-Chien HSU × Yannick DAUBY Material Store 2020｜Interactive and responsive web page The artist conceives the work from the media he employed and constructs a catalogue well classified like that in a building materials company. Instead of the conventional sizes or desciptions of the materials, it contains all sorts of“sounds.” Users draw, extract and select each item on the interface, as if they were part of an artist's material selection for an unborn creation. The media in the catalogue are not separate, independent parts, but more like a clump, waiting eagerly to be captured and for a future touch in a digital beyond. https://martian.beauxarts.tw/artwork/hsu_juichien_yannick_dauby_material_store Powered by Firstory Hosting

賴志盛 賴志盛在空間或風景中進行細膩的干預性藝術實踐。其創作以裝置及雕塑等多種媒介，探索了張力、日常生活及個人經驗。他關注細節，常在特定空間的不同元素之間創造新關係，直接與觀眾的身體及存在感知相溝通，作品帶有一種輕鬆、富有遊戲意味的低限主義傾向。 輕舟 2020｜互動響應式網頁 將螢幕視作一個平滑的表面，當手指或滑鼠按壓滑過，螢幕會顯出波紋，如同小船駛過平靜的湖面。 https://martian.beauxarts.tw/artwork/lai_chihsheng_light_boat ／ 消長 2020｜互動響應式網頁 在不斷指向未來的同時，也是當下永無止息的消逝。這裡是時間的邊境，亦是影像的廢墟。 https://martian.beauxarts.tw/artwork/lai_chihsheng_increase_and_decrease Chih-Sheng LAI With delicate interventions in space and the landscape--a pulled thread, a hole gathering droplets of water, a tree emerging from the walls, the artist pursues a practice that plays with tension, the everyday and personal encounters across multiple media in particular installation and sculpture. There is a playful minimalism in the way he observes details and creates new relationships between different elements of a room, engaging directly the viewer’s sense of body and presence. Light Boat 2020｜Interactive and responsive web page Take the screen as a smooth surface. When your finger or mouse slides over it, the screen will show ripples, just like a light boat sailing across a calm lake. https://martian.beauxarts.tw/artwork/lai_chihsheng_light_boat ／ Increase and Decrease 2020｜Interactive and responsive web page It's pointing not only to the future but also to the eternal lapse of time. Here is the wasteland of the video and the border of time. https://martian.beauxarts.tw/artwork/lai_chihsheng_increase_and_decrease Powered by Firstory Hosting

何采柔 何采柔主要從事的創作有影像、裝置、繪畫等類型，同時跨足劇場編導與劇場設計。她從平凡微小的日常行為，延伸出具超現實氛圍的作品，並且呈現人與現實之間，某種既親密又疏離的緊張關係。 20200610 / No Surprises 2020｜互動響應式網頁 無論是以繪畫、裝置或影像的方式創作，何采柔的作品總能以局部分解的動作、日常習慣的切片與豐富迷離的光影來呈現人與現實之間某種既親密又疏離的緊張關係。而這些獨特而強烈的創作一方面包圍著觀眾，卻又與其保持對峙的狀態， _幾乎讓日常的片刻直接成為了一道風景或儀式。 20200610 ▸ https://martian.beauxarts.tw/artwork/joyce_ho_20200610 No Surprises ▸ https://martian.beauxarts.tw/artwork/joyce_ho_no_surprises Joyce HO Mainly engaged in video, installation and painting, the artist sets foot as well in playwriting, directing and design in theatre. Her work with a surrealist aura is extended from a focus on the insignificant daily routines and conveys an intimate, yet alienated tension between human beings and reality. 20200610 / No Surprises 2020｜Interactive and responsive web page With an illusion rich in light and shadow, the artistic conception aims to integrate the deconstructed movements and fragmented slices of daily routines. As such, the artist endeavors, whether in painting, installation or video, to convey an intimate, yet alienated tensions between human beings and reality. The singularly intensive creation simultaneously captivates and confronts viewers, which renders almost immediately a quotidian moment into a piece of landscape or a ritual. 20200610 ▸ https://martian.beauxarts.tw/artwork/joyce_ho_20200610 No Surprises ▸ https://martian.beauxarts.tw/artwork/joyce_ho_no_surprises Powered by Firstory Hosting

徐瑞謙 徐瑞謙從雕塑的學習背景出發，擅長運用不同質性的媒材，在空間中進行裝置創作。他讓物件彼此充滿張力，可能呈現和諧且充滿共鳴的關係，也或許暗藏著模糊與矛盾。 澎葉生 聲音藝術家澎葉生，利用周邊物件、電聲與表音文字來進行創作，對動物、大自然、城市以及異常的聲音現象著迷。他同時和視覺藝術家、舞蹈家合作並設計電影音效。自2007年起長居臺灣，探索島上的「音」景，與生物學家共同進行藝術與科學的計畫。 材料行 2020｜互動響應式網頁 此作品從藝術家徐瑞謙曾使用過的材料著手，建構一個如同建材行裡分類得當的型錄，但材料沒有常規的尺寸或說明，而是以各自的「聲響」取代。各品項在介面中被使用者滑動、抽取與挑選，像是參與藝術家創作前篩選媒介的過程。那些在型錄中的媒材，並非各自為政，而更像是一個個團塊，在數位的彼端躍躍欲試地等待，等待被擷取，等待一個未來的觸動。 https://martian.beauxarts.tw/artwork/hsu_juichien_yannick_dauby_material_store Jui-Chien HSU Starting from sculpture, the artist is good at employing the media of different natures for installations in space. A tension created between objects, which might depict not only a harmonious relationship, full of resonances, but an implied ambiguity and contradiction. Yannick DAUBY Background in musique concrete and improvisation, the sound artist uses found objects, electroacoustic devices and phonographies for creation. As a field recordist, he has particular interest for animals or nature sounds as well as urban situations and unusual acoustic phenomenon.He often collaborates with other musicians, visual artists and dancers and makes sound design for films. Based in Taiwan since 2007, he keeps exploring the island’s soundscape and creating art & science projects with biologists. Material Store 2020｜Interactive and responsive web page The artist conceives the work from the media he employed and constructs a catalogue well classified like that in a building materials company. Instead of the conventional sizes or desciptions of the materials, it contains all sorts of“sounds.” _Users draw, extract and select each item on the interface, as if they were part of an artist's material selection for an unborn creation. The media in the catalogue are not separate, independent parts, but more like a clump, waiting eagerly to be captured and for a future touch in a digital beyond. https://martian.beauxarts.tw/artwork/hsu_juichien_yannick_dauby_material_store Powered by Firstory Hosting

杜立安・高登 杜利安．高登在美國紐約從事雕塑和裝置的創作，擅於打造徒有動力、卻沒有明確移動目的機械裝置。這些擬人化的作品本身，往往誘發觀者的質疑物的本質，同時反映了人類與物質之間的微妙關係。 代罪者 2020｜互動響應式網頁 九件陶瓶同時在線上票選網頁上展示。展期間，參觀者受邀票選出最醜的一件。每週得票數最高的陶瓶將在實體展區中被砸碎在地板上。隨著展期的進行，網頁持續更新的同時，參觀者可就現有的陶瓶進行投票。當展覽結束時，僅存一件陶瓶。 https://martian.beauxarts.tw/artwork/dorian_gaudin_pharmakos Dorian GAUDIN The New York-based artist works in sculpture and installation. His installations often include masterfully engineered machines that lack any explicit purpose, yet move spontaneously, animated from within. These autonomous and unpredictable artworks of personification allow viewers to question the nature of objects and reflect a subtle relationship between human beings and objects. Pharmakos 2020｜Interactive and responsive web page 9 ceramics are displayed on a web page with online voting. During the exhibition period, visitors are invited to vote for the ugliest one. At the end of each week, the ceramic with the most votes is smashed to pieces on the floor of the physical exhibition space. As the weeks go by, the website is updated permitting visitors to vote for the remaining ceramics. When the exhibition comes to an end, only 1 ceramic stands. https://martian.beauxarts.tw/artwork/dorian_gaudin_pharmakos Powered by Firstory Hosting

艾瑞克・瓦提耶 法國藝術家瓦提耶從事印刷作品已超過廿年的時間，包括影印、書籍、海報、傳單與明信片，其流傳最廣的形式是僅有四頁的「薄書」。2006年出版的《塊磚》集結藝術家卅多本小冊，由可撕離的紙頁堆砌而成塊狀書形，透過網站（www.ericwatier.net）提供免費下載。藝術家恣意運用各種開本規格，同時以幽默的方式顛覆傳統的通路模式。 張君懿 張君懿以藝術家和策展人的雙重視角，思考創作與策展相融共生的可能性，探索如何在不同藝術領域之間觸發共通創作思維及其潛在的多向連結。 艾瑞克．瓦提耶 × 張君懿 低調的作品—向布勒哲爾致意 2020｜互動響應式網頁 《低調的作品—向布勒哲爾致意》在此被轉換成尋找隱藏物件的線上遊戲，作品中的所有句子以及圖畫被共同展開在同一個畫面上，使用者可以透過依次出現的句子與圖畫，找尋畫面中相應的圖像。 這件作品的想法是來自於1559年老布魯哲爾的一幅名為《尼德蘭諺語》的畫作。老布魯哲爾將當時流傳在尼德蘭民間的一些有關人類行為的諺語，描繪成一幅圖畫。法國藝術家艾瑞克．瓦提耶（Eric Watier）則將圖畫上的人物動作，轉譯成一連串簡單的人類行為指令，如：「把拿頭去撞牆」、「對著月亮撒尿」、「把玫瑰花送給豬」、「把頭放在烤箱裡」等等。接著，張君懿再將這些文字與布魯哲爾的畫作，拆解成網頁圖文素材，轉換成一個線上互動響應式的遊戲頁面，邀請觀眾根據畫面中出現的行為指令，去尋找相應的人物動態。每找到一個，黑白線描的圖案就會變成彩色。當尋獲所有指令與圖像的對應關係之後全，老布魯哲爾畫作的全貌便會顯現。 https://martian.beauxarts.tw/artwork/eric_watier_chang_chunyi_discreet_works_1559 Eric WATIER For over twenty years, the artist has been producing printed works: photocopy, book, poster, leaflet, postcard and so on. The most common form in his work is a “thin book” of four pages. In 2006, he published BLOC, composed of more than three hundred of his small books in the form of a block of detachable sheets and downloadable freely on the website: www.ericwatier.net. The artist abuses as such the formats and overturns with humour the classic modes of distribution. Chun-Yi CHANG Chang works as both curator and artist, adopting a dual perspective to reflect upon the possibilities of a mutual symbiosis between creative conception and curatorial practice while exploring ways to prompt creative thought in common and potential, multi-directional connections in various disciplines.  Eric WATIER × Chun-Yi CHANG Discreet Works (thanks to Bruegel) 2020｜Interactive and responsive web page Discreet Works (thanks to Bruegel) has been transformed into an online game with hidden objects to be found. On the same screen are displayed in sequence all the sentences and drawings according to which users have to look for the corresponding images. https://martian.beauxarts.tw/artwork/eric_watier_chang_chunyi_discreet_works_1559 Powered by Firstory Hosting

克羅德・克勞斯基 2005年法國「杜象獎」得主，過去廿年來法國當代藝術家的指標人物之一。作品的媒材形式十分多元，涉及繪畫、雕塑、攝影、錄像、拼貼、寫作與有聲作品。其創作多源自對媒體與人際溝通的細膩觀察，關注著當代社會的消費議題。 拍賣價 2019-2020｜無限循環的互動網頁 《拍賣價》網站以好玩有趣的方式，鼓勵展覽參觀者、網路使用者或是火星人，去體會在地球上流通的影像與藝術的價值。 https://martian.beauxarts.tw/artwork/claude_closky_hammer_price Claude CLOSKY Laureate of the Prize of Marcel Duchamp in 2005, and one of the leading figures of contemporary art in France over the past twenty years. Based on a keen observation of the media, interpersonal communication and consommation in contemporary society, his work resorts to different art forms, such as painting, internet, sculpture, photograph, video, collage and audio creation. Hammer Price 2019-2020 | Interactive website unlimited duration The website Hammer Price is a playful way to encourage visitors of the exhibition, netizens, and Martians to figure out the value of images, the value of art circulating around Planet Earth. https://martian.beauxarts.tw/artwork/claude_closky_hammer_price Powered by Firstory Hosting

齊簡 齊簡的作品橫跨了繪畫、裝置與影像等多種媒材，透過研究光影、感知行為和場所機制，在表面／深度、想像／客觀現實之間實驗各種可能性。於他而言，創作是一個從創作者成為觀者的過程，試圖透過單純的方式，把「看」本身的複雜性實踐出來。 魚缸實況 2020｜互動響應式網頁 藉由訪客對頁面的點按，畫面中的明暗與空間將被切換，這像是身體的移動與占領，隱隱約約地為我們供給一種特殊的漫遊路徑，一種對「現場」概念的回應。這像是我們在生活中的尋常經驗：當我們進入屋內，通常第一件事是尋找電源開關，然後將電燈打開；離開時，將燈關上，去到下一個地方。 https://martian.beauxarts.tw/artwork/chi_chien_fish_tank_on_live Chien CHI Chi Chien's work spans a wide variety of media, from painting, installation to video by which the artist constantly explores the conceptual boundaries (limits) of art as a medium, behavior and subject. Through the study of light and shadow, perceptual behavior and site mechanism, he experiments various possibilities between surface and depth, imagination and objective reality. The artist believes that creation is a process where a creator becomes an observer. By a simple and pure manner, he intends to put into practice the complexity of “seeing” itself. Fish Tank on Live 2020｜Interactive and responsive web page By visitors' clicks on the page, the shading value and space on the screen will be altered. As the displacement and occupation of a body, the work provides us vaguely a special itinerary of promenade, and a response to the concept of“site.”It is like a common experience in our life: upon entering the house, we usually look for the light switch first and turn it on; leaving, we turn it off and move on. https://martian.beauxarts.tw/artwork/chi_chien_fish_tank_on_live Powered by Firstory Hosting

陳萬仁 陳萬仁的創作以錄像藝術為基點，聚焦在影像的循環，並拓展影像至空間裝置、劇場體驗、跨媒體合作等。他的作品對重複的生活行為提出深刻洞察，並使觀者感受到一種淺淡的荒謬和幽默。 I'M LITTLE BUT I HAVE BIG DREAMS 2020｜互動響應式網頁 鳥瞰的視野，獨立於所有之上，在空中能清楚看見所有地界，那些我們以為模糊不清的，在拉高了距離之後，都顯得再清晰不過。迥異於自然之景的遼闊彩塊，人類之景乃是散落的點狀與分區的格子，彼此的間隔猶如毫不猶豫道下的句點。 https://martian.beauxarts.tw/artwork/chen_wanjen_im_little_but_i_have_big_dreams Wan-Jen CHEN With a focus on video art, the Taipei-based artist diligently explores the possibility of moving images--from space installations and theatrical experiences to interdisciplinary experiments. His work implies a sharp observation of the behaviors in the routine lives and projects a light sense of humour and absurdity.  I'M LITTLE BUT I HAVE BIG DREAMS 2020｜interactive and responsive web page Independant and above all in the firmament, a bird's eye view covers precisely all the boundaries on the earth. What is supposed to be vague in the eyes of human beings, with an altitude advantage, cannot be more clear. In difference to the scenes of vast, colorful blocks forged by Mother Nature, those by human beings are of scattered dots and partitioned lattices whose intervals are like, without hesitation, a marked period. https://martian.beauxarts.tw/artwork/chen_wanjen_im_little_but_i_have_big_dreams Powered by Firstory Hosting

「魚總是這樣，不知道自己在水裡。」——蒂埃里・德・迪弗 親愛的火星人您好： 歡迎登陸地球！ 如果您已開始探查地球，我想要透過這個名為「給火星人類學家」的展覽，向您引介一些地球人的藝術作品。為了這一天，我們已準備了許久，因為您的到來早有預言；1989年，比利時藝評家蒂埃里・德・迪弗在《以藝術之名——為了一種現代性的考古學》這本書中透露了此事：「您從火星來到地球，您對地球一無所知，因此您沒有任何成見（除了身為火星人所帶有的成見）⋯⋯」 ¹ 。他描述了對地球文明尚一無所知的您，開始觀察人類的風俗、儀式和神話，希望從中得出一個常理，以理解地球人的思維和社會秩序，並且一步步探索人類所名之為「藝術」的事物（這也間接地邀請讀者，暫時以外在於地球人的視角，重新審視藝術世界，以暫時拋開看待藝術時早已深植而至無從察覺的「成見」）。 這是一個專為您籌劃的展覽（當然我們還是不斷地思考：究竟什麼是展覽的形成條件，為何它足以承載「藝術」這個專有名詞所涵蓋的事物）。現在，您可以透過「網際網路」這地球人所發明的空間對人類的藝術實踐田野進行考察（2020年，人類社會出現了「安全社交距離」的防疫用語，地球上不約而同出現了許多「線上展覽」作為實體展覽的替代方案，提供無法親臨現場的觀者一個線上觀看的界面 ² ）。而在此 ³ ，藝術家們以「網頁」作為作品發生的特定地點，亦即展覽實質發生的場所（雖然「親臨現場」一般被認為是展覽理想且理所當然的觀看方式）。此外，藝術家們還將線上作品擴延至實體展場，為遠道而來的您留下各式各樣的線索。 是的，在那裡，您所看見的文字、圖像、材料、物件等等乃與線上作品遙相指涉，共同組成一個提供您瀏覽作品、推敲創作思維的「索引界面」。參與的十五位藝術家包括來自地球各地的陳萬仁、齊簡、克羅德・克羅斯基、澎葉生、杜利安・高登、何采柔、謝佑承、徐瑞謙、賴志盛、李明學、牛俊強、郭文泰 × 河床劇團、時永駿、王雅慧和艾瑞克・瓦提耶。您將在這些作品的盤點中，觀察到人類創作行為的豐富面向，相信對您探索地球文明的工作能有所助益，期待您能在線上與實體兩種界面的反覆往返之間，一步步趨近人類名之為「藝術」的事物。 張君懿 2020年8月4日，於臺北 ---------- ¹ 蒂埃里・德・迪弗在此書中以火星人類學家為喻，引入不帶有地球人成見的觀點，探討人類名之為「藝術」的事物。此展從此假設所開展的想像出發，試問藝術家們希望提供什麼「給火星人類學家」，以作為其考察人類藝術實踐田野的線索；同時在2020年的今天，以此展回應作者在1985年寫下的文字（1989年出版）。參閱：Thierry De Duve, Au nom de l’art. Pour une archéologie de la modernité, Paris, Éditions de Minuit, 1989, p.9-65. ² 從此現象的反思出發，此展邀請藝術家以線上作品為起點，實體展場則為其延伸的界面，於其中佈署與線上作品遙相呼應的索引；透過兩者間的對應關係，重新思考「實體為主、線上為輔」的展覽／作品慣常觀看經驗。 ³ 網址：martian.beauxarts.tw As always, the fish doesn’t know it’s in the water. --Thierry de Duve Dear Martians, Welcome to the earth! If you have started exploring around the earth, I would like to introduce some earthlings’ artworks to you by the exhibition entitled, To Martian Anthropologists. We have prepared for such a long time for your coming, prophesied already by the Belgian art critic, Thierry de Duve, in his book In the Name of Art. For an Archeology of the Modernity (1989): “You descend from Mars to the earth and know nothing about it. Therefore, you have no prejudice (except for that of seeing everything with the eyes of a Martian)....” ¹He describes that you start, without any inkling of the earth’s civilizations, observing human beings, their customs, rituals and myths, from which you hope to draw a constant, in order to render intelligible the earthlings’ way of thinking and the arguments that underpin their social order. Meanwhile, you explore step by step what human beings call “art.” (It’s also an indirect gesture to invite readers to re-examine the art world, from a temporary perspective beyond that of the earthlings as well as the deep-rooted, unconscious “prejudices” against art.) This is an exhibition planned in particular for you. (Of course, we keep thinking about what on earth is the condition for an exhibition to take shape and why it is able to cover everything that the proper noun “art” signifies.) Now, via the “internet,” a sort of space invented by the earthlings, you can launch a field research of the human art practices. (“Safe social distancing,” an anti-epidemic slogan occurs in human society in 2020. As an alternative to physical exhibitions, many “online exhibitions” emerge spontaneously on the earth, as an online browsing interface for those who are not able to attend personally the site.²) In the official website, ³ the artists choose “web pages” as the specific site where their works take place, i.e. where the exhibition is substantially and actually inaugurated. (However, especially in the past half century, “attending personally the site” has been generally and ideally taken for granted as the way of seeing an exhibition.) In addition, the artists will extend the online works to the physical exhibition venue, leaving a variety of clues for you coming from far away. Indeed, words, images, materials, objects and so on: all you see right over there refer in distance to the online works, thus constituting together an “index interface” which allows you to browse all the works and to elaborate the creative conceptions. Here are the 15 participating artists from all corners of the earth: Wan-Jen CHEN, Chien CHI, Claude CLOSKY, Yannick DAUBY, Dorian GAUDIN, Joyce HO, Yu-Cheng HSIEH, Jui-Chien HSU, James Ming-Hsueh LEE, Chih-Sheng LAI, Jun-Qiang NIU, Craig QUINTERO × Riverbed Theatre, Yung-Chun SHIH, Ya-Hui WANG and Eric WATIER. Inventorying the artworks, you will observe the rich aspects of human behaviors in creation. I believe it will be helpful to your exploration of the civilizations on the earth. I am expecting that, by shuttling between online and physical interfaces, you will be approaching what human beings call “art.” Sincerely yours, Chun-Yi CHANG Taipei, August 4th, 2020 ---------- ¹ Thierry de Duve, Au nom de l’art. Pour une archéologie de la modernité, Paris, Minuit, 1989, p.9-65. The author borrows Martian anthropologists as a metaphor, in order to introduce a perspective beyond the earthlings’ prejudices and to explore what human beings call “art.” The exhibition conceived and developed from the author’s imagination tries to ask the question: what the artists hope to offer as clues to “Martian anthropologists” for their field research of the human art practices. At the same time, it serves as a response in 2020 to the words written by the author in 1985 (published in 1989). ² From the reflection of this phenomenon, this exhibition invites the artists to begin with the online works which deploy as an index echoing distantly the physical works in the exhibition venue as an extended interface. By the corresponding relationship, the exhibition encourages visitors to rethink the accustomed seeing experiences between exhibition and artwork: “physical works as primary, online works as secondary.” ³ Official website：martian.beauxarts.tw Powered by Firstory Hosting