2015～2018
installation includes a series of painting and writing, lightbox,
neon light
現地裝置、燈箱、霓虹燈

installation view in the solo exhibition
"New Direction, Chang Yun-Han”, Ullens Center for Contemporary Art, 
“Taipei Arts Award ”, Taipei Fine Arts Museum,
照片攝於「新傾向：張允菡」，北京尤倫斯當代藝術中心、
「臺北美術獎」，台北市立美術館 

This exhibition is resulted from Chang Yun-Han’s participation in the Arctic Circle residency project to present her work-in-progress research.

Why does the North Pole gradually become the symbol for the global disaster today, even being like no man’s land? Or, do we simply invent allegories such as global warming and oil war from the human society? One year after the trip, the artist attempts to illustrate the experience through the form of an exhibition to employ multiple texts and narrations to address how art could construct the way we learn about the world, contemplate on possibilities we imagine islands and elsewhere.

Chang asked illustrator work with her, she described journey and record her journal in a tape for the illustrator. By which illustrator recreated in her illustration exhibiting with Chang's writings side by side.

本展覽為藝術家參與2014年 The Arctic Circle 極圈短期駐村計畫後的階段性成果。

當初申請的動機信中是這麼寫的：「當我們抵達北極，站在這星球的頂端時，是否意味著我們站在全世界的上頭？」然而，沒有人長居於此，遠離了「人」的經驗，如何能連結起那片荒蕪又豐富的自然，和它建立關係？過去面對社會議題的方式往往是巨大的結構包覆著個體，反之，個體經驗又能如何在北極被書寫、被創造，是什麼讓個人開始慢慢匯聚成為社群，進一步成為世界。如同在今日，北極如何以無人之境，卻逐漸作為未來全球性災難的象徵起源？或者，關於全球暖化、石油掠奪其實才是人類社會結構裡被創造出來的寓言神話？

在踏足北極圈的一年多後，以展覽作為嘗試性的側寫，在不同文本與敘事方式的交織下，重回藝術如何以感性建構我們認知世界的方式，重新遙想島嶼以及他方的可能。