https://changyunhan.net changyunhan Mon, 07 Oct 2024 08:17:35 +0000 https://changyunhan.net en http://changyunhan.net/454474 Mon, 07 Oct 2024 08:17:35 +0000 changyunhan 454474 <img width="2000" height="1333" width_o="2000" height_o="1333" src_o="https://cortex.persona.co/t/original/i/53a3fed1b160f2bd169c19bdaa1663f73a31bf8d9fe147e6ce6f1c287cd67298/296900568_5337624476354830_4112091979074022840_n.jpg" data-mid="1380090" border="0" /> Banned Melodies, Purified Tunes 2022 Single-channel video (07’04”), sound installation, microphone, dual-channel speakers, disco ball, monitor, documentation 單頻道錄像07’04“、聲音裝置、麥克風、雙聲道喇叭、disco ball、顯示器、文件本作品為張允菡、張紋瑄與林奕碩共同製作 This work is a collaboration between Chang Yun-Han, Chang Wen-Hsuan, and Lin Yi-Shuo. // Chang Yun-Han and Chang Wen-Hsuan have long utilized research and investigation as a means of artistic practice. In Banned Melodies, Purified Tunes, they collaborate with artist Lin Yi-Shuo, appropriating a contemporary entertainment venue—an opulent KTV room with looped, duetted medley songs—as a parody of the censorship history of 1970s popular music. They reference the dual tactics of those in power to control 'singing': the simultaneous enforcement of banned songs (prohibited for reasons related to meaning, origin, or homophones) and 'purified songs' (promoting patriotic values and specific life perspectives). By remixing these once-banned energetic songs with the aggressively promoted purified tunes, they transform them into a male-female duet love song. The retro melody unfolds as a montage of past authoritarian sites, with the male vocals sourced from the purified songs and the female vocals from the banned ones. This love song collage, seemingly about the ebb and flow of romance, not only reveals the absurdity and autocracy of the authoritarian regime—with its imaginative mishearings and misreadings and the 'harmonized' soundscape that suppressed dissent under nationalism—but also reflects the political potential of popular culture: how even sentimental love songs can effectively intervene in history. 張允菡與張紋瑄二人，長期以研究與探查為藝術實踐手段之一。在《禁歌淨曲》中，她們和藝術家林奕碩共作，挪用當代娛樂場址—-燈紅酒綠的KTV包廂裡循環播放的串燒對唱歌曲——諧擬七〇年代流行音樂的審查史。他們援引執政者控管「唱」的兩面手法：禁止與宣傳並行下的「禁歌」（以辭意、曲源、諧音等理由的禁令）與「淨化歌曲」（鼓吹愛國意識及特定生命價值觀），將過去曾查禁的勁歌及強力播送的淨曲，混剪後改編為男女對唱情歌。復古的曲調開展於過往威權居所場址的蒙太奇，其中，男聲都是出自淨化歌曲，女聲則都剪裁自禁歌。看似戀情消長的情歌拼貼，不僅揭露強人政權的荒謬與專斷：監聽者腦洞大開的誤聽（讀）與國族主義下壓制異議的「和諧」音景；同時，也體現大眾文化的政治潛能—-芭樂情歌對歷史的有效干預。 ↩ Banned Melodies, Purified Tunes 2022 Single-channel video (07’04”), sound installation, microphone, dual-channel speakers, disco ball, monitor,... http://changyunhan.net/454473 Mon, 07 Oct 2024 08:13:56 +0000 changyunhan 454473 <img width="4032" height="3024" width_o="4032" height_o="3024" src_o="https://cortex.persona.co/t/original/i/c5704541f9b1d6dcfbc698c9472b3a0aa0e13ee46387ae71cc276f62cef9b55f/IMG_6878.JPG" data-mid="1380106" border="0" /><img width="4032" height="3024" width_o="4032" height_o="3024" src_o="https://cortex.persona.co/t/original/i/592e094660b2eb6b5ceecadcdc4b4714b1e45651b0c7dcd25f4a68401dcd4a0f/IMG_6907.JPG" data-mid="1380105" border="0" /><img width="2048" height="1536" width_o="2048" height_o="1536" src_o="https://cortex.persona.co/t/original/i/9e45809497bc512cc8215b962c3c1f07378e19a898538bab04b29f741f513560/4E12172A-C734-4092-981A-AF7D38D47F9A_1_102_o.jpeg" data-mid="1380107" border="0" /><img width="4032" height="3024" width_o="4032" height_o="3024" src_o="https://cortex.persona.co/t/original/i/3121a5e61aa933699b6f722a0ef18d24f0c7fe24503665d9ff0c80b859a91d61/IMG_0545.jpeg" data-mid="1380108" border="0" /><img width="6708" height="4472" width_o="6708" height_o="4472" src_o="https://cortex.persona.co/t/original/i/77347333ffc27022403090ba8a7c863ffaa6aa4cd0059e7d6fe5831ea695c281/SC6231.jpg" data-mid="1380111" border="0" /><img width="6708" height="4472" width_o="6708" height_o="4472" src_o="https://cortex.persona.co/t/original/i/06922e57273625cc9c4b990e62bccfc3fd875d7a7a17381ea506414ec18997c5/SC6100.jpg" data-mid="1380109" border="0" /><img width="6013" height="4009" width_o="6013" height_o="4009" src_o="https://cortex.persona.co/t/original/i/088e23e848d311fa93232902141d939f80066e280b677ce0c961b840bf80461f/SC5991-2-1.jpg" data-mid="1380110" border="0" /><img width="4472" height="5962" width_o="4472" height_o="5962" src_o="https://cortex.persona.co/t/original/i/e93142a739dbf8c345e3d063be2c99b2254c9d65acff141fb8e508505bfdf834/SC5945.jpg" data-mid="1380112" border="0" /> Practice 01: What are we talking about? What are you thinking about? What are they working on? 《練習一下：我們在講什麼？你們在想什麼？他們在做什麼？》 2023 Audio guide Duration variable語音導覽時間長度不一 Commissioned by Taipei Biennial 2023 2023台北雙年展委託製作 // n 2017, I co-founded a company called Hide and Seek Audiovisual Art with a few friends. We focus on a variety of social engagement practices centered on interpersonal connections. Through our respective areas of expertise, the team members bring together different professional groups, form new knowledge communities, and build exclusive work structures. For the Taipei Biennial 2023, the Hide and Seek team hosted a series of workshops with five Chinese-speaking cultural workers who grew up in Matsu, Malaysia, China, or Hong Kong and have moved to the island of Taiwan in recent years or have lived here in the past. For them, the concept of home has changed with the relocation from where they are originally from. Four key phrases based on the Biennial’s exhibition concept – “borders”,“imagination and identity”,“sense of humor”, and “future”– serve as the foundation for conversations among the participants, as they explore how people with subtly different individual experiences can find a place for themselves in mainstream culture. In the workshops, they shared life stories and discovered the nuances of different living experiences and cultural relativism.&nbsp; They visited places of historical significance for Taiwan, such as Taiyuan Five Hundred Tombs, the Grand Hotel, and the National Taiwan Museum, which helped unpack complicated collective memories. They discussed how space shaped people’s memories and relationships, and shared trivial memories that had long been forgotten.&nbsp; A two-day workshop was conducted with the curator after the opening of the Biennial, which fostered an in-depth understanding of the exhibition. The workshop enhanced the conversation among the group and deepened individual participants’self- reflections. Through collective writing, the participants produced interpretations of some of the Biennial works, which are recorded as audio guides and made available as a physical installation. The cultural backgrounds of the participants may be similar to those of many Taiwanese people, but minute differences in daily life are inevitable, be it in terms of language, accent, or lifestyle. Through those gatherings, conversations, and collective writing projects, understanding and awareness of diversity were amplified in this small world. Visual Design: Chen Jhen, Huang Yu-TzuDisplay Concept and Design: Tien Zong-YuanSound Design and Editing: Ken WuVocal Recording: YoungPrinting: Ching Hua Color Printing Limited Company &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; 我與一群不同領域的藝文友人於2017年共同創立害喜影音綜藝。在我們的日常工作中，經常需要與來自不同背景的人或群體一起討論：探索各自重要的經驗、共通或相異之處，或是彼此認同的目標。 這次台北雙年展計畫中，害喜團隊邀請了五位近年在台灣生活，以華語作為日常語言的文化工作者加入。這些朋友分別來自馬來西亞、香港、哈爾濱及馬祖，因緣際會而落腳台灣，對他們來說，在台灣的家和自己成長之地是截然不同的概念。 害喜在展覽前規劃了兩次工作坊，與五位朋友一起聊天、進行空間踏查，從五位參與夥伴的共同與差異出發，以「國界」、「想像與認同」、「幽默感」和「未來」四個子題作為對話的基礎，試著在討論的展開中，讓彼此異同逐漸澄清。 工作坊裡，大家分享了各自的成長及生活經驗，喜歡的幽默故事，也拜訪了承載台灣不同歷史記憶的地點，如太原五百完人塚、圓山飯店、國立臺灣博物館等，探索空間如何形塑人們記憶和彼此間的關係，也分享那些以為早已忘記的瑣事。 台北雙年展開幕後，成員與策展人在北美館進行了兩天的工作坊，深入瞭解展覽與作品的發展脈絡，並自我挖掘與其相互呼應、對話的經驗。最終，五位參與者以不同的形式進行書寫並親自錄音，作為對本次雙年展的延伸閱讀。 對應於台灣本地觀眾閱讀雙年展的視角，這五位參與者與我們看似擁有共同的語言，卻帶著各自的文化脈絡，伴隨著不同的腔調，在這件作品計畫裡建構出多元樣貌的小世界。參與者：杜晉軒、黃國威、曹疏影、曹雅評、鄧觀傑平面設計：陳臻、黃郁慈 展示概念與裝置設計：田倧源聲音設計與後製剪輯：吳峟賢人聲錄音：黃基揚 印刷加工：晶華印刷 ↩ Practice 01: What are we talking about? What are you thinking about? What are they working on?... http://changyunhan.net/416221 Sun, 12 Dec 2021 14:18:39 +0000 changyunhan 416221 <img width="6000" height="4000" width_o="6000" height_o="4000" src_o="https://cortex.persona.co/t/original/i/35e03d9bf7d7b76f52e160fc3cc6ad410d6854dfe7f700a594a34e6953ba91b5/CHANG_10.jpg" data-mid="1380089" border="0" /><img width="6000" height="4000" width_o="6000" height_o="4000" src_o="https://cortex.persona.co/t/original/i/f2165cf1bf974769bb73259c82ae5b49796204a69ce0dce5dae6ad6197a990cc/CHANG_11.jpg" data-mid="1380087" border="0" /><img width="8333" height="6250" width_o="8333" height_o="6250" src_o="https://cortex.persona.co/t/original/i/1434282fdc4f3b1b187a0b729efef2d8fc56923aec6ba0f0997d7621d95269f3/WeChooseTheMoon-1.jpg" data-mid="1380074" border="0" /><img width="5555" height="4166" width_o="5555" height_o="4166" src_o="https://cortex.persona.co/t/original/i/c4767d8ecb5f662f52051f95c0f4ea567ccb692ae726d9e81bd1bc23835be187/WeChooseTheMoon-2.jpeg" data-mid="1380075" border="0" /><img width="5555" height="4166" width_o="5555" height_o="4166" src_o="https://cortex.persona.co/t/original/i/7e134592259c8fec9ce63d9c939847f5a7f119bec69e1e2e2f51bead871d3bcb/WeChooseTheMoon-31.jpeg" data-mid="1380082" border="0" /><img width="5555" height="4166" width_o="5555" height_o="4166" src_o="https://cortex.persona.co/t/original/i/31eff920a55ae54964be438e88c60f5807c73392b0d583c613e74e867be603f2/WeChooseTheMoon-6.jpeg" data-mid="1380077" border="0" /><img width="5555" height="4166" width_o="5555" height_o="4166" src_o="https://cortex.persona.co/t/original/i/846a48919fa6f8577bd8ec811589b6b3d776f26b47b84039ba2a4431e65571fe/WeChooseTheMoon-7.jpeg" data-mid="1380076" border="0" /><img width="5555" height="4166" width_o="5555" height_o="4166" src_o="https://cortex.persona.co/t/original/i/c1dfc299f030c5bd5a2f9ec104a9f9b41c9ec92685e7127e583b44398a46caad/WeChooseTheMoon-26.jpeg" data-mid="1380084" border="0" /><img width="5555" height="4166" width_o="5555" height_o="4166" src_o="https://cortex.persona.co/t/original/i/3d28968993d7acbf5e45c1ebeb28cdd3c9027b5ec0e0264df68bf44a697a67cf/WeChooseTheMoon-25.jpeg" data-mid="1380079" border="0" /><img width="5555" height="4166" width_o="5555" height_o="4166" src_o="https://cortex.persona.co/t/original/i/35a00cbf6a899854b52fa378c731ed2942ff3c9b9223a11820597b777c8e9f8d/WeChooseTheMoon-20.jpeg" data-mid="1380085" border="0" /><img width="5555" height="4166" width_o="5555" height_o="4166" src_o="https://cortex.persona.co/t/original/i/8944541c672cd91db1fe59239afb32ab897a3aa81040a7361f014e455afd837c/WeChooseTheMoon-34.jpeg" data-mid="1380083" border="0" /> We Choose The Moon 我們選擇登月 2021Text, LED signage, dimensions variable. 文字、LED標誌燈、圖像 Produced for the 11th Seoul Mediacity Biennale.&nbsp; 第11屆首爾媒體城市雙年展委託製作 // Phrases written in Chinese, English, and Korean alternately scroll across the screens. Each phrase looks as if it has been pulled from a well-known fable or from someone’s private correspondence. The suggestive, metaphorical expressions are structured nonlinearly, and thus can be read as lines that each inspire different imagery and associations. The words not only dwell upon recent political and social events that have occurred across East Asia but also resonate with the experiences of individuals who are participating in processes that shape the growth, solidarity, future, and history of their societies. We Chose the Moon is installed in three locations across Seoul—the main SeMA building, the Buk-Seoul Museum of Art, and one of the Network venues. 中文、英文和韓文的短語輪流滾動顯示。每篇短句看起來像是來自知名寓言或某人的私人信件。這些充滿暗示性的隱喻表達之間並非線性敘述，因此每一行都能啟發及觸動不同的意象和聯想。這些文字不僅涉及近期在東亞發生的政治和社會事件，也與那些參與塑造其社會成長、團結、未來和歷史過程的個體經歷，產生共鳴。 《We Choose The Moon》在首爾的三個地點展出——SeMA主建築、北首爾美術館和網站。↩ We Choose The Moon 我們選擇登月 2021Text, LED signage, dimensions variable. 文字、LED標誌燈、圖像 Produced for the 11th Seoul Mediacity... http://changyunhan.net/265211 Tue, 17 Apr 2018 08:13:16 +0000 changyunhan 265211 <img width="1433" height="432" width_o="1433" height_o="432" src_o="https://cortex.persona.co/t/original/i/b3829fd6f982d07ab414f42548e7ecb7523358a0238972b4cb196b13431d1c9a/-2018-04-18-11.53.57.png" data-mid="421993" border="0" /><img width="1440" height="423" width_o="1440" height_o="423" src_o="https://cortex.persona.co/t/original/i/4acb7bab5580681d046bb45ef65b49ffa00fd816c552ab9aef3ea70125d70913/-2018-04-18-11.54.30.png" data-mid="421994" border="0" /><img width="1439" height="437" width_o="1439" height_o="437" src_o="https://cortex.persona.co/t/original/i/7511c0c728fb1da4ccc2bbd3c66e0a3be8d52527fd640bbad363561bde081dbc/-2018-04-18-11.55.20.png" data-mid="421995" border="0" /><img width="1440" height="427" width_o="1440" height_o="427" src_o="https://cortex.persona.co/t/original/i/d24d425e608af73e928554263cc29702a34dc94941486d83ee16c283697bdbba/-2018-04-18-11.57.09.png" data-mid="421996" border="0" /> American Dream美國夢20182 channels video projection , 15’09”雙頻道影像 // Beginning with texts that document and profile the daily life of New York, I decided to invite a magician and a storyteller to collaborate on a performance as a metaphor for the city. This collaboration suggests that people in New York continuously watch as it transforms through a mesmerizing array of magical tricks and stories, aware that what they see may not be real, yet willingly captivated by the beautiful illusions and the joy that unfolds before their eyes. 從紐約日常所記錄、側寫城市的文本為起始，我決定邀請了魔術師及說書人共同合作演出，作為對紐約的隱喻。暗示著人們身處這座城市中，不斷地注視著它藉由不同的敘事變幻出眼花撩亂的魔術招式與各種故事，即使明知當下所見並非真實，卻仍心甘情願地享受這座城市於眼前鋪展開的美麗話術，以及當下伴隨的歡愉。 ↩ American Dream美國夢20182 channels video projection , 15’09”雙頻道影像 // Beginning with texts that document and profile the daily life of New... http://changyunhan.net/224768 Fri, 27 Oct 2017 14:28:43 +0000 changyunhan 224768 <img width="3264" height="2448" width_o="3264" height_o="2448" src_o="https://cortex.persona.co/t/original/i/5a0365ab6b0e16de4ee938150ed206e40d3431fe99f96592d3aa02015bc5f99c/2017-10-21-17.50.34.jpg" data-mid="314087" border="0" /><img width="3264" height="2448" width_o="3264" height_o="2448" src_o="https://cortex.persona.co/t/original/i/75a7e344447ca335a930213787e5db50e6c3733cf784b1c0920e4d1d4193d137/2017-10-21-17.50.42.jpg" data-mid="314088" border="0" /><img width="3264" height="2448" width_o="3264" height_o="2448" src_o="https://cortex.persona.co/t/original/i/96e4ee3aa4cb0e41a84c1402015b38b2cd9d6808e615d56648335cbcbe0a052c/2017-10-21-17.48.38.jpg" data-mid="314089" border="0" /><img width="3264" height="2448" width_o="3264" height_o="2448" src_o="https://cortex.persona.co/t/original/i/bda9da5cf7b6ac7710a5c1e6802f62ddf02e00546bda02a46e239cafcb5301a8/2017-10-21-17.51.33.jpg" data-mid="314090" border="0" /><img width="3264" height="2448" width_o="3264" height_o="2448" src_o="https://cortex.persona.co/t/original/i/8eff19e6c40eab8f2da024c9b5810b68154a074950af0bb023835c25459cd4e4/2017-10-21-17.50.07.jpg" data-mid="314091" border="0" /> Have you ever dreamed of this place? 你是否曾夢見這樣的地方？ 2017drawing on the newspapers of different language // It is amazing how NYC holds so many different races; I keep thinking the motivation or expectation they had before traveling all the way to name this foreign place their home. In this ever-changing and high-density city, I feel people are literarily “surviving”, not “living”. After a while, I was remind of a cartoon “An American Tail, 1986” which not only accompanied me throughout my childhood, but also created my first impression for America and New York. The story, as you already knew, begins with a Russian Jewish family (mice family of course) deciding to immigrate to NYC for a better life. The story largely focuses on their journey in which they get lost and go away from each other. Finally - this littleRussian Jewish family finally arrive and fund their home in this promised land where “There are no cats in America” and “Streets are paved with cheese”. “An American Tail, 1986” is a good portraiture of how American ideology and belief are delivered world-widely: through theseloving characters and a fairy-tale ending, it demonstrates how non-Americansacknowledge and respond to the calling for “a good life”. Although it was released in 1986, this cartoon has also been one of the biggest“American dream” images to my generation. This work is a series of “posters” in which images and subtitles are recreated on my collection of NYC newspapers of different languages in response to the current phenomenon in America -differentraces are putting together their American dream in the same city. 在抵達紐約後，我不斷地在消化在這裡所感知到的一切，卻始終很難說得清楚。 看見了不同族群在紐約生活的樣貌，我不斷想著是什麼驅力，讓世界各地的人們願意飄洋過海前來，在此定居生活。又或者在這座快速而擁擠的城市裡，更貼近描述的動詞是「生存」。 於是我開始回頭尋找自己對於紐約／美國的第一個印象，想起在童年反覆觀看多次的「美國鼠譚 An American Tail」。故事敘述關於俄羅斯一家猶太裔老鼠，前往美國的紐約找尋更好的生活，在途中經歷失散、找尋家人的故事。 透過卡通裡討喜的形象，美國宣揚著自身的意識形態與信仰，並對外描繪著在此地開展美好生活的想像，1986年發行的卡通，貼合並形塑著我們成長世代裡對於「美國夢」的著迷與召喚。 於是我重繪擷取自電影中的影像片段與台詞，試圖對照著當今的美國社會語境，將其繪製在紐約蒐集到的各國語言報紙上。屬於不同民族，共同在這座城市裡拼湊著異鄉飄蕩的美國夢。 ↩ Have you ever dreamed of this place? 你是否曾夢見這樣的地方？ 2017drawing on the newspapers of different language // It is... http://changyunhan.net/129571 Mon, 19 Dec 2016 18:06:21 +0000 changyunhan 129571 <img width="2896" height="1944" width_o="2896" height_o="1944" src_o="https://cortex.persona.co/t/original/i/476719ee810b8fc5382a974e4316d8d32ed7b0413c5b86be3e53424d5d6a9e8a/2011_DVD.JPG" data-mid="142510" border="0" /><img width="2896" height="1944" width_o="2896" height_o="1944" src_o="https://cortex.persona.co/t/original/i/3357286dd03076d19ed2affa3b7842ef398e5a4de1cbca551e76076d0d86fedb/DSC_0134.JPG" data-mid="142508" border="0" /> <img width="842" height="595" width_o="842" height_o="595" src_o="https://cortex.persona.co/t/original/i/1d233415077866ab3c8e4fcc256228fa97d6b21fa9d55bde5e25b626d2e9a60a/-2014-06-25-4.16.42.png" data-mid="142509" border="0" /> DVD Rental - Activate Yourself! 積極點DVD 2011 installation, video works裝置包含播放器材、電視、桌椅、影像作品DVD installation view in the exhibition "Live Ammo",&nbsp;at&nbsp;MOCA, Taipei , Taiwan 照片攝於《活彈藥》展覽現場，當代藝術館，台北 //&nbsp;This project is formed in an art video rental store in which the visitors can choose from the collected videos and help themselves with the audio devices on site. The work opens up a platform that requires choices making (of materials) and help-your-self exposure (to acknowledge the materials), which intends to go against how we are accustomed when experiencing visual arts. 這是一個錄像藝術的租借計畫，輯錄了從各處徵選來的各式錄像作品，觀眾可於櫃台挑選出想看的作品，並透過現場置放的播放設備組（電視＋DVD 播放器＋耳機＋沙發椅）觀賞。意在透過開放的選擇架構和獨立的閱覽情境，翻轉觀眾習以為常的影像藝術閱聽經驗。 ↩ DVD Rental - Activate Yourself! 積極點DVD 2011 installation, video works裝置包含播放器材、電視、桌椅、影像作品DVD installation view in the... http://changyunhan.net/129570 Mon, 19 Dec 2016 17:58:16 +0000 changyunhan 129570 <img width="3008" height="2000" width_o="3008" height_o="2000" src_o="https://cortex.persona.co/t/original/i/f298c3494287c9bc639a135a7eea0aa640f317b89c370d79f31ea30de4143682/DSC_9021.JPG" data-mid="142506" border="0" /><img width="3008" height="2000" width_o="3008" height_o="2000" src_o="https://cortex.persona.co/t/original/i/830266275450b3860c7d15c8d79b96e83b4c65427e90ffcf63180987c0a13363/DSC_9029.jpg" data-mid="142507" border="0" />Your Museum 2008 site-specific installation, boards and cutting sheet現地裝置（包含木板、卡典西德） // On the facade of the art museum in an art school, several alphabets are enlarged and displayed.&nbsp; "Our museum" the alphabets claim and at the same time lift up a debate: to whom the "our" refers to? Later another capital alphabet, identical in font, scale and color, is added in the front. Now the alphabets claim "Your museum." 藝術學院內的美術館外張貼著「our museum」，在此如同宣示作用的「our」所指向的對象為誰？ 在前頭安置一個Y，對於公共建物命名進行提問及反轉。 ↩ Your Museum 2008 site-specific installation, boards and cutting sheet現地裝置（包含木板、卡典西德） // On the facade of the art museum in an art... http://changyunhan.net/129569 Mon, 19 Dec 2016 17:58:06 +0000 changyunhan 129569 <img width="4032" height="2688" width_o="4032" height_o="2688" src_o="https://cortex.persona.co/t/original/i/05e91353afc5a909dfbbe9e7b1789e7bc6deaad76e10f82dfb9617dd497cc2e4/P7302756.jpg" data-mid="142505" border="0" /><img width="2100" height="1400" width_o="2100" height_o="1400" src_o="https://cortex.persona.co/t/original/i/d5aecaaba22ba3d79185b188f05c6ae5c080dad92ff604b9074a675c47449575/Negative0-20-201.jpg" data-mid="142504" border="0" />Have a Spectacle 一個閃亮的未來 2011 installation, color string, 80*80 cm 現地裝置，螢光塑膠線 //&nbsp;In the acient castle of Romania, I made a modern human-made spider web for its corner. 在羅馬尼亞 的一座古老城堡裡，我製作了一個現代的螢光人造蜘蛛網。 ↩ Have a Spectacle 一個閃亮的未來 2011 installation, color string, 80*80 cm 現地裝置，螢光塑膠線 //&nbsp;In the acient castle of Romania, I... http://changyunhan.net/129568 Mon, 19 Dec 2016 17:57:53 +0000 changyunhan 129568 <img width="1404" height="936" width_o="1404" height_o="936" src_o="https://cortex.persona.co/t/original/i/f0b4bde5ad1410628077d5b1c15d2c34869ebe878a8c3efece25400caf9e9608/-1.jpg" data-mid="142500" border="0" /> <img width="1414" height="942" width_o="1414" height_o="942" src_o="https://cortex.persona.co/t/original/i/8756f3bc84990944c22e34341942533814d55d451452b4271e3f8bd37d199072/1.png" data-mid="142501" border="0" /><img width="1414" height="941" width_o="1414" height_o="941" src_o="https://cortex.persona.co/t/original/i/720fd29c97ebef79dda690f445ca6f13c8b243c30d34e5bbd83e129e792b51b3/2.png" data-mid="142503" border="0" /><img width="1416" height="941" width_o="1416" height_o="941" src_o="https://cortex.persona.co/t/original/i/32b6092dd9860621e9e71d5c3f33b22509cb7d770c89674021041a10ddb73a9f/3.png" data-mid="142502" border="0" />I Once Try To Be Your Puppy Love 我曾經試著討好你 2011 wool felting, 40*55*120cm 羊毛氈// "Are you making a sculpture?" is the most-asked question when one studies in the sculpture department. So for my last final critique of graduate school , I made this sculpture. 每次最常在系內被提及的問題就是：「你做的是雕塑嗎？」 所以， 期末評圖時，我好好做了雕塑。 ↩ I Once Try To Be Your Puppy Love 我曾經試著討好你 2011 wool felting, 40*55*120cm 羊毛氈// "Are you making a sculpture?" is the most-asked question when... http://changyunhan.net/129567 Mon, 19 Dec 2016 17:57:36 +0000 changyunhan 129567 <img width="1268" height="859" width_o="1268" height_o="859" src_o="https://cortex.persona.co/t/original/i/9aee30afcd9f2bf77fe80c1a146766e482056ceb9a8eb9fe76f843066498f96b/.png" data-mid="142496" border="0" /> <img width="3872" height="2592" width_o="3872" height_o="2592" src_o="https://cortex.persona.co/t/original/i/672aa4c4ac1f48e4837fd3308542114fda082fa2e416446aee87892bacad32d3/DSC_005712.jpg" data-mid="142497" border="0" /><img width="3872" height="2592" width_o="3872" height_o="2592" src_o="https://cortex.persona.co/t/original/i/17b07521c02f66a620784e8a8e29fe12d1df2bd3b992595aa1cc24c9b3c62ccc/DSC_008112.jpg" data-mid="142499" border="0" /><img width="3872" height="2592" width_o="3872" height_o="2592" src_o="https://cortex.persona.co/t/original/i/83090370803ab606994e7288083cd20b069d55e69d442838c92075bdc32811db/DSC_009812.jpg" data-mid="142498" border="0" />When You Take It Seriously 語音導覽：這時候認真的人就輸了 2010 installation, audio Guide語音導覽系統 installation view in the exhibition "Taipei Biennial 2010", at Taipei Fine Art Museum, Taipei, Taiwan 照片攝於《2010台北雙年展》展覽現場，台北市立美術館 // Audio guide system plays the educative and communicative role in exhibitions between works and visitors. What I concern is aside from the work itself and the profile text, what is not yet proposed or discussed? In Taipei Biennal 2010, this device is acquired to examine thoroughly through the accompanying works, Taipei Fine Art Museum and the gallery space and so on - there is a sonnet of imagery on the publics, on one among the publics, even in our daily discussions on social affairs. Politics. 語音導覽系統在展覽與觀眾中往往扮演教育和溝通媒介。然而，藝術家在此關注的是：除了作品的敘述與補充外，還有什麼未曾在展覽中被提及或討論？在2010台北雙年展的計畫當中，藝術家則將關注在作品、美術館、雙年展自身、展覽空間等等議題。透過討論公共事務，照映出個人對於公共群體的想像關係，投射出在社會之中的個體立場－－沒有誰可以逃離的日常政治。 ↩ When You Take It Seriously 語音導覽：這時候認真的人就輸了 2010 installation, audio Guide語音導覽系統 installation view in the exhibition...