在20世紀的第一個和最後幾十年之間存在著比最大想像更大的鴻溝。這是火藥和核彈之間的巨大差距，是在敲擊的摩斯密碼和全球電視之間的信息......
- Arthur C. Clarke，《2001失落的世界》，1971。

當代生活因為科技發展及社群媒體鏈結的發達，連帶新的、不斷跨越界線的轉運點出現，它們連結地方，促使空間不再侷限於地理上的限制，成為機動且即時的流動空間，人們的生活也從類比的真實世界，逐漸移轉至數位的虛擬世界。如此的發展軌跡，造就了亞瑟．克拉克筆下失落世界裡的那巨大鴻溝，而同樣的，在二十世紀末的幾十年裡，我們目睹了藝術方法論的軌跡—從發現物件和影像，到藝術世界中對於媒體的操縱與概念上的越軌特性，直至今日的數位時代。

「超級－軌跡」—當代媒體與生活的總和，是結合實驗媒體藝術與科技藝術論述的國際跨域平台。在此次的交流展裡，藝術創作者透過自身觀察其所面對的都市更迭景況，探索各種媒體和技術，並以不同的形式、方法過程呈現於創作中，做為體現這個世代的回應。展覽主題揭示了當代生活都市化的闡述與差異，並藉此提問：身處於今日後數位現象與乏味現實之間，人文主義的價值與原則是什麼？

"Between the first and last decades of the 20th century lay a gulf greater than the wildest imagination could have conceived. It was the gulf between gunpowder and nuclear bomb, between messages tapped in Morse code and global television from the sky…”

- Arthur C. Clarke, The Lost Worlds of 2001, 1971.

With the onset of technological development of social media and networks, transmission nodes enable human connections in contemporary life to be freed from geographical restrictions and boundaries, becoming more immediate and fluid. Meanwhile, people's lives are gradually shifting from the analogue to the digital world in virtuality. Such a development points to what Arthur C. Clark refers to as the “gulf” in The Lost Worlds of 2001. Similarly, in the last decades of the 20th century, we witnessed leaps of trajectories of art methodologies: from found objects and images, to media manipulations and specificities, to conceptual transgressions in the art world, until today in the digital age.

SUPER-TRAJECTORY is an international and cross-regional platform for contemporary and experimental media art and discourses on technology in art. In this exchange-exhibition, the artists’ works are presented in a myriad of media and techniques in different forms of technological and methodological processes and presentations. Art creators explore various media and technologies through their own observations of the urban changes they face and present them in their creations in different forms and methods, as a reflection of this generation. The subject matter revealed both expositions and nuances of the urbanisation and urbanism of contemporary life – and to ask the question: What are the humanistic values and principles between today’s post-digital phenomena and the banal realities?

參展藝術家 Artists

大衛・羅德格斯・吉梅諾 David Rodríguez Gimeno
王建斌Ong Kian Peng
王連晟Lien-Cheng WANG
安德烈斯．施勒格爾Andreas Schlegel
西原尚Nao Nishihara
吳燦政Tsan-Cheng WU
希西爾．沙尼奥Cecile Chagnaud
林育榮Charles LIM
張瑋欣Weixin CHONG
陳志宏Chih-Hung CHEN
陳美美Debbie DING
傅雅雯Ya-Wen FU
傑里米．夏爾馬Jeremy Sharma
廖昭豪Chao-Hao LIAO
樊智銘Chih-Ming FAN
鄭先喻Hsien-Yu CHENG

(依姓名筆畫排列 The names are arranged in stroke order)

INTER－MISSION

INTER－MISSION是2016年由新加坡藝術家Urich LAU、TEOW Yue Han與前成員Marcel GASPAR和Shengen LIM共同發起的藝術團體，專注於錄像藝術、視聽表演和裝置、互動藝術和科技藝術話語。

該團體的目的是在技術性參與藝術形式之間的存在差距－超越利用技術作為工具和媒體，來探索藝術家和觀眾之間的人類認知和感知概念。

INTER－MISSION藉由建立跨國網絡、實踐透過媒體藝術促進持續對話和展示、互動和國際社會參與，於國內外呈現各種專案，創造一個藉由跨學科對話和知識共享，鼓勵合作，反思和參與不斷變化的技術環境的空間。

INTER－MISSION is an art collective initiated in 2016 by Singaporean artists Urich LAU, TEOW Yue Han, with former members Marcel GASPAR and Shengen LIM. Focusing on interdisciplinary and collaborative works in video art, audiovisual performances and installations, interactive art, and discourses of technology in art.

The collective aims to inhabit the gap between technologically engaged forms of art – beyond the utilisation of technology as tools and media to explore notions of human cognition and sentience between artists and audiences.

Having presented various projects both locally and abroad, INTER–MISSION builds transnational networks to promote sustained dialogue and expositions with media art practices, creating a space that encourages collaboration, reflection and participation in the ever-changing technological environment through interactivity and engagement in international and interdisciplinary dialogues, and knowledge sharing.

tamtamART

tamtamART團隊欲匯集各領域、跨學科之藝術家及其創作，提供一個實驗性的當代藝術平台；致力于提供各類型、各媒材藝術家實驗性的展演。自2015年起與The ASC共同舉辦滲透媒體影音藝術節，並參與2016日本東京跨領域藝術節、2017「數位間歇」英國巡迴計畫、2018莫斯科「數據控」數位藝術展等。此次策展團隊由洪韵婷、何尉民、王文琪組成。

tamtamART is Offering an experimental contemporary art platform, this art space congregates various artists and creations of different domains and disciplines. At the same time, tamtamART and The ASC (The ART SHELTER AND CINEMA) organise OSMOSIS Audiovisual Media Festival together. Their recent projects are the exhibition “Data Mania” at CCI Fabrika, Moscow, Russia, 2018, the exhibition and screening project “Digital Break: New Perspectives on Taiwanese Moving Image” throughout the UK, 2017. The curatorial team consists of Yun-Ting HUNG, Wei-Ming HO and Wen-Chi WANG.

詳細作品資訊，請參考展覽e-DM(點擊下方連結)。

For more information, please check the electronic booklet (click the link below). 

展覽e-DM/ electronic booklet

作品sandbox訊息內容.pdf

2019
10.06 14:00
開幕式
藝術家導覽
「瞄準，但目標呢 5」現場表演 / 傅雅雯
Opening Ceremony
Artists Guide Tour
Aiming, but where to V: Live performance / Ya-Wen FU

11.03 15:00
專家導覽一 / 羅禾淋
Specialist guided tour / Ho-Lin LUO

12.01 15:00
專家導覽二 / 劉星佑
Specialist guided tour / Sing-You LIOU

12.22 14:00
「媒體越軌」現場聲音表演單元一 / 西原尚、張惠笙、劉芳一
Media Transgression: Live session 1(Sound Art) / Nao Nishihara, Hui-Sheng CHANG, Fang-Yi LIU

2020
01.19 14:00
「媒體越軌」現場影音表演單元二 / 王連晟、鄭先喻
Media Transgression: Live session 2 (Audiovisual) / Lien-Cheng WANG, Hsien-Yu CHENG

02.09 15:00
專家導覽三 / 陳妍卉
Specialist guided tour 3 / Yan-Huei CHEN

02.23 14:00
「都市編碼」工作坊 / 陳志宏
Urban Coding: Workshop / Chih-Hung CHEN