當期展覽Current Exhibitions

日常取向—當我們為生活切片Orientation of Daily Life: A Biopsy of Our Life

「日常取向—當我們為生活切片」主視覺
「日常取向—當我們為生活切片」主視覺
「日常取向—當我們為生活切片」展覽主視覺牆
「日常取向—當我們為生活切片」展覽主視覺牆
「日常取向—當我們為生活切片」子題「定位」,蘇子涵作品〈一組家的想像〉、〈建商廣告單-家屋〉。
「日常取向—當我們為生活切片」子題「定位」,蘇子涵作品〈一組家的想像〉、〈建商廣告單-家屋〉。
「日常取向—當我們為生活切片」子題「定位」,黃海欣《甜蜜家庭》系列作品。
「日常取向—當我們為生活切片」子題「定位」,黃海欣《甜蜜家庭》系列作品。
「日常取向—當我們為生活切片」子題「定位」,盂施甫《小折磨》系列作品。
「日常取向—當我們為生活切片」子題「定位」,盂施甫《小折磨》系列作品。
「日常取向—當我們為生活切片」子題「常態」,石孟鑫作品〈轉轉〉。
「日常取向—當我們為生活切片」子題「常態」,石孟鑫作品〈轉轉〉。
「日常取向—當我們為生活切片」子題「常態」,王煜松作品〈回鄉偶書〉。
「日常取向—當我們為生活切片」子題「常態」,王煜松作品〈回鄉偶書〉。
「日常取向—當我們為生活切片」子題「常態」,張騰遠作品〈逃生至地球:一百種在地球上的生存方法〉。
「日常取向—當我們為生活切片」子題「常態」,張騰遠作品〈逃生至地球:一百種在地球上的生存方法〉。
「日常取向—當我們為生活切片」子題「常態」,賴志盛作品〈手紙〉。
「日常取向—當我們為生活切片」子題「常態」,賴志盛作品〈手紙〉。
「日常取向—當我們為生活切片」子題「常態」,賴志盛作品〈作為一種例外於現實的狀態〉。
「日常取向—當我們為生活切片」子題「常態」,賴志盛作品〈作為一種例外於現實的狀態〉。
「日常取向—當我們為生活切片」子題「集散」,陳宛伶作品〈浮動小機車〉、〈團&團〉、〈我背著妳好快樂〉。
「日常取向—當我們為生活切片」子題「集散」,陳宛伶作品〈浮動小機車〉、〈團&團〉、〈我背著妳好快樂〉。
「日常取向—當我們為生活切片」子題「集散」,李承亮作品〈HELLO還是BYE BYE〉。
「日常取向—當我們為生活切片」子題「集散」,李承亮作品〈HELLO還是BYE BYE〉。
「日常取向—當我們為生活切片」子題「集散」,賴威宇作品《City Painter》。
「日常取向—當我們為生活切片」子題「集散」,賴威宇作品《City Painter》。

名稱 日常取向—當我們為生活切片Orientation of Daily Life: A Biopsy of Our Life

類型 展覽 類型檢索

時間 2022/08/02 00:00 ~ 2023/02/05 23:59 時間檢索

地點 2館3樓展覽室J、2館3樓展覽室O、2館3樓展覽室P、2館3樓藝術走廊(Art Point) 地點檢索

  • 日常取向當我們為生活切片 展覽介紹

     

    當代世界變動快速,無論工作模式、生活中大量的資訊與社群網絡效應,比起過往,這些外在因素更容易影響人們在日常生活(Daily Life)中的喜怒哀樂。

     

    順應前人努力及社會發展,當今人們擁有更多的選擇權。大至性別認同、移居城市、工作方式,小至旅行往來、食衣住行育樂等,人們在生活中各種選擇推動著人生方向,這些在日常生活中大大小小的選擇,可以「取向(Orientation)」作為解釋。「取向」的定義為推行事物時所選擇的方向,包含空間的移轉及時間的流動,以及日常生活中扮演的角色、往來關係、事物等,都構成了「取向」。

     

    「切片」是一個我們讀取生活的途徑,體察在日常取向中的點線面。無論是將個人、群體時間,抑或大空間到小空間的切分(Slice),這些片段與片面都組成日常的型態,也結構成每個人生活的面貌。另一種解釋,如同醫學中常用於檢查方式,「切片」(Biopsy)是指從器官組織切出部分進行檢查;套用於日常,我們從生活中一隅、一環、部分等零碎的人事物取樣觀察,由內而外,心理到物理,「切片」得以重新檢視這些日常中的徵狀與樣態。

     

     就每個人的經驗而言,公、私領域的交替構成了日常的主要場景。「家」作為一個私空間的代表,牽繫著人們的成長,在日常中影響家庭成員的性格、特質、性別角色,試圖定位自身存在的價值與意義。而當出門面對社會環境,公共空間成為大眾必經的場所,人們往來城市街廓、學校、醫院,走在馬路上經過交通物件或排水溝蓋,在這些認為的常態之間往來集散,或匆匆而短暫,或緩緩而漫長。日常生活可以說是由各個瑣碎的人事物組合而成的總體,隨時間不停地前進及堆壘;但若切分出每時每刻的人事物,可以發現人們的取向坐落及出現在某處,靜態或動態地彼此產生連結和互動,最終形成當下世界的特質、生存定義或生活習慣。

     

     本展覽作為重新省思日常生活及認知自我的媒介,企圖透過視覺文化連結觀者生命經驗,以「定位」、「常態」、「集散」三個子題,運用遠近交互、內心感受到物質環境的觀看動線,帶領大眾診視日常中自身的角色、關係與模式;期能藉由參展藝術家陳宛伶、張騰遠、賴志盛、黃海欣、蘇子涵、盂施甫、賴威宇、李承亮、王煜松、石孟鑫不同創作形式,以及藝術家們對於日常生活的關切與切片,體現各種時空條件下所造就的「日常取向」。

     

     Orientation of Daily Life: A Biopsy of Our Life

     

     In this fast-paced world, work patterns, information explosion and social media frenzy have affected people’s mood in daily lives more than ever.

     

    Thanks to the efforts made by their predecessors in the past with social development, people nowadays have more choices from major issues such as gender identity and relocation to trivia like travelling and basic needs. To continue their life, each person makes countless choices, which can be interpreted using one word: orientation. Here, “orientation” refers to the direction one chooses to move forward, including the roles they play, interactions with others and things they encounter in daily life that involves spatial transition and passing of time.

     

     Daily life “biopsy” implies an approach to interpreting our everyday life and observing daily choices. The time of an individual or group can be divided into slices of different size that formulate their everyday life patterns. Alternatively, like its medical definition an examination of tissue removed from the living body, a “biopsy” of our daily life denotes the process of observing particular trivia in our life physically and mentally to reidentify the characteristics and patterns of daily life.

     

     To each individual, alternating between the public and private spheres shape the major scenes of daily life. Home, representing a private space, is strongly linked to one’s development and affects family members’ personalities, traits and gender roles on a daily basis, during which each member strives to find the value and meaning of their existence. After leaving home, everyone must pass through public spaces including city streets, schools and hospitals and walk by transportation vehicles and even gutter guards, where they stop in or stay for a while––which they take it for granted––before moving to next destination. People’s daily life is an entity comprising trivial persons and things they encounter, which will constantly proceed and accumulate. However, if we separate the said persons and things one by one, we will realize that people’s orientations either statically or dynamically interact with one another, ultimately shaping their perceptions of worldview, meaning of life or lifestyle at the present moment.

     

    Serving as a platform for daily life reinterpretation and self-cognition establishment, this exhibition attempts to connect viewers’ life experiences through visual culture with three subthemes, namely “positioning”, “normality” and “gathering and dispersing”. The tour route on site allows visitors to appreciate the exhibits alternately at different distances and mentally perceive the surrounding physical environment, through which they can examine the roles they play as well as their relationships and interactions with others in daily life. Featuring works created by artists Chen Wan-ling, Chang Teng-yuan, Lai Chih-sheng, Huang Hai-hsin, Su Tsu-han, Yu Shih-fu, Lai Wei-yu, Li Cheng-liang, Wang Yu-song and Shi Meng-hsin regarding their care for and “biopsy” of daily life, the exhibition reveals “daily life orientations” formed in various spaces and times.

     

    定位

    Positioning

          「家」是遮風避雨的地方,是一個歸宿,也是多數人生命中面對的第一個群體。「家」在日常中影響家中成員的性格、特質,性別角色,並試圖從外在環境、生理到心理,「定位」自身存在的價值與意義。

           人們對於家屋時常有想像,而當今日常生活中買房熱潮更連動了消費主義等外在社會對「家」建構的影響,與誰生活、誰組成家、一個人或多人、以及家該是怎樣的有了更多的期待,試圖「定位」夢想家居的型態。而在家人之間的互動關係,以及彼此的聯繫,都構成日常生活的一部分。人們如何作為一個家中成員,角色的表現,陪伴或缺席,責任或負擔,幸福或沉重,彼此及自己之間從表徵到內心,都成為一段「定位」的過程。

             To most people, home is a place providing shelter as well as the first collective they face, which affects family members regarding their personalities, traits and gender roles on a daily basis. These family members all attempt to “position” the value and meaning of their existence environmentally, physically and mentally.

             People have certain expectations on their future houses, while the house-buying frenzy today has strengthened the effects of external social factors (e.g., consumerism) on the notion of “home”. Individuals have been trying to “position” their ideal lifestyle, such as questions of whom they want to live and start a family with, whether they want to live alone or live with others and how should a good family be like. Their interactions and relationships with other family members have become part of daily life. Regardless of the role(s) they play, companion with or absence in another member’s life, responsibilities or burden, happiness or sadness, each individual, as a family member, will go through the process of “positioning” themselves and others symbolically and mentally.   

     

    常態

    Normality

          在路上的每個人,來自不同地方與家庭,大多數人生命降生,從母親的子宮的私空間離開,被這個世界迎接時,個體與群體就此產生關聯。從私空間走向公共空間,許多人們認為的常態建構了生活的面貌,也反映出人們與常態之間的關係,以及不同經驗的況味。

          日常中充斥著這樣的趣味性,有些物件讓人思考著公、私領域的邊界。衛生紙、手紙等物質作為日常使用及隨處可見之物,它可以為私用,可以為公用,看似不經意卻十分重要的物件,卻是人類社會發展取向的產物,也是生活中不可或缺的必需品,成為人們不分階級、族群、性別等取向不可或缺的生活「常態」。

          而當人們從私領域走向公共空間,城市的街廓閃著琳瑯滿目的燈光,走入巷弄,總有幾處看起來曖昧的角落,交疊著私空間與公空間,就像每一家窗櫺、分離式冷氣壓縮機、招牌、燈等等,都表徵了日常當中人們與社會環境建立的「常態」風景。

           Despite their different ethnic and family backgrounds, most individuals start to interact with various groups once leaving their mother’s womb and being welcomed by the world. The private-to-public space journey has help established the life of the so-called “normality”, which also reflects the relationships between individuals and their daily routines as well as experiences gained from these normal days.

           Daily life is full of interesting objects that prompt people to think about the border between public and private spheres. Despite being trivial, common objects in everyday life (e.g., tissue paper)––serving for private and public use––are vital and indispensable products representing the development of human society as well as life “normality” shared by people with different social status, ethnic backgrounds, gender identities and other orientation.

           When people leave the private sphere and walk into public spaces, they may first see dazzling lights in city streets. After turning into an alley, they will likely bump into some corners where the private and public spheres overlap. Under such circumstances, common objects in ordinary buildings, such as lattice windows, outdoor units of split-system air conditioners, signboards, and lights, all symbolize the “normality” scenes formed in individual daily life and social environment.

     

    集散

    Gathering and Dispersing

            日常中,人們時常駕駛交通工具或搭乘大眾運輸,在通勤時間於公領域與陌生人相見,在公共匯流中產生短暫的交集,「集」與「散」構成生活中重要的元素。

           與同事在辦公室上班,或是在學校與同學一起上課,週末旅行外出又返回家,對於人們的日常而言,充滿例行公事以及隨機性。也許上班的路途是一個例行路線,但路上的汽機車、交通狀況,以及施工修路和禁止通行的拒馬、防撞桶等公共設施等,皆拼貼了每日不同的道路風景。從個體到群體的移轉,都造就居住環境、公共空間城市區域計畫發展紋理的改變,「集」與「散」著實在人事物的來去之間不間斷發生,成為日常生活的動態景致。

            In everyday life, people commute by vehicles and public transport, during which they find themselves amid strangers in the public sphere. In such brief encounter, the moment of “gathering” and “dispersing” has formed a great part of daily life.

           To each individual, life is full of daily routine and random events as they work with colleagues in the office, take classes with classmates in the school or have a weekend getaway. Taking the same route to work every day, a person would still see distinct scenes because of varying traffic conditions such as barricades and anti-collision barrels raised due to road construction or closure. The individual-to-group transition has changed the development of living environments and public spaces in urban areas, where the act of “gathering” and “dispersing” constantly occurs among various people and things, depicting dynamic scenes of daily life.

  • 參展藝術家(依中文姓氏筆畫排列)—

    Artists-

    王煜松 Wang Yu-song

    石孟鑫 Shih Meng-hsin

    李承亮 Li Cheng-liang

    盂施甫 Yu Shih-fu

    陳宛伶 Chen Wan-ling

    張騰遠 Chang Teng-yuan

    黃海欣 Huang Hai-hsin

    賴威宇 Lai Wei-yu

    賴志盛 Lai Chih-sheng

    蘇子涵 Su Tsu-han

     

    特別感謝—

    Special thanks to-

    國立臺灣美術館 National Taiwan Museum of Fine Arts

    藝術銀行 Art Bank Taiwan

  • 策展:黃靖容

    Curator: Huang Jing-jung

    執行:黃靖容、黃瑞玲、徐嘉晨

     Executive Team : Huang Jing-jung, Huang Jui-ling, Hsu Chia-chen