藝術家工作室.營業中 ( 2021 )
概念:如果說創作本是一件私密的事,但當藝術家進駐於需被觀賞的工作空間時,會是如何去面對民眾可能前來的時段?
藉本身也為進駐者的身分,試著以民眾可觀看的視角進行記錄,呈現一個藝術機構對於進駐者所提供的條件,在經過藝術家各自的理解,以及時間推移下衍生的種種因素,包含疫情、臨時增加的外務與工作環境不符合創作需求等,隨之產生的應對。
由於 2019 新型冠狀病毒引發的疫情影響,藝術村因而提供的各階段參觀程度,間接形成藝術村、民眾和藝術家彼此的張力。參觀條件從完全關閉、限量預約至全面開放,對藝術家而言,則如同不用考慮會有民眾前來、條件式的光柵,到隨時可能被仔細觀看的 X 光,但在實際上,當擁有更多看見的條件時,是否就真的能獲得更進一步的瞭解?
媒材:單頻道錄像 ( 彩色/有聲 )
尺寸:依場地而定
時長:15 分 58 秒
展出:《 場址效應 》聯展,新竹市鐵道藝術村,新竹,臺灣,2021
Open Studio (2021)
Medium: single-channel video (color, sound)
Size: dimension variable
Duration: 15'58"
Concept: With a concept that producing artwork is very personal and private, when artists participate in a studio that is publicly displayed, how would they respond to the opening hours of an art village? Artists will meet different kinds of situations here, for example, the studio environment is incompatible with the requirements, the disturbance from visitors, the influence from COVID-19, not to mention their own personal affairs. As an artist of an art village (HsinChu City Art Site of Railway Warehouse), Sen Yu tries to record the video from a visitor's perspective; it demonstrates artists' reaction to external factors.
Due to the influence of COVID-19, the visiting rules of the art village were divided into three stages, including closing for a period of time, placing restrictions on the number of people to reserve, and finally resuming operation as usual. The visiting rules brought about a change in the relationship between the artist, visitors and the art village. While the gaze from the public is like an x-ray light for the artist, perhaps, the more you can see doesn’t represent the more you can realize.
Place: Site Effects group exhibition, Hsinchu City Art Site of Railway Warehouse, Hsinchu, Taiwan, 2021
概念:如果說創作本是一件私密的事,但當藝術家進駐於需被觀賞的工作空間時,會是如何去面對民眾可能前來的時段?
藉本身也為進駐者的身分,試著以民眾可觀看的視角進行記錄,呈現一個藝術機構對於進駐者所提供的條件,在經過藝術家各自的理解,以及時間推移下衍生的種種因素,包含疫情、臨時增加的外務與工作環境不符合創作需求等,隨之產生的應對。
由於 2019 新型冠狀病毒引發的疫情影響,藝術村因而提供的各階段參觀程度,間接形成藝術村、民眾和藝術家彼此的張力。參觀條件從完全關閉、限量預約至全面開放,對藝術家而言,則如同不用考慮會有民眾前來、條件式的光柵,到隨時可能被仔細觀看的 X 光,但在實際上,當擁有更多看見的條件時,是否就真的能獲得更進一步的瞭解?
媒材:單頻道錄像 ( 彩色/有聲 )
尺寸:依場地而定
時長:15 分 58 秒
展出:《 場址效應 》聯展,新竹市鐵道藝術村,新竹,臺灣,2021
Open Studio (2021)
Medium: single-channel video (color, sound)
Size: dimension variable
Duration: 15'58"
Concept: With a concept that producing artwork is very personal and private, when artists participate in a studio that is publicly displayed, how would they respond to the opening hours of an art village? Artists will meet different kinds of situations here, for example, the studio environment is incompatible with the requirements, the disturbance from visitors, the influence from COVID-19, not to mention their own personal affairs. As an artist of an art village (HsinChu City Art Site of Railway Warehouse), Sen Yu tries to record the video from a visitor's perspective; it demonstrates artists' reaction to external factors.
Due to the influence of COVID-19, the visiting rules of the art village were divided into three stages, including closing for a period of time, placing restrictions on the number of people to reserve, and finally resuming operation as usual. The visiting rules brought about a change in the relationship between the artist, visitors and the art village. While the gaze from the public is like an x-ray light for the artist, perhaps, the more you can see doesn’t represent the more you can realize.
Place: Site Effects group exhibition, Hsinchu City Art Site of Railway Warehouse, Hsinchu, Taiwan, 2021