【Art Museum of the Night】2020TIVA @ Yuxiu Art Museum

 

 

Introduction

 

2020TIVA @Yuxiu Art Museum
【Night Film Festival】
After a lapse of two years, this year is the third time that Yuxiu Art Museum has cooperated with Fengjia Art Museum, inviting the local community in Caotun to come to the museum when the twilight is approaching. The video is played, and the texture and sensibility of the space is gradually discovered. The existing exhibition works and audio-visual fields in the museum also add more imagination due to the narrative atmosphere of the video.

The "Taiwan International Video Art Exhibition" organized by Fengjia Art Museum is held every two years. Since 2016, it has cooperated with the "Art Museum of the Night" of Yuxiu Art Museum. Embroidery Art Museum special broadcast. Fengjia Art Museum has long been committed to promoting the creation of contemporary art and new media in Taiwan. The Taiwan International Video Art Exhibition aims to encourage the creation and research of video art. After more than ten years of hard work, it has established a dialogue platform for international video exchanges.

2020 is the 7th Taiwan International Video Art Exhibition. Guest curators Lin Yihua and You Wei proposed the theme of "ANIMA" for exhibition planning, and selected five works to be exhibited at Yuxiu Art Museum. The sound and light transmission establishes a relationship with the environment of Yuxiu Art Museum, which makes the visitor's movement and viewing time different from the general fresh feeling.

Anima Introduction: "anima" means "life" and "soul" in Latin. Taking this as an analogy, the exhibition attempts to explore the subtle and indescribable imagery behind the moving images.

Summoning the unknown is often done through ritual. Ritual briefly draws the line between the spiritual world and physical reality, allowing us who participate in it to temporarily separate from our daily life. Rituals give us access to trance experiences, whether at one end parallel universes, alternative realities, or misplaced time and space.

It's like hypnosis. Through certain forms of guidance, we see—or at least believe we see. During hypnosis, we don't really fall asleep, but remain somehow awake. Let's focus more than usual, ordinary things seem to make a lot of sense. This exhibition tries to imagine hypnosis as a ritual of watching a movie, using the image itself as the medium of hypnosis. Just like the "special sleep" induced by the hypnotic ritual, the work is like a channel, leading us into a certain state of intermediate consciousness between chaos and wakefulness. What you encounter in front of you is a process, if not the trigger that leads us into a trance state, but also how to approach it.

Many works in the exhibition involve dreams, fantasies, hallucinations, and subconsciousness, but compared to a thematic exhibition, "ANIMA" is more about the method of viewing, revolving around the imaging in the brain, and the trance-like state brought about by hypnosis during the viewing process. . The time of some works is very short, even just a completely still image, but it does not prevent us from concentrating and contemplating, and re-experience a stagnant moment as a continuous period of time. For some works that are not short in length, you are welcome to capture it with loose attention or sensory experience outside of sight.

"ANIMA" focuses not on reading images, but on experiencing them—the point is not to digest the information displayed in the images, but to gain insight into the real words hidden within them. How are images perceived when we "don't read"? Or pushed to the extreme, when we "don't see", does the image still hold true? Using hypnotic images as a channel, we are able to enter into all kinds of alternative realities that are both real and illusory, and that don’t seem right—the subconscious reality, the reality after scene scheduling, the reality mediated by the media, and the reality crippled by memory. The reality of the film's bizarre editing.

 

[Dumplings and Dumplings] The film exhibition opens, and everyone is invited to enjoy the cooking of glutinous rice balls while enjoying the video art. Time: 10/31 (Sat) 18:00 (The number of meals is limited, while supplies last) Location: Park Sod. Guests who love the earth are welcome to bring their own eco-friendly tableware and kettles. The rice balls do not provide disposable tableware.

 

【Luminous Food Truck】Allows you to enjoy the food in the dining car while enjoying the event performance and video art. Time: 10/31 (Sat), 11/01 (Sun) 16:00-21:00 (the number of meals is limited, while stocks last) Location: The parking lot opposite the gate of Yuxiu Art Museum. Guests who love the earth are welcome to bring their own eco-friendly tableware and water bottles.

 

 

Activity flow

 

16:30-17:30 Curator Demystification Lecture / Baishu Cafe

18:00-18:40 Grass Concert / Park Turf
18:00 Small dumplings (limited quantity, while stocks last)
19:00-21:00 Night Film Festival / Exhibition Hall & Cultural and Creative Stores & Park Turf

 

 

Night Film Festival Screening Locations

 

Venue 1: Film Room, 1F, Exhibition Hall

 

Venue 2: Exhibition Hall 2F

 

Venue 3: Story House, 4F, Exhibition Hall

 

Venue 4: The open space in front of the cultural and creative store

 

Venue 5: Park Turf

 

Intimate reminder

 

- To enter the exhibition hall, you need to comply with the deposit regulations. Please bring light personal items to speed up the deposit process.
- 10/31 (Sat) 18:00 The opening night of the film festival will provide guests with meals to enjoy. Guests who love the earth are welcome to bring their own environmentally friendly tableware and water bottles.
- After the food in the dining car is eaten, throw the garbage into the trash can, and do a good job of sorting the garbage. - The climate in the suburbs is changeable and prone to mosquitoes. It is recommended to wear warm clothes and carry mosquito repellent spray.
- During the epidemic prevention period, please cooperate with the forehead temperature measurement and hand disinfection at the gate, and wear a mask when entering the indoor space.
- Everyone is welcome to bring a picnic mat and sit on the floor to enjoy the film festival and performance.

 

ways of registration

 

- Make an appointment to visit, you can participate in the [Night Art Museum] series of activities.
- Telephone reservation: Please call 049-2572999 during the opening hours of the museum
- Online reservation:Online reservation system

 

Program Guide

 

Screening Venue 1: Film Room, 1F, Exhibition Hall

【The feeling of raisins】
2019, single-channel video, 15:54
Emotion Over Raisin / 2019, single-channel video, 15'54''
Ruth. Waters / UK / Born 1986 in Kendall, UK, lives and works in London
Ruth WATERS / UK / 1986 born in Kendal, UK, now living and working in London
Ruth. Waters' work is mostly moving image, animation, sound and installation, exploring the late capitalist internet society and its impact on people's anxiety levels. Commercial alternatives and therapeutic language are recurring motifs in the work, highlighting people's inner longing to be healed without reflecting on the source of their discomfort. Her videos explore how people's vulnerability is implicated in an uneasy and complex globalized economy.

"Feelings of Raisins" reproduces the course of collective mindfulness meditation. Participants are asked to stare at a raisin, feel it through various bodily senses, and then eat a raisin. This is a common practice method in mindfulness-based stress reduction therapy. The work builds on Waters' experience taking such courses, reflecting the try-fail-now experience of being alive in the process. From time to time, the ubiquitous ticking sounds are constantly reminding that the "moment" that is difficult to grasp is passing. Through the skip-cut editing method, the perspective is seamlessly shifted from the external world to the internal world of the participants, showing the thoughts that diverged during the session: the raisins in the hands of the participants began to provide life advice, and the lens of the subjective perspective slowly Sinking to the bottom of the ocean, and fantasies about deceased cats. The work questions the efficacy of this practice and highlights a seemingly meaningless need in society - that we are constantly forced to "switch on".

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Screening Venue 2: Exhibition Hall 2F

【 eye / eye / eye / eye / 】
2020, single channel video, 37 minutes 07 seconds
EYES / EYES / EYES / EYES / 2020, single-channel video, 37'07''
Albert. Garcia-Alsouris / Spain / Born in Barcelona, Spain in 1992, currently lives and works in Barcelona
Albert GARCÍA-ALZÓRRIZ / Spain / 1992 born in Barcelona, Spain, now living and working in Barcelona
Albert. García-Alsoulis' work focuses on the fascination and alienation that arises between places and objects, creating speculative accounts of encounters with human and non-human mediums. To this end, Alsoris combines multimedia and technology, moving between documents, fiction, anecdotes and official records, and between the lines of reality and fiction.

"Eye/Eye/Eye/Eye" starts from the destruction of images and statues (idols), many fragments of destroyed and collapsed statues are preserved in the archives. In the other corner, the fan stirred the atmosphere, the air caressed the body and movements of the archivist, the hum of the machine and the hypnosis of the slowness of time: in the dream, soldiers and citizens smiled motionless— - shots, bullets whizzing and explosions; in another dream, only stones, indifference and oblivion - none of the above is true or true. This work is a commissioned work for "Lost Head (Idol)" in the exhibition "Catalonia in Venice" at the 58th Venice Biennale. The theme of the exhibition is to explore the delicate relationship between humans and statues, as well as the acts of vandalism and worship caused by images.

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Screening Venue 3: Story House, 4F, Exhibition Hall

【Silent Light】2019, single channel video, 18 minutes 39 seconds
The Silent Ray / 2019, single-channel video, 18'39''
Rossella. Nigio / Italy / Born in Rieti, Italy in 1980, lives and works in Rotterdam
Rossella NISIO / Italy / 1980 born in Rieti, Italy, now living and working in Rotterdam
Rossella. Her work focuses on the concept of memory, imagination and space. She also has a background in film, performance art theory, photography and art design. Her works have been exhibited and collected in many art institutions and film museums.

"Silent Light" is based on a photograph taken in northern Ethiopia in 1936, which depicts three black shirted militiamen, one of whom is Nehio's grandfather. At the time, they were standing in the middle of the rocky landscape and drawing water from the bottom of the main stream. The title refers to Guglielmo. Marconi's lethal ray, a secret weapon allegedly developed with the support of fascism, has the potential to destroy all signs of life from a distance.

The short film focuses on the artist's grandfather, who, before his death in the early 1970s, recalls the events of Mussolini's colonial war against Ethiopia. The room scenes in the film are reconstructed from the laboratory he used for many years. Wandering between memories and hallucinations, the work conjures up a terminally ill man, rationalizing his desires in vain, but failing to transcend the absurd whims of the mundane. The film may refer to the memories of all the soldiers who fought in the colonial war, or it may be of this entire generation.

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Screening Venue 4: The open space in front of the cultural and creative store
【Yellowish Blue】2018, single channel video, 5 points
Yellowish Blue / 2018, single-channel video, 5'
Hui Zhiwei / Hong Kong / Born in Hong Kong in 1996, currently lives and works in Hong Kong
HUI Gi-Wai / Hong Kong / 1996 born in Hong Kong, now living and working in Hong Kong
Xu Zhiwei is good at exploring the boundaries between the senses and perception. His recent works use optics and illusions to explore the limitations of vision, wandering between art and science. Its forms are mostly light, chemicals, images, and dynamic images. The perception and movement of the viewers interact with the installation of the works. Through the visual-dominated creative medium, abnormal visual sensory discussions are aroused, and then the reality they see is questioned.

"Yellowish Blue" is a video work transformed from an optical phenomenon. In the video, light sources of complementary colors on both sides are set up symmetrically on a white screen. After the complementary color light sources overlap, the colors originally projected on the white screen will cancel each other and appear white. In optics, the "negative afterimage" of persistence of vision is a physiological phenomenon of vision. When people stare at the light or image for a period of time and then look away, the image of the image can still be seen in a short period of time, and this image will appear in its complementary color. Psychologists also call this phenomenon "after-feeling" (after sensation). The works try to make the viewer think about what they see. Among the many senses, vision especially dominates the way people perceive the world. But is it really "seeing is believing"? When these images created by the persistence of vision emerge, do people really "see" those images? Or is it a moving image produced by the brain being hypnotized by the original image?

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Screening Venue 5: Park Turf

【Sasha】2019, single channel video, 19 minutes 20 seconds
THE SASHA / 2019, single-channel video, 19'20''
Maria. Molina. Pero / Spain / Born in Seville, Spain in 1979, lives and works in Amsterdam
María MOLINA PEIRÓ / Spain / 1979 born in Sevilla, Spain, now living and working in Amsterdam
Maria. Molina. Pero is an audiovisual artist and filmmaker whose works explore the superimposed relationship between history, technology and nature. Her video and video installation works have been exhibited at international art centers and film festivals. In addition to the support of many awards, her works are also archived in institutions as art films.

1972 Astronaut Charles. Duke landed on the moon with Apollo 16, when he was in charge of taking pictures of the lunar surface with a high-resolution camera. In Sasha, Pero uses narrative to question the veracity of photographic documents, human views of the earth, and the constant struggle with the limitations of time and space. The film is interspersed with different types of images, from historical documents to digital drawings, from space exploration to cyberspace, from the moon in 1972 to the virtual moon in Google Earth today. In this story about the parallel universe "Sasha", the so-called eternity seems to be lost between the frame and the interface.