給火星人類學家 To Martian Anthropologists

王雅慧
王雅慧的創作形式涵括錄像、裝置、攝影、繪畫，從現實與影像的交會重疊處，提出許多關於虛／實、內／外空間、影像本質、觀看經驗的問題。在主題上，則關注在東方的自然哲學中，人與世界的關係與思維方式，並從當代生活的經驗中，探索重新納入這種思維方式的可能性。

Draw a Circle 
2020｜互動響應式網頁
在 Draw a
Circle 當中，使用者必須順著畫面上的圓形搜索才能找到感應區塊，因此，當他們在這個介面停留期間，眼與手也必須協調一致地回應這個圓形。一旦觸動感應區塊，便會啟動長度一分鐘的錄像作品。藝術家在創作時，常感覺像在浩瀚的宇宙中尋找發亮的星星，而太空船雖然必須由人來駕駛，但也須遵循著宇宙的規則才能順利航行，唯有人與宇宙合作時，方能踏上尋找星星的旅程。
https://martian.beauxarts.tw/artwork/wang_yahui_draw_a_circle


Ya-Hui WANG
Engaged in video, installation, photography and painting, the artist raises
questions from the overlap of reality and imagery about virtual/real,
interior/exterior, essence of imagery and viewing experience. The subject in her
work concerns the nature in Oriental philosophy and the relationship between
human beings and the world. From contemporary experiences of living, she is
genuinely interested in the possibilities to incorporate the Oriental thinking
into modern life.

Draw a Circle 
2020｜Interactive and responsive web page
Users of Draw a Circle must follow the circle on the screen to find the sensor
zone. Therefore, during the time when they keep in touch with the interface, the
eyes and hands must also respond coordinately to the circle. Once the sensor
zone is triggered, an one-minute long video will be played. During the
conception, the artist often feels like looking for bright stars in the immense
universe. Although the spacecraft must be piloted by human beings, it has to
follow at the same time the rules of the universe in order to travel safely.
Only when human beings cooperate with the universe, the voyage in search of
stars is able to embark.
https://martian.beauxarts.tw/artwork/wang_yahui_draw_a_circle

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謝佑承
謝佑承的專長為複合媒體及空間裝置，其創作擅長製造臨場的觀察誤區，關注影像、機器和錯覺現象之間異動的主體性，進而對應至人與世界的認識經驗與存在關係。

星叢 / 藍幕
2020｜互動響應式網頁
夕陽低垂，各種光在夜裡浮動閃現。熙來攘往的公路車潮與通明深邃的街燈，遠看是點點微光與星叢，構築了現代生活與城市。流水時間隨一幀幀靜態影像片段切格，循序播放，造就了真實般的觀視錯覺。而現在，超級逼真的巨量影像以各種介面，朝我們襲來。在此刻所有人被迫遣返的獨處時刻，眼前唯留發光的屏幕與影像，這一切也許是從一個碰撞的火花開始，光以點綿延成線，以線拓展為面， 構成時間與文明。
星叢 ▸ https://martian.beauxarts.tw/artwork/hsieh_yucheng_star_cluster
藍幕 ▸ https://martian.beauxarts.tw/artwork/hsieh_yucheng_blue_screen


Yu-Cheng HSIEH
Specialized in mixed media and spatial installations, the artist often creates
skillfully on-site optical illusions to explore the floating subjectivity among
image, machine and illusional phenomena, in the hope to reflect upon by
correspondence the relationship between empirical world and existential state of
human beings.

Star Cluster / Blue Screen
2020｜Interactive and responsive web page
The sun goes down and all sorts of shimmering lights linger at night. The
bustling highway traffic and bright, deep street light, seen from far, have
turned into dispersed dim lights and a star cluster, both of which constitute
the modern urban life. The flow of time is cut into static frames of fragmented
images, which are played in sequence to create a visual illusion of reality.
Nowadays, a great amount of images of super verisimilitude, through all sorts of
interfaces, have invaded us. At the moment when everyone is forced to regain the
life of solitude, all left in front of us are the glowing screens and images. In
the beginning, it might start from a collision of sparkles from which light
stretches out by spots as a line expanding into a surface, by which time and
civilization are thus constituted.
Star Cluster ▸ https://martian.beauxarts.tw/artwork/hsieh_yucheng_star_cluster
Blue Screen ▸ https://martian.beauxarts.tw/artwork/hsieh_yucheng_blue_screen

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李明學
李明學反轉生活周遭物件的使用方式，轉換其外觀造型或被觀看的角度，在探索當代藝術的可能性上，創造出輕盈的另類解讀。他以幽默的手法，重新檢視媒體、教育與社會框架下，對各種事物／物件的慣性理解。

遙望的空洞
2020｜互動響應式網頁
人們總傾向相信「呈現」所帶來的一切，無論是透過視覺上所謂的「有圖有真相」，或是任何有形的證據紀錄，都是「眼見為憑」所衍生出的意識形態。講究科學邏輯的「呈現」，攻佔了人們大部分的生活，然而，作為「呈現」反面的「缺席」所連繫的無形情感，抑或是稍縱即逝的無法描述，卻成了一個難以遙望的空洞。令人感到可怕的是，這種空洞並非不存在，而是人們的視而不見。
https://martian.beauxarts.tw/artwork/james_minghsueh_lee_distant_hollow


James Ming-Hsueh LEE
His work often spotlights on the objects found in all sorts of stores. With a
penetrating sense of humor, he reexamines and challenges the conventional
understanding of ‘things’ indoctrinated by the media, education and society.
Through reversing the concept of objects--correct usage, appearance or human
perception, the artist is able to offer refreshing and amusing interpretations
so as to explore other possibilities of contemporary art.

Distant Hollow 
2020｜Interactive and responsive web page
As always, people are inclined to believe what the “presentation” brings about,
whether by visual effects, as the saying goes — “Pictures don't lie,” or by
recorded evidence of any physical form: each bears an ideology derived from “To
see is to believe.” The “presentation” with a meticulous logic of science has
invaded most people's lives, and yet, in contrast to the “presentation,” the
“absence” connected to invisible emotions or fleeting descriptions beyond words
becomes a distant hollow hard to glance over. It is frightening that the hollow
is not non-existential, but people chose to ignore it deliberately.
https://martian.beauxarts.tw/artwork/james_minghsueh_lee_distant_hollow

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牛俊強
牛俊強長期從事錄像和平面複合媒材創作，作品以「視覺作為一種存在的形式」出發，延伸至時空向度中，讓不可見的關係連結、個人至群體的生命意識得以浮現，擅長闡述「存在的本質」。

Self Portrait
2020｜互動響應式網頁
藝術家在臺灣盲人重建院擔任了一年多的志工，期間接觸了十二位全盲的視障者。經過一段時間的相處後，藝術家問他們：「你覺得我的外表是什麼樣子?」他們以聲音、氣味、移動的感覺等「非視覺」的經驗描述藝術家的長相，他再將這些描述外表的文字，以布萊爾點字（盲文）的方式打在與身等高的牛皮上。這些點字如同從皮膚裡長出的疹子，也像年代不詳的古卷地圖。這件作品是可見與不可見的辯證，也是對視覺藝術外在形態追求的省思。明眼者無法從點字內容得知藝術家的外表，而學過盲文的視障者則能從這些點字，「看見」事物形貌下更深刻的本質。
https://martian.beauxarts.tw/artwork/niu_junqiang_self_portrait


Jun-Qiang NIU
The artist focuses on video, film and mixed media installations which departs
from the idea of “seeing as a form of existence” to elaborate the nature of
objects.
During the creative conception, the artist endeavors to investigate the
invisible relations between materiality and spirituality to foreground the
individual, even collective life consciousness. He has worked with different
sorts of participants to narrate their pasts to create a more united experience.

Self Portrait 
2020｜Interactive and responsive web page
The artist has worked as a volunteer at the Institute for the Blind of Taiwan
for more than a year, during which he contacted 12 persons of complete visual
loss. After getting along with them for a while, the artist asked them, “What do
you think of my appearance?” They described the artist's appearance with
“non-visual” experiences such as sound, smell, and movement. Then, he translated
into the tactile writing system (Braille) the description, typed on a piece of
cowhide equal to a person's height. The embossed transcription is similar to
rashes growing out of skin as well as to dateless ancient scroll maps. The
artwork serves as a dialectics of visible and invisible, and as a reflection in
pursuit of the external form of visual art. The visually abled have no access to
the artist's appearance by Braille, but the visually disabled who have learned
Braille can “see” by the embossed code a more profound essence from the
appearance.
https://martian.beauxarts.tw/artwork/niu_junqiang_self_portrait

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郭文泰 × 河床劇團
郭文泰是雕塑家和裝置藝術家，於1998年創立河床劇團並擔任藝術總監。他們的演出從「意象」出發，橫跨視覺藝術與表演藝術之間的界線，先後於亞洲雙年展、Venice
Biennale Collateral Events、Kobe Biennale以及國內外美術館展出。

The Out There is Truth
2020｜互動響應式網頁
在過去四十年間，導演大衛．林區在電影創作中將人們所熟悉的事物陌生化。因其生涯早期的藝術家經歷，他的電影不像傳統的敘事故事，而是一件又一件的動態繪畫與雕塑，將觀眾包圍在超現實的另類世界中。展出作品是來自河床劇團2015 年《夢見大衛．林區》作品中的一個短景，頌揚神秘之物，以及對理性思維的共同抵抗。正是“out
there”才是真相。https://martian.beauxarts.tw/artwork/craig_quintero_riverbed_theatre_the_out_there_is_truth


Craig QUINTERO × Riverbed Theatre
Sculptor, installation artist and artistic director of Riverbed Theatre that he
founded in 1998. The image-based production of Riverbed blurs the boundary
between visual and performing arts. Riverbed has been invited to many well-known
domestic and foreign events and prestigious locations, including Asian Biennial,
Venice Biennale Collateral Events, Kobe Biennale, Taipei Biennale, Taipei Fine
Arts Museum, Taipei MOCA, the Kaohsiung Museum of Art, Eslite Gallery and
Shanghai Museum of Contemporary Art.

The Out There is Truth 
2020｜Interactive and responsive web page
For the past forty years, David Lynch has been creating films that defamiliarize
the familiar. Drawing on his early career as an artist, Lynch's movies operate
more like moving paintings and sculptures than as traditional narrative stories,
as he envelops the audience in his surreal, alternative worlds. “The Out There
is Truth” is a short scene from Riverbed Theatre's 2015 production Dreaming
David Lynch that celebrates the mysterious and our shared resistance to rational
thought. The “out there” is truth.
https://martian.beauxarts.tw/artwork/craig_quintero_riverbed_theatre_the_out_there_is_truth

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時永駿
時永駿的創作類型涵蓋繪畫、雕塑、裝置、攝影與文字，以探討日常生活的私人經驗及人類行為作為主軸，作品形式大多以電影與戲劇的拍攝手法進行前置作業，近年來多以計畫型展演發表。

家庭劇院
2020｜互動響應式網頁
居家裡的「風景」令人感到神秘，它們成形的方式相當微妙，除了因實用性而存在，也為了裝飾目的，以及一些因個人喜好而產生的無以名狀、難以歸類的陳列方式，未曾有什麼道理可言。最近「居家隔離」或是「避免群聚」變得非常普遍，人們待在家裡的時間變長了，日常物件突然之間變得更貼近我們。在《家庭劇院》裡，日常物件與人的角色關係切換了原本的對應關係；從原來的理所當然，轉而串連起好幾幕日常故事：櫃子裡、沙發上、冰箱裡、通往二樓的樓梯轉角處。在我們避免戶外接觸的同時，無意之間卻在私有的居家室內拉近了距離，原本存於日常中的微小，在此刻被放大，就在離我們很近的眼前，隨手可得。
https://martian.beauxarts.tw/artwork/shih_yungchun_home_theater


Yung-Chun SHIH
Mainly engaged in painting, sculpture, installation, photography and writing,
the artist explores private experiences in daily life and human behaviors as the
major axis. A photographing technique of films and dramas as a preparatory
process is employed in most of his works. In recent years, he has published his
creation in project-based performances.

Home Theater 
2020｜Interactive and responsive web page
Mysteriously formed with subtlety, the household “landscape” has never been
justified, except for the purposes of both utility and decoration, and for
personal tastes of arrangement, inexplicable and difficult to categorize.
Recently, “household isolation” or “gathering ban” has become common to all. We
stay longer at home and, all of a sudden, the daily objects are getting closer
to us. In Home Theater, the relationship or correspondence between daily objects
and human beings has been changed. Several snapshots of the daily are connected
out of a matter of course: in the closet, on the sofa, in the refrigerator, on
the corner of the stairs to the second floor. Avoiding outdoor contacts, we
inadvertently shorten the distance inside the private residence. The quotidian
tininess, thus magnified at this moment, is right in front of our eyes, within
reach.
https://martian.beauxarts.tw/artwork/shih_yungchun_home_theater

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澎葉生
聲音藝術家澎葉生，利用周邊物件、電聲與表音文字來進行創作，對動物、大自然、城市以及異常的聲音現象著迷。他同時和視覺藝術家、舞蹈家合作並設計電影音效。自2007年起長居臺灣，探索島上的「音」景，與生物學家共同進行藝術與科學的計畫。

徐瑞謙 × 澎葉生
材料行
2020｜互動響應式網頁
此作品從藝術家徐瑞謙曾使用過的材料著手，建構一個如同建材行裡分類得當的型錄，但材料沒有常規的尺寸或說明，而是以各自的「聲響」取代。各品項在介面中被使用者滑動、抽取與挑選，像是參與藝術家創作前篩選媒介的過程。那些在型錄中的媒材，並非各自為政，而更像是一個個團塊，在數位的彼端躍躍欲試地等待，等待被擷取，等待一個未來的觸動。
https://martian.beauxarts.tw/artwork/hsu_juichien_yannick_dauby_material_store


Yannick DAUBY
Background in musique concrete and improvisation, the sound artist uses found
objects, electroacoustic devices and phonographies for creation. As a field
recordist, he has particular interest for animals or nature sounds as well as
urban situations and unusual acoustic phenomenon.He often collaborates with
other musicians, visual artists and dancers and makes sound design for films.
Based in Taiwan since 2007, he keeps exploring the island’s soundscape and
creating art & science projects with biologists.

Jui-Chien HSU × Yannick DAUBY
Material Store
2020｜Interactive and responsive web page
The artist conceives the work from the media he employed and constructs a
catalogue well classified like that in a building materials company. Instead of
the conventional sizes or desciptions of the materials, it contains all sorts
of“sounds.” Users draw, extract and select each item on the interface, as if
they were part of an artist's material selection for an unborn creation. The
media in the catalogue are not separate, independent parts, but more like a
clump, waiting eagerly to be captured and for a future touch in a digital
beyond.
https://martian.beauxarts.tw/artwork/hsu_juichien_yannick_dauby_material_store

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賴志盛
賴志盛在空間或風景中進行細膩的干預性藝術實踐。其創作以裝置及雕塑等多種媒介，探索了張力、日常生活及個人經驗。他關注細節，常在特定空間的不同元素之間創造新關係，直接與觀眾的身體及存在感知相溝通，作品帶有一種輕鬆、富有遊戲意味的低限主義傾向。

輕舟
2020｜互動響應式網頁
將螢幕視作一個平滑的表面，當手指或滑鼠按壓滑過，螢幕會顯出波紋，如同小船駛過平靜的湖面。
https://martian.beauxarts.tw/artwork/lai_chihsheng_light_boat
／
消長
2020｜互動響應式網頁
在不斷指向未來的同時，也是當下永無止息的消逝。這裡是時間的邊境，亦是影像的廢墟。
https://martian.beauxarts.tw/artwork/lai_chihsheng_increase_and_decrease


Chih-Sheng LAI
With delicate interventions in space and the landscape--a pulled thread, a hole
gathering droplets of water, a tree emerging from the walls, the artist pursues
a practice that plays with tension, the everyday and personal encounters across
multiple media in particular installation and sculpture. There is a playful
minimalism in the way he observes details and creates new relationships between
different elements of a room, engaging directly the viewer’s sense of body and
presence.


Light Boat
2020｜Interactive and responsive web page
Take the screen as a smooth surface. When your finger or mouse slides over it,
the screen will show ripples, just like a light boat sailing across a calm lake.
https://martian.beauxarts.tw/artwork/lai_chihsheng_light_boat
／
Increase and Decrease
2020｜Interactive and responsive web page
It's pointing not only to the future but also to the eternal lapse of time. Here
is the wasteland of the video and the border of time.
https://martian.beauxarts.tw/artwork/lai_chihsheng_increase_and_decrease

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何采柔
何采柔主要從事的創作有影像、裝置、繪畫等類型，同時跨足劇場編導與劇場設計。她從平凡微小的日常行為，延伸出具超現實氛圍的作品，並且呈現人與現實之間，某種既親密又疏離的緊張關係。

20200610 / No Surprises
2020｜互動響應式網頁
無論是以繪畫、裝置或影像的方式創作，何采柔的作品總能以局部分解的動作、日常習慣的切片與豐富迷離的光影來呈現人與現實之間某種既親密又疏離的緊張關係。而這些獨特而強烈的創作一方面包圍著觀眾，卻又與其保持對峙的狀態，
_幾乎讓日常的片刻直接成為了一道風景或儀式。
20200610 ▸ https://martian.beauxarts.tw/artwork/joyce_ho_20200610
No Surprises ▸ https://martian.beauxarts.tw/artwork/joyce_ho_no_surprises


Joyce HO
Mainly engaged in video, installation and painting, the artist sets foot as well
in playwriting, directing and design in theatre. Her work with a surrealist aura
is extended from a focus on the insignificant daily routines and conveys an
intimate, yet alienated tension between human beings and reality.

20200610 / No Surprises
2020｜Interactive and responsive web page
With an illusion rich in light and shadow, the artistic conception aims to
integrate the deconstructed movements and fragmented slices of daily routines.
As such, the artist endeavors, whether in painting, installation or video, to
convey an intimate, yet alienated tensions between human beings and reality. The
singularly intensive creation simultaneously captivates and confronts viewers,
which renders almost immediately a quotidian moment into a piece of landscape or
a ritual.
20200610 ▸ https://martian.beauxarts.tw/artwork/joyce_ho_20200610
No Surprises ▸ https://martian.beauxarts.tw/artwork/joyce_ho_no_surprises

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徐瑞謙
徐瑞謙從雕塑的學習背景出發，擅長運用不同質性的媒材，在空間中進行裝置創作。他讓物件彼此充滿張力，可能呈現和諧且充滿共鳴的關係，也或許暗藏著模糊與矛盾。

澎葉生
聲音藝術家澎葉生，利用周邊物件、電聲與表音文字來進行創作，對動物、大自然、城市以及異常的聲音現象著迷。他同時和視覺藝術家、舞蹈家合作並設計電影音效。自2007年起長居臺灣，探索島上的「音」景，與生物學家共同進行藝術與科學的計畫。

材料行
2020｜互動響應式網頁
此作品從藝術家徐瑞謙曾使用過的材料著手，建構一個如同建材行裡分類得當的型錄，但材料沒有常規的尺寸或說明，而是以各自的「聲響」取代。各品項在介面中被使用者滑動、抽取與挑選，像是參與藝術家創作前篩選媒介的過程。那些在型錄中的媒材，並非各自為政，而更像是一個個團塊，在數位的彼端躍躍欲試地等待，等待被擷取，等待一個未來的觸動。
https://martian.beauxarts.tw/artwork/hsu_juichien_yannick_dauby_material_store


Jui-Chien HSU
Starting from sculpture, the artist is good at employing the media of different
natures for installations in space. A tension created between objects, which
might depict not only a harmonious relationship, full of resonances, but an
implied ambiguity and contradiction.

Yannick DAUBY
Background in musique concrete and improvisation, the sound artist uses found
objects, electroacoustic devices and phonographies for creation. As a field
recordist, he has particular interest for animals or nature sounds as well as
urban situations and unusual acoustic phenomenon.He often collaborates with
other musicians, visual artists and dancers and makes sound design for films.
Based in Taiwan since 2007, he keeps exploring the island’s soundscape and
creating art & science projects with biologists.

Material Store
2020｜Interactive and responsive web page
The artist conceives the work from the media he employed and constructs a
catalogue well classified like that in a building materials company. Instead of
the conventional sizes or desciptions of the materials, it contains all sorts
of“sounds.” _Users draw, extract and select each item on the interface, as if
they were part of an artist's material selection for an unborn creation. The
media in the catalogue are not separate, independent parts, but more like a
clump, waiting eagerly to be captured and for a future touch in a digital
beyond.
https://martian.beauxarts.tw/artwork/hsu_juichien_yannick_dauby_material_store

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