要開啟一段穿越時空之旅嗎? | A JOURNEY THROUGH TIME AND SPACE

藝術創作的歷史以及藝術工具和材料的歷史,兩者之間有著千絲萬縷的聯繫。每個時代都有新的媒介被開發出來,亦會對於傳統媒介作出新的修正與認識。般哥展覽館由十一月二十四日起舉行的展覽「藝術機器 過去/現在」正探討藝術創作和工具之間的關係,並提供了一個歷史框架,理解新媒體藝術如何融合到這傳統當中。讓我們了解更多關於展覽的各個部分,探索展覽如何帶我們穿梭古今。

The history of artmaking and the history of tools and technology are inextricably linked. With new media being developed, knowledge of traditional media is also being reconceptualized. The exhibition Arts Machines Past/Present,which will be held at The Indra and Harry Banga Gallery from Nov 24, explores the long-standing connection between artmaking and machines. Let us take you through different sections of the exhibition to explore how it provides a context for understanding the ways new media art fits within this tradition.

第一部分 現代主義及機器美學 Modernism and Machine Aesthetics

展覽導入部分以文字和圖像介紹在現代主義及工業化中誕生的機器為社會帶來的變革,講解各地藝術家如何尋索破格的創作新法,為展覽掀起序幕。

The first section is an introduction to how art serves as a direct response to the changes in society wrought by industrial modernity and the machine, which was profound and unprecedented. This section opens the exhibition by demonstrating how artists sought radically new ways of making art. 

第二部分 動能機器藝術 Kinetic Machine Art

就像電影《回到未來》中的早餐機,魯布·戈德堡機械(Rube Goldberg Machine)是一種設計得過份複雜、極度迂迴的機械組合。展覽第二部分透過並列舊電影中的魯布·戈德堡機械與現代動能機器藝術,展示機器組件運轉時呈現出的美。

Like the breakfast machine in Back to the Future, Rube Goldberg Machine refers to an overly complex and improbable mechanical combination. By juxtaposing Rube Goldberg machines in old films and contemporary kinetic sculptures, the second section of the exhibition showcases machine art in motion. 

陳家俊,Carnival, 2020,混合媒介
 Joseph Chan, Carnival, 2020, Mixed media

陳家俊的這件作品盡得魯布.戈德堡裝置的精髓,觀眾能在追蹤銀色彈珠穿越機器各式通道的過程中獲得樂趣,即使是純粹欣賞這些彈珠的精密動態亦賞心悅目。

Carnival is an authentic Rube Goldberg style installation, where the viewer can delight in tracing the movement of the silver marbles through the pathways of a machine. 

簡鳴謙、Jane Prophet及梁博然,Blood Work 2.0,2020,尼龍、3D立體打印玻璃、懸浮及鐵磁流體
 Tobias Klein, Jane Prophet, and Pok Yin Victor Leung, Blood Work 2.0, 2020, Nylon, 3D printed glass, suspension and Ferro fluid

《Blood Work 2.0》從生物中擷取靈感,當中注滿了鐵磁流體,隨著雕塑的旋動而流動,回應雕塑在這個空間的位置改變,以及磁場的變動。

Blood Work 2.0 is a biologically inspired, transparent kinetic sculpture filled with Ferro fluid liquids. Liquids move as the sculpture shifts and spins, reacting to changes in its position in space and magnetic fields.

第三部分 電腦圖像與動畫 Computer Graphics and Animation

六十年代,當大型電腦首度面世,不少研究實驗室組織藝術家與電腦科學家協作發展電腦圖像及動畫,而展覽第三部分就聚焦於抽象藝術的成果展示。

Since the emergence of large computers, research labs have brought artists and computer scientists together to collaborate on developing computer graphics and animation. This part of the exhibition focuses upon achievements in abstract art.

Max Hattler,Vœrtex,2020,為錄像而設的概念藝術
 Max Hattler, Vœrtex, 2020, Concept art for video

「Vœrtex」探索經過擴展的立體觀測法,讓空間的深度變得迷亂斷裂,運用「雙眼競爭」的原理創造獨一無二的視覺效果。

Vœrtex is part of Max Hattler’s ongoing artistic research into expanded stereoscopy; techniques and processes which employ binocular vision in unconventional ways to create spaces where depth relations are disjointed and paradoxical.

又一山人(黃炳培),回到未來/ 太極,2014,2014 / 錄像/ 6’27”
 anothermountainman (Stanley Wong), back to the future / tai chi, 2014, 2014 / video / 6’27”

隨著科技的便利,我們因快,忘了慢。《回到未來/ 太極》這三維式錄像作品,以機械人在打太極拳為主題,從而探討時間脈絡在線性前進上面的關係和因果。

The convenience and gratification provided by technology can steer the society’s life away from its normal course. back to the future / tai chi is a 3D video with a robot practicing Tai Chi, which reflects on the relationship between time and our existence.

第四部分 電腦裝置藝術 Computer Installation Art

在這個電腦能夠自動辨識解碼有關人類主體訊息的世代,不少電腦藝術作品探討這個觀看與被觀看的過程。其中互動藝術不單通過藝術家的行動,亦通過觀眾的行動從而決定最終成果的模樣。

In an era when computers can now automatically recognize and encode information about human agents, many computer artworks explore the process of seeing and being seen. It is not only the artist, but the visitor, too, who through their own actions, help determine the shape of the final output.

邵志飛、Sarah Kenderdine,Safe House, 2020,儲物櫃,照片,平版電腦,增強實境軟件應用
 Jeffrey Shaw and Sarah Kenderdine, Safe House, 2020, Locker cabinet, photograph, iPad, Augmented Reality software application

《Safe House》以儲物櫃形式呈現, 通過平版電腦打開櫃門,展示了人像正重覆各種體力消耗動作,道出了疫情下超越形而上思考的荒誕生活。

Safe House takes the form of a locker cabinet whose doors can be virtually opened using an iPad. Each of these lockers displays a figure repetitively performing disparate acts of physical exertion, which serve as a response to life under the threat of Covid-19.

Tomas Laurenzo,Be Water,2020,
活動屏幕、線繩、金屬框、伺服摩打、特製電子零件、數碼相機、電腦、特製軟件、木基座
 Tomas Laurenzo, Be Water, 2020
Elastic screen, string, metallic frame, stepper motor, custom electronics, digital camera, computer, custom software, wood pedestal.

《Be Water》利用相機和電腦視象來估計訪客的心率,步進馬達偵測到的頻率會透過線繩傳輸到柔性屏幕上,由此產生的震動有如液體般反映了訪客累積的心率。

Be Water is an installation that uses a camera and computer vision to estimate the visitor’s heart rate. In turn, a stepper motor vibrates at that frequency and transmits it to the flexible screen via an attached string. The resulting movements of the screen resemble those of a fluid and reflect the accumulated heart rates of the last few visitors.

第五部分 聲音藝術 Sound Art

聲音藝術旨在挑戰聲音如何在傳統編曲手法下成為音樂,並在音樂廳中演奏,聲音藝術家常常要打破音樂與噪音的預設分野,用盡所有可利用的聲音來創作。

Sound art is concerned with challenging how sound has been traditionally organized into music and performed in the concert hall.Sound artists often undermine assumptions about the distinction between music and noise, utilizing the full range of available sounds in their practice. 

PerMagnus Lindborg 及Alvaro Cassinelli,Loki’s Pain ,2020
地震數據聲化及視覺化;鋁、鋼、乙烯基、碗狀喇叭、超低音喇叭、放大器、媒體播放器、雷射投影機、數碼介面
 PerMagnus Lindborg with Alvaro Cassinelli, Loki’s Pain, 2020,
Sonification-visualisation of seismological geodata; aluminium, steel, vinyl, paper, bowl speakers, subwoofer, amplifiers, media playback, laser projectors, digital interfaces

透過《Loki’s Pain》,觀眾將代入維京神靈洛基的角色,洛基被鎖困於地底,不斷受滴落的毒液折磨,他萬分痛苦地扭動身軀,帶來了地震。

In Loki’s Pain, visitors take the place of Viking god Loki, who is chained underground and tormented with dripping venom; his painful writhing is the cause of earthquakes. 

Ryo Ikeshiro,Pika! Ppeonjjeog, Pika! Ppeonjjeog / Ppiikkaa!! PPppeeoonnjjjjeeoogg, 2015-16
沉浸式視聽裝置配合3D立體蝕刻及印刷
 Ryo Ikeshiro, Pika! Ppeonjjeog, Pika! Ppeonjjeog / Ppiikkaa!! PPppeeoonnjjjjeeoogg, 2015-16
Immsersive audiovisual installation with 3D-engraving and printing

Ryo Ikeshiro的作品以遞迴演算法構成的物件與投影,刻劃出一個推測性的環境,亦為聽覺帶來幻象的「Risset節奏」。

Created by a recursive algorithm, the objects and projections in Ryo Ikeshiro’s work depict a speculative environment. A self-similar structure is also found in the audio: the Risset rhythm。

舉辦本次展覽的般哥展覽館是由香港城市大學營運,憑着大學在AR 和VR 技術方面的優勢,展覽利用了創新的科技來展現嶄新的藝術和文化展示方式,讓觀眾直接參與展品、與展品互動,為每個展覽創造一個身臨其境,與別不同的體驗環境。

The Indra and Harry Banga Gallery, the home to this exhibition, is run by the City University of Hong Kong. It draws on the strengths of the university in AR and VR technology to stage technologically innovative presentations that engage directly with the viewer. It uniquely combines new media with cultural artifacts, creating an immersive, distinct, experiential environment for each exhibition.

「藝術機器 過去/現在」 Art Machines Past/Present​
Date: 2020. 11. 24 – 2021.2.21​*
Time: Tuesday to Sunday, 10:00 – 19:00​*
Venue: 般哥展覽館​
香港城市大學劉鳴煒學術樓18樓​
The Indra and Harry Banga Gallery​
18/F, Lau Ming Wai Academic Building, City University of Hong Kong​

*[特別公告] 鑑於目前新型冠状病毒(COVID-19)疫情的情況,般哥展覽館將延遲重新開放直至另行通知。請繼續關注展覽館的網頁和社交媒體以獲取最新資訊。​

*[Special Announcement] Due to the current situation of the COVID-19 outbreak, the reopening of the Gallery will be postponed until further notice. Please stay tuned to the gallery’s website and social media for latest updates.

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