2018

時間引導Schedule

10/6

6-7PM

7-8PM

8-9PM

9-10PM

10-11PM

11-12PM

10/7

12-1AM

1-2AM

2-3AM

3-4AM

4-5AM

5-6AM

北區 - 花博舞蝶館周邊North - Around Expo Hall花博舞蝶館Expo Hall
白晝開幕式Opening Performance

H.H + As one、野孩子肢體劇場、匿名者劇團 / H.H + As one / L'Enfant Sauvage Physical Theatre / Compagnie des Quidams

【時間 Time】10/6 1800-1900

夜幕低垂,白晝之夜降臨,近80個展演活動,隨著開幕式,請您一起出來「混」!由「野孩子肢體劇場」與臺北市光能里的里民共同演出《光能里的野孩子》揭開序幕;接著,擊樂演奏家戴含芝與黃晉韋組成的「As one」、姚仲涵、葉廷皓兩位新媒體藝術家所組成的「H.H」,以及法國匿名者劇團的《亞伯之夢》,帶來從聽覺到視覺的不同刺激。這個夜晚,且讓我們隨著節奏聲光搖擺,重新探索中山北路,啟動2018白晝之夜! 演出團隊:H.H + As one、野孩子肢體劇場、匿名者劇團 ▍H.H + As one《黑白混》 結合影像、數位聲音、程式、打擊樂的跨領域演出創作,展現擊樂與科技間的關聯性。融合各式環境音效,將虛與實反覆重疊在數位聲響與時間空間中,帶給觀眾融合實驗聲響與電子音樂派對的擊樂新體驗。 「As one」由擊樂演奏家戴含芝以及黃晉韋組成;「H.H」由姚仲涵與葉廷皓兩位聲響藝術家所組成。經過長時間的互相激發,兩個不同領域的藝術,由四位累積不同演出經驗的成員,碰撞出充滿能量與火花的作品。 相關連結:https://www.youtube.com/watch?v=Y44Az9LUp5Y ◎演出將有極高頻與低頻的巨大聲響以及強力閃燈,兒童及身體不適者,請斟酌觀賞。 ▍野孩子肢體劇場《白夜之前 ─ 光能里的野孩子》 「野孩子」從默劇肢體出發,嘗試不同表演空間,討論社會議題,以表演尋找與人及社會更深的互動。近年來,「野孩子」的演出也走至如「台北寶藏巖國際藝術村-環境藝術燈節」、「嘉義市戲劇節」、「澳門拉丁幻彩大巡遊」、「上海明當代美術館-單人表演藝術節」、「烏鎮戲劇節-古鎮嘉年華」、「默劇出走-印尼龍目島環境劇場初試驗」等國內外大小藝術節及文化交流活動。 相關連結:https://www.facebook.com/lenfant.s.theatre ▍匿名者劇團《亞伯之夢》 法國匿名者劇團由藝術總監 Jean-Baptiste Duperray 於1994 年創辦,至今已創作出不計其數的作品,在世界上巡演40多個國家,包括歐洲、亞洲,再到澳大利亞,遠至南美洲。它聚集了來自不同背景(戲劇,舞蹈,音樂,馬戲團…)20多位藝術家和技術人員。總部位於里昂北部的Etrez村,除了推廣自己的節目外,還發展了提高街頭藝術表演意識的各種項目(公共娛樂,實習,藝術實踐研討會…) 相關連結:www.quidams.com The night falls, the Nuit Blanche starts. Nearly 80 performances during the event. Please come and join us, starting with the opening ceremony! L'Enfant Sauvage Physical Theatre 《Before La Nuit Blanche - Wild Child in Guang Nen》will kick off by the ceremony. "As one" composed of musician Dai Hanzhi and Huang Jinwei with "HH" composed of two new media artists Yao Zhonghan and Ye Tingyi, also with Compagnie des Quidams《Herbert's Dream》from France. Tonight we will give you different stimuli, and let us sway with the rhythm, re-explore Zhongshan North Road, and start 2018 Nuit Blanche Taipei together! Performance team: H.H + As one, L'Enfant Sauvage Physical Theatre, Compagnie des Quidams ▍H.H + As one This is a cross-disciplinary work that incorporates video, digital sound, programming and percussion music to reveal the connections between percussion music and technology. Ambient sound is applied to repeatedly overlap the virtual and the real, as well as digital sound and time-space. This is a new percussion experience, a combination of experimental sound and electronic music party. As one is comprised of percussion musicians Tai Han-Chih and Huang Jin-Wei, while H.H. is comprised of sound artists Yao Chung-Han and Yeh Ting-Hao. Following a long period of mutual inspiration, these four artists with different performance experience and from different art fields have created this energetic work. Link: https://www.youtube.com/watch?v=Y44Az9LUp5Y ◎This performance includes extremely high frequency and low frequency sounds, some of which are very loud, as well as bright, flashing lights, and may not be suited to young children or people with certain health conditions. ▍L'Enfant Sauvage Physical Theatre 《Before La Nuit Blanche - Wild Child in Guang Nen》 The starting point of the creative process of L’enfant Sauvage Physical Theatre is pantomime. It seeks different performance spaces, addresses social issues and looks for ways to implement deeper interactions with people and society. In recent years, this theater company has performed at various arts festivals and cultural events in Taiwan and abroad, including the Treasure Hill Environmental Art Lantern Festival in Taipei; Chiayi Arts Festival; Parade Through Macao, Latin City; Ming Contemporary Art Museum in Shanghai; Wuzhen Theatre Festival and Mime’s Walking Out in Lombok, Indonesia. Link: https://www.facebook.com/lenfant.s.theatre ▍Compagnie des Quidams《Herbert's Dream》 Established in 1994 by its artistic director, Jean-Baptiste Duperray, Compagnie des Quidams has created more than 10 shows and performed in over 40 countries from Europe to Australia, Asia and South America.This company gathers together more than 20 artists and technicians from a variety of backgrounds (theater, dance, music, circus). Compagnie des Quidams is based in Etrez, a village north of Lyon. In addition to promoting its own shows, it develops projects that raise awareness of street art (public rehearsals, internships and artistic practice workshops). Link: www.quidams.com

南區 - 台北當代藝術館周邊South - Around Museum of Contemporary Art台北當代藝術館 Museum of Contemporary Art
Oui香樂夜Oui香樂夜Follow Oui, Oui Play Oui Sing!

羅香菱_Oui好啊工作室 / Arlene_Oui Studio

【時間 Time】10/6 1730-1830

就在今夜帶著可愛的玫瑰花,跟著Oui band的美好音符,從純純的望春風吹到鄧麗君的中日版我只在乎你,繼續乘著香菱的百變唱腔,一路馳向一樣的月光布農的月光看到天公落水聽見魚仔游來游去,游進印尼與台灣的電話卡之歌,游進我們的創作,游進台灣本土妖怪小說妖怪鳴歌錄的主題曲郎君夢。精心挑選1930-2018年在台灣百聽不厭的經典流行,從古至今悠遊穿梭不同年代不同語言不同曲風,用獨特巧妙的詮釋演繹,讓大家一起享受台灣土地上的美好旋律。 *白晝Dress code票選活動:邀請現場觀眾投票決定誰是冠軍,冠軍將獲得一份小禮! 1730-1830 台北當代藝術館(全樂團編制) 2230-2330 馬丁尼餐坊(主唱+吉他手) 主唱/羅香菱 音樂總監&吉他手/阿星 鍵盤/奧斯丁 貝斯/吳俊佑 鼓/淋大雨 化妝/YA-YA Studio 髮型/蕭安婷__Flux Réel Hair Boutique 攝影/搖滾一瞬Rock with U 影像紀錄/唯希望影像文化有限公司 演出顧問/蘇鈺晴 服裝造型顧問/黃雅筠 音樂 & 製作顧問/賈思禮 製作/Oui好啊工作室 感謝名單/邱盛揚、何敬堯、謝亞倫、陳盈達Follow us, the Oui Band, and travel back in time through a series of performance of some of the most popular and classic pop songs across generations in Taiwan. But there is a catch, for this special occasion, all of the songs will be arranged differently from their original versions by adopting a variety of genres. And together with the powerful and mesmerising voice of Arlene, our lead vocal, experience some of the most beautiful melodies ever existed in Taiwan. NOTE: Audiences will be asked to vote for the best-dressed individual based on the dress code of the evening. The winner will receive a small prize! 2230-2330 / Martini House Vocal/R-lene (Arlene) Band Leader & Guitar/Star Keyboard/Austin Bass/SASHA Drum/BRain Lin Makeup/YA-YA Studio Hair/Anting Hsiao__Flux Réel Hair Boutique Photo/Rock with U VideoRecording/Vision studio Production Creative/Jean Su Styling Consultant/Yaya Huang Music&Production Consultant/Terry Chia Production/Oui Studio Thanks/Chiu Sheng-Yang、Ho Ching-Yao、Ellen、Denny

南區 - 南京林森路口周邊South - Around Nanjing Linsen Intersection新樂園藝術空間(中山區中山北路二段11巷15-2號1樓)Shin Leh Yuan Art Space
身體系譜-台澳身體錄像展Contours-Creative Dance Film Party

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【時間 Time】10/6 1800-10/6 2200

活動簡介∣ 《城市樂園巡遊》以中山北路為主要軸線。將本空間成員的藝術創作帶到城市的道路上,以參與巡遊的方式在走逛之間與民眾同樂。同時也在本空間內外進行工作坊與藝術家的共創現地製作。讓新樂園的創新、實驗的活力遊佈在城市的各個角落。裡外五個活動,要你來了就捨不得走。 《羞羞臉的遊歷》_許惠晴_18:00-22:00新樂園周邊街區 《城市中-意識共生》_陳泳丞_18:00-22:00新樂園周邊街區 《用城市筆談》_范晏暖_18:00-22:00新樂園門口 《共創:意志遊戲 - 第三階段》_呂迦諾_18:00-22:00新樂園門口 展覽開幕派對∣ 《身體系譜Contours》台澳舞蹈錄像展,將於10/6~10/28於新樂園藝術空間展出。開幕派對延續作品的拍攝時空,將展覽空間化為自然地景,以實驗/實作精神,持續探討何謂舞動瞬間與永恆影像之間的關係。 開幕派對【Creative Dance Film Party-舞影實驗室】分為兩個時間梯次: 第一梯次|19:00~20:00 第二梯次|20:00~21:00 *欲參與者請準時抵達現場,若逾時僅能旁看觀賞

南區 - 捷運中山站周邊South - Around MRT Zhongshan Station爵士廣場(中山地下書街R10出口)
有眼不識中山-馮羿、白明光、TRASH樂團、宥盛王、吳汶芳、張心柔

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【時間 Time】10/61600-2015

還記得那個在亞洲達人秀爆紅的烏克麗麗男孩嗎?今年馮羿的指上功夫又更上層樓,2017年他兩度保送進入達人秀季決賽,今年的他又將給我們帶來什麼新的指上功夫? 白明光是一位特別的歌手,近乎全盲使他在人生路上跌跌撞撞,卻有著溫暖的嗓音,除了高亢的嗓音,又有著渾厚飽滿的聲線,使得白明光的聲音在2014年央視星光大道中脫穎而出,獲得該季冠軍! TRASH是性格非常硬派的樂團,創作靈感多來自於團員們對現實生活的真實體驗、感觸,活在自認是革命世代的當下。嚮往六七零年代搖滾樂萌芽時期的輝煌,更憧憬著搖滾不死的精神實踐。 而另一頭的吳汶芳則更像是空靈少女,他是創作型的歌手,而且大家一定都聽過她寫得歌:「孤獨的總和」。更被臺灣樂壇讚譽為「下一個陳綺貞」! 另一位特別的歌手,張心柔,她唱歌、寫詩、作曲,時常四處漫遊、思考人生方向,可以說是現在的「吟遊詩人」 當樂團硬漢碰上空靈少女與吟遊詩人,今晚將會有什麼令人期待的演出發生呢? 網站:https://old.accupass.com/org/detail/r/1809040853543938712470/1/0 電話∣02-2356 0870

類別引導Category
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裝置作品Visual Art Work
表演活動Performance
響應串連Off Program
北區 - 臺北市立美術館周邊North - Around Taipei Fine Art Museum臺北市立美術館大廳Lobby, Taipei Fine Arts Museum
中山北路行七擺Seven Times Down the Zhongshan North Road

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【時間 Time】10/06 0900- 10/7 0600

2018年白晝之夜前導計畫,我們深入2018白晝之夜的發生場域:圓山、雙連、中山等區域,透過田野調查、訪談、資料收集,梳理中山北路的歷史故事和街區發展和特色。展覽計畫以「中山北路行七擺」為題,用文件展的方式呈現,線上文獻和實體展出,描述2018白晝之夜的場域:圓山、雙連、中山的區域發展史、文化多元性。實體展出計畫透過「行李箱」與「擺攤」方式呈現,將中山北路的歷史和故事「收藏」在行李箱中,透過「擺攤」的方式移到不同的城市空間,展開、再現。展覽以移動「解鎖」2018白晝之夜活動場域,帶著民眾一步步探索中山北路街區。每走一遍,你會發現更多中山北路的面貌。透過中山北路地理發展和歷史脈絡的爬梳外,亦聚焦在中山北路「婚紗街」與「移工」的歷史上,子計畫「走婚台北」、「走進異鄉人」更深入的參與和互動,理解這座城市組成的多樣性,透過「中山北路行七擺」重新觀看和理解這座城市的可能。 地點: 一夜情系列活動展 06/29(五) 19:00-21:00 捷韻國際廳 08/03(五) 19:00-21:00 中山藏藝所 09/07(五) 19:00-21:00 中山藏藝所 白晝之夜最終展 10/06(六) 臺北市立美術館大廳 策展人Curator:黃又文Erica Huang 協同策展人Associate Curator:嚴安琪Yen An-Chi、周昱伶 Chou Yu-Ling 更多關於「中山北路」的故事請見:https://nuitblanchetpe.weebly.com/

北區 - 捷運圓山站周邊North - Around MRT Yuanshan Station捷運圓山站1號出口(大同區酒泉街9之1號)Yuanshan Station Exit 1
消波塊Armor Blocks

廖昭豪 / Liao Chao-Hao

【時間 Time】10/6 1800 - 10/7 0600

當海邊常見、外型恰似肉粽的消波塊出現在捷運站出口,原先穩固的水泥材質被藝術家汰換成質量與堅硬程度極為不對等的紙漿,近看也許還能看到裸露的紙漿斷面及裡頭的支架。將〈消波塊〉帶離水域置放於捷運高架橋下,使兩個空間產生如異次元般的銜接。原先為了渡河目的而建的橋墩在地狹人稠的都市中成為快速移動、舒緩交通的高架化功能,人與河流的距離倒疏遠了。透過〈消波塊〉如超現實般地置於捷運出口,材質和重量的反差張力,你我、空間、物件間的關係在此重新被思考。Along Taiwan’s coast it is common to see large concrete wave energy dissipating blocks, “armor blocks”. What happens when such blocks are no longer made of solid cement, but of a frame covered in paper pulp and placed in Taipei on an overpass near the exit to an MRT station? Different spatial dimensions are produced. This overpass was built to allow people to cross a river but increases the distance between people and the river at the same time. The surreal placement of these blocks creates a contrast between material quality and weight and inspires re-thinking of the relationships among people, spaces and objects.

北區 - 花博舞蝶館周邊North - Around Expo Hall花博公園美術園區(近4號告示牌水晶情人橋下)Fine Arts Park
無題 單色一Untitled Monochrome #1

利安.摩根 / Liam Morgan

【時間 Time】10/6 1800-10/7 0600

這是藝術家在台北中山北路水晶情人橋下,現地製作的大型雙向旋轉燈光裝置。作品以一種開放式的奇異視覺效果使觀者產生類似催眠或崇拜的心境。 這件作品延續藝術家進行中的Ngan Wat(泰語廟會之意)創作系列,以泰國廟會可見的大型機械旋轉燈光物件為靈感基礎,該系列以介入干涉、特定場域、社會政治評論的狀態現示,與原本充滿歡樂的慶典產生對比。 This site-specific installation consists of a large-scale, bi-directional rotating light device suspended beneath a pedestrian bridge. It is hypnotic and kultish, oddly welcoming while using visual interference patterns to lull the viewer. The work continues Morgan's Ngan Wat series of large-scale kinetic lighting objects. The name, Ngan Wat (งานวัด), comes from the Thai for 'temple fair'. A specific lighting decoration found at these community events throughout Thailand provides the mechanics which are the basis of these works. The series contrasts with that festive and celebratory nature by introducing interference, site-specificity and socio-political commentary.

北區 - 花博舞蝶館周邊North - Around Expo Hall花博公園美術園區Fine Arts Park
I

何采柔 / Joyce Ho

【時間 Time】10/6 1800-10/7 0600

〈I〉,是英文大寫字母的I,也是一道劃過現實與想像邊界之光;是造型極簡而純粹的立體雕塑,也是將平凡的都市角落轉化為一處神秘夢境的空間裝置。藝術家在不眠的白晝之夜裡,為我們開啟了一扇通往未知的門扉,從門縫中透出的光線,挑動著我們習以為常的觀看方式,邀請每一位觀眾展開一場日常裡的奇幻探險。 “I” refers to a letter of the English alphabet and a light to mark the boundary between the real and the imaginary. This work is a three-dimensional sculpture that is extremely simple and pure in form. It serves to transform an ordinary corner of a city into a dreamscape. On this sleepless Nuit Blanche, Joyce Ho opens a door to the unknown, through which light shines through, leading viewers to look in and inviting them on a fantastical adventure of the familiar and the ordinary.

北區 - 花博舞蝶館周邊North - Around Expo Hall花博公園美術園區Fine Arts Park
遲延龍5Chienron 5

山下拓也 / Takuya Yamashita

【時間 Time】10/6 1800-10/7 0600

藝術家對於隨機、悖離正軌、無預期的偶發性轉折感到好奇,企圖進一步探究這些事物所衍生出的結果。〈遲延龍5〉是一件不斷膨脹與變化的街頭藝術作品,也是一個廣告媒體, 如同我們在街道上看到的塗鴉牆,在那上面每隔一段時間總會有新的塗鴉、新的貼紙、新的活動宣傳海報出現,彷彿持續蔓延與代謝增生的城市。 Takuya Yamashita is very curious about those things that are random, off the beaten track and unexpected, attempting to create a deeper exploration of the results. Chienron 5 is a continuously expanding and changing street artwork and an advertising medium. In the city, on a wall filled with graffiti are added new images, advertisements and promotional posters, seemingly spreading, metabolizing and proliferating.

北區 - 花博舞蝶館周邊North - Around Expo Hall花博公園美術園區(3號告示牌左側)Fine Arts Park
擺攤Street Vendors

唐唐發 / Tang Tang-Fa

【時間 Time】10/6 1800-10/7 0600

〈擺攤〉自2009年發展至今,唐唐發曾多次親至市場觀摩其中生態,也曾將本作設置於傳統市場內。藝術家繪製的假魚、假肉、假蔬菜與臨時搭建的攤位,夾雜在市場真實攤販之中,唐唐發偶爾也化身叫賣的老闆,讓匆忙買菜的民眾產生與平常不一樣的藝術體驗。當〈擺攤〉離開市場,出現在藝術空間,將瞬間改變該場域氛圍,期許觀眾換個角度,以更敏銳的感知去面對不平凡的日常。 Tang Tang-Fa began his Street Vendors project in 2009. He has visited traditional markets to observe their ecology and to set up this installation, exhibiting the fake meats and produce he has created. Occasionally, he plays the role of a vendor, to develop a different type of artistic experience for shoppers. When presented in an artistic space, this installation results in an almost instantaneous change in atmosphere. It is expected that viewers will also experience a change in their perspective as they discover the extraordinary in the ordinary activity of shopping for food.

北區 - 聖多福天主教堂周邊North - Around St. Christopher Church雙城公園Shuangcheng Park
人球People Ball

唐唐發 / Tang Tang-Fa

【時間 Time】10/6 1800-10/7 0600

〈人球〉的創作發想來自2005年的「邱小妹醫療人球事件」,被家暴的邱小妹遭醫院拒收與轉診,引發大眾評論將邱小妹當人球。藝術家感念每個人或多或少都有被當作人球的經驗,或許曾在不同單位間因為責任分工不明、互相推託而勞心勞力。藝術家將數個塑膠人形依照字面上的意思,聚合成一顆比人還高的大球,將「人球」一詞具現為一件有視覺強度的藝術創作,提醒觀眾對於這般狀態能多些同理心。People Ball is related to a 2005 incident in which a little girl, surnamed Qiu, a victim of child abuse with severe injuries, was bounced around from hospital to hospital. The public criticized this, referring to her as a “human ball”. Tang believes that to some extent everyone has experienced being a human ball. Perhaps at work, due to unclear division of responsibilities, excuses and blame are passed around. A large ball is formed from plastic human figures. It is a visually intense work that encourages viewers to empathize with people in this kind of situation.

北區 - 聖多福天主教堂周邊North - Around St. Christopher Church雙城兒童公園(中山區雙城街46巷3號)Shuangcheng Children's Park
讓我們今天就擁抱吧! Let us hug each other today!

蔡潔莘 / Tsai Chieh-Hsin

【時間 Time】10/6 1800-10/7 0600

玻璃纖維材質的大型雕塑,正如其名〈讓我們今天就擁抱吧!〉,蔡潔莘認為在作品與觀眾的互動中,作品語彙越簡單,讓觀眾越親近越好,於是以伸出大大雙手擁抱觀眾的討喜雕塑提醒熙來攘往的人群,停下腳步喘口氣。蔡潔莘的〈讓我們今天就擁抱吧!〉像是說著:「不論今天是什麼天氣,懷著什麼樣的心情,都別忘了放開雙臂迎向世界,也給身邊人一個溫熱的擁抱。」 *本作品由富邦藝術基金會贊助提供These large-scale fiberglass sculptures reflect their title, Let us hug each other today! Tsai Chieh-Hsin believes that art vocabulary should be simple and understandable to allow people to come close to and interact with art. These sculptures with their outstretched arms inviting an embrace are joyful and remind people to slow down and breathe. It’s as if they are saying, “No matter what the weather is like today or how you feel, don’t forget to open your arms to the world and to give those around you a warm hug.” *This artwork is sponsored by the Fubon Art Foundation.

北區 - 聖多福天主教堂周邊North - Around St. Christopher ChurchiRemit騎樓(中山區中山北路三段45號)iRemit
附身【聲】者:梁美蘭與艾蜜莉蘇​Ventriloquists: Liang Mei-Lang and Emily Su​

余政達 / Yu Cheng-Ta

【時間 Time】10/6 1800-10/7 0600

臺北市中山北路二段上有一間被稱為小菲律賓的金萬萬大樓,是假日菲律賓移工聚集、滿足生活機能的好所在。藝術家拍攝裡頭兩位來自菲律賓的臺灣媳婦,她們在異地生活數十年,中文已成生活必備工具。在與梁美蘭的互動中,余政達試圖使用國語、台語、英語等三種語言溝通;與艾蜜莉則使用國語及英語。梁美蘭、艾蜜莉與藝術家皆使用不太「標準」的語音交談,錄像記錄著他們不精準的偏差,會錯意、傳遞與接收訊息的過程。藝術家以此凸顯不同文化、語言、身份間的微妙關係。Along Section 2 of Zhongshan North Road is the Wan Wan Building, nicknamed “Little Philippines”. On weekends, Filipinos gather here to patronize Filipino-owned businesses. Yu filmed two women from the Philippines married to Taiwanese nationals, who have lived in Taiwan for decades. He converses with Liang Mei-Lang in Mandarin Chinese, Hokkien and English and with Emily Su in Mandarin Chinese and English. All three use forms of expression that are not “standard”, leading to misunderstandings and dissonance in the messages communicated and received. Through this process, the artist reveals the delicate relationships among cultures, languages and identities.

北區 - 聖多福天主教堂周邊North - Around St. Christopher Church撫順公園Fushun Park
人間浮世繪The composites

塞弗翰.米耶 / Séverin Millet

【時間 Time】10/6 1800-10/7 0600

〈人間浮世繪〉是法國藝術家塞弗翰.米耶的雕塑代表作,鮮豔的色彩與幾何造型讓人聯想至非洲與美國原住民圖騰。米耶在雕塑中加入對於人群的觀察,觀眾也許能從各個雕塑造型迥異的外型、對比配色、臉部表情想像出不同的人物性格。數個雕塑組合而成的〈人間浮世繪〉如同形形色色的人們各自活躍在自己的舞台,為這個世界增添一份色彩。觀眾能或許能在穿梭此些人物中,想像他們與自己或朋友的共通點而感到會心一笑。Lorem Ipsum is simply dummy text of the printing and typesetting industry. Lorem Ipsum has been the industry's standard dummy text ever since the 1500s, when an unknown printer took a galley of type and scrambled it to make a type specimen book. It has survived not only five centuries, but also the leap into electronic typesetting, remaining essentially unchanged. It was popularised in the 1960s with the release of Letraset sheets containing Lorem Ipsum passages, and more recently with desktop publishing software like Aldus PageMaker including versions of Lorem Ipsum.

南區 - 捷運雙連站周邊South - Around MRT Shuanglian Station田園城市生活風格書店Garden City Bookstore
第九十四夜in No.94

王德瑜、王榆鈞 / Wang Te-Yu、Wang Yu-Jun

【時間 Time】10/6 1800-10/7 0600

〈第九十四夜〉是由藝術家王德瑜編號第九十四件作品,與音樂創作者王榆鈞為白晝之夜提出的跨域新作。白日的書店變身夜晚展演場,王德瑜以布料與充氣設備將書店空間填滿,觀眾能全身進入作品之中,在布料所營造的薄膜裡重新檢視既有空間,反轉展示與被展示、內與外、舞台上與舞台下的關係;耳裡透過王榆鈞的聲音,看見不可見的風景,在薄膜裡被包覆的人們,重新且同時打開觸、聽、視覺的全身感官。 - 同場加映:21:30~22:30表演者駐場進行環境式互動演出 觀展須知 參觀〈第九十四夜〉時,請您務必遵守以下事項,以維護展覽空間及展出作品之品質與完整性,同時給您自己以及他人一次愉快的觀展經驗。白晝之夜感謝您的配合。 每場次15分鐘 每場進場順序為現場排隊順序 每場進場人數:15人為限 進入作品人數:5人為限(請脫鞋進入) 請勿於展場內高聲談笑、追逐嬉戲、飲食、吸煙及拋棄紙屑、雜物。 In No. 94 refers to the 94th work by artist Wang Te-Yu. This is a cross-disciplinary installation created in collaboration with composer Wang Yu-Jun for Nuit Blanche Taipei. A bookstore is transformed into a nighttime exhibition space. Wang Te-Yu makes use of fabric and inflating equipment to fill this space and allow visitors to enter the work. Within fabric “membranes”, they re-examine this space in which the relationships between exhibition and exhibited, internal and external and on stage and off stage are reversed. Accompanied by sounds created by Wang Yu-Jun, visitors imagine various scenes and experience the renewal and stimulation of their senses of touch, hearing and sight. -Additional showtime : the performer will engage in an environmental Interactive performance. -Notice on Visiting When visiting “in No. 94”, please abide by the following rules to help maintain the integrity of the exhibition and artworks and create a pleasant experience for others and yourself. Thank you for your cooperation. 15 minutes per session. The sequence to enter will depend on the queuing sequence. Each session with a maximum of 15 participants. Each time allows 5 participants to enter. ( please take off your shoes before entering. ) Please lower your voice and laughter in exhibition space. Please do not run, play, eat, drink, smoke and litter in the space.

南區 - 捷運雙連站周邊South - Around MRT Shuanglian Station爵士廣場Jazz Square
牡丹peony

何孟娟 / Isa Ho

【時間 Time】10/6 1800-10/7 0600

何孟娟認為韓國流行音樂(KPOP)與傳統崑曲儘管年代相差甚遠,但兩者在其所處世代皆為時下流行文化。藝術家將看似迥異的演出並置,凸顯其中女性對於身體的自我意識轉變,而中山北路上傳統戲曲的展演中心「臺北戲棚」與年輕人聚集練習街舞的「爵士廣場」近在咫尺,新舊交融的場域與作品精神更是遙相呼應。從傳統戲曲中的羞赧形象,到跳著KPOP、自信嶄露身材的年輕女孩,藝術家從中探討亞洲女性發展出屬於自己的性感、正視自己的身體形象自主權、享受身為女性的獨立狀態。 Although there is a large gap between Korean pop music (KPOP) and Kunqu (a form of traditional Chinese opera), Isa Ho thinks that both are examples of pop culture in their respective eras. She juxtaposes these two performance styles and, in doing so, highlights the transition in female body image. This installation is located along Zhongshan North Road in close proximity to the traditional theater performance venue TaipeiEYE and the popular street dance rehearsal area Jazz Square. No matter the shy and conservative image of traditional theater or the confident style of dancing to KPOP, both reveal the sexuality of Asian women, as well as their autonomy over their body image and enjoyment of female independence. ---- 相關活動: Just Dance - KPOP RANDOM DANCE CHALLENGE KPOP RANDOM DANCE CHALLENGE 全球風行熱度不減,感受活力、挑戰你的韓風實力! 20:30-21:00 爵士廣場 主辦單位::JD Dance

南區 - 捷運中山站周邊South - Around MRT Zhongshan Station中山地下街R9出口街角鐵門(大同區南京西路25巷18-6號)Zhongsheng Metro Mall R9 Exit
影像日誌 No20 - 赤峰音樂會Animation daily: NO20 - ChiFeng Hardware firms

張徐展 / Zhang Xu-Zhan

【時間 Time】10/6 1800-10/7 0600

有著「打鐵街」封號的臺北赤峰街,歷經二手汽車零件與五金產業蓬勃發展的1950年代,在不斷經歷轉型與改造的城市中逐漸沉寂。藝術家特別留意赤峰街的打鐵生態,從中擷取逐漸消失的打鐵聲、五金行的加工物件、打磨的二手零件、不時掉落的五金工具、像似洗牙聲響般的汽車加工、以及咿歪咿歪的帆布遮陽棚……作品沿路收集屬於台北赤峰街區裡的物件圖像、聲音、記憶,描繪那些藏匿於街區的打鐵風景,亂中有序地將這些過往物件,鏗鏘鏗鏘地組成了一個如懷舊記憶的音樂饗宴,一段臺北城市打鐵文化的風華記憶。Taipei City’s Chifeng Street was once known as “metal forging street”. Here, second hand auto parts and hardware firms flourished in the 50s. But, it has now grown quiet. Zhang Xu-Zhan has gathered the gradually disappearing sounds of this street. From time to time, there is the clanging of metal as it is forged or as tools fall to the ground, the dentist drill-like sound of the processing of car parts and the squeaking of an awning being pulled out or back. This work includes animated illustrations, sounds and memories of Chifeng Street. From within chaos is revealed order as sounds form a nostalgic musical banquet, recalling Taipei’s once prosperous metal forging culture.

南區 - 捷運雙連站周邊South - Around MRT Shuanglian Station誠品R79 中山地下街第四廣場(中山區南京西路16號)Eslite Underground
泳者系列The Swimmer Series

陳萬仁 / Chen Wan-Jen

【時間 Time】10/6 1800-10/7 0600

藝術家從正上方俯拍人們游泳的姿態,呈現在五台並排直立的螢幕恰似五道泳道,置中的泳者小巧如模型。泳者不停重複機械式的划水動作,然而水道像是永無終點般,不論泳者如何賣力都到不了岸,像是神話中週而復始堆著石頭的薛西佛斯。如此無聲地重複錄像讓人感到既平靜,卻又因不帶情緒的泳者與永無止盡、不知去向的水道而感到不安。Chen Wan-Jen presents the images of swimmers recorded from above on five screens positioned to resemble swimming lanes. Swimmers appear so tiny, as if miniatures, as they repeat their strokes over and over but never reach the shore, as the water appears to have no end. This is like Sisyphus, from the Greek myth, whose punishment was to repeatedly roll a large boulder up a hill. The silence and repetitiveness bring a sense of peace. But, as the swimmers remain unemotional and it is unclear where they are headed, anxiety begins to build.

南區 - 捷運中山站周邊South - Around MRT Zhongshan Station光點台北(台北之家)SPOT
隱形的城市:台巴黎.約克Invisible City: Taiparis York

崔廣宇 / Tsui Kuang-Yu

【時間 Time】10/6 1800-10/7 0600

延續藝術家2006年「隱形城市」系列作品,不同的是這次作品回到臺灣拍攝。在充滿多元文化並存的臺灣,崔廣宇利用城市中現存的異國符碼化為影片中的異域風景,原本在艾菲爾鐵塔前擁吻的情侶在鏡頭逐漸拉遠時,慢慢看清所在地實為台北街頭、另一對沉浸紐約夜景的情侶,原來只是餐廳裡打掃的員工。藝術家試圖透過使人誤判的運鏡提出疑問,這些異國符號與現實生活的關聯、全球化且商品化的現代社會,人們對於世界的想像可能反倒既破碎又荒謬。This work is a continuation of the Invisible City series, which began in 2006. This time, the artist returns home to Taiwan to film, revealing its diverse culture. Tsui Kuang-Yu makes use of symbols of foreign countries to create interesting scenes. For example, a couple appears in a passionate embrace below the Eiffel Tower. But, gradually, a Taipei street scene is revealed. Another couple is taking in the view of the New York City nightscape. But, actually, they are restaurant employees on a break. Tsui is deliberate in his attempts to mislead and to stimulate viewers to think about the connections between these symbols and real life, as well as globalization and commercialization, to understand that sometimes our views of the world are skewed.

南區 - 南京林森路口周邊South - Around Nanjing Linsen Intersection康樂公園Kangle Park
未命名四號Untitled #4

利安.摩根 / Liam Morgan

【時間 Time】10/6 1800-10/7 0600

〈未命名四號〉延續藝術家進行中的Ngan Wat(泰語廟會之意)計畫,此機械移動燈光的裝置作品以泰國廟會可見的大型機械旋轉燈光物件為靈感基礎。對藝術家而言,廟會是一個短時間內匯集所有當地元素、當地所在意的事件而成的慶典活動,Ngan Wat計畫即是將慶典內涵融入作品。〈未命名四號〉為〈未命名三號〉之創作延續,該作是藝術家在寶藏巖駐村期間深入探查當地社會氛圍、地形、建築結構及產業所發想的作品,曾於2018年寶藏巖光節展出。在熱衷宗教慶典活動的臺灣展出〈未命名四號〉,呈現駐村藝術家對於臺灣文化的切入觀點,也與他長期生活的泰國廟會文化創作背景相映成趣。 Untitled #4 continues Liam Morgan’s Ngan Wat (“temple fair” in Thai) series. In this installation, lights are attached to the ends of metal poles which continuously rotate with the use of a motor. It is based on the motorized large-scale light displays common to Thai temple fairs. Temple fairs gather together local elements for a short period of time in the name of celebration, which is the meaning behind these works. Untitled #4, created during Morgan’s residency at Treasure Hill Artist Village, is an extension of his previous work Untitled #3. It is also based on an in-depth exploration of Taiwan’s social climate, topography, architecture and industries, as well as religious festivals, and became part of the 2018 Treasure Hill Light Festival. Untitled #4 reveals Morgan’s perspective on Taiwanese culture, as well as his interest in Thailand’s temple fair culture.

南區 - 南京林森路口周邊South - Around Nanjing Linsen Intersection康樂公園Kangle Park
線代屋The line

任大賢 / Jen Ta-Hsien

【時間 Time】10/6 1800-10/7 0600

藝術家利用一貫如畫筆般的線條,將線與線交疊組合為面,再形塑成大型屋舍。以雕塑而言,空間與存在相輔相成,利用點、線、面等基礎元素構成幾何的立體物,能再延伸無盡變化。在視覺上穿透的面讓觀眾產生奇妙的視覺經驗,質疑眼睛所看見的是立體或是平面。組成〈線代屋〉的線條在夜裡發光的特性,加上觀眾能夠穿梭在通透的雕塑之中,有別一般觀賞雕塑作品的經驗,更添一股魔幻感。This work by Jen Ta-Hsien was made using stainless steel “lines” that almost seem to have been applied with a brush. They overlap and intersect, forming the sides of a large house, in which space and existence are complementary. Fundamental elements such as dots, lines and surfaces comprise three-dimensional, geometrical shapes that extend into almost infinite variations. The gaze of viewers crosses spatial boundaries, creating interesting visual experiences, as they question whether what they are seeing is three-dimensional or two-dimensional. The lines glow in the dark giving it a magical feel, which is enhanced upon entering this work.

南區 - 南京林森路口周邊South - Around Nanjing Linsen Intersection林森公園Linsen Park
月霾Moon Haze

馮嘉城、黃苑倍 / Feng Jia-Cheng、Huang Yuan-Bei

【時間 Time】10/6 1800-10/7 0600

〈月霾〉是由兩個部分組成,安置在戶外十公尺高的人造月球,以及內置即時偵測PM2.5濃度數據的程式。將數據視覺化於人造月球,〈月霾〉會根據偵測到的PM2.5數據改變亮度,亮度越高代表環境中的PM2.5濃度越低、空氣越清新,反之則代表空氣品質越糟。藝術家將〈月霾〉想像成一顆四處旅行、在不同地方呼吸不同空氣的月球,以呼吸的方式與當地文化進行交流與融合,目前已行過耶路撒冷、新加坡、北京與廣州。 This installation is made up of two parts. One is a 10-meter high inflatable moon placed outside. Inside is a real-time monitoring system for collecting data on the density of fine particulate matter (PM2.5) in the air, which is used to adjust the moon’s brightness. The brighter the moon, the lower the density of PM2.5 and the better the air quality. The reverse means that the air quality is worsening. The artists hope to present this installation all over the world and use it to inspire cultural exchanges and fusion based on the concept of the breathing of different air. To date, Moon Haze has been exhibited in Jerusalem, Singapore, Beijing and Guangzhou.

南區 - 南京林森路口周邊South - Around Nanjing Linsen Intersection林森公園Linsen Park
摩斯密碼Morse Code

陶亞倫 / Tao Ya-Lun

【時間 Time】10/6 1800-10/7 0600

〈摩斯密碼〉以探照燈將民眾想說的話,透過程式譯成摩斯密碼照射至空中,發射摩斯密碼的對象不拘,也許是上帝、天公、遙遠的親人、外星人、過去、未來、或是自己……藉由一般認為冷漠的科技,跨越時空地傳送出不知能否被接收到的訊息,既科技又原始,理性且浪漫,陶亞倫以此互動裝置激發觀眾思考人類意識與科技間的關係。In this installation, a program translates what visitors say into Morse code, which is transmitted through a searchlight. The intended receiver can be God, a deity, a relative living far away, aliens, the past, the future or self. A signal is transmitted but it is not known if it is received. In this way, a technology normally considered cold and unemotional becomes primitive, rational and romantic. This interactive installation stimulates thinking about the relationship between human consciousness and technology.

南區 - 台北當代藝術館周邊South - Around Museum of Contemporary Art中山藏藝所Zhongshan Art House
忘憂公園Sanssouci Park

廖祈羽 / Liao Chi-Yu

【時間 Time】10/6 1800-10/7 0600

雙頻錄像〈忘憂公園〉,在畫面中的女主角一生中經歷兩場大火,一場是中年時期,家中遭逢縱火,另一次則是在死後。影像以倒敘的方式從死亡開始回顧她的一生。在過去老相館會保留客人底片,在火災後主角家中照片付之一炬,僅有的照片就留存於相館之中。旁白敘述生活裡的故事,然而搭配的影像卻是相館拍攝的畫面,藉此製造一個遙遠的過去與現實、夢境與清醒時的模糊地帶。〈忘憂公園〉有一大部分想像來自藝術家過去在相館拍攝家族肖像的經驗,從過去到現在相館的布景從手繪轉為大圖輸出,與現實生活不相干的場景,甚或異國風景,都再再反映人們對遠方的嚮往。The two-channel video work Sanssouci Park revolves around a woman who experienced two major fires. The first one, deliberately set, destroyed her home when she was middle-aged. The other took place after her death. Through flashbacks, she looks back on her life. In the past, photo studios stored negatives for their customers. The narration describes stories from her life, revealing a disparity with the images, meaning between what is imagined and what is real. Sanssouci Park is partially inspired by the artist’s personal experience of taking family portraits in photo studios. The backdrops, originally hand painted, are now digital images that can be imported, but rarely have anything to do with the lives of the people being photographed. They even include scenes from various countries, reflecting people’s longing for and fantasies of faraway places.

南區 - 台北當代藝術館周邊South - Around Museum of Contemporary Art中山藏藝所Zhongshan Art House
River

廖祈羽 / Liao Chi-Yu

【時間 Time】10/6 1800-10/7 0600

〈河〉敘述一對年輕夫妻以相館中老師傅手繪的河流布景作為背景,期待拍出完美合照。人們期許以攝影完整捕捉記憶與真實,再從那張照片召喚記憶,遙遠事物歷歷在目,卻也將記憶禁錮在圖像空間之中,更加劇地遠離真實。〈河〉的手繪布景出自老師傅之手,主角在此背景前合照似乎在一開始就注定了失敗,看似幸福的合照是鏡頭前的營造,藝術家以此模糊想像與現實、記憶與真實、真假之間的界線,乘著假河流,嚮往著任一所在,但卻哪裡也去不了。 River describes a young couple who are having their portrait taken in front of a backdrop, hand painted by a master artist, inside a photo studio. They are hopeful for the perfect photograph. People want to capture memories and events through images. However, these memories remain trapped within the borders of the photographs, enhancing the dramatic effect. In front of the hand-painted backdrop of a river, the main characters appear destined to fail, as a happy image is only created for the camera lens. Liao Chi-Yu blurs the boundaries between imagination and reality, memory and truth and fake and real. The main characters yearn to follow this fake river anywhere but, instead, go nowhere.