EXHIBITION : Out of Place_an ongoing archive

Out of Place_an ongoing archive

13.Dec - 15.Dec, 2012

VERNISSAGE 
Thursday 13. December 6 pm
CORPO 6 GALERIE
courtyard, entrance C, first floor
Herzbergstrasse 55
10365 Berlin

PROGRAM:
VERNISSAGE 13.Dec 6.pm.
> food specific by Panem et Circenses
> 9.30.pm live set by Iku Sakan
> Djset Vonverhille



“Out of Place_an ongoing archive” is an open and continuously upgradable archive, which was established with the aim of providing an overview of the widest possible range of theoretical references and ideas concerning the concept of nomadism in relation to the forms of contemporary artistic production.
Behind the project is the idea that being out of place is the condition which enables a person to continuously reposition himself in one place. This process, not only physical, it is necessary to build the constantly changing sense of our presence in the space.
The installation contains around eighty documents sent by artists, critics and curators. The first corpus of the archive has been shown in the section Independents3 of ArtVerona, Italy, in October.
The visitors will be asked to contribute once again to the construction of the archive by participating directly in the cataloguing and indexing of the various contributions present in Out of Place. In this way, as a welcome guest, the archive will find its temporary location within CORPO 6.


CONTRIBUTIONS by Adalberto Abbate, Aleksandar Maćašev, Alessandro Ambrosini, Alessandro di Pietro, Alessandro Rolandi, Alice Pedroletti, Ana Maria Bresciani and Antonio Cataldo, Armida Gandini, Balloon, Barbara Fragogna, Basma Alsharif, Bcomeblog, Benedetta Panisson, Branka Nedimović, Boba Mirjana Stojadinović, Catrina Zanirato, Cecilia Divizia, Chryssa Tsampazi, Daniela DiMaro, Diego Mallo, Dubravka Vidovic, Dusica Drazic, Elena Bellantoni, Elena Mazzi, Elif Sezen, Emanuele Belluffi, Emma Waltraud Howes, Fabio Campagna, Francesco Tavolaro, Gaia Martino, Giancarlo Norese, Gianluca Lombardo, Giorgos Papadatos, Giuseppe Lana, Giuseppe Mendolia Calella, Irma Markulin, Irina Novarese, Iva Kontić, Ivana Smiljanić, Ivana Spinelli, Lisa Wade, Lorenzo Mazzi, Luca Andriollo, Lucia Veronesi, Luis DeMatos, Madispa, Maja Beganovic, Marco Belfiore, Marco Pezzotta, Massimiliano Marraffa, Massimo Estero, Maria Mitsopoulou, Maria Fernanda Moscoso, Marija Jovanović Masa, Mario Ciaramitaro, Maura Banfo, Mihailo Vasiljevic, Natasha Vasiljević, Nina Simonovic, Nina Todorovic, Pamela Martinez Rod, Paula Muhr, Philipp Koch, Petya Koleva, Pola Dwurnik, Rafa Badia, Rebecca Agnes, Sasha Vinci, Sergio Racanati, Silvano Arcidiacona, Slobodan Stosić, Stefanie Schairer, Stefania Migliorati, Stephan Groß, Suite-Case, tamtamART (Ichen Tsou, YaWen Fu, YunTing Hung), Tatjana Fell, U10, Valentina Lucia Barbagallo, Vassiliea Stylianidou, Vassiliki Vayenou, Vesna Micovic, Yeşim Ağaoğlu.


more:
www.22e37.com
www.berlinerpool.de
www.corpo6.com
www.tamtamart.de

EXHIBITION : 院 Yard

展覽日期｜Term：2012/09/15 – 2012/10/28

展覽開幕｜Opening：2012/09/15 16:00

展覽地點｜Venue：東海大學藝術中心｜Tunghai University Art Gallery

參展藝術家｜Artists：
莊凱宇 Kai-Yu Chuang、 奧拉夫．郝赫爾次 Olaf Hochherz（德）、洪韵婷 Yun-Ting Hung、梁莉苓 Li-Ling Liang、大衛．羅姆 David Loom（義）、盧依琳 Yi-Lin Lu、林真熙 Jinhee Park（韓）

策展｜Curated by：蔡明君 Ming-Jiun Tsai

展覽概念緣起｜Initiation of exhibition concept

還記得小時候在前庭或後院和同學採花還有樹葉玩家家酒的日子，爸媽和鄰居經常隔著兩家院子間的矮圍籬天南地北聊工作或是討論小朋友們在學校的表現。但隨著年紀增長身高增加，庭院的圍牆也越蓋越高。逐漸的，我們看不到隔壁的庭院，別人也無法看見我們家。搬到城市裡才發現，在水泥森林裡大部分的人都沒有庭院，也很少有機會可以在圍牆外欣賞別人家的庭院。那些很美的庭院，好像都只佈置給自己家的人看。

而就像是越來越高的圍牆一樣，展覽製作的第一個工程似乎總是建構牆面。用一面又一面的牆，可以有效的區隔空間，生產空間，改變空間，卻好像因此在許多時候忽略了展場原本的樣子，以及藝術作品可以如何創造屬於自己的場域，並和其他作品互動、結合的可能。

東海的校園，是我在台中這個城市裡看過最多庭院的地方。遍野的綠地，一幢幢的平房，矮樹叢和灌木交錯的出現，落成充滿圓弧與波浪的天際線。東海藝術中心的展場中央，有堵如公寓大樓的展牆。「院」一展，企圖將展場中的這個展牆視作一社區集合建築，在其周圍延伸出一區區的『庭院』，參展的藝術家將依各自的創作屬性，去回應展覽主題並製作一件特定（Project specific）的作品，期待能經由每位藝術家作品及想法的交互作用產生一個不同於一般展覽的空間經驗。

I still remember the good old days when kids stayed together in the garden playing with leaves and flowers, and their parents could easily have a chat with neighbours over the low fence in-between the yards. Yet with time goes by, we have grown up and found the barrier getting higher and higher. It becomes difficult to see what neighbour’s garden looks like, and they can’t see ours either. After moving to an urban area, I realise that there are few yards in the concrete forest, and you rarely have chances to view people’s home gardens outside the enclosure. The beautiful gardens and yards are for private view.

Just like building the high fences, most of the time, the first construction of making an exhibition is building walls. The built walls can efficiently distribute different areas, create rooms and alter the space. However, this act might lead people to disregard the original character of the exhibition site or underestimate the possibility of how an artwork can create its own space and make interaction with other works.

The campus of Tunghai University is one of the places where I see most green fields and yards in Taichung. There are lawns everywhere. The bungalows with bush barriers create a beautiful landscape. The exhibition Yard intends to present a show that has no built exhibitions walls in order to reflect the idea and imagination of yards. The huge square storage room at the centre of the exhibition space is seen as a communal building and there are yards around it. Artists are invited to create a project specific work as their responses to the space also the idea of yard. Yard looks forwards to creating a space that gathers artists’ diverse practices and presentations to explore a different exhibition experience.

策展論述 Curatorial concept：

『…空間是由流動的元素相互交錯所構成的。』– Michel de Certeau（註1）

法國哲學家賽杜在對於日常生活理論的研究裡，提出了「地方」（place）與「空間」（space）的差異：他認為空間是有所經驗的地方，因此都市計畫所規劃出的街道是個「地方」，但卻是行人的「空間」；一篇文章（作為一個「地方」），在被閱讀時便轉換成了「空間」（註2） 。 從這個概念出發，我們可以說：每個展覽場地，都是一個「地方」，而每一檔在其中發生的展覽，則將這個地方轉換為不同的「空間」。這些「空間」的產生，建立在藝術家、策展人、觀眾以及藝術作品與這個「地方」互動所建構出來的時間與空間經驗上。隨著不同的展覽以及人、事、物，不僅將這個「地方」變換成為「空間」，也為這個展場及所參與的人創造了共同經驗（collective experience）。這些空間建構與其共同經驗，像是膠卷上的影格，以連續的片段（fragments）塑造了這個展場的空間歷史。

『院』一展，在展覽製作（exhibition making）進入一個展覽場所（exhibition site）後、將「地方」轉換為「空間」的可能性開始思考。不建構新的牆面來改變展場的空間配置，也不將展場本身單純視為承載展品的地點，而是著重展場本身的獨特性：展場中央有一長形大立方體，並將之比擬為城市裡一幢被庭院圍繞的建築。進而去思考於「庭院」這個作為建築內部與外部的緩衝區域、一個私人卻也可以分享給陌生人觀賞的地方，去思考現代人對於這個地域的想像與規劃。在展場中，圍繞著「這幢建物」的這個屬於「院」的區域，穿插著藝術作品轉變了這個展場，形成了一個新的「空間」，並展現了藝術家對於「院」這個場域的看法與想像。

由空間的裝置形態來看，林真熙的『圍籬』不僅是獨立的作品，同時也成為了展場動線、空間區隔、與整合全場的元素；洪韵婷的擬望遠鏡高臺裝置『望院鏡』，以一個架高的視點，打破空間分割的限制，讓視線延伸更遠，同時讓觀眾在這個展覽的院子裡，由望遠鏡看見令一番景色；而梁莉苓的『種子』，將落地窗邊的自然光引導至展場中，在空間中織構光的網絡，和其他作品以及圍繞著基督教氛圍的東海校園對話。大衛．羅姆『未知的鄰居–風景系列』，以多層次的相片拼貼企圖改變人的慣常觀看視點。彷若走出室內來到戶外，奧拉夫．郝赫爾次以聲音雕塑的方式，集合了一台台收錄音機，播放各式居民或路人聚集與不經意相遇時的聲音，指涉許多訊息與討論在這樣的場合中的發生或流失。也在院子這樣的場景裡，盧依琳的『前往棲息地或者說哪裡是我家』則藉由以木板和粉筆這樣質樸的媒材描繪出一隻隻有毛動物的背影，去思考城市中動物與人們的相處和觀看經驗。莊凱宇的『外野獨白 I~III』則是在視覺上直接回應了對於『院』這一主題的想像，以錄像作為媒介去放大、強調人們鮮少注意到的事件、場地與角色關係。

在一個展場中，每場展覽都由不同的想法、對話及作品等元素交織構成了這個「地方」的新「空間」。作為一個從展場本身作為發想與規劃的展覽，七位藝術家匯集了各式的作品形式與想法至『院』裡，讓這個展場（地方）本身，成為它所被轉換而成的新「空間」的元素之一。 『院』企圖讓作品與展場這個地方直接對話，並讓觀眾發覺各式與作品以及展場互動的可能。以如此的展覽操作思考，『院』企圖引起人們（藝術家、策展人、觀眾等）在進入一個藝術展覽場所的同時，能夠重新思考展場本身的地域、樣貌、意義以及可能性。

Thus space is composed of intersections of mobile elements.’ – Michel de Certeau (footnote 1)

French philosopher Michel de Certeau proposes the difference between ‘places’ and ‘spaces’ in his study of the Everydayness. He believes that space is a place with experience. On that account, a street distributed by urban planning is ‘place’, yet is transformed into ‘space’ by walkers; a written text is a ‘place’ that can be altered into ‘space’ by readers (footnote 2). In the same way, one can see an exhibition site as a ‘place’ and exhibitions happen in it turning this site into ‘space’. This ‘space’ is generated and established on the time and spatial interrelationship between this place and artists, curators, audiences also artworks. Different shows, people or events not only transform a place into space, but also create collective experience for this exhibition site as well as participants. The collective experience can be seen as a series of fragments like film frames on a strip creating the history of this exhibition place.

Yard pictures how a ‘place’ turning into ‘space’ from thinking how ‘exhibition making’ meets ‘exhibition sites’. Without specifically built exhibition walls to distribute the place, Yard tends not to see the exhibition site only as a venue for exhibitions, yet to highlight the feature of the gallery – with a huge square storage room at the centre. Thus, in this exhibition, this square construction is seen as a building surrounded by yards. Therefore, this image brings to the subject of ‘yard’ – a place in between a building and street; a private site yet can be viewed by passersby –, and how people expect or illustrate this area these days. In this exhibition, artworks are displayed in the area of ‘yards’ that surround ‘this building’. The artworks not only demonstrate artists’ thoughts and imaginations about the idea of ‘yard’, but also alter the original site into ‘space’ that generates a new look and experience for this ‘place’.

In relation to spatial distribution, Jinhee Park’s 'Fence' is not only an independent artwork but also the foundation that draws the outline of the space and also gives the sense of the subject of the exhibition. Yun-Ting Hung’s 'Looking far into the future' is an installation that audience may climb up and look further to break the boundaries from a higher point or see the yard beyond one’s vision from the telescope. 'Seed' from Li-Ling Liang transmits light from outdoor into the gallery, which creates a network of light that brings connections with other artworks as well as the campus. About surrounding, David Loom’s 'Unknown neighbor – scenery series', which is a layered photographic collage, intends to alter people’s costumed viewpoints. As if walking to outdoors, the sound-sculpture 'Untitled' from Olaf Hochherz collects ghetto blasters broadcasting the sound of people gathering, meeting and leaving that gives an idea of how messages and dialogues happen or lost in this locations/occasions. Also inside the area of yards, Yi-Lin Lu’s 'Go to habitat, or where am I?' simply uses boards and chalks to paint the sight of some furry animals’ back and brings a thinking about the viewing experience and relationship between human and animals in a city. 'Outfielder’s monologue I~III' from Kai-Yu Chuang visually responds the resemblance of Yard and highlights the circumstances, area and characters that people rarely notice.

Every exhibition is structured by various elements including people, thoughts, conversations, artworks, events etc., and these different components create new ‘space’ for this ‘place’. As an exhibition that is developed from reflections on the relationship between exhibition making and the exhibition site, seven artists bring a variety of reflections, ideas and presentations to Yard and make the gallery (place) itself become another element of the new ‘space’. This exhibition expects participants (people, objects and activities) to have a direct relationship with the gallery and show audience another aspect of the relationship between an exhibition and a venue. Yard means to result in thinking about the site, feature, significance and potentials of an exhibition site to people (artists, curators, viewers etc.) while visiting an exhibition place.


[註 footnote]
1. ‘Thus space is composed of intersections of mobile elements.’ Certeau, Michel de. Trans. Steven Rendall. 1984. The practice of everyday life. University of California Press, Berkeley, Los Angeles and London. P117.
2. ‘In short, space is a practiced place. Thus the street geometrically defined by urban planning is transformed into a space by walkers. In the same way, an act of reading is the space produced by the practice of a particular place: a written text […]’ibid.




主辦單位 Presented by：東海大學藝術中心｜Tunghai University Art Gallery

補助單位 Supported by：
國家文化藝術基金會 National Culture and Arts Foundation；
the Berlin Senate Cultural Affairs Department；
Goethe-Institute.

EXHIBITION : TYPOSPHÄRE

TYPOSPHÄRE
Current position of script- imagery
03.08.2012 - 09.09.2012

 
Alexander Behn (DE) /// Chieh-Ting Hsieh (TW) /// Julienne Jattiot (FR) /// Anne Mundo (DE) /// Sebastian Russek (DE) /// Bo-Cheng Shen (TW) /// tamtamART GROUP (TW) /// Yung-Shan Tsou (TW)

OPENING：THU 02. AUGUST, 19:00
Greeting by Mr. Dr. iur. Wu-Lien Wei, Representative, Taipei Office in the Federal Republic of Germany

CLOSING：SUN 09, SEPTEMBER, 17:00
Both Events with Acordion-Music by Chieh-Ting Hsieh

This exhibition is dealing with the script forms of Chinese and Latin language that are written and / or printed. Typosphere (Typosphäre) aims to activate the dialogue between calligraphy and typography as well as drawing and print. It also presents a contemporary spectrum of script-/ imagery. This exhibition brings together eight artists from three different countries.

In this exhibition, the concept of script-/ imagery involves all senses: Anne Mundo’s abstract
drawings reveal her apprehension of the nuances between the calligrafic and graphic expressions. Alexander Behn presents his book- and letter- objects to set up his structural
argument on the physical and haptic qualities of letters. Bo-cheng Shen demonstrates the
cross-boundary effects of visual, audio and haptic stimuli as a whole in his Braille – sound -
installation. The tamtamART GROUP works on the interconnection between language and voice as well as script and imagery in a light-sound-installation. Chieh-Ting Hsieh translates the Chinese notation into his music. Furthermore, the typo-poetry of Julienne Jattiot, the calligraphic comics of Sebastian Russek and the reading installation of Yung-shan Tsou are also going to be presented in this exhibition.

This exhibition is sponsored by the Centre Culturel de Taïwan in Paris, Represented by Chih-Cheng Chen
Galerie im Turm is a establishment of the district office Friedrichshain-Kreuzberg

More info : www.galerie-im-turm.net / www.ccacctp.org / www.tamtamart.de

EXHIBITION : TWICE UPON A TIME

Twice upon a time...
Group exhibition at stattberlin
July, 21th-28th 2012
Vernissage : Saturday July, 21th (7-10 pm)

Andrea Arduini (IT)
Brian Bixby (USA)
Zabo Chabiland (FR)
Eli Skatvedt (NOR)
Yun-Ting Hung (TW)
Sasha Zivkovic (GB)

stattberlin is pleased to invite you to its next group exhibition Twice upon a time… opening on Saturday, 21th July at 7pm and presenting six artists from around the world. Through a variety of art media - such as installations, paintings or photographs – they explore different views of the same object… or the same view of different objects. By investigating the relationship between two ideas, spaces, people or group of people, cultures or environments, they offer a personal and subtle interpretation of global and existential questions.

Lottum Strasse 1 - 10119 Berlin
www.stattberlin.tk
stattberlin@gmail.com
T: +49(0)1738983451 (thu-sat 4-7 pm)

EXHIBITION : 凝視我的凝視:凝視的影像觀點和表現姿態

凝視我的凝視:凝視的影像觀點和表現姿態
Gaze upon my gaze:the view of gaze vis images and gesture

Venue&Date｜2012.05.26-07.01
新竹 國家藝術園區美術館 Art Museum at The Art Park


Artist｜
Catrine Val 卡崔娜 沃爾（Germany）
Cheng,Meng-Meng 程蒙蒙（China）
Hung,Yun-Ting 洪韵婷（Taiwan）
Jan Pfeiffer 揚 菲佛(Czech)
Ohad Milstein 歐哈 米勒斯坦(Israel)

Curator｜Tsai, Jia-Zhen 蔡家榛

Opening｜2012.05.26 14:00
Lecture ｜2012.05.26 15:00
王柏偉(德國Witten/Herdecke大學文化系博士候選人)


-----------------------------------------------------------------

拉崗：「他們雖擁有眼睛卻無法看見」！

凝視，不僅止於看，而是試圖要看見，看見觀看關係中的主客體關係：外在的形象與內在顯影之間的關係、主體欲望想像與客體真實之間的關係...從觀視的建構關係來看，想像的、抗拒再現的、殘存在真實層的小對體就是凝視，因此凝視，絕對不是指感官上的看見或視覺，它是無法被視見的，也不能被再現的，我們看到的，只是它的反射鏡像，而不是它本身。可以說，凝視是交錯縱橫的想像的鏡像關係，其基礎來是觀看者的想像（我在看他），但同時又做為一方存在於他者外部的視點（他在看我），如此的辯證關係將回返到觀看主體上，反射出「我看到他在看我」的真實。


因此，卡崔娜．沃爾(Catrine Val)的自我扮裝作品，絕不僅僅是扮演被欲望、被觀看的客體，而是透過凝視的觀視關係，將自我反轉為客體，在層層的女性形象角色建構中，析映出自我的真實，也即是我透過他者看到我自己。揚．菲佛(Jan Pffier)的《超越控制 Beyound Control》作品雖然意圖指涉某種社會現實，但他黑布矇眼的意象，更是直白想像與建構觀看之間荒謬關係的關鍵。

不同於卡崔娜和揚反轉自身形象為觀看客體的路徑，歐哈．米勒斯坦(Ohad Milsten)的《白衣女子 Gril in White》以攝影機特寫女孩的臉部，攝影主體不斷在鏡頭後方要求(甚至是偶爾帶有強硬的姿態)女孩眼睛面對著鏡頭，在不常不短的七分鐘內，女孩的情緒上下起伏震盪，這件作品不僅直截地呈現凝視主客體之間的張力，某種程度也暗喻了性別的觀望關係與結構。

程蒙蒙的《黑眼睛》與洪韵婷的《當我們同在一起》可以說是凝視想像的顯影，將回憶影像交織在眼睛瞳孔的圖像中，與其說是回返，不如說是深刻了凝視的想像位置，至於洪韵婷以動畫影像和望遠鏡觀看裝置，試圖連結觀者的身體、展覽場域和作品之間的關係，觀者透過觀看或是參與作品，讓作品本身成為一個起點，開啟觀者自身的意象想像：「 我，凝視宇宙，凝視一個”不存在於現實中的理想”的彼岸。」

EXHIBITION : 2012 Solo Exhibition - SCENE ON THE WHEEL

Kunstraum Tapir is happy to present
Yun-Ting Hung, SCENE ON THE WHEEL

Yun-Ting Hung images “Imagination” is like an electronic machine which can deal with all kinds of possible messages received by human beings. It has its own power to control our senses and mind and lead us to an internal world from the outer space. According to this her works always goes trough the creativity of the artist herself and the subjective discovery about the reality. It not only brings out the twisted look of the things but also create another reality world, which connects the common memories in our daily life! The image of Yun-Ting Hung's work is no longer pointed to any real materials and the imagery is not response any kinds of life reality. As the result, her work always provides a poetry, ambiguous, intangible space to let the viewers can communicate with the work trough their own imagination and go into the work itself to feel the power of “Reverberation”. It is presented by the simple, uninterruptible way.

This time, Yun-Ting Hung will present you the field of "imagination" through " Scene on the wheel." This artwork starts from the idea of mobility, she uses wheel to represent this concept. By changing or redoing the objects, artist inspires the audience about the idea of the ability of rebuilding of the original object. The part which is different from before is the series works provide a concept of " fantasy topography". The material and the object are all taken from local, so they can be seen as the record and the description of this area. In this way the fantasy space which the artist attempts to create is a " space/object carries with time", which means "the memory of the space/object". Therefore, to the audience, no matter whether there is a memory of this space/object or not, he can create "a removably fantastic memory" through the objects of the artwork.

opening on April 13th, 7-10pm

show: April 14th - 21th
open on Thursday 4-7pm and by appointment
(kunstraum tapir 0162.1560185)

curated by Takt
http://taktberlin.org/residency/news/1100/news.htm
http://www.yuntinghung.com/

EXHIBITION : 2012年法國香檳.亞登區台灣藝術展覽 - 台灣青年世代藝術展覽

呼應新東向-法國香檳．阿登區藝術節的串連，伴隨著多個台灣表演團隊於法國香檳．亞登區的巡演，為更促進雙方優質文化交流、並完整呈現台灣豐厚的文化面貌，駐法國代表處巴黎文化中心將與近年重續駐村合作的CAMAC藝術中心，共同舉辦台灣當代藝術展覽以及駐村藝術家活動，同時也與名列世界遺產之中世紀古城Provins市政府合作，於當地藝術中心Hôtel de Savigny舉辦展覽，呈現多位台灣青年世代之藝術家創作，以期當地人士得以透過足能呈顯台灣文化樣貌的藝術創作語彙及表現形式，進一步了解臺灣當代社會的多元活力。展出內容包含10個藝術家、2處展覽地點、3位藝術家駐村。

展覽時間

Hôtel de Savigny：2012年3月29日 - 4月17日 / 3月31日下午17：00開幕

CAMAC藝術中心：2012年3月30日- 6月3日 / 3月30日下午18：30開幕

展覽地點 / 參展藝術家

Hôtel de Savigny：何孟娟、劉季易、廖堉安、羅仕東、杜佩詩、高俊宏、鄭佩齡

CAMAC藝術中心：李佳玲、劉千瑋、洪韵婷

EXHIBITION : Open Studio

at Vermont Studio Center

01. February. 2012   7pm

TEXT : GAZE issue04: Gaze on me!

凝視,然後丈量著我和世界站在一起的距離

★

Artist｜Hung Yun-Ting / 洪韵婷 (Taiwan / 台灣)

Work｜《We’re all together 》

Video Installation 2011

more info :
www.gaze-upon.com