EXHIBITION：度 Do / Through / Measure

藝術家｜Artists：洪韵婷 HUNG Yun-Ting
展期｜Term： 2016.10.29 - 12.11
開幕｜Opening：10.29 六 3pm
地點｜Venue：弔詭畫廊 Crane Gallery

http://www.184cranegallery.com


度

「我能計算天體運行，卻無法計算人類的瘋狂。」 ー 牛頓

判別與測量最重視的是大腦，腦的活動是系統運作，知識也構成系統，還沒構成的只是感官的感覺。感覺有時候會騙人，受制於許多客觀條件，如一支筆插進水杯，受到水密度和光折射影響，看起來必然是折的。根據這樣的經驗，做理性的處理，提煉出客觀的抽象知識、原理，能被認證，而不浮泛。洪韵婷的創作焦點在於當下時空與自然科學的新對話。《明鏡》對自我明察秋毫，卻永遠看不見它的背面，包括空間的背面和時間的背面。從白晝一步跨入黑夜，《日蝕》所有的光都被中間圓體遮住，但周圍那一圈不全黑也不全白的半影，很像依附於影子而成為影子的影子。影子又何嘗不想逃離光線，如同歷史不可迴避地重演人們一再消滅的歷史。 

全球化造成時間壓縮，距離消失，弭平了自然世界的差異，定律退回假說，物理也出現測不準原理，教堂沒有了信徒。《火車快飛》改變了人與自然的比例尺。參照物那麼弱小，人們在巨觀的移動速度中丟失自己，借助旋律、鳴笛和光芒，想像火車通往不見邊際的終點。《沒有記憶的世界是只有現在的世界》深陷於鐵鏽中無法自拔，停擺的時鐘依然受到時間驅動，盲目顫抖錯亂失序。真實、想像、虛構、幻象通通商業化淹蓋市場，不曾停歇，以致無法估量。

群體是每一個人獨一無二發出的聲音，千差萬別。認知群體需要理性的歸納化約，於是圈定範圍，納入綿密的調查，得到公約數、平均值，忽略個體差異才能掌握整體。《無題》呈現的就是這無深度、無個性、均值化的社會。透過科學民主的運作，人在體制中，角色扮演掩蓋了人的身份，吃掉了該過的生活，化為機器的零件、符號、遊戲規則，不再具有真實生命體，變成工具。因此，《世界是平的》隱隱中有個無言的標準，用那種看上去並不存在，卻難以離開的事物，彷彿信仰。每一個眼前當下，所處的環境是參與、是互動，是想要主掌的生活，是用生命去驗證。重新投入生活，摸索日常、穿越空間、測量變動，也是一種統整的純粹形式。

Do / Through / Measure

”I can calculate the motions of the heavenly bodies, but not the madness of people.”- Isaac Newton

Differentiation and assessment revolves around the brain. Brain activity operates as a network, while knowledge also forms a system, with unprocessed knowledge as sensory perception. Perception may be deceptive due to various conditions, for instance, when a pen is placed in a cup of water, the density of water and refraction of light will cause the pen to appear bent. When operating rationally, one extracts objective knowledge and principles that can be proven. Hung Yun-Ting’s work initiates dialogue between the present time/space and natural science. “Daily Mirror” is aware of its own existence, but can never look back, including the reverse of time and space. As day shifts into night, all light in “Eclipse” is obstructed from the round object in the middle of the composition, but the surrounding penumbra is never completely black or white, and appears as a shadow in the presence of another shadow. Shadows shun light, which is not dissimilar to history repeating itself in yet another obliteration of mankind.

Globalization compresses time and distance, flattening the difference of the natural world. Laws return to hypothesis, and Uncertainty principle is now embraced in physics. Believers seem to have abandoned their churches altogether. “Trains fast fly” alters the scale between man and nature. The frame of reference is so small that people lose themselves in monumental motion. Imagine a train traveling towards a boundless end with the accompaniment of melody, whistles, and light. “A world without memories is a world of the present” cannot extricate itself from rust, while broken clocks are still driven by time, blindly oscillating in unrest. Commercialized reality, imagination, fiction, and illusion now mask the market, immeasurable due to their protraction.

Groups contain the voices of various individuals, with much divergence. Understanding that groups need to be sensibly organized, the artist has formulated a scope, with extensive inquiries to obtain a common factor and average, in hopes of presenting a comprehensive overview. “Untitled” introduces this bland average of a society. Through operations of scientific democracy, roles have engulfed individual identity, devouring life, becoming parts, symbols, and rules of a machine. Thus, “The world is flat” embodies an unnamed standard, fictional but inescapable, almost like religion. In every present moment, the environment is participatory and interactive, life must be controlled and proven. In an attempt to live, the act to explore daily life, pass through spaces, and measure change, is a pure form of integration.