Temporary Physical Evidence 暫時性物證 Sandbag, Aluminum plate, Stick, Mirror, Digital printing, Cement, Wire rope, Single channel video ( 6'15" ) / 沙包、鋁板、鋁棒、玻璃鏡、雷射印刷、水泥、鋼索、單頻道錄像 ( 6分15秒 ) Size Variable / 視場地尺寸而定 2020
疫同 on_AIR / Pandemicship on AIR 台泰藝術家群展 Tai-Thai artist GROUP EXHIBITION 參展藝術家: 丁昶文 Ting Chaong-Wen、妥拉.拉嘉稜索 Torlarp Larpjaroensook、吉薩達.唐特拉庫勒翁 Jedsada Tangtrakulwong、蘇帕彭.拉提布拉西里 Supapong Laodheerasiri Dates: July 3 to August 7, 2021 展期: 2021年7月3日至8月7日 Venue: FISH ART CENTER 地點: 秋刀魚藝術中心 ( Installation view of Pandemicship on AIR, FISH ART CENTER, 2021 )
This exhibition is the result of a bilateral Online-Artist-in-Residency program between four artists from Taiwan and Thailand for the “BOBA Project–International Exchange in Contemporary Art–Taiwan and Thailand“. However, in the face of the increasingly dangerous Covid-19 pandemic, physical cross-country art exchanges have become difficult to execute. Therefore, online exchanges have become one of the alternatives for us to establish links with distant places.
Cloud computing has become the center of the world. By clicking on a series of seemingly meaningless codes, generated by video tools, the signals lead us across WiFi lines, across submarine communication optical fibre and into the Cloud, where we can safely meet “face to face“, and send our warm regards to the artist friends from afar.
The exhibition title “/Pandemicship_on_AIR“ is interwoven with special symbols, symbolically mimicking the structure of a video conference link, as an invitation and key to join the audience to our exhibition during the current Covid-19 pandemic. “On AIR“ gives a sense of exhibition is live streaming. “AIR“ is also the abbreviation of the main theme of the exhibition––Artist-in-Residency. Throughout the month-long residency, each week we shared and discussed different aspects of Tai-Thai traditions and customs, contemporary art, environmental issues, film and local sounds through thematic online chats, guided tours of our studios and even visited a large second-hand market in Chiang Mai, exploring the complex social and historical transitions of Thailand through second-hand goods.
In response to the explosive growth of the pandemic, digital work patterns and logistics networks have increased the volume and speed of all kinds of virtual and physical “liquid flow“. The speedy “liquid flow“ has piled up the “histories of individual objects“ hidden behind each “object“ (be it virtual data or physically existing objects), but the state of high speed makes these liquid flows easily become fleeting water. While such a flow increases the fracture caused by instability, it also leaves more room for the imagination of the objects. Artists pick the messages and residuals produced during the liquid flow, and explore them further. Through a similar process like selecting their own “collection“, the artist gives these objects a new narrative and imagination, adding new “histories of individual objects“ into them, letting them flow into the viewer’s eyes, and into the viewer’s perception and memory.