《 #籠罩下的巨大哀愁 》
正式開展啦~
歡迎各位到台北當代藝術館
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詳細資訊|https://reurl.cc/bXy09v
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A Dark Cloud of Sorrow Looms Over
by Yu-Jun LIN
Late mornings and sleepless nights. Frustration. Anxiety.
They seem to have infiltrated our consciousness and entered our dreams. We recognize the shape of eaves, the folding line of streets, and return to our dwelling coordinates where we hide and live. We see restless men and women in full feather wandering through the brightly-lit city and then sitting shoulder to shoulder with countless strangers, between countless walls.
In the 1970s, urbanism started paving its way into Taiwan. Bidding farewell to the landscape of an agricultural society, life thus became crowded and repressive in cities. The meaning of “urbanism” does not merely lie in towering skyscrapers but in altered landscapes, living conditions, isolation and loneliness as well as increasingly complex social issues. Submerged in the capitalist system, every person has been assumed as a tiny component, whose labor force is needed by the whole mechanism, but not with one’s individuality as well.
However, the construction of liberalism constantly reminds us of our own subjectivity, along with the importance of being viewed as a whole. Such contradictory values leads to extreme unease and confusion that keeps building up and ceaselessly floods our minds with external chaos. As worries that never subside loom over us, we are forced to retreat to our dwellings, where we are perfectly alone, and safe. We can uninhibitedly be ourselves – yet under the lingering dark cloud of sorrows.
Frustrating questions as “Who am I?” seem to return in lonesome nights, invariably. When night falls, myriads of dazzling lights glisten in innumerous windows at the near distance. Gazing into the dreamlike, transient light, we recall things we hope to seal for good in our troubled mind. We question again and again, about what role we should be playing to integrate into the society but still maintain the integrity of our own subjectivity.
A Dark Cloud of Sorrow Looms Over features eight selected pieces and delineates the question of how people, as individuals, should coexist with others, a question deriving from urbanites’ perceptual conflicts experiences.
Zheng Er Qi | People
“People” mirrors the phenomenon of Taiwan’s transition from being an agricultural society to city since 1970. It precisely portrays everyday urbanity that people nowadays are familiar with: Although millions of people reside on one spot, their recognition of one another fails to grow with urbanization, despite the presumable nearness.
Chung Chih Ting|I Am by Your Side
With the explanation by an offscreen sound and the roleplay image, “I Am by Your Side” depicts how urbanites try to be in company, revealing people’s natural urge for social connection. Yet it ends up to be talking to oneself or pointless mumbles, simply a futility of communication.
Wu Bo Sian | Chimps with Mona Lisa’s Smile
In the video, the chimpanzees form a spectacle, say, abnormality, in a seemingly normal context. “Chimps with Mona Lisa’s Smile” is a response to conflicts between public administration and individual freedom, zooming in on the contradictions or constraints between all the intervenable and the non-intervenable in everyday scenes.
Wang Ding Yeh | One-One
“One-One” depicts how people try to maintain an intact, rational space of survival while sometimes fail to avoid transgressing, under limited resources in a highly competitive society. With much precision, it captures the specific default interpersonal distance, and poses the question: How should each person navigate to find the best living posture at the moment?
Tsai Jie | When the Dust Settles
“When the Dust Settles” shows people restlessly beating on a possible exit to get out. However, does such an exit really exist? Or is it simply a delusion stemming from one’s untamable impetuosity? The work reflects the desolation of men and women, who are rumbustious, but aimless.
Huan Yen Chiao | 1, 2, 3. Are You Already in Hiding, Fish?
Fish in the bowl resembles people trapped in cities: extravagant outfits, splashing neon lights; sensational visual effects indeed. “1, 2, 3. Are You Already in Hiding, Fish?” presents how people escape from their anxiety and weariness for the time being. The work highlights the entire incompatibility and a sense of solitude after one’s subjectivity is highly developed.
Wong Shu Lian | I found myself floating and sinking down once in a while
The work addresses the enduring controversy between liberalism and capitalism that have been engendering people’s inner conflicts. It captures one’s self-doubt and angst in a profound way while, by exploring how to determine one’s best position, raises the ultimate question – Who are we after all?
Chen Chia Jen | SWEETWATER
“SWEETWATER” was born under Chen’s reflections during his artistinresidence experience in Southeast Asia. Between people living in urban and rural areas, there is a grand difference of perspectives, regarding how to survive and live a good life. It implies the fact that the widely-recognized future image, constructed by our society, might not be as clear or real as it seems, or perhaps what people accepted is simply a vague, even somehow out-of-focus, prospect.
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《籠罩下的巨大哀愁》展覽資訊
展覽日期|2021/08/07(Sat.) ─ 09/12(Sun.)
展覽地點|台北當代藝術館廣場電視牆 MoCA Plaza LED TV Wall
播映時間| Mon. ─ Sun. 16:00-21:00
特別感謝| 贊助單位
厭世會社 @mis.society
#王鼎曄 #吳柏賢 #陳嘉壬 #黃彥超 #黃淑蓮 #蔡傑 #鄭爾褀 #鍾知庭 #林郁晉 #A_Dark_Cloud_of_Sorrow_Looms_Over
#MisanthropeSociety厭世會社
#厭世會社
同時也有18部Youtube影片,追蹤數超過0的網紅CarDebuts,也在其Youtube影片中提到,เปิดตัว Toyota Granvia / Ventury 2019-2020 โตโยต้า แกรนเวีย / เวนจูรี่ ในไทย ไตรมาสที่ 3 ปีนี้ หลังจากที่เพิ่งทำการเปิดตัว Commuter และ Hiace โฉมใหม่...
sense eight 在 Facebook 的最佳貼文
//Hong Kong human rights lawyer Mark Daly expressed concern about what he called "a lack of restraint" in using such laws, some of which were "vaguely drafted... without meaningful input from Hong Kong".
There is "a lack of human rights protections for any sense of balance, particularly freedom of speech," he told the BBC.
Rights groups say that the judgment has a chilling effect on Hong Kong society.
Amnesty International's Asia-Pacific regional director Yamini Mishra said that convicting someone for using a "widely-used political slogan is a violation of international law, under which expression must not be criminalised unless it poses a concrete threat.
"The conviction of Tong Ying-kit is a significant and ominous moment for human rights in Hong Kong."//
sense eight 在 林郁晉- Yu Jun LIN Facebook 的最佳貼文
《#籠罩下的巨大哀愁 》A Dark Cloud of Sorrow Looms Over
A place where millions of people live alone together— the city.
During the busy and constant labor all day and night, we have fewer opportunities to talk to ourselves. The sudden epidemic has opened a door to calm our hearts and let us rethink our relationship with the world.
In the 1970s, urbanism rises in Taiwan, bidding farewell to the landscape of an agricultural society. In addition to skyscrapers, the meaning of the city also produces a certain kind of violent acceleration on our bodies. Before we could face all kinds of unpleasant questions, we quickly escape with the acceleration.
The city seems to be bustling and lively, but in fact it’s a series of stranger encounters unexpectedly. Trying to accompany each other is reduced to their
own mumbling with obscure social distance. They trying to escape from restlessness and distress for a short time; rising the conflict between governance practice and the sense of freedom. The closed, lonely cycle of labor faintly affects the changes of modern cities, and so on.
The people who live here are trying to learn how to coexist with it.
In A Dark Cloud of Sorrow Looms Over, we invite eight artists. The age difference between them is about 20 years old. We are trying to figure out in this big era,how people among different age groups to re-understand and break through the urban conditions of survival and change.
幾百萬人一起孤獨生活的地方-------都市。
沒日沒夜的繁忙,不斷勞動的過程中我們少了與自己對話的機會,突如其來的疫情,像開啟了一扇靜心的大門,反思我們與世界之間的關係。
1970年代台灣興起都市主義,揮別過往的農業景觀,其意義除了建築摩天高樓外,不外乎產生某種劇烈加速度於我們的身體,各種不適的提問還未面對,就隨著加速度快步的逃逸。
城市貌似繁華熱鬧卻只是意外地與一切陌異、他者的肉身遭逢;試圖相伴卻淪為各自的喃喃自語、不成文的特殊社交距離;嘗試短暫逃離不安及困頓的慾望;興起的治理實踐與自由意識的衝突;在封閉與寂寥的循環勞動,隱隱牽動著現代化城市的變遷等......
生存於此的人們,正試圖學習如何與它共存。
「籠罩下的巨大哀愁」一展邀請八位藝術家,之間年紀落差20來歲,我們試圖整出一個大時代下不同年齡層中,面對生存與變動的都市景況是如何重新理解及突破。
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《籠罩下的巨大哀愁》展覽資訊
展覽日期|2021/08/07(Sat.) ─ 09/12(Sun.)
展覽地點|台北當代藝術館廣場電視牆 MoCA Plaza LED TV Wall
播映時間| Mon. ─ Sun. 16:00-21:00
嘖嘖募資|https://reurl.cc/bXy09v
#王鼎曄 #吳柏賢 #陳嘉壬 #黃彥超 #黃淑蓮 #蔡傑 #鄭爾褀 #鍾知庭 #林郁晉 #A_Dark_Cloud_of_Sorrow_Looms_OverThe
#Misanthrope_Society_厭世會社
sense eight 在 CarDebuts Youtube 的最讚貼文
เปิดตัว Toyota Granvia / Ventury 2019-2020 โตโยต้า แกรนเวีย / เวนจูรี่ ในไทย ไตรมาสที่ 3 ปีนี้
หลังจากที่เพิ่งทำการเปิดตัว Commuter และ Hiace โฉมใหม่ในเมืองไทยไปเมื่อวันก่อน Toyota ยังเดินหน้ารุกตลาดรถตู้โดยสารอเนกประสงค์ต่อ ด้วยการเตรียมเปิดตัวรถ All-New Grandvia โฉมใหม่ ในช่วงไตรมาสสุดท้ายของปี 2019 นี้
Toyota will offer an all-new luxury people mover aimed at high end hospitality, family and corporate buyers when the new Granvia arrives in Australia later this year.
Based on the all-new HiAce platform, the Granvia takes the concept of a large luxury wagon to the next level with premium seating for eight, a full suite of Toyota Safety Sense features and four-link coil-sprung rear suspension to deliver superlative ride comfort and stable handling.
Toyota Vice President Sales and Marketing Sean Hanley said the new Granvia offered true luxury transport to meet the needs of those desiring a large spacious cabin, supreme comfort and superior refinement.
"Whether you are in need of a five-star hotel shuttle, corporate transport for senior executives or just a large luxury family wagon, the new Granvia fits the bill," Mr Hanley said.
"With a stylish European-inspired design, outstanding comfort, refined performance, a high level of safety features and impressive list of standard appointments, the new Granvia really is the last word in luxury people movers," he said.
The Granvia will be offered with a single refined, fuel-efficient turbodiesel powertrain and be available in two grades, featuring such luxuries as power sliding rear side doors, electrically-adjustable driver's and second row captain's seats and leather-accented upholstery.
On-road entertainment and information will be provided by Toyota's fully connected latest generation advanced multimedia system that will be available with four USB ports and a total of 12 speakers.
Safety is assured too with both models featuring nine airbags, and active cruise control and pre-collision safety system (PCS) with pedestrian and daytime cyclist detection among the many driver-assistance features.
Arriving in the fourth quarter of this year, the Granvia will take over the role that the long-standing Toyota Tarago has played but more than simply a replacement, the Granvia will take the luxury people mover to new heights.
Both vehicles will be sold alongside each other until the Tarago is discontinued at the end of 2019.
The Toyota Tarago was first launched in Australia in 1983 and since then it has grown through four generations and has consistently been a popular choice with 104,229 sales through to the end of 2018.
![post-title](https://i.ytimg.com/vi/60qJdvFG5Fs/hqdefault.jpg)
sense eight 在 pennyccw Youtube 的精選貼文
Just like they did so many times when Larry Brown was their coach, the Philadelphia 76ers turned to their defense to bail them out.
Allen Iverson missed 14 of his first 18 shots, including a breakaway layup, but finished with 24 points to lead the Sixers to an 87-85 victory over the Boston Celtics on Friday night.
Paul Pierce scored 33 and Vin Baker had 22 for the Celtics, who have lost three straight and four of five.
The Sixers held Boston to just 27.8 percent shooting (10-for-36) in the second half, erasing a nine-point halftime deficit.
"We got a little more defensive and really started to contest shots," first-year coach Randy Ayers said. "We did a solid job at that end of the floor."
The Sixers, again playing without Glenn Robinson (ankle) and Derrick Coleman (knee), have won two straight for just the second time this season.
Kenny Thomas had 14 points and 12 rebounds and Marc Jackson had 12 points and nine rebounds in Robinson's spot.
Pierce scored eight straight points on a dunk and consecutive 3-pointers as Boston tied it at 83 with 1:28 left. Aaron McKie answered with a jumper to give the Sixers an 85-83 lead with 1:05 to go, and a swarming defense forced a shot clock violation of Boston's next possession.
After Iverson missed a driving layup, Walter McCarty missed a 3-pointer with 9.5 seconds left. Iverson then iced it with two free throws.
"That's what we're trying to get to, play gritty, blue-collar basketball," McKie said. "If we can do that, we can have a good defensive team."
Iverson, back after missing one game with a knee injury, made four of his last five shots and finished 8-for-25. He had a team-high eight assists.
He missed a wide-open layup in the third quarter when it appeared he couldn't decide whether to dunk or lay it in. A minute later, Iverson made a dunk on a fast break.
The Celtics were coming off a loss to New Orleans on Wednesday in which they scored a season-low 73 points. They had 66 points through three quarters, but missed 16 of 24 shots in the fourth quarter.
"Our offense stopped in the second half," Celtics coach Jim O'Brien said. "We have to play the brand of basketball we've been playing in first halves. I can't figure it out."
After a basket by Baker gave the Celtics a 68-65 lead to start the fourth, the Sixers went on an 8-0 run and didn't trail again. Iverson hit a 3-pointer to tie it and a jumper for a 71-68 lead.
Consecutive fast-break layups by McKie and Iverson extended Philadelphia's lead to 83-75.
The Celtics took their biggest lead, 51-39, on a jumper by Pierce that capped a 12-4 run with 7.5 seconds left in the first half. John Salmons answered with his second straight 3-pointer right before the buzzer to cut it to 51-42.
"I really don't understand it," Pierce said. "Some way, somehow we play good first halves and then, in the third quarter, we start to let teams back into games. We are not playing with a sense of urgency for the whole 48 minutes."
Game notes
Through the first 12 games, Boston has not been involved in a game in which 100 points were scored -- the longest such streak for the Celtics since the start of the 1953-54 season. ... Robinson has missed nine games with a sprained left ankle. Coleman has missed five with a strained left knee. ... The Sixers have won 16 of their last 21 games against Boston. ... Eric Snow is the only Sixers player to start all 13 games.
![post-title](https://i.ytimg.com/vi/Vg20iNghZR4/hqdefault.jpg)
sense eight 在 Chih-Wei CHUANG Youtube 的最佳解答
黑暗中的彩虹
Rainbow in The Darkness
2017
The transformation of scars, the writings of freedom, the characteristics of open spaces and the time lapses of changes
This work responds to the outdoor installation of Spectrosynthesis - Asian LGBTQ Issues and Art Now organised by MOCA Taipei in 2017. Scars are the early inspiration to the artist, which later incorporated with writings, expressing the sense of public and privacy between day and night through the light. A set of eight matrixes is painted black and set on the square, forming a closed space. It is an interactive site-specific installation that allows people to leave their messages to integrate personal experiences within the public spaces. The square has become more than a space with audiences’ participation. The installation, space and audiences have been the one together in response to the concept suggested.
People usually express their emotions by graffiti or carvings on walls, while those marks would turn into important inscription of the eras. Rainbow in the Darkness intends to reduce mental scars resulting from verbal or non-verbal violence that left in people’s mind while they were growing up. Through the black matrixes lining up in the centre of the sqaure, the artist creates dialogues between the individual and the public. In the daytime, visitors leave texts or patterns by removing some black paints on the matrixes with a scraper, while in the nighttime the matrixes reveal those marks through the light from colorful LEDs installed within like the time lapses with personal and public stories. The work tells a story of people facing their scars bravely even in the face of much suppression, which ends up becoming a record of this era.
傷痕的轉化,自由言論的書寫,廣場開放的場所特性,不斷變動的時間切片
此作品為回應2017年當代藝術館展覽「光‧合作用-亞洲當代藝術同志議題展」之展出戶外臨時裝置,選以“傷痕”作為概念發想的源頭,結合書寫,試圖透過光,展現白天和晚上———開放與私密的兩種表情。裝置為八個長方形量體組件,作品設置在“廣場”,在開闊的廣場中圍塑出一個隱蔽的口字形小空間,量體上塗佈黑漆,藉由民眾在裝置上留下痕跡,由個人的內在生命經驗扣合廣場開放的場所特性,成為一因地制宜的互動裝置;廣場在此不再只是空間,而觀眾也不只是觀看者而已,兩者均成為作品的一部分,裝置、空間及觀眾參與構成三位一體,完整呈現出作品的意涵。
人們常藉由在街頭的牆面塗鴉或刻字來表達情緒,留下的各式印記也成為重要的時代痕跡。《黑暗中的彩虹》試圖透過釋放原本內心裡面的言語,也許是成長過程中,所遭遇的言語攻擊甚至身體傷害所造成的傷痕。透過設置於廣場中央、矩陣排列的黑色量體裝置,從個人開始,啟動一場與大眾的互動對話。白天民眾可藉由尖銳物品在覆上黑色漆料塗佈的作品表面,留下任何想訴說的字眼或圖案;到了夜晚,在作品內置的多彩 LED 燈條照亮下,這些隨著時間不斷變化並累積的痕跡,如同時間切片,漸漸被刻劃下的文字與圖像透出彩虹光芒,從個人私密的書寫成為眾人的共筆,彷彿訴說著人們在面臨各種壓迫時,仍團結凝聚以勇敢的姿態正視傷痕,最終成為這時代階段的一份紀錄。
![post-title](https://i.ytimg.com/vi/9zMxVo3p9TE/hqdefault.jpg)