陳 亮 璇 Chen,Liang-Hsuan

cliangh@gmail.com+886 910167028+886 23923420

1985 Born in Taipei, Taiwan2008 graduated from Department of Fine Arts, National Taipei University of Arts2011 graduated from M.F.A. Program, Department of Fine Arts, National Taipei University of Arts.

1985生於台北臺北藝術大學美術系臺北藝術大學美術研究所

I live and work in Taipei, Taiwan.I created a kind of spectator experience, a way with multi-angle view and in dissocia-tive manner to observe the life in city today. The people around me always have great passion in life but still falling apart from where they are and what they see. Through �lming the living area in real world via narrative, images, sounds and space installa-tion, I build up them by a�ections, memory, and imagination to create the di�erent reality taken by naked eyes. Furthermore, engage audience to re-link their indepen-dence and feeling towards their everyday reality.

我製作一種多重且離散的觀看經驗。在我週遭的人即使對生活抱持著極大的熱情，卻依舊與所在之處及所見之物漸漸分離。而我藉由拍攝現實中的生活場域，透過對敘事、影像、聲音和空間裝置的多重處理，期望重塑並思考與日常裸眼可見完全不一樣的現實、以及我們面對生活時的自主性與情感。

EXHIBITION EXPEIENCE:2012 「Re’image」Kuandu Museum of Fine Art,Taipei 2011 「2011Outstanding Art Prize 」 Kuandu Museum of Fine Art,Taipei 2010 「Bio-Image」PingPong/PaintHouseStudio,Taipei/Tainan2010 「Forum Biennial of Taiwanese Contemporary Art」 Taipei Contemporary Art Center,Taipei2010 「HOW MIAO」VT Art salon,Taipei2010 「The Practice of Everyday」 Kuandu Museum of Fine Art,Taipei 2009 「POST.O」Taipei Moca,Taipei 2009 「SpongeSoup」http://www.sponge-project.com/ spongesoup/ , World Wide Web2009 「Squid 5-The King of Seafood will be Back Fighting」 VT Art salon,Taipei2008 「Sea slug2.0」 Taipei National University of Arts,Taipei2007 「Sea slug」Taipei National University of Arts,Taipei

AWARDS AND HONORS:2011 Project Grants，The National Cultural and Arts Foundation，Taipei，Taiwan2011 Artist Grants，Department of Cultural A�airs of Taipei City Government，Taipei，Taiwan2011 S - An Aesthetics Praise - Arts Creation Support in category of Plasetic Arts，S - An Cultural Foundation，Taipei，Taiwan2011 The Poetry Film Competition Selected Excellently2011 Outstanding Art Prize， Taipei National University of the Arts，Taipei，Taiwan2010 Acquisition the 3rd session 《New York studies away from home the plan》

聯展：

2012 「 Re’image 」 關渡美術館，臺北2011 「 2011美術創作卓越獎 」 關渡美術館，臺北2010 「 微影像 」 乒乓/文賢油漆行，臺北/臺南2010 「 2010台灣當代藝術論壇雙年展 」 當代藝術中心，臺北2010 「 好妙 」 非常廟藝文空間 VT Artsalon，臺北2010 「 每日製作 」 關渡美術館，臺北2009 「 POST.O後地方 」 台北當代藝術館，臺北2009 「 海綿湯 」 網際網路線上展覽 http://www.sponge-project.com/spongesoup/2009 「 透抽5-棘皮王者定番戰 」 非常廟藝文空間 VT Artsalon，臺北 2008 「 海參展2.0 」 國立台北藝術大學，臺北2007 「 海參展 」 國立台北藝術大學南北藝廊，臺北

經歷：

2011 國家文化藝術基金會創作補助計畫獲選2011 臺北市立文化局創作補助獲選2011 世安美學獎2011 私詩電影短片 優選2011 美術創作卓越獎2010 第三屆紐約遊歷計畫補助

Daily: Daily - Yonghe City Daily - Xizhi City Daily - Wanli Township

Total running time: 17 minutes and 43 secondsPresentation: 2 channel video installationYear: 2010

The exhibition scene in Kuandu meseum of Art, Taipei, Apr 2011---The left side and the right side of projections.. <Daily> is initially installed in a dark room. Dual projections are shot onto a translucent screen that divides the dark room through the center. When the audiences covered one side of the projection, it will show the image of the other projection : the taipei city without sun, or the light in the exhibition space.

The drafts of the project <Daily>

日日：日日永和 日日汐止 日日萬里

The project <Daily> is shooting in the urban area. The work was inspired by those daily lives under seemingly common city scene as something said to be ine�able.

Each chapter is simulated as the lead-segment of �lm intentionally. It is naturally composed by credit title and opening song, but suddenly ceased from the un�nished scene right there. The audience might ask themselves, “had it ever happened?” However, the artists intend to generate “Déjà vu” communication as feedback via the project <Daily>. There are hidden meaning everywhere in daily life, I present one reality / truth with my kino-eyes. It’s lead by my family, my Mom, my Dad, and my uncle. They played anonymous roles but getting closer and closer to their real selves and their positioning in the �lm.

<Daily> is a two-channel video installation through two oncoming projections. One projects the story about Taipei city, the other projects a light (shooting before) in the exhibition space. The two images merge in the screen, and the light shifts to the sun in the middle of the landscape. Because of the mimic sun, the normal life become more and more equivocal and fascinating. Also, the �lms‘ title “Daily” has double-entendre meaning in chinese - literally “day by day” and hieroglyphically compiled by two “Sun” characters (日日). Project <Daily> constructs the space emerging the essence of Taipei city through documenta, �ction and real life.

《日日》系列作拍攝的地點都在城市的邊緣近郊。影像的構成取材自生活感滿溢的城市日常：只是生活的一部份，但是又有些異樣的片段。各個段落拍攝的有如電影片頭，有演職員表也有片頭曲，但在提示完時空人物之後便嘎然而止，猶如在真實世界中無法窺探的情事。由家人所飾演的角色中介了虛構與現實，鳥鳥的演技形構了一種介於真實與曖昧，片段與偶然的不確定性。同時間一盞在展場中的靜物燈影像，經由面對面的投影裝置疊合成為在地方影像上的烈日，無刻不在，不斷將觀者的目光帶回展場。永和、汐止、萬里的影像故事並非全然再現，它們與靜物燈形成的假太陽，提示了我們在日常生活中與所在之地無形卻又無法跨越的距離，對省略性的影像段落開展想像與猶豫的觀看經驗。

《日日》系列裝置是由對向投影到同一個半透明的投影幕上形成。一邊投影的影像是放置在展場中的ㄧ把立式靜物燈、燈光打向觀眾。另一邊放映的是仿電影片頭的影像。靜物燈投在半透明的投影幕上，透到另一邊的影像，成為電影中的烈日。當觀眾環繞展場、遮蔽一方影像時，顯露出另一方投影內容：一邊是展場中的靜物燈，另一邊為沒有太陽的地方影像。脫離一般的觀看經驗，《日日》所揭示的空間關係在影像生滅與觀眾的互動中更為顯見

日日永和 Daily : Yonghe City

Total running time: 4 minutes and 02 secondsPresentation: 2 channel video installationYear: 2010

A story shot in the river bank of Xin Dian Creek, under the expressway. It is an area where the residents of Taipei city spend their leisure time in any kind of format: walking dog, growing vegetable even Karaoke. Due to the public land property, the farming always undergo inplant and removal cycle enforced by government

<日日永和>拍攝了永和市民在河濱違法種菜、遛狗散步唱卡拉OK、水利局開怪手鏟除菜園和蘆葦整理河道…。有些成為影像，有些只是依稀聽見的聲音.

日日萬里Daily : Wanli Township

Total running time: 4 minutes and 43secondsPresentation: 2 channel video installatioYear: 2010

A story happening at a special harbor adjascent to a giant wedding hotel. Day after day the �shermen work during daylight while newly wedding couples photographing after sunset under the same rhythm composed by winds and waves.

<日日萬里>拍攝婚紗旅遊勝地̶東北角的小漁港龜吼，居民、釣客在漁港渡過的下午。靜物燈形成的烈日依舊無所不在，伴著整個小漁港都抬頭可見的大飯店。鏡頭跟隨釣客的視野望去，婚紗攝影就如同日常生活中的夢境一般。

日日汐止Daily : Xizhi City

It’s a story about the commute from the residential area Xizhi to Taipei downtown. The same sight out of window passby everyday.

<日日汐止>拍攝了在日復一日來回台北--汐止的電車，跑馬燈式的風景和每天相同的通勤。靜物燈偽裝的烈日穿越汐止突兀的大樓群和烏雲壓頂的天空。片頭曲(手機鈴聲)響起，卻自顧自的脫離平板的影像，感情豐沛的大唱特唱。

Total running time: 4 minutes and 43 secondsPresentation: 2 channel video installatioYear: 2010

上：新店溪旁卡拉OK.<日日永和>的片頭曲。每一個段落的歌曲皆取自現場聲音。下：在展覽現場拍攝立燈的鏡頭。

UP : Sinigng Karaoke on the river bank of Xin Dan Creek.The soundtrack is the opening song of <Daily:Yonghe City> . All the opening songs of each sequence comes from the local space.

DOWN : Shooting the light in the exhibition space.

In the video an old lady who visited to New York was making a wish. The words she spoke out was immediately �ushed out by the noise of heavy tra�c/ The brocade carp �sh pond under the international line/ The coyote specimen in the history museum…

Do pieces of trips really transform into memories? Being abroad in New York for a month alone, the visions end up becoming detached from myself (strange enough this is totally opposite to the imagination of fantasies of being solitude), and the perspectives in shooting became a parallel universe. The encounter to the internal change reminds me of Luo Yi-Jyun, his books* and his thoughts, those what also appeared in my community: friendliness, unknown girls with smiles on face but were indi�erent. They were “folded and folded and disappeared” as a math formula. The di�erent understandings of ocean, �ight paths, wishes, time, and perceptions of what one had encountered are never going to be able to be

永晝Midnight Sun Total running time: 5 minutes and 03 secondsPresentation: 2 channel video installatioYear: 2012

《Midnight Sun》is a two channel video installation that projects on two separate �exural screens. As the camera lens pans slowly, the scenery we see on the screen is constantly passing by. The �oating vision through the projection screen shows an unfamiliar and unaccustomed extensity in the dark.

影片拍攝一位旅居紐約的奶奶在布魯克林大橋上的許願，話一出口即被下層車流的聲音沖散/國際航道下的鯉魚池塘/歷史博物館中暗夜灰狼的標本....。

旅行的片段是否就是回歸為回憶？ 2010在紐約一個月的異地獨處，到最後連視線都變得抽離自己（奇怪這與普遍對獨處所帶來的效果的幻想相悖），連帶那些拍攝的視點都如同一平行宇宙。這內在變化的遭遇讓我在那時空一直回想駱以軍（註）所寫那與他照面的，亦在我社區中群聚的，友好、淺笑卻默然的異地女孩們，如同被數學公式「摺疊再摺疊，最後便弄消失了」。 不同的異鄉之人對海、飛行航道、願望與時間的想像和認知，以及其所遭遇之輕重，或許即使我如何僭越也無法攤開之間的差異，但那些因轉移時空對每個人扭轉出的人之情感，讓你我對此不是毫無所知。

註：駱以軍《我愛羅》，投籃機女孩，2006。<永晝>是一個雙頻道錄像裝置，投影在兩個彎曲的投影幕上，影像緩慢的流動。

墜落

報紙上看到一則新聞圖片。高中女生在學校墜樓的影像，非常模糊的監視器影像裡女孩子被懸浮在落地前一刻。不是轟然落地，但卻相當暴力地停留在那。

《墜落》這件作品因此企圖重新觸碰那無法超越的當刻，反媒體試圖操縱的逼近死亡之緊張時刻。拍攝的場景是台灣特殊的違建巷弄景觀，錯落的建物從細縫中看去是平凡的日常生活，平凡又龐雜，過於瑣碎貧乏而不能稱為”事件“，相較於作為絕對事件的少女墜落，兩者卻都以一種似有若無的沈默流經大眾生活。拍攝日常場域中與墜落影像兩者間的沈默以及影像中分裂的時間感，作品中的事件與日常生活場域因而分離，好似凝結成塊狀的菱鏡，看見生活中不易感知卻很有重量的解離狀態。

不確定死

蚊子眼

旅途中

In this VIdeo, I feigned death and put the camera on my chest. The face was spiritless, but the camera worked actively because of the breath.

影片中，僵直躺著的女孩正裝死。攝影機放置胸口上，即使不眨眼也無表情，攝影機卻隨著呼吸上下起伏。

在布幕key上空無一物的雪景。當衝向布幕盡頭然後不能避免的跌到時，原來空無的雪景揚起了一陣陣皺摺。

1

Me (Behind the camera)and the photographer,Xio-Shu Chang1

陳亮璇的《日日》Chen Liang-Hsuan’s <Daily>Jian Tzu-chieh

There is a type of artwork that does not instantly inspire surprise, but rather elicits emotions through a gradual process of reading and interpretation. These so-called emotions trigger a certain melody within us even as we are simultaneously aware of ourselves. People have a natural tendency to attach an identifiable meaning to ambiguous feelings. Although such attempts are fruitless, it does not mean that such kind of artworks cannot be grasped. The only thing that we can grasp is something akin to musical phrases that involuntarily enter one’s mind during periods of extreme ecstasy or anxiety. Later, this melody influences a person’s speech, writing, and singing patterns.

We are engulfed by flashing rays of light. Although the “scenery” we see is familiar, its ordinariness does not suggest a penetrating vision: why is such a periphery location photographed or filmed? As the camera lens moves slowly, the casual and common behavior of the people within the image hint that something big is about to happen. But, nothing does. And, the previously intangible distance between a scene and one’s eyes suddenly turns into something akin to a projection screen that reveals its own

textures. On another end, sun shines radiantly as always when it is high in the sky, whether during daytime or inside a dark tunnel. This reminds us that what we see are not merely pure representations, but adulterated and heterogeneous forms.

Chen Liang-Hsuan’s <Daily> series depicts a sun that is “omnipresent.” Yet, for this work, the notion of omnipresence is redefined. An artificial light source used in the videos instead of the real sun. Also, contemporary art’s unique use of space allows images to transcend a one-way viewing experience. The image turns to capture a space in which discrepancies and consistency coexist: <Daily> is initially installed in a dark room. Dual projections are shot onto a translucent screen that divides the dark room through the center. One side of the divide is what the artist refers to as a “pseudo-movie-opening” (this refers to the visual experiences described in the first two sections). At the same exhibition space, the “vertical desk lamp” is also being filmed. This is the sun in the <Daily> series.

Perhaps due to this type of device, <Daily> elicits a kind of varied and scattered viewing experience. These images transcend those

Chen Liang-Hsuan’s <Daily> Jian Tzu-chieh

Chen Liang-Hsuan’s <Daily> Jian Tzu-chieh

陳亮璇的《日日》 文 簡子傑

有一種作品，沒辦法一下子帶給我們驚奇，卻在緩慢的閱讀過程中，為我們逐漸積累出某種情緒，這種名為情緒的東西在我們意識到自己的同時觸發了某段旋律，當我們總是習慣在一團模糊的感覺中試圖掌握什麼可辨認的知性模組̶─這樣的企圖總歸於徒勞，但這並不是說這類作品是無可掌握的，只是我們能掌握的只是一段如同樂句般的聲響，它在你虛無恍神或極度焦躁的情況不自主地浮現在腦門中，你之後會開始應著這段旋律說話、書寫、歌唱……

我們纏繞在眼前倏忽閃爍的光線中，即使眼前的「景色」並不陌生，如此的日常性卻絕不意味著一種穿透性的視見：為什麼是拍攝這個邊陲地點？鏡頭緩慢地移動著，影中人物如常的行為舉措似乎暗示有個重大情節即將發生，然而最後卻什麼也沒有，而原本透明地隔離著我們與眼前景物間的距離，卻突變成一種兀自透露著自身質感的投影帷幕，另一方面，那高掛天際、無論是在白天或在闇黑隧道中依舊散放光芒的烈日，將使得我們明白，眼前的影像並非單純的再現，它的屬性摻雜異質。陳亮璇的《日日》系列，描繪著一個彷彿「無處不在」的太陽，卻改寫了這種無處不在的一般性意味̶̶不僅是因為影像中出現的，實際上是一個人工太陽，以裝置型態出現的影像播放現場，也因為當代藝術獨特的空間化策略，使得這系列影像作品跳離了單向接受的觀看層次，影像轉而與展呈空間發展出充滿縫隙又極度緊密的共構關係：《日日》先被設置在一間暗室中，透過對向的雙投影機制，在位於暗室中央的半透明布幕兩側，分別被投影了藝術家稱為「仿電影片頭的影像」（這也正是前兩段所描述的影像經驗），以及，一個同樣在展場拍攝的「立式靜物燈」，後者恰恰是《日日》系列中所出現的太陽。

not so much suggests an imminent narrative, but, rather, implies a fate concerning a locale (a vegetable garden about to be removed by the Water Resources Department). It originally belonged to those lost spaces of viaducts or outside embankments. And, a visible distance allows an individual to be outside. Additionally, this locale is extended to a certain pattern that lies within life. For example, though the capturing of an electric multiple unit (EMU) in Daily - Xizhi City presents a dramatic experience in urban space, the human characters that appear retain the indi�erent expressions of commut-ers. The rapid displacement of the EMU’s cars bring out an abstract nature to urban life - here, the constantly forward moving EMU conducts a simpli�cation that is without exception to the various concrete experiences of space, and, through which, an abstract list is analogized out. This list demonstrates the rheology of reality - this is a type of intrinsic distance. Every person is only here to get to there. However, aside from the background sounds at the �lm’s conclusion, mobile music ringtones that are �lled with emotion are also recorded. This fated locale is sublimated into a genuine performance. If one were to say that the performance of daily life comes from fate, this type of immanence then further digests the distinguishment between outside

that are represenations of reality and serve a functional purpose. The suspicious looking sun within the images is an element most people never pay attention, yet it hints at something that is unreal. From the perspec-tive of the “pseudo-movie-opening,” the sun’s presence almost alludes to something that we are not yet aware. Its position in the sky remains unchanged regardless of time of day, indicating the inexplicable distance between it and a simple symbol. This distance is also the distance between the image itself and reality. Furthermore, if we look at it as a device, this sun seems to abruptly intervene in the relationship between the image and exhibition space - to view the entire work, the audience must walk around the translucent screen. Since the sun in the image is, in reality, just a light emitted by a desk lamp, one could say that the suspiciously looking sun is what gives it away. On the other hand, by having the sun on-site, this reveals that it is actually just a desk lamp. In a strange way, this connects the work, <Daily>, with the contents of certain locales.

To the �lm, this place �rst involves a construct in which distance devours individual space. In the illegal vegetable garden near the riverside captured in Daily - Yonghe City, there are human characters. However, the “lady” is silent from beginning to end. Her presence

Chen Liang-Hsuan’s <Daily> Jian Tzu-chieh

或許，正是肇因於這種裝置型態，《日日》所引出的是一種多重且離散的觀看經驗。這裡的影像不僅越過了那經常被看作現實再現的功能性門檻，影像本身其中顯得可疑的太陽，也從觀看經驗中的一種通常為我們視而不見的場景元素，轉而擢升成為某種非現實徵兆̶̶僅就它在「仿電影片頭的影像」一端來觀看，太陽的在場似乎還暗示了一個我們還未及知曉的事件，而這個太陽無論如何都高掛天際的事態又表明了它與一個單純符徵的莫名距離，這個距離同時也是影像本身與現實的距離。再者，若我們回到裝置型態的觀看狀態中，這個太陽卻又突兀地中介了影像與展出空間之間的關係̶̶不僅是為了完整地觀看整件作品，觀者必須在作為影像銀幕的半透明布幕的周圍繞行，而且，由於這個太陽其實是藝術家先前在展場拍攝的立式靜物燈，如此的事態一方面等於是說給《日日》那可疑的太陽破梗，另一方面，卻又讓太陽回返現場，太陽作為靜物燈的視覺再現，奇異地連結了《日日》與某種地方性內容。

就影片而言，這個地方首先涉及的是一種以距離吞噬著個體的空間構造。在〈日日永和〉所拍攝的河濱違法菜園中，儘管片中不乏人物，這位「太太」卻始終無語，她的在場與其說表明了可能的敘事即將發生，毋寧說，它暗示了一種宿命的地方性（被水利局剷除的菜園），它本身屬於那種高架道路或堤防外的失落空間，並以有形的距離讓個體處在外面；此外，這種地方性還被延伸為某種內在於日常生活的規律，例如，拍攝電聯車的〈日日汐止〉雖展示出戲劇化的城市空間經驗，出現的人物卻始終維持通勤時刻的淡漠表情，而快速位移的車廂則帶出了城市生活的抽象性本質̶̶在這裡，不斷前行的電聯車對各種具體的空間經驗進行了毫無例外的化約，繼而類比出一份抽象清單，在這份清單上所演示的是關於現實的流變̶̶這是一種內在性的距離，每一個人都在這裡卻只是為了抵達那裡；然而，當影片結尾在背景音之外額外收錄了情感澎湃的手機音樂鈴聲，這種宿命的地方性就會昇華成一場貨真價實的演出，如果說日常生活的表演性源自宿命，這種內在性還進一步消解了外邊或裡面的可區辨性，藉由喧鬧的手機鈴聲，又為這般宿命提供了偶然卻又貨真價實的情感……。