錄影裝置 | video installation | 2004-2013

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在《入侵美術館》（2004）計劃中，郭奕臣利用美術館內部與外部空間與情境為媒介，傳達由「內」對「外」的觀察，並又以巧妙的手法使外在情境介入了內在的空間。美術館的室內空間，在這件作品中亦带有自身的隱喻。台北市立美術館位於繁忙的國內線機場附近，每隔數分鐘就有一架飛機低空掠過美術館上方，但是在美術館內觀賞藝術展覽的觀者幾乎對此情形渾然不覺，美術館的內部無論在現實和精神上，都像是一個隔絕於外在世界的獨立情境。郭奕臣在美術館內部架設了投影器，並在館外以感應器接收飛機經過時的訊號，當飛機從美術館上方飛過時，美術館大廳將同步投射出一個「飛過美術館內」的巨大飛機暗影，並且從音響發出飛機飛過的低沈聲響。在此情形之下，美術館這個獨立的空間，不斷地被館外的現實事件所干擾和介入，郭奕臣以此方式將空間內外的現實再度聯繫起來，使觀者對於所處的不同空間產生了新的感受。

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作品介紹出自《2004台北雙年展》 文：鄭慧華

 

In his project Invade the TFAM (2004), Kuo uses the internal and external spaces and conditions of the museum as his media. The Taipei Fine Arts Museum is located close to the flight path of a busy domestic airport; every few minutes an airplane passes overhead. Inside the museum, however, visitors are barely aware of this. Both literally and spiritually, the interior of the museum is an independent realm, completely partitioned off from the outside world. But Kuo disrupts this by installing a sensor outside the museum to receive signals when the airplanes pass, and a projector in the lobby that casts the huge shadow of the airplane as if flying through the inside of the museum when triggered by the sensor. At the same time, a speaker system emits the low rumble of an airplane in flight. Under these circumstances, the independent space of the museum is constantly disturbed and invaded by its exterior reality, giving viewers a new understanding of the special conditions of the museum.

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​《2004 Taipei Biennial》Text: Amy Cheng

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