Soul Out

HD單頻道錄影,彩色有聲, 20'50" | single channel HD video,color with sound | 2013

 

將紐約地鐵軌道的垃圾當作再次消費的物件,藉由消費行為的重建,反應人類在這種資本主義體系中被無意識地操作與無法逃避的現實無力感。

 

《Soul Out》 reuses trash in New York subway as consumer goods, reflecting human’s manipulated unconsciously and lacking of sovereignty under Capitalism. 

Soul Out
Soul Out

HD單頻道錄影,彩色有聲, 20'50",2013 single channel HD video,color with sound

Soul Out
Soul Out

Soul Out
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Soul Out
Soul Out

HD單頻道錄影,彩色有聲, 20'50",2013 single channel HD video,color with sound

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 Shadow of Light

HD單頻道錄影,彩色有聲, 20'00" | single channel HD video,color with sound | 2013

 

聖經創世紀提到「God said, Let there be light: and there was light」,藝術家使用凸透鏡聚焦太陽的光源聚焦於聖經文字上的光“Light”一字逐漸起火,最終整本聖經消融於灰燼之中。在將這段過程錄製下,並用倒敘的方式讓聖經於灰飛煙滅中重生!作品透過投影機的光與空間隙縫露出的光,相互交疊消融。透過宗教/精神性的光,和物質/科學性的光,並結合空間與光影的關係,詩意呈現光的多層意涵,引領觀眾進入一場對生命本質的探索。

 

“God said, Let there be light: and there was light”. Kuo uses a convex to let the word “Light”on the bible to burn, and whole bible is burned to the ground. Kuo records this burning process, and reverse it in order to let the bible reborn from the ash. He poetically expresses diverse meanings of light and lead viewers to explore the essence of human beings by the light from religion/spirit and substance/science.

Shadow of Light
Shadow of Light

single channel HD video,color with sound 20'00" | 2013

Shadow of Light
Shadow of Light

single channel HD video,color with sound 20'00" | 2013

Shadow of Light
Shadow of Light

single channel HD video,color with sound 20'00" | 2013

Shadow of Light
Shadow of Light

single channel HD video,color with sound 20'00" | 2013

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Snapshadow 顯 影 

攝影 Photography | 80x60 cm | 2011-2013 

 

使用智慧型手機Spy Cam軟體觀看著地球上某處即時監視器畫面,而所拍攝完成的『攝影作品』,透過這些即時監視器畫面所拍攝而來的照片都不斷指向”不曾存在”的事實,是攝影者與被攝者都不曾在同一個時空與時間軸上,只存活在機具(Spy Cam)上的事實,在影像的宇宙裡,監視器揭示了人們對影像的掌控與欲望,是什麼在監視著我?我為何被監視著? 從公共空間到私密空間,我們都無法倖免的生活在這被監視與監視者的影像黑盒子當中,通常監視器所放置的位置是有某種事件或領域性,如:機場、車站、賣場、高速公路、大樓保全…等,透過這些無所不在的監視器,將它視為穿越影像宇宙的蟲洞,藉由智慧型手機監控軟體,在螢幕即時觀看世界各地的影像時序,擷取拍攝ㄧ張張不存在的證明,在此監視的功能被轉化為攝影的語彙,如:當一隻鳥正飛過監視器畫面的同時(景物),透過及時監試軟體(攝影機),在地球另ㄧ端同時看見那隻鳥正飛過手機螢幕畫面(攝影機的觀景窗),而按下截取畫面的按鈕,如同攝影機的按下快門的瞬間,影像中的鳥是真實存在的,而攝影者的位置卻是缺席的,身體消逝/缺席,影子(被擷取的影像)被留下,攝影的此曾在已不復見,你所看到的相片是種不在場證明,它回歸屬於它自身的存在,因為不曾存在,就不會死亡,死亡終於脫離了它的宿主(身體/攝影者),因而被徹底解放。

 

“When a bird flies by a monitor, and I observer it from my iphone and press the shooting bottom from the other side of the earth. The bird was real, and I did shoot it without my attendance. Does it mean it is not photography? (Kuo, I-Chen) Kuo questions the existence by the absence of artist! “After pressing the bottom, the shooting moment dies immediately, but if the artist has never been the shooting place, does it mean death doesn’t happen?”

 

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 Shadow of Shadows 覆 影

錄影裝置|影印機,CCD監視,液晶電視,紙 | video installation:copy machine,CCD camera, LCD television, paper | 2013

 

一台在平凡不過的影印機,反覆印製著它者的複製品,永遠無法複印自己的身影,藝術家使用這樣沒有主體性的物件,透過監視器拍攝影印機,運用影像即時回饋的方式,將影印機顯像複製在LED螢幕中,當觀者操作著影印機時,將螢幕上的即時影像複印出來,列印出來只有影印機本身與空間的顯影外,操控者與觀眾,卻消逝無法顯影於紙本上。郭奕臣透過影印機轉換成觀念物件的語彙結合即時影像回饋的方式, 呈現物理空間與數位空間的關係,影印機不再附屬於人為操控而存在,它觀照自身成為主體而存在。

 

An ordinary copy machine without independence keeps doing its task what human beings ask. Kuo uses monitor to watch this copy machine and make it show on the TV screen. When the users stand in front of it, manipulating it, pressing the copy bottom, trying to print the image out, they find out their body is not even on the paper! Kuo employs copy machine to transfer an idea that the object is not controlled by manipulator; it is given some sort of ability to being independent.

 

Shadow of Shadows
Shadow of Shadows

video installation | 2013

Shadow of Shadows
Shadow of Shadows

video installation | 2013

Shadow of Shadows
Shadow of Shadows

video installation | 2013

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Portrait 消 相 

裝置,木質相框、LCD面板 | installation:, LCD frame, wood frame | 2013 

 

藝術家收集20世紀的科技產物,無法再顯影毀壞的舊電腦、手機、平板電腦、掌上型遊戲機、電視…等的顯示面板,透過任何具有LED螢幕的數位載體,反映「曾經出現的使用者面貌」。只是曾經映照在這些載體上的面孔已逐漸消逝,不復存在。當我們經過這些棄置螢幕前,那在黑暗中反射出的臉孔,如同幽魂般,訴說某種曾經和存在;藝術家用「消相」的方式呈現屬於20世紀的「當代肖像畫」。

 

Kuo collects high tech products especially the screen from those old and discarded computers, cell phones, and so on. By these LED screens, they reflect the faces of the users which had been gone for long time ago. When we stand in front of those dark screens, our faces appear on them like ghosts, telling the past of the users. Kuo uses this to create a whole new format of contemporary portrait in 20th century.

Portrait
Portrait

installation:, LCD frame, wood frame | 2013

Portrait
Portrait

installation:, LCD frame, wood frame | 2013

Portrait
Portrait

installation:, LCD frame, wood frame | 2013

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