t__u Volume 02 Ban-Yuan Chang Solo Exhibition
2024/02/22- 2024/04/01
182artspace No. 182, Xinmei St., West Central Dist., Tainan City
2024/02/24 19:00
Opening party + Artist talk with Shen Yu-Chang
圖02 張般源個展
2024/02/22- 2024/04/01
182artspace 台南市中西區新美街182號
2024/02/24 19:00
開幕酒會與藝術家座談 與談人:沈裕昌
It is a sediment of thoughts resembling those hidden within the digital network, an untitled field. This is its second form, yet there are still numerous gaps.
It is a narrative, a script of murmur, describing the landscapes of that world from Chat and I, a world shattered into fragments beneath the radiance of blue light. It delves into the musings of individuals within that world—him, his, and he and it—filling the gaps between ‘t’ and ‘u’, contemplating the flesh, wounds, love, contours, and forms existing in that world. There, thoughts are sustenance, savored with electricity, becoming what they should be, embodying the essence of "圖." However, I have severed portions of those forms, puzzling together the “圖”.
它是那些藏於數字電網中似曾相似的念想所進行的集合，一個未命名的世界。這是它第二個樣子，還是有許多縫隙。
這是柴德與我對那個世界景觀的書寫，一個在藍色光輝下被切成了碎片的世界。這是關於那個世界中的他與他與他及它，為t與u之間進行填空，為身處那個世界中的血肉、傷口、愛、輪廓與樣子的念想。在那裏，念想是糧食，配著電享用，成為了該有的樣子，成為了圖的樣子。但我切下了部分的樣子，拼成了圖。
圖 t__u Volume 02 is a sequel of my solo exhibition 圖 t u in 2023, serving as the second chapter of the 圖 t u Trilogy. 圖 t u Trilogy engages in speculative fantasy worlds as a reflection on the characteristics of identity and body image in contemporary image production. "圖 t u,” beyond its literal understanding of image narratives, serves as a conceptual and methodological reflection on experience production and self-modeling in the information age. In English level, it does not carry a specific reference like "image" or "figure" but rather implies as an abstract, dynamic pointing towards "to the universe, to somewhere," exploring a space where the untitled overlaps.
《圖 t__u Volume 02》為2023年個展《圖 t u》的系列延續，作為《圖 t u三部曲》的第二章。《圖 t u三部曲》為一種思考當今影像生產身分與體形意象(body image)的特性所進行的臆測幻想世界。「圖 t u」在字面上除了對於影像敘述 (image narratives)的理解以外，它在此則作為一種對經驗生產與自我形塑在資訊時代下的反思概念與方法。它在英文的層面並非為image或figure諸如此類的具有明確的指涉性。它反而是可作為某種抽象的動態指向「to the universe、to的發音」，一種對朝向未知予以之相互交疊的空間進行探索。《圖 t u三部曲》是透過思考科技影像中的敘述性 (narratives)與其政治性 (詮釋的配置)和身體之間的「殖性」(coloniality)關係來想像出一個非敘述的未知世界: 那是一個假設在影像敘述無限的疊加，像一場敘述的領土爭奪戰般不斷地將敘事往對象物身上轟炸，所形成的一種非敘述 (non-narratives)感性世界－一個未命名的未來 (Untitled future)；或是說，一種對似曾相似 (de ja vu)的念想的集合世界。它是一種對自我在當今數位世界中的形塑想像 (worlding)。
圖 t u Trilogy imagines a non-narrative world by contemplating the political relationships between the narratives and the "coloniality" of the body in today’s technological images. It envisions a world where narratives endlessly overlay, bombarding the narrative onto object bodies like a territorial battle, resulting in a non-narrative sensory world—an untitled future or a collection of thoughts resembling déjà vu.
The world process of the "圖 t u Trilogy " is constructed through various mediums such as painting, novels, field guides, sculpture, and installations. In Volume 02, various configurative methods, or a kind of makeshift approach, are employed to practice part of the world. Questions about the subject's configuration relationship with images and information in modeling our body images are raised. This includes filling the narrative gaps in the first chapter's novel through mutual attachment with ChatGPT, the “drawing” from 3D modeling digitally simulating/render images, and the production of a fictional scenery manufacture handbook; a “staging” practice. How do we configure our perspectives and visual field in the fragmented image experiences and world today?
《圖 t u三部曲》的世界發展由繪畫、小說，、圖鑑、雕塑、裝置等相互建構而成。在第二部曲中，透過了幾種具有配置性的方法 ，或是說一種土法炮製，來進行此生產世界的實踐並對影像與資訊對我們自身的體形意象進行的「造景」提出有關主體配置關係上的提問。這些包含了與ChatGPT (說算是一種相互附著吧)共同對首部曲中的小說進行敘事夾縫中的填補、對小說世界觀的數位演算圖象進行擬仿 (「render/素描」)、對景觀呈現的方法進行流程的造冊以及對這些元素進行再次的擬仿 (造景)。我們如何在當今碎片般的影像經驗與世界中配置自身的視界?
Here, "staging" encompasses several crucial keywords: extraction, objecthood, body, re-personification translation, and non-Human human. The concept of "staging" does not discuss the narrative state of "coloniality" in body image and image information experience from a divine perspective. Instead, it explores and records the construction of this worldview as if navigating in a limited "misty" realm. It delves into the visual field/world imagination of objects, serving as a further exploration of the concept of "coloniality" in body image and information experience, suggesting the potential for the non- "H"umanization of "humans," a speculation of the gap between humans and image information, namely non-narrative field.
在此，「造景」涵括了幾項重要的關鍵詞: 抽離 (extract)、物性 (objecthood)、身體、再擬人化的轉譯、非人之人 (non-Human human)。「造景」的概念並非以上帝視角來談論「殖」在體形意象與影像資訊經驗中的敘述狀態。相反地，它是以一種如同在有限的「迷霧」版圖中進行探勘，並紀錄此世界觀的建構樣貌，關於物的視界/世界想像，並作為更進一步對於「殖」的概念在體形意象與影像資訊經驗上對「人」(human)所潛藏的非「大寫之人」(non-‘H’uman)化的可能，一種介於人與影像資訊之間所產生的夾縫想像，即非敘述感性。
