KINTEX SPOON ART SHOW 2016
展場位址｜ KINTEX Exhibition Center 1, Hall 2
預展時間｜ 2016. 11. 25 (Fri)
在《非志願性讀者》中,藝術家鄭亭亭利用報紙來反應生活中資訊流動的脈絡,以及媒體如何 影響我們所認知的社會真實。在一百天內,她不購買任何報紙及雜誌,不主動瀏覽電視及網路 新聞,只閱讀送到手邊的免費報紙,包括在捷運站發放的、座位上撿到的、早餐店桌上的等等。 她收集這些報紙,拍攝並紀錄下與該報相遇的時間地點以及當天的頭條,試圖紀錄下資訊的實 體流通網絡,以及這段時間內媒體所建構出來的“真實”。而在這一百天內,她對社會的認知 則全然的被該媒體所掌控。
The Painted Voyage
藉由物件的移動來探討觀光式的旅行對於城市商品化的影響。在本系列中,鄭亭亭在 fiverr.com 上邀請住在她所沒有去過的地方的人,寄給她在倫敦的地址一張有著當地風景的明 信片,在收到之後,她再試圖將影像中的知名景點用顏料掩蓋。全球觀光業的興盛將城市變成 口袋般大小的紀念品,將日常生活平面化成為商品式的體驗,這裡,藝術家試圖讓這些觀光景 點消失,幻想她對於未知城市的印象是來自真實生活,而不是建構出來的影像。
包含五對作品,為了該系列,藝術家在倫敦的亞洲超市尋找帶有“東方”符號,充滿“異國風 情”“不尋常”的食材,搭配不同物件在不同顏色的背景前拍攝。一對作品中,有一張看似為 完成品,搭配著相同顏色的框,而另一張則像是在拍攝過程中,不小心穿景的測試照,上面還 有著對應的色票來象徵該影像的背景顏色,這張看似測試照的影像會用夾子懸掛於裱框的影像 旁邊。每一對作品的名稱則是該背景顏色的名稱,而這些名稱,都被武斷地掛上充滿政治含義 的象徵。從人身上的文化符號(膚色),這件作品中,藝術家轉移到物件身上的文化符號。這 些進口到歐洲的食材,象徵著其“移民”的身份,而這些不自然的擺拍,強調著在西方社會, 刻意建構的東方形象,藉由這些武斷(arbitrary)的顏色符號,藝術家試圖尋問,“特別”與 “正常”的定義為何?而在後殖民時代中,這些食物移民角色又是什麼?殖民歷史與當下的移 民文化又有什麼關聯?當不同文化相遇在同一個社會時,我們如何界定彼此的“不同”?
The Colour Chart
In the project, I photographed cooking materials found in Asian stores in London in front of backgrounds of colours with names infused with political connotations. The objects here are considered relatively “weird” or “mystical” in the local context. The contradictive origins and destinations of them represent their statuses as immigrants. I intend to create an in-between state, the mixture of West and East, questioning the constructed concept of Asianness, the factor of exoticism, using the arbitrary of names in colours chart to question the definition of “norm”, at the same time, paralleling the importation of food along with the history of immigration and colonization.
The Painted Voyage
In the project, I collected postcards of places where I’ve never been, and painted over the touristic icons of the postcards. The booming tourism worldwide has brought certain economic growth for some, however, it also converted cities into pocketsize souvenirs, flattening the life of the everyday into commercialized ‘experiences’. The attempt of ‘invisiblizing’ the icons aims to project an imagination where impression of cities comes from everyday life rather than constructed images.
The project explores the excess and flow of information in the society, and how the selected and censored information formed our perception towards reality.
There is too much information in our everyday life.
In London, there are always staffs distributing free underground newspapers at the entrance of each station. When passengers finish reading, they discard the newspaper at the seats, and leave them to the next passenger. The newspapers were read by many other people before coming to our hands. Unlike the old days, people went to newsstands to ‘require’ for information, which they believed that they needed, nowadays, information randomly came to us without our permission.
So, how does the information flow? And how does it influence the way we see the world?
In 100 days, I decided not to buy any newspaper, watch any TV news or browse any news on websites. I chose not to be a voluntary reader. I don’t look for information. Instead, I only read newspaper came to me. I am an Involuntary Reader. All my perception towards the world and society is controlled by media and randomness, based on the information inside free newspaper coming to my hands. I became an archive of information on newspaper in the period.
I photographed the collected newspapers, which ‘came to me’ by chance in everyday life.
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