Copyright
Rights of the articles on No Man’s Land are reserved to the original authors or media. No Man’s Land is authorized to reproduce and distribute the articles freely. Users may distribute the articles on No Man’s Land accordingly to the above terms of use, and shall mark the author, and provide a link to the article on No Man’s Land .
「數位荒原」網站上文章之著作權由原發表人或媒體所有,原發表人(媒體)同意授權本站可自由重製及公開散佈該文章。使用者得按此原則自由分享本站收錄之文章,且註明作者姓名、轉載出處「數位荒原」與網頁的直接連結。
Contact
Please fill out your information to contact No Man’s Land .
The information you supply will only be used by No Man’s Land .




Subscribe No Man's Land
Please fill out your email to get the latest from No Man’s Land .
The information you supply will only be used by No Man’s Land .
Unsubscribe No Man’s Land
ARCHIVE
NAVIGATOR
總計3集
FILTER BY
NAVIGATOR 2:
November, 2021 策劃: Phuan Thaimeng / 執行: Phuan Thaimeng
Nov
2021

現實與虛擬世界已不全然是兩個平行空間或者具有支配和附屬的關係。反之,兩者已儼然形成一種緊密相依,相互影響與呼應各自形態與感知形塑的鏡像關係。另一方面,「地方」的認知和詮釋也不再只侷限於權力架構支配下的認知範疇。〈旅人、路徑與地方〉在一種「臨界距離」(critical distance)的空間視角,透過對話與行走,匯集與再編碼個體與集體經驗對的過程,試圖勾勒出「身體」與「地方」另一種多重與液態性之詮釋的可能。(參與者:李嘉昇、林易萱、周佩穎、許修豪、陳韋綸;特別感謝台亞克有限公司。)

The reality and the virtual world are no longer two parallel spaces as one is subordinate to the other. Instead, they have formed a close interdependent relationship, influencing and echoing each other in their own physical and perceptual shaping. On the other hand, the perception and interpretation of “place” are should not be confined by authority anymore. The artist gathers and curates with the individual and collective experiences of “places” through dialogues, physically on-site visits and off-site research. Travelers, Route and Places attempts to explore and map out the possibility of the unknown multiple and fluidity social landscape through a spatial perspective of critical distance. (In cooperation with Jason Lee, Lin Yi-Hsuan, Patrice Chou, Hsu Xiu-Hao, Willy Chen; specially thanks toWe Art The World.)

Nov
2021
NAVIGATOR 01:
November, 2021 策劃: lololol / 執行: lololol
Nov
2021

〈未來道:乾坤大挪移〉源自在新冠狀病毒疫情期間的身體、權力和新技術之間,開啟大轉換(The Great Shift)的變動關係。此項目以印尼導演迪亞古蘇馬(D. Djajakusuma)1958年的電影《火鞭》為創作起點,探索群島文化中對於技術物 / 使用者 / 地方智慧傳統儀式中的時代寓意,對應現今的社會趨勢,重新建構出新武俠敘事的網路現場。(開啟時裝置依照臺灣電力公司今日即時電力供需資訊進入不同場景;建議使用電腦版Chrome瀏覽器與耳機以達到網頁最佳效果。)

Nov
2021
NAVIGATOR 0:
June, 2021 策劃: Lee Te-Mao / 執行: 李德茂
Jun
2021

〈市場共和國〉(2020-1)是一件多頻道錄像作品,透過市場裡的各種景像:營業中、收攤後、流動的、關係、食物、人、交易、缺席的、在場的,描繪這個小區域特有的市場感。台灣的傳統市場總是流動著一股自成一格的交易風格,本作品試圖以共和國化的觀點來描述這個現象,透過Google Earth的全球地域均質化特徵,在主權國家充斥的今日,銜接「對岸共和國」這一幽默且獨特的存在。

“The Republic of Market” (2020-1) is a multi-channel video work that depicts the unusual sense of the market in this small district through various scenes in the market: during business, after closing, mobility, relationships, food, people, transactions, absence, and present. Taiwan’s traditional market is always flowing with a unique trading style. This work attempts to describe this phenomenon through regarding the market as a Republic. With the global geographic homogenization feature of Google Earth, this work connects the world we live in today, which is full of sovereign states, with the humorous and distinctive existence of the “Republic on the other side”.

Jun
2021