第二基地－藝術基因庫
Second Foundation — Gene Pool of Art

​

会場：YIRI ARTS 伊日藝術計劃
会期：2021年10月16日(土) – 10月25日(月)
時間：13:00-19:00
場所：台北市內湖區新明路86巷1號

Web：https://yiriarts.com.tw/?v=24d22e03afb2

主催：YIRI ARTS 伊日藝術計劃

​

出品作家：
卡琳娜・荷比揚 Karina Akopyan
黃沛涵 Peihang Benoit
路易斯．凱伊戴 Luís Carita
張碩尹 Chang Ting-Tong
陳為榛 Chen Wei-Chen
陳佑而 Chen Yu-Erh
邱懷萱 Chiu Huai-Hsuan
東妮・哈莫爾 Toni Hamel
蓮輪友子 Hasuwa Tomoko
平子雄一 Hirako Yuichi
侯辰璐 Hou Chen-Lu
漢娜・伊淇 Hanna Ilczyszyn
哈洛德・林克 Harold Linker
蕭聖健 Hsiao Sheng-Chien
石山哲也 IShiyama Tetsuya
賴威宇 Lai Wei-Yu
蘿拉・琳伯格 Laura Limbourg
瑪莉．葵妮 Maru Quiñonero
中屋敷智生 Nakayashiki Tomonari
王鴻川 Ong Hong-Chuan
盧亞・里維拉 Lua Rivera Figueroa
時永駿 Shih Yung-Chun
島田奏 Shimada So
新藤杏子 Shindo Kyoko
塞維．索拉 Xevi Solà Serra
楊・紹馬爾 Jan Soumar
莫妮卡・蘇畢迭 Mònica Subidé
丹尼爾・蘇維勒斯 Daniel Sueiras Fanjul
孫培懋 Sun Pei-Mao
王冠蓁 Wang Guan-Jhen
袁心元 Yuan Hsin-Yuan
　          　     

第二基地－藝術基因庫
Second Foundation — Gene Pool of Art

聖經中的諾亞方舟乘載了動植物以及人類，在當代我們擁有斯瓦爾巴德島全球種子庫（Svalbard Global Seed Vault），然而藝術在文明的方舟內卻時常缺席，在這個展區我們將試圖呈現藝術的各種可能性與樣貌。

Noah’s Ark in the Bible carries animals, plants, and humans. In the contemporary era, we have the Svalbard Global Seed Vault. However, art is often absent in the Ark of Civilization. In this exhibition room, we attempt to present the various possibilities and appearances of art.

​

基地 Foundation

在地球46億年間的壽命裡，生物經歷了無數次毀滅與重生。假使人類的滅亡具有一定的必然性與週期，而藝術往往成為了歷史危機下的犧牲品，那麼藝術是否擁有基因庫般的保障呢？電影《人類之子》中，藝術品的流亡很可能便是我們最具象的未來。

人類文明之初，藝術就常作為預言或知識之載體，此傳統於現今當代藝術上也是顯而易見。我們想像著過去人們總將時代焦慮投射於創作，並將想像儲存於現實世界中，也因此創造了被視為對未來的預測。藝術家透過不同的藝術語法傳遞未來的可能性，為末世到臨前的人類打上預防針。如果「預言」常以藝術的形式出現，在毀滅之後，或許能為後世提供破碎的拼圖，重回文明波峰。

2021臺北藝術博覽會，伊日藝術計劃引用了以撒·艾西莫夫（Isaac Asimov）科幻著作《基地》。艾西莫夫在小說中預見了人類悲慘的未來，在銀河邊緣建立基地編寫歷史文明的百科全書，目地是希望透過知識的保存來縮短世界崩壞後的黑暗時代。當今疫情下的人類直面了各種掙扎，地球也同時面臨艱難，然而藝術的種子又該何以處理?同時，如果黑暗必將來臨，我們該為此準備到什麼程度？又該多做些什麼？

這次，伊日藝術計劃提出三道子題、於三個場域中分別呈現，以藝術為主體之「基地」作對話，我們將試圖想像末日來臨之際，《基地》內藝術的存在與可能性。

​

Our planet has experienced countless events of destruction and rebirth in the span of 4.6 billion years. If the demise of mankind has a certain inevitability and cycle, and art has often become a victim of historical crises, does art have the guarantee of a gene pool? In the movie Children of Men, the exile of artworks is probably our likely future.

​

At the beginning of human civilization, art was often used as a source of prophecy or knowledge. This tradition is also obvious in present-day contemporary art. If “prophecy” often appears in the form of art, we assume that people projected their modern-day anxieties into its creation, achieving the imaginary in real life, and, thus, creating what is seen as a prediction of the future. Art serves to convey the possibility of the future through different artistic languages, to vaccinate mankind before the advent of the end times. After the destruction, it provided a fragmented jigsaw for later generations to return to the crest of civilization.

​

‘Foundation’ borrows its title from the American writer Isaac Asimov’s book series. In the novel, Asimov foresaw the tragic future of mankind, which sets up the Foundation whose stated goal is to compile a text, called the Encyclopaedia, containing the sum total of all knowledge of the Galactic Empire. In preserving their society’s knowledge, they hope to avert a dark age lasting tens of thousands of years following the Empire’s collapse. Human beings under the current epidemic are also facing struggles, but how should the seeds of art be dealt with? At the same time, if darkness is bound to come, how prepared are we? What should we do more?

​

For the 2021 edition of Art Taipei, we have divided the exhibition into three areas for discussion, aim to examine three different topics, and shall present each topic individually in three different spaces, in which art as the “Foundation” of the dialogue will stand. We attempt to imagine the existence and possibility of art in the Foundation when the end is coming.