地點／台北國際藝術村 Taipei Artist Village,百里廳
本次個展《大鹿圖》展出「艾尼西系列」作品，這個系列發展自一趟中國鬼城行的經驗（2016），過程中我察覺到鬼城的形成，背後隱含著許多不同的利益目的，而非只是表面上的說法——建設新的居住空間。鬼城的位置（點）像是置落在矩格狀的、被劃分好的棋盤（城市）裡的棋子，運棋的法則是一種權力與控制下的產物，下棋者是單方面的觀看者和決定者，這是一個只有黑子的棋盤，裡面充滿（政治）操作的手段。我試圖透過圖式的思考和擴張來回應這種觀看的狀態。「艾尼西系列」包含兩個系列：《艾尼西系列 I：所有事與沒有事》詮釋上述我所觀察到的「棋盤」現象，以圓形結構來討論觀看的視點狀態，方形結構回應幾何和權力控制的關係。《艾尼西系列 II：來自阿森若夫的垃圾郵件》包含地圖視窗和文字作品，作為解碼這趟中國鬼城行的密碼。作品命名是密碼的運用之一，艾尼西（Anihc）其實是中國（China）倒著念，Anihc的發音也像Everything，所有事等於沒有事（Nothing）。來自阿森若夫的垃圾郵件（Spams from Asomrof）是來自中國的地圖（Maps from China）倒著念。從反方向閱讀暗示這個創作計畫的起點和終點，過程之間是可以互通的。展名《大鹿圖》取「大陸」和「路途」的諧音，「大陸圖」回應這個計畫來自上述中國旅行的經驗，「大路途」說明本次個展以藝術的方法將社會、空間、政治、經濟，乃至控制、權力和慾望構築在一起，試圖形成一個大的想像路徑。《大鹿圖》也和去年在藝術家書籍文獻庫的《小鹿圖》展作為一個幽默的對照。—————
Exhibition Period／10.2(Sat.) –10.17(Sun.) (Closed on Monday)
Venue／Taipei Artist Village, Barry Room
This exhibiton Dàlù tú showcases works of The Anihc Series. It is emerged from a travel experience to China’s “ghost cities,” (2016) where I became aware that the formation of ghost cities concealed a number of interests beyond the official proclaimed purpose of constructing new residential spaces. The locations (spots) occupied by these ghost cities seem to fall into squares on the predetermined grid of a chessboard (the city). The rules of play in this chess game are the products of power and control, where the player is a unilateral observer and decision-maker. This is a chessboard played with only black pieces and filled with strategic (political) manipulations. I attempt to respond to this state of observation through the contemplative and expanding methodology of a layout plan.The Anihc Series comprises two series. The first, The Anihc Series I: Everything and Nothing, is an interpretation of my aforementioned observations on the “chessboard” phenomenon, and explores the perspective state through circular structures and rectangular structures which respond to the relationship between geometry and the control of power. The second, The Anihc Series II: Spams from Asomrof includes map windows and text works. It functions as a password to decrypt the codes from this journey to Chinese ghost cities. The nomenclature of each work functions as part of the decryption. Anihc is actually “China” spelled backwards; its pronunciation sounds like the word “everything” and everything equals nothing. Spams from Asomrof is a reversal of “Maps from Formosa.” This act of reversed reading implies an inter-communicability in the process, between the starting and ending points of this creative project.The exhibition title, Dàlù tú (大鹿圖) or Moose Map, embodies a layering of meanings that draws on several Chinese homophones: dàlù (大陸) as in “mainland China”; and lùtú (路途) for “pathway.” Taken as Dàlù tú (大陸圖) or Mainland Map, the exhibition is a response to the experience of travelling through mainland China which inspired this project; while as Dà lùtú (大路途) or Grand Pathway, it highlights ways in which this solo exhibition uses art as a method to construct an avenue for the imagination by combining society, space, politics, economics, and even power, control, and desire. In the context of my own oeuvre, Dàlù tú (大鹿圖) as Moose Map becomes a playful contrast to my solo exhibition, Xiaolu Tu (小鹿圖) as Fawn Diagram, held at the Artists’ Books Archive last year.