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Catalog:

不幸福利社 Generation Bored Stiff

水谷藝術 Waley Art Opened January 6th, 2022 View 3D Gallery
Poster image for 不幸福利社 Generation Bored Stiff

Statement:

Our great war is a spiritual war. Our great depression is our lives. — Fight Club, 1999
2021年的人類,不僅需要面對生存危機,更需要努力從個人行為對抗滲入全世界的「日常性不幸」。「無聊」這件事,是人類的能力日益高度發展的象徵。從定居生活模式的建立開始,定居者不再需要物理空間上的遷徙,因此將自己的心裡空間擴大複雜化,人類就此開啟與無聊永無止盡的戰鬥,而「迴避無聊」成為人類至關重要的課題。現代人網購各式各樣高貴的生活品,仍無法滿足日漸枯竭的心靈而導致失眠,在《鬥陣俱樂部(Fight Club)》中用最暴力的方式揭示現代人日復一日的生活,需要找到舒解壓力的出口,距今上映22年過去,無聊仍是沈重煩惱的種子。
串流影音平台給予日常微抵抗有發揮的舞台和宣洩的管道,當我們在翻閱「關於無聊的日常演練」,我們理應在獲得樂趣及感到無聊間反思: 日常得到消遣的行為,出擊打破無聊循環的人,以動員自己的潛力或理性的消費能力為信念,並充實自己的身心靈,為自己「搏鬥」。展覽《不幸福利社》希望透過正視人類對於「慾望」的追求,討論「現代人之不幸」的原因,延伸至時下詮釋無聊、並提供與之共處的生存法則。

2022【Generation Bored Stiff】Curatorial Statement
Text/ Lin Yi-Ning, Chiu Yi Jie, Lin Pei Chen

Our great war is a spiritual war. Our great depression is our lives. — Fight Club, 1999
Aren’t we like robots when being fed information day after day? Humans in 2021 not only need to face a survival crisis, but they also strive to confront the problems of everyday repetition, so-called “daily misfortune.” “Boredom” is a symbol of the ever-increasing development of human abilities. With a settled mode of life, people forgo migrating around physical space. Rather, they expand and complicate their own mental space, and engage in an endless battle against boredom. “Avoiding boredom” has become a vital issue for humans. People resort to shopping online in order to counter boredom, yet this only causes insomnia and cannot satisfy their withered souls. The 1999 classic film “Fight Club” uses the most violent conflicts to reveal modern people’s daily struggles. Twenty-two years after its release, the film still proves that “boredom” remains the source of a heavy burden in modern times.

The idea of resisting boredom through personal behavior permeates the mind of the whole world. Streaming platforms give these daily micro-resistances a stage on which to play. Rather than merely scrolling through countless exercises of boredom and self-amusement, we should reflect on our daily behaviors. We have the potential to mobilize our intellect to shop rationally, to enrich our hearts, and actively to break the cycle of boredom, then to fight for ourselves. The exhibition “Generation Bored Stiff” attempts to discuss the notions of “the misfortune of modern humans” by facing up to the human pursuit of “desire”, extending to the present day to interpret boredom and to provide the rules to live with it.

Artworks in this space:

水谷藝術Waley Art

水谷藝術位於台灣台北市,是一結合年輕策展人及藝術家組成之替代空間,地上五層樓地下一層樓,每層樓有不同的空間風格與適合的展覽調性。自2014年8月成立以來,展出平面、錄像、裝置、行為、雕塑等以視覺藝術為基礎的展演。 2015年下半年規畫於空間內部增加藝術家駐村的項目,並期許提供文化發展與藝術創作的持續對話。除了空間內部展覽外,水谷藝術長期以來關注南萬華加蚋仔的文化歷史,並偕同藝術家與社造團體進行藝術行動與計畫,開啟舊城區與社區居民之藝術對話可能。 開放時間:每天12:00~19:30 如遇特殊情況公休,請以FB專頁消息為主

官方網站 Website
水谷藝術Waley Art

不幸福利社 Generation Bored Stiff 線上展

Our great war is a spiritual war. Our great depression is our lives. — Fight Club, 1999 2021年的人類,不僅需要面對生存危機,更需要努力從個人行為對抗滲入全世界的「日常性不幸」。「無聊」這件事,是人類的能力日益高度發展的象徵。從定居生活模式的建立開始,定居者不再需要物理空間上的遷徙,因此將自己的心裡空間擴大複雜化,人類就此開啟與無聊永無止盡的戰鬥,而「迴避無聊」成為人類至關重要的課題。現代人網購各式各樣高貴的生活品,仍無法滿足日漸枯竭的心靈而導致失眠,在《鬥陣俱樂部(Fight Club)》中用最暴力的方式揭示現代人日復一日的生活,需要找到舒解壓力的出口,距今上映22年過去,無聊仍是沈重煩惱的種子。 串流影音平台給予日常微抵抗有發揮的舞台和宣洩的管道,當我們在翻閱「關於無聊的日常演練」,我們理應在獲得樂趣及感到無聊間反思: 日常得到消遣的行為,出擊打破無聊循環的人,以動員自己的潛力或理性的消費能力為信念,並充實自己的身心靈,為自己「搏鬥」。展覽《不幸福利社》希望透過正視人類對於「慾望」的追求,討論「現代人之不幸」的原因,延伸至時下詮釋無聊、並提供與之共處的生存法則。 2022【Generation Bored Stiff】Curatorial Statement Text/ Lin Yi-Ning, Chiu Yi Jie, Lin Pei Chen Our great war is a spiritual war. Our great depression is our lives. — Fight Club, 1999 Aren’t we like robots when being fed information day after day? Humans in 2021 not only need to face a survival crisis, but they also strive to confront the problems of everyday repetition, so-called “daily misfortune.” “Boredom” is a symbol of the ever-increasing development of human abilities. With a settled mode of life, people forgo migrating around physical space. Rather, they expand and complicate their own mental space, and engage in an endless battle against boredom. “Avoiding boredom” has become a vital issue for humans. People resort to shopping online in order to counter boredom, yet this only causes insomnia and cannot satisfy their withered souls. The 1999 classic film “Fight Club” uses the most violent conflicts to reveal modern people’s daily struggles. Twenty-two years after its release, the film still proves that “boredom” remains the source of a heavy burden in modern times. The idea of resisting boredom through personal behavior permeates the mind of the whole world. Streaming platforms give these daily micro-resistances a stage on which to play. Rather than merely scrolling through countless exercises of boredom and self-amusement, we should reflect on our daily behaviors. We have the potential to mobilize our intellect to shop rationally, to enrich our hearts, and actively to break the cycle of boredom, then to fight for ourselves. The exhibition “Generation Bored Stiff” attempts to discuss the notions of “the misfortune of modern humans” by facing up to the human pursuit of “desire”, extending to the present day to interpret boredom and to provide the rules to live with it.

活動頁面 Facebook Event Page
不幸福利社 Generation Bored Stiff 線上展

張欣語 Chang Hsin-Yu

張欣語,1999年生於新竹,作品注重聲音及影像生成的過程,利用有趣的運作機制來創造特殊聲響外,也以此呼應生活經驗。 CHANG Hsin-Yu (born in HsinChu, Taiwan 1999), particularly focuses on the creative process and various approaches in making sound and images, and his sound installation based on interesting mechanisms is created to make special sound effects as well as response to life experience.

張欣語 Chang Hsin-Yu

李敏如 Min-Ju Lee

李敏如,1994年生於台北,創作以現地概念的複合媒材與裝置藝術為主,主要處理身體感知與時空的借位現象,重構感官經驗與觀看視角。 Min-Ju Lee (born in Taipei, Taiwan 1994), her creation is mainly based on the Site-Specific concept of mixed media and installation art. Her artwork handles the forced perspective of body perception and space-time, reconstructing the sensory experience and perspective.

李敏如 Min-Ju Lee

陳思穎 Jazz Szu-Ying Chen

陳思穎,1990年生於高雄,作品運用哥德風格與拼貼技法,結合動植物解剖細節與神話怪物意象,敘述文化衝突、對於迷信的個人觀點等。 Jazz Szu-Ying Chen (born in Kaohsiung, Taiwan 1990) uses Gothic style and collage techniques to manipulate the dissected anatomical imageries and creates tableaus with mythological monsters, dissected bodies, and botanical details. The tableaus are meant to tell stories regarding the cultural clashes, her views on superstition, etc…

陳思穎 Jazz Szu-Ying Chen

張程鈞 Chang Cheng-Chun

張程鈞,1996年出生於台南,就讀台南藝術大學造型藝術研究所藝術碩士。擅長採用現成物與各種材料作為其作品的素材,呈現類行為藝術的作品。 Chang Cheng-Chun (born in Tainan, Taiwan 1996). Majoring in Graduate Institute of Plastic Arts at Tainan National University of the Arts. He usually uses readymades and various materials in his works, which is mostly close to performance art.

張程鈞 Chang Cheng-Chun

UGLYKIKI

Uglykiki(Kiki Wu)為來自台灣的新媒體藝術家,現居美國加州。作品涉及 XR、錄像藝術、以及網絡藝術,探討東方神話、科技女性主義、以及賽博格理論。 UGLYKIKI (Kiki Wu) is a digital media artist from Taiwan living in California, USA. Her works involve XR, generative art and video art, discussing Eastern mythology, technological feminism, and cybernetic theory.

UGLYKIKI

黃萱 Huang Xuan

黃萱,1995年生,目前就讀台藝大美術系碩士班,創作內容多為行為及錄像。除了用簡單而持久的動作作為環境中測試的衡準,也關注生活中物件與其功能,並試圖透過錯誤的使用來翻轉觀眾感知。 Huang Xuan (born in Taiwan 1995). Majoring in Graduate School of Fine Arts of National Taiwan University of Arts. Huang Xuan’s works are mostly performances and videos. Besides using simple and lasting action with her own body as the standard of test in the environment, she is also focusing on the objects in life as well as their functions and trying to reverse the esthesia of the audience through the wrong instructions.

黃萱 Huang Xuan