|【末世化石．未來考古】—格雷戈里．夏通斯基個展@當代藝術館， 2013/02/02-04/14 2013-03-11 09:39
展出地點:台北市大同區103長安西路39號，台北當代藝術館 當代館 MOCA Taipei
Exhibition | Telofossils－Gregory Chatonsky Solo Exhibition
展覽時間 Date | 2013/02/02-04/14
展覽地點 Venue | 台北當代藝術館2樓 MOCA Taipei, 2F
門票 Admission | 新台幣50元，NTD 50
策展人 Curators | 鄭淑鈴（Shuling Cheng）& 希薇．帕宏（Sylvie Parent）
貼心小叮嚀 Note｜本展適合闔家觀賞 This exhibition is for general public.
【末世化石．未來考古】展由加拿大資深獨立策展人希薇．帕宏（Sylvie Parent）與台灣策展人鄭淑鈴（Shuling Cheng）共同策劃，本展也是法國跨領域藝術家格雷戈里．夏通斯基（Grégory Chatonsky）在亞洲的首次大型個展。為了量身打造此次展出的作品，夏通斯基邀請了加拿大雕塑創作者多明妮克．西華（Dominique Sirois）於展前兩個月聯袂飛抵台北，在諸多機構的贊助和當代館的協力安排下，進行駐館交流與現地創作。
Telofossils, the French artist Grégory Chatonsky’s first major solo exhibition in Asia, was jointly arranged through the efforts of independent Canadian curator Sylvie Parent and Taiwanese curator Shuling Cheng. To complement his own works, Chatonsky invited Canadian sculptor Dominique Sirois to accompany him to Taipei two months prior to the exhibition. With the sponsorship of many organizations and the co-operation and assistance of the Museum of Contemporary Art, Taipei, they began engaging in exchange as artists-in-residence and collaborating together on the creation of on-site artwork.
Although most of the works displayed in this exhibition are all new pieces, the themes, content and atmosphere of the exhibition are intentionally designed to allow viewers to pass through space and time to a distant future where humanity has already disappeared. Spectators take on the role of the archaeologists of future generations, and, through examination of and contact with remnants of the past, are able to puzzle over the cultural life and environment of what we currently term “contemporary.” In order to construct an unusual on-site situation and spatial ambience, the exhibition integrates material objects, spatial installations and multimedia projections. In addition, sound artist Christophe Charles, who is currently residing in Japan, was specially commissioned to create a soundscape to fill the spaces of the Museum of Contemporary Art, Taipei to further strengthen the objective of creating a truly multi-sensory exhibition experience.
The exhibition is oriented around a trilogy of works titled “Destruction,” dealing with the end of the world. Following the unfolding of the exhibition itself the “End of the World Crisis” appears first and is an overture to destruction, composed of a series of economic, ecological and political crises. “At the End of the World”, the second movement, reveals the different forms and processes of destruction through four individual pieces in two exhibition rooms. Within the vast emptiness of Room 201, in a quiet yet oddly sinister atmosphere the third piece “Imagination of the End of the World” is displayed. This is an installation comprised of real objects—made on-site—and futuristic multimedia, which transforms the gallery into a hypothetical simulation of an archeological excavation site in a future where humanity is already extinct. This highly immersive, sensory exhibition experience is perhaps a little like an alternative chapter in an apocalyptic novel or film. The narrative is structured so that true/false, genuine/fictitious elements are mingled together, and so that spectators wandering through the exhibition will find it difficult to tell fact from fiction.
The Telofossils exhibition highlights the specific narrative mode, existentialist thought and crucial philosophical questions that characterize the contemporary technological age. From it, we can glimpse the various faces of “Destruction” that are visible in contemporary civilization. For instance, in this age of information and the internet, the weakening of mankind’s tangible existence and the deterioration of values is a social reality; the media obsessively focus on consumption, war, natural and human disasters and likewise manifestations of our civilization; moreover, the role and meaning of “memory” in the technological era is becoming ever more ambiguous. Standing before the exhibited “Telofossils” exhibition, viewers can contemplate the diverse perspectives of a “future archaeology.”
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