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when we reach the end, we’ll assemble in the cave 抵達盡頭時, 我們將聚集在洞穴處

牛俊強 NIU Chun-chiang 2006-2012

臺北市立美術館 Taipei Fine Arts Museum


臺北市立美術館 館長

黃海鳴

Director’s Foreword HUANG Hai-ming Director of Taipei Fine Arts Museum

牛俊強在2011年參加本館申請展徵件而獲選。在科技傳媒發達 的當代,人的生命經驗部分也建構自虛擬的世界,牛俊強先前 的創作即以傳播媒體為主,以多頻道影像,或透過女記者等待 正式開播的片刻;或各自生長在不同國度、從未相遇的兩人, 看著彼此照片想像彼此熟識對方的故事……呈現「時間」、譜 寫集體與個人意識。 今年創作「cover-2012牛俊強個展∥」靈感來自牛俊強在現階 段中的生命轉變。遭逢感情、親情與身體狀況的變化,他將整 個展場轉化成一件作品,探討「消失」在人類生命中的意涵。 對牛俊強而言,over(結束)只是被cover(覆蓋)了,它不會 永遠不見或消解,只像是暫時被覆蓋的過程。 展覽主要包括牛俊強邀請18位參與者,講述生命中至為深刻的 生命經驗後,以提供物件、攝影或製作影片的方式,在8月18日 到9月30日中公開展示。牆面投影倒數計時器,表達在展出期 間,這些物件、記憶、事件或身份暫時消失、離開了參與者, 同時也期待在展覽結束又歸回參與者時,所發生那未知、不可 預測的結果。最終,展場後方牆上投影正數的計時器,也代表 朝向不可知的未來邁進。 消失並非終結。牛俊強從個人曾經失去的生命經驗中出發,並 透過展覽收集眾人不同的生命故事,以更積極的態度,找尋集 體意識,試圖從面對及轉換暫時「消失」,向各種可能的結果 靠近的過程中,獲得新的觀點與對待的方式。

In 2011, Nat Niu Chun-chiang was one of the artists selected for the exhibitions by application presented by the Taipei Fine Arts Museum. In the technologically advanced contemporary age, some of our life experiences are derived from the virtual world. Niu’s previous works focus on the broadcasting media and use multi-channel images. By showing a female news anchor waiting for her turn to go on air, or a scenario in which two people from two different countries who had never met imagine the story of the other by looking at each other’s photograph as if they knew each other, they manifest the dimension of “time” and explore the collective and individual consciousness. The work featured in “cover-2012 – Nat Niu’s Solo Exhibition II” is inspired by the current changes in the artist’s life. Reflecting the changes in his love life, family and physical conditions, he turns the exhibition venue into one work to explore the meaning of “disappearance” in man’s existence. For Nat Niu, when something is “over”, it only means that it is temporarily “covered”, but it will not disappear forever. For this exhibition, Nat Niu invites 18 participants to talk about a profound experience in their lives, which will be presented through objects, photographs or films and put on display from August 18 to September 30. A countdown timer projected on the wall suggests that these objects, memories, events or identities are temporarily removed from the participants during the exhibition, and anticipates the unknown and unpredictable results when they are returned to the participants after the exhibition ends. Finally, the countdown timer projected on the rear wall of the exhibition venue symbolizes the move towards an unknown future. Disappearance is not the end. Using his own lost experiences as a starting point, Nat Niu collects different life stories through the exhibition and seeks the collective consciousness with a more positive attitude. By confronting the temporary “disappearance” and exploring an outcome that has various possibilities, he searches for new perspectives and new approaches.


本書收錄的作品有10 Minutes Left 數位輸出 Digital Print / 2007  

當我和你老去 When I'm Getting Older with You 錄像裝置及數位輸出 Video Installation & Digital Print / 2009-2010

即使她們從未相見 Even They Never Met 雙頻道投影、文件、二手照片裝置Double Channels Video Document / Photographs Installation /2011


今晚的耶誕夜,俊強杵在書桌前,不上床睡。 我疑惑問起原因,他竟然質疑年年耶誕禮物不是聖誕老公公送的。 這是一種裂痕,我捨不得這道裂痕存在, 仍用一種篤定口吻說就是聖誕老公公。 他已下決心今晚要見真章。 我為了取信於他,先將禮物收好,自行往房裡假寐。 凌晨四時,看著他打盹,哈氣連連。而我幾乎是撐不住了。 終於在五點時分,他抵擋不住瞌睡蟲,倒在床上睡著了。 我與妹妹逮到機會,快速將禮物塞在襪子裡。 早晨,他興奮搖醒我:聖誕老公公光臨家中! 我鬆了一口氣。 孩子,希望你的童年能久一點。

This Christmas Eve, Chun-chiang sits at his desk all night, never going to bed. Perplexed, I ask him why. He says he doesn’t believe Santa Claus delivers Christmas gifts year after year. This is a fracture – one that I cannot bear to allow – so I firmly assure him it really is Santa. But he’s made up his mind to see the truth for himself on this night. In order to win his trust I gather the presents, head to the bedroom, and pretend to go to sleep. Around 4 a.m. I notice him dozing off and yawning, and I can barely hold on myself. Finally, around 5 a.m. he collapses onto the bed and slips into a sleep. Working quickly, my sister and me stuff the gifts into the stockings. In the early morning he shakes me awake excitedly and exclaims: “Santa Claus really came to our home!” Dear son, I just want your childhood to last a little longer.


強兒上小學,是家裡一件大事。 第一天上課,學校允許家長在教室外觀看孩子上課情況。是一個漂亮、 資深並有名氣的周老師,她有一套辦法讓這些孩子不鬧。 這堂課是講哺乳動物之種種。俊強手舉得高高的,等老師叫名字。 他把在小百科看到的哺乳動物如數家珍了一遍,而爭議鴨嘴獸是否屬哺 乳動物似乎惹惱了老師,她要俊強把看的書明日帶至學校,澄清問題。 窗外一整排大人及教室小孩都納悶注視著你, 有人笑了。

Chun-chiang’s first day of school was a big event in our family. On the first day, the school let the parents observe from outside the classroom. Ms. Chou, a pretty, seasoned teacher, had the uncanny ability to keep the children in line. The class was all about mammals. Chun-chiang raised his hand high and waited for the teacher to call on him. He practically recited the children’s encyclopedia on mammals, then asked her the controversial question of whether the platypus is classified as a mammal. This seemed to annoy the teacher, who asked him to bring the book he read to school the next day to get to the bottom of the issue. A whole row of adults was peering in, and a classroom full of children was watching you. Someone laughed.


那一日,盛夏酷熱,車行樹蔭蔽日的幽徑山路間,聽蟲鳴蟬競唱, 裘裘安靜如嬰孩。 路邊看著牛吃草,溪邊望著魚兒游,孩子的追逐身影, 裘裘繫著繩子牽引著我的步伐,笑聲落在樹梢成為跳躍音符,響徹雲霄。 一台載滿著流浪狗的小貨車極速呼嘯而過 。 孩子們的一雙眼睛,柔情又憂傷。 山谷湖水靜得像一朵睡蓮,陽光穿越樹林的縫隙, 湖面閃鑠著粼粼的波光。 起身收拾回府之刻,我解開了裘裘繩子,牠快速往山坡頂跑去, 那一秒鐘,突然冒出一台小貨車。等我們上去,只見雪白的毛躺在血泊中。 抽緊、驟痛、哭喊,身體突然失去重心,強兒來扶著我, 哭倒在他的肩膀時依稀聽見,他要弟弟收起傷悲。 爸爸忙著收拾裘裘的遺體 , 俊強沒有垂淚。  

One hot summer day we drove along shaded roads, winding among the hills. The crickets’ chirping sounded like they were holding a singing contest, and our dog Chiu-chiu was as quiet as an infant. Cows grazed by the roadside and fish swam in the creek as the children romped around and Chiu-Chiu led me around by his leash. The musical rhythms of laughter filled the air. A pickup truck filled with stray dogs blasted by. The children’s eyes were full of tenderness and sadness. The mountain lake was quiet as a water lily. The sun’s rays shined through the trees, glistening on the lake’s surface. Just before gathering our things and heading home, I let Chiu-chiu off his leash, and he took off like a rocket towards the hilltop. Just in that instant a small truck came out of nowhere. We went up the hill only to find him there, a heap of pure white fur laying in a pool of blood, convulsing in pain and whimpering. I nearly collapsed at the sight, but Chun-chiang held me steady. As I wept on his shoulder I heard him faintly tell his little brother to gather his sorrow. As his father recovered our dog’s body, Chun-chiang never shed a tear.


習慣在落日餘暉,稍有涼意,帶著兩個孩子到玉成公園。 漫步於青草溪畔,穿過草坪,飛向綠織如錦的濃蔭深處, 兄弟追逐,嬉戲,歡笑如天籟。 強兒摺了紙船,放在公園中粼粼溪水。 他說:地球是圓的, 長大後它會回來, 我們必重逢。

I often took our two children to Yucheng Park just after sunset as the air began to cool off. Strolling along the pond, walking over the green grass, sprinting over the jade-like carpet into the shadows, the boys romped along, laughing like angels.

Chun-chiang took out a paper boat and launched it on the shimmering water. He said, “The world is round. One day when I’m all grown up it will return. I know we’ll meet again.”


終點處乃是

論牛俊強作品裡, 陰性、神秘,不可知的臉

鄭文琦

記憶中,有一篇影像詩是這樣譜寫的:時間是在艷陽加溫的午後或被月色稀釋的漫長夜晚,地點 則是在個人生活經驗的隱密環境或不特定的陌生開放空間,主角真實身份為擅長創造抒情影像的 青年藝術家,也是在鏡頭前化身為私密情感得以依附的某個虛儗陰性臉孔。透過一種以旁白進行 的敘說策略,透過低限風格的視覺元素及中性的運鏡節奏,娓娓鋪陳一個一個隨著時序 (timing) 更替、或流動的影像片斷――儘管這樣的畫面看似煽情,作者所運用的文字卻是冷靜而無關特定 對象的。

當我和你一起 標題修辭極具渲染力的作品《當我和你老去》想要談論的,除了科技媒體的即時性,以及個人在 這種媒體即時性之中呈現的狀態,還有一種難以具體指涉的(全知)時間感受。這件作品的書寫 策略,是以「擬仿新聞畫面之錄像作品為主軸展開對話的可能性」;同時也將「鏡頭移到新聞畫 面背後,看那原本在鏡頭前甜美微笑的新聞主播在鏡頭之外,如何無助地在真實新聞事件以及經 過演練的新聞片段之間拉扯、妥協。」[1] 但出身於北藝大藝術與科技研究所的牛俊強,用上述各執一詞的標題、字幕和畫面,為觀眾召喚 出的,卻是一種未能完全體現於影像裡的奇異感受。首先是從標題裡,我們既無從判斷隨時間老 去的某人(你或我)是否依然安在;再者也不能從鏡頭前不發一語的女記者,似笑非笑的妝容與 表情下(乃至於隨著作品不同系列的鏡頭運用,刻意地逼近捕捉或拉長距離),覺察到一絲關於 時間座標的真實提示:除了播報字幕所提示之新聞內容的每個(敘事)時間以外。女記者無言的臉孔 到觀眾之間,究竟隔著多遠的距離?而這種難以捉摸的屬性,正是俊強延續過去擅長以女性身體 和其他陰性媒介召喚出來的觀看經驗,並透過標題的修辭以強化。

中場休息:十分鐘 時間裡不在場的客體,或說時間本身正是俊強的影像一再吸引我的地方。這條隱密的線索,從先 前《十分鐘》畫面裡被攝主角(俊強的家人)目光直視著鏡頭、而無法查覺其背後的擾動物體 疊合雜訊,延伸到《當我和你老去》影像裡無端消失的話語和目光。前者是鏡頭與家人之間無法 真正靠近的曖昧指涉:如同個人與其週遭所存在那無形的壁壘。後者則是俊強刻意創造的疏離狀 態,透過電子媒體的螢光幕,刻意銜接至普遍存在的當代閱聽現象:如同無所不在的媒體閱聽障 礙以及失焦狀態。 觀眾彷彿存在、也並非真正存在著的時刻,媒體更只是可有可無的中介物。不過此間觀者是誰? 答案顯然已非《十分鐘》裡的攝影者;雖然此處(《當》)俊強預設了一個可以與媒體對話的 位置。不過我們更想問的是,女記者正在等待結束、或即將成為/揭曉的懸滯狀態,又將指向何 方?或者它會像旁白裡所說的:以科學預測Y染色體於百萬年後消失的歷史終點形式來臨嗎?[2]

不能和你一起 時間和空間,向來是一組持續建構中又彼此互補的元素,也就是說,唯有特定空間得以讓延續的 時間產生意義能指。(試想一個無始終宇宙的永恆時間比之一瞬間又有何差別?)於是《當我和 你老去》標題所指涉的時間去向,似乎也和《不能和你一起》的那個「你」形成某種語義上的參 照關係。假如說,俊強無意從事時間(與空間)的形而上辯證,那麼又要如何能解釋此種語義上 的參照巧合?是「(當我)和你一起老去」的時間框架,還是「(當我)不能和你在一起」的空 間符碼,竟可以湊成一組彼此循環而互補的語法。


And the Finis Is ... On the Femininity, Mystery, Unknown Faces in NIU Chun-chiang’s Works

I recall an image poem that went something like this: time is in an afternoon heated by the sun or the long night diluted by moonlight, place lies in the private environment of a personal life experience or a random strange open space, the true identity of the protagonist is the portrait of a young artist skilled at creating lyrical images, who transforms into a virtual, feminine face of intimate emotion before the camera. Through a strategic voiceover narrative, minimalist visual elements and neutral camera movements, it unfolds a moments in time, or a stream of image fragments. Despite the seemingly provocative images, the artist’s words are calm and free from specific referents.

When I Am with You CHENG Wen-chi /

The work with the sensational title When I Am Getting Older with You depicts the immediacy of high-tech media, how a person is situated under such media, and presents an intangible "omniscient" perception of time. The work’s strategy is to"open the possibility of dialogue with mock news footage" and to "move the camera to behind the news images and the sweet smiles of the reporters to see how real events are dragged hopelessly and compromised." (1) A graduate in new media art from the Taipei National University of the Arts, Niu Chen-chiang employs the titles, subtitles and the images related above to summon fantastical sensations that cannot be fully illustrated in images. First, we cannot tell from the title whether the individual (which could be you or me) that is aging with time is still alive and well; nor do we get any tangible clues on points in time from the ambivilent smile and visage of the female reporter before the camera (or from the deliberate zooming in and out of the camera in other series of works); that is, apart from each time reference given (narrated) by the titles in each news report.Without such clues, how can we tell the distance between the speechless female reporter and the audience? This sort of intangibility has long been Niu’s strength, building on past practice of summoning visual experiences through the female form or feminine mediums, augmented through the wording of titles. 

Intermission: Ten Minutes Left The absence of the object of "time" or time itself, is what  has repeatedly drawn to Niu’s works. This faint trace was revealed in Ten minutes Left , where the character (a family member of the artist) in the video stared at the camera, oblivious to the disturbance of the overlapping noise in the background, extending to the disappearing speech and gazes in When I Am Getting Older with You. The former is an ambiguous reference to why the camera and the family member can never get closer: like an intangible obstacle between an individual and his surroundings. The  latter refers to a state of alienation specifically created by the artist through the medium of an electronic screen, deliberately connected to pervasive current modes of media consumption, like omnipresent media barriers and loss of focus. At moments when the audiences exist but are not really present, media becomes dispensable. Yet, who is the audience here? The answer obviously is not person behind the camera in Ten Minutes Left. Although the artist has provided a point of dialogue here, we are compelled to ask if the female reporter is waiting for the end, or for the revelation of suspended time, and where does it lead to? Or, as the voiceover says, are we faced with “the shrinking of the Y chromosome leading to the extinction of the male in a million years, as scientists predict?”(2)

Can't Be with You Time and space are constituents of a mutually complementary system; that is, only through specific space will time proceed to generate meaning (imagine the difference between eternal time in an infinite universe and the blink of an eye).  Thus, the temporal orientation of the "you" in the title When I Am Getting Older with You seems to correspond to the “you” in Can’t be with you . If it is not Niu Chun-chiang’s intention to engage in a metaphysical dialectic of time and space, how can the the coincidental linguistic references be explained? Or do the spatial symbols of "When I Am Getting Older with You" and "Can’t Be with You" form a mutually circular and complementary grammar?   Can't  Be with You is a four-channel video installation on three projector screens and one liquid crystal display, "...a circuit video loop in a synchronized live moment that reflects the absurdity of our need for immersion in inescapable instant imagery." (3) Basically, this work is the re-installment of When I Am Getting Older with You, the purpose of which is to create a circular video loop; that is, to demonstrate a two-stage deduction about time and media. Among them, the work  in When I ...Series Ⅲ which contains a single transverse video news narrative and go beyond those images, is comprised of five scenes (living room, bedroom, conference room, and the interior and exterior of a car) and a linear narrative in seven shots.


讓我們來看名為《不能和你一起》的作品,它是以三台投影銀幕與一台車用液晶電視構成一個四頻道影像裝置,「呈現在一個同步的即時現場中的封閉 影像循環,映照出我們對即時影像的需索和身在其中無法擺脫的荒謬。」[3]基本上,該作仍是將《當我和你老去》的不同系列予以重組,其目的正是為了 完成一套封閉的影像迴圈,亦即,作者心目中關於媒體時間的兩段式演繹。其中又以系列三的單一新聞畫面橫向拓展的影像敘事,而包含並貫穿這些影 像的,則是原本系列三裡分散於五個場景(客廳、房間、會議室、車內到車外)與七個畫面中的單一敘事時間路徑。 無論是系列三的單一敘事軸線,或者《不能和你一起》藉由四頻道影像裝置呈現的即時迴圈,它們激發的都是一種關於時間的意識,並藉由看似與一 切無涉的播報旁白,形成一種客體與主體同時經歷的怪異感受。正如播報者也成為被拍攝者的感受,對時間的知覺既指向開放的無限,又指向封閉的迴 圈。而唯有趨近一種有所終點的歷史解讀方式,最足以描近這種同時經歷而難以言傳的感受。

終點處乃是…… 回到最初的影像詩,也就是迴圈起點的陰性面孔。我不禁聯想到影史上那些知名的女性特寫;相較於繪畫史上知名的臉孔――俊強在《十分 鐘》、《栩栩》等作品召喚出馬內的奧林匹亞式凝望――《不能和你一起》和《當我和你老去》那最後凝視鏡頭等待救援的陰性臉孔,則讓 人聯想到法國名導路易•馬盧《烈火情人》(Damage)結局的鏡頭:尾隨著在目睹兒子跳樓悲劇後,獨自放逐天涯的男主角踏入房間,正對 鏡頭牆上赫然貼著女主角影史上那些知名的女性特寫;相較於繪畫史上知名的臉孔――俊強在《十分鐘》、《栩栩》等作品召喚出馬內的奧 林匹亞式凝望――《不能和你一起》和《當我和你老去》那最後凝視鏡頭等待救援的陰性臉孔,則讓人聯想到法國名導路易•馬盧《烈火情 人》(Damage)結局的鏡頭:尾隨著在目睹兒子跳樓悲劇後,獨自放逐天涯的男主角踏入房間,正對鏡頭牆上赫然貼著女主角茱麗葉•畢諾許 (Juliette Binoche)佔滿整面牆壁的放大模糊臉孔:那張神秘而全知的,象徵命運的女性臉孔。[4]

唯有透過這層聯想,我們才似乎稍微窺見俊強欲以陰性臉孔欲揭櫫的神秘命題;關於不可知而恆久的命運,那是一種神秘而全知的時間意識, 以及,透過那張神秘的臉龐,凝視至一切最終點之處的盡頭……「命運可以預知嗎?」藝術家在訪談時的答案是否定。但也許,對結局的終極 渴望仍存在於終點後。那看似清晰的女性臉孔不斷迫近的朦朧意欲:正存在於不斷逼近又無法窮究的鏡頭裡頭。

[1] 中央廣播台《文化台灣》。 ,一種命運的荒謬 感在此顯現。 (牛俊強) 「終點」說參見德國學者余爾根•莫特曼(Jrgen Moltmann) 《世界正臨到終結或其未來已然開始》, 莫特曼 [2] 最後一個畫面,女記者走出了內框……緊接一句「Y染色體減少,男人可能在五百萬年後絕種」 認為我們不知世界是否面臨終點,如果它應該臨到一個終點,我們也不知道那是什麼。 ,牛俊強提供。 [3] 「不能和你在一起」個展文字(2010) 「根據它們處理的是歷史的目的(telos)還是歷史的終點(finis) ,可以區分關於歷史終點的各種觀念。如世界歷史有一個目的,那麼那便是它的完滿,歷史循序漸進地朝這個目的的方向前行。」這也影響理解俊強作品的方式。 [4] 見[2],莫特曼:

Whether the linear narrative of the When I ...Series Ⅲ or the real-time loop created by a four-channel video installation, both facilitate a consciousness towards time and create a strange experience of synchronicity between the subject and the object via a seemingly detached voiceover. Just as the reporter becomes the experience of the subject before the camera, the perception of time not only guides us towards an open infinity but also towards a closed loop. Only by inquiring into an historical reading of finis can such an indescribable feeling be conveyed and experienced.

And the Finis Is… Returning to the aforementioned image poem, a feminine face in the beginning of the loop reminds us of famous female close-ups in film history. Compared with the noted visages of painting history, Niu’s Ten Minutes Left and Lively summon Manet’s gaze of Olympia. The ending gazes of Can’t Be with You and When I Am Getting Older with You inevitably remind us of the last shot of Louis Malle’s Damage in which, after witnessing the death of his son by falling off a building, the father alone in a shabby room is staring at the enlarged photo with the blurred face of the female lead (Juliette Binoche), a feminine face so mysterious and omniscient that it seems to symbolize fate itself.(4)   Only through this association, we seem to gain the opportunity to glance at Niu’s secret proposition by feminine faces: an unknown but eternal fate which is considered a secret and omnipresent consciousness of time, and, through the gaze of that mysterious face to the end of the finis…"Is fate predictable?" The artist answered this question in the negative in an interview. However, perhaps the ultimate longing for a conclusion will come even after the ending. That seemingly clear but increasingly vague face of a woman exists in the lens that gets so close but can never get close enough.   

[1] Radio Taiwan International, Cultural Taiwan. [2] In the last shot, the female reporter walks out of the frame...accompanied by a voice-over that “due to the decrease of Y chromosome, it could lead to the extinction of men in five million years”, a sense of absurdity about fate is thus revealed.(Niu)  The word finis refers to the famous speech “Is the world coming to the finis or the future has just begun?”by Jürgen Moltmann who thinks that we do not know if the world is meeting its end, even it should be and we still never know what it is. [3] The Caption of “Can't be with you”by Niu [4] cf. [2] Jürgen Moltmann offered an opinion that the concept about the end of the world can be devided by the telos view or finis view of the history. If the history of the world has a purpose, a telos, then it will fulfillingly, gradually walk towards the direction of its destination. The work of Niu is also inspired by such a notion.  


牛俊強

牛俊強,1983年生。畢業於臺北藝術大學科技 藝術研究所。從事錄像、實驗電影、攝影、複 合裝置及數位平面等多媒材創作。兼平面設

獲獎 臺北美術獎,入選,臺北市立美術館,2009 世安美學獎: 造型藝術類,世安文教基金會,2008/ 2009 美術創作卓越獎: 美術創作類,國立臺北藝術大學,2008/2009

計、展場設計、劇場攝影、MV導演等。 曾 參 與 鹿 特 丹 國 際 影 展 短 片 競 賽、美 國

駐村 18th Art center, Los Angeles , U.S.A., 2011

Pixilerations新媒體藝術展、西班牙Aguilar 影展、法國Tours亞洲電影節、法國ARTchSO錄 像藝術節、北京夏日數位娛樂節、澳門VAFA藝 術節、韓國亞洲學生及年輕藝術家藝術節、兩 岸四地藝術交流計劃、臺北美術獎、臺北電影

個展 10'00",國立美術館數位方舟,臺中,臺灣 cover,臺北市立美術館,臺北,臺灣,2012 即使她們從未相見,Chi-Wen Gallery,臺北,臺灣,2012 不能和你一起,鳳甲美術館,臺北,臺灣,2010 當我和你老去,南海藝廊,臺北,臺灣,2009

節、臺灣國際錄像藝術展、臺北數位藝術節等 國內外展覽。

放映 西班牙Aguilar影展亞洲單元,Aguilar,西班牙,2011 法國Tours亞洲電影節,Tours,法國,2010 第十屆台北電影節,臺北中山堂,臺北,臺灣,2008 第八屆台北電影節,臺北中山堂,臺北,臺灣,2006 鹿特丹國際影展短片競賽,鹿特丹,荷蘭,2006

聯展 2012

四不像:兩岸四地藝術交流計畫 , 臺北市立美術館, 澳門南灣舊法院大樓,深圳何香凝美術館, 香港奥沙藝術中心 曖昧的存在:臺德以三國藝術交流計劃 , 臺北 / 臺灣,柏林 / 德國,臺拉維夫 / 以色列 2011

Beyond the Frame,Chi-Wen Gallery,臺北,臺灣 VAFA2011國際錄像藝術節,東方基金會,澳門 Pixilerations [v.8]:新媒體藝術展,羅德島,美國 後態度:臺灣年輕藝術家聯展, EX Teresa Arte Actual,墨西哥 ARTchSO錄像藝術節,Rennes,法國 2010

PHOTO TAIPEI 2010 第二屆臺北攝影與數位影像藝術博覽會,王朝大飯店,臺北,臺灣 EX!T 2010 臺灣國際實驗媒體藝術展,臺北當代藝術中心,臺北,臺灣 食托邦:第二屆國際錄像藝術展,鳳甲美術館,臺北,臺灣 2009

2009臺北美術獎,臺北市立美術館,臺北,臺灣 PHOTO TAIPEI 第一屆臺北攝影與數位影像藝術博覽會,六福皇宮,臺北,臺灣 臺灣╳以色列青年藝術家交流展Ⅱ,關渡美術館,臺北,臺灣 輕度:新媒體藝術展,國立臺灣美術館數位方舟,臺中,臺灣 2008

2008臺北美術獎,臺北市立美術館,臺北,臺灣 韓國亞洲學生及年輕藝術家藝術節,首爾火車站舊大樓,首爾,韓國 第二屆北京夏日數位娛樂節,751動力廣場,北京,中國 居無定所:第一屆國際錄像藝術展,鳳甲美術館,臺北,臺灣 2007

OPEN SPACE,卡賽爾藝術學院,卡賽爾,德國 2006

第一屆臺北數位藝術節,臺北中山堂,臺北,臺灣


NIU CHUN-CHIANG (Nat Niu)

Born in 1983, Niu Chun-chiang graduated with an MFA in New Media Art from Taipei National University of the Arts. A multimedia artist whose main practice includes video, experimental film, photography, mixed installations and digital graphic design, it also stretches into graphic design, exhibition design, theater photography, and music video direction. Niu’s work has been featured in the short film competiton at the Rotterdam International Film Festival (Netherlands), Pixilerations tech art exhibition (Rhode Island, USA), the Aguilar International Short Film Festival (Spain), Tours Asian Film Festival (France), ARTchSO Video Festival (Rennes, France), Beijing Summer Digital Entertainment Festival, VAFA International Video Art Festival (Macau), Asian Students and Young Artists Art Festival (Seoul, Korea), It Takes Four Sorts : Cross-Strait Four-region Artistic Exchange Project (Taiwan, Mainland China, Hong Kong, and Macau), Taipei Arts Awards (Taipei, Taiwan), Taiwan International Video Art Exhibition (Taipei, Taiwan), and the Digital Art Festival Taipei (Taipei, Taiwan).

Award Art Prize of S-An Cultural Foundation, 2008 / 2009 Taipei Arts Award Competition, 2008 / 2009 Outstanding Art Prize of Art Department, 2008 / 2009

Art Residency 18th Art center, Los Angeles, U.S.A., 2011

Solo Exhibition 10 Minutes Left -2012, National Taiwan Museum of fine Arts, Taichung, Taiwan, 2012 cover, Taipei Fine Art Museum, Taipei, Taiwan, 2012 Even They Never Met, Chi-Wen Gallery, Taipei , Taiwan, 2012 Can't be with You, Hong Gah Museum, Taipei , Taiwan, 2010 When I 'm Getting older with you, Nan-Hai Gallery, Taipei, Taiwan, 2009

Film Aguilar International Short Film Festival, Aguilar, Spain, 2011 Tours Asian Film Festival, Tours, France, 2010 10th Taipei International Film Festival, Taipei, Taiwan, 2008 8th Taipei International Film Festival,Taipei, Taiwan, 2008 Tiger Awards Competition for Short Film, the 35th International Film Festival Rotterdam, Netherlands, 2006

Group Exhibition 2012 It Takes Four Sorts : Cross-Strait Four-region Artistic Exchange Project, Taiwan, Mainland China, Hong Kong, and Macau. Ambiguous Being, video works of artists based in the metropolis of  Berlin, Taipei and Tel Aviv. Taiwan, Germany, Israel. 2011 Beyond the Frame, Chi-Wen Gallery, Taipei,Taiwan VAFA-International Video Art Festival, Orient Foundation, Macau Pixilerations [v.8] New Media Fringe Festival, Providence, Rhode Island, USA Post-Actitud : El Arte Contemporáneo de Jóvenes Artistas de Taiwan, Ex Teresa Arte, Mexico. ARTchSO Video Festival, Rennes, France. 2010 PHOTO TAIPEI, Sunworld Dynasty Hotel, Taipei, Taiwan EX!T:Experimental Media Art Festival, Taipei Contemporary Art Center, Taiwan Eattopia:Taiwan International Video Art Exhibition, Hong Gah Museum, Taipei, Taiwan 2009 Taipei Arts Award Competition, Taipei Fine Art Museum, Taipei, Taiwan PHOTO TAIPEI, The Westin Taipei, Taipei, Taiwan Taiwan Israel Young Artists Interchange ExhibitionⅡ, Taipei, Taiwan Light Position, National Taiwan Museum of fine Arts, Taichung, Taiwan 2008 Taipei Arts Award Competition, Taipei Fine Art Museum, Taipei , Taiwan Asia Students and Young Artists Art Festival, Seoul, South Korea The 2th Digital Entertainment Jam, Beijing, China Dwelling Place: Taiwan International Video Art Exhibition, Hong Gah Museum, Taipei, Taiwan 2007 OPEN SPACE, Kunsthochschule Kassel, Kassel, Germany 2006 The 1st Digital Art Festival Taipei, Taipei, Taiwan


抵達盡頭時, 我們將聚集在洞穴處 本書為「cover-2012牛俊強個展∥」之專輯,展覽日期為2012年8月18日至9月30日

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抵達盡頭時,我們將聚集在洞穴處 / 牛俊強 [作], --初版-臺北市 : 北市美術館,民 101.08 面 ; 公分 中英對照 ISBN 978-986-03-3325-1 (平裝) 1.錄像藝術 2.作品集

黃海鳴 劉明興 劉建國 張麗莉 張芳薇 林玉明 于平中 陳仁貴 白鈺珍 廖春鈴 余思穎 李嘉霖 牛俊強 涂景文

印 刷 日動印刷股份有限公司 著作權人 臺北市立美術館 發 行 處 臺北巿立美術館 中華民國臺灣10461臺北巿中山北路三段一八一號 Tel: 886-2-2595 7656 Fax: 886-2-2594 4104 出版日期 中華民國101年8月 初版 國際標準書號:978-986-03-3325-1 統一編號:1010101591 定價:300元 版權所有.翻印必究 作品版權所有:牛俊強 文章版權所有:作 者 圖片版權所有:牛俊強 展售門市: 國家書店松江門市:104臺北市松江路209號1樓 TEL:02-25180207 五南文化廣場台中總店:400臺中市中山路6號 TEL:04-22260330 臺北市立美術館員工消費合作社:104臺北市中山北路三段181號 TEL:02-25957656-734。

When We Reach the End, We'll Assemble in the Cave Published for the representation of "cover : 2012 Niu Chung-chiang Solo Exhibition II" at the Taipei Fine Arts Museum, Taipei, Taiwan from 18 August to 30 September, 2012. Director: HUANG Hai-ming Publishing Committees: LIU Ming-hsing, LIU Chien-kuo, Lily CHANG, CHANG Fang-wei, LIN Yu-ming, YU Ping-chung, CHEN Jen-kui, PAI yu-chen Executive Supervisor: LIAO Tsun-ling Editor: Sharleen YU Assistant Editor: Felicia Lee Designer: NIU Chung-chiang Translator : David J. TOMAN Printed at Sunrise Art Printing CO., LTD, Taipei, Taiwan Published by Taipei Fine Arts Museum 181 Zhongshan N. RD. Sec. 3 Taipei 10461 Taiwan Phone + 886 (0)2 2595 7656, Fax + 886 (0)2 2594 4104 Publishing Date: August 2012

Price NTD 300 GPN 1010101591 ISBN 978-986-03-3325-1

© Taipei Fine Arts Museum, Taipei, Taiwan All rights reserved. Copyrights of the works are reserved for the artists; of essays for the authors; of the photographs for the photographers.No part of this book may be reproduced in any form without permission from the publisher.

Retail Outlets: Government Publication Bookstore, SongJiang Store 1F No.209 SongJiang RD. Taipei 104 Taiwan, Tel: 886-2-2518-0207 Wu-nan Book Inc., Taichung Main Store No.6 Zhongshan RD. Taichung 400 Taiwan ,Tel: 886-4-2226-0330 Taipei Fine Arts Museum, Art Bookstore 181 Zhongshan N. RD. Sec.3 Taipei 10461 Taiwan , Tel: 886-2-2595-7656 #734

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抵達盡頭時,我們將聚集在洞穴處 When We Reach the End, We'll Assemble in the Cave