C.I.E.L.我不在歐洲，我就在歐協

展覽名稱 |【末世化石．未來考古】—格雷戈里．夏通斯基個展

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.

延伸閱讀 Read More

+ 作品簡介 About the Artworks

+ 講座 ／專家導覽 Lectures & Expert Guided Tour

【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。

此次展出的雖然都是全新出爐的作品，展覽的主題內容和觀賞情境，卻有意讓觀眾穿越時空，回到人類已然消失的遙遠未來，模擬/扮演後世考古學者的角色，透過各種遺物的接觸與審視，去觀想/揣摩/追索目前我們稱之為「當代」的生活文化與環境。為了營造特殊的現場情境和空間氛圍，此展在結合實體物件、空間裝置和多媒體影像之同時，也特邀目前旅日的法國聲音藝術家克里斯多夫．查爾斯（Christophe Charles）針對當代館展場空間加持創製音景與聲效作品，進一步強化了本展之「多重感官體驗」的旨趣。

本展內容主軸，可視為末世「毀滅」的三部曲。依展場動線率先呈現的「末世危機」，是由一連串的經濟、生態和政治危機所鋪成的序曲。第二部曲「末世之際」，透過兩個展間四組作品揭示了毀滅的不同類型和過程。在201室的大空間中，以靜謐基調和詭譎氣氛來鋪陳的第三部曲「末世迷思」，透過就地創製的實體作品裝置和充滿未來感的影音多媒體，將現場虛擬成人類絕跡的一個未來考古遺址，這個強調身心體驗的展覽現場，也彷彿一部世界末日小說或電影的不同章節。起承轉合清晰的敘事結構中，卻處處參雜著真假/虛實的內容元素，讓觀眾遊走在現實與虛構難以辨識的一種邊界。

【末世化石．未來考古】展點出了科技時代的特殊敘事思維與存在哲學等當代重要議題，從中也可以窺探出，「毀滅」在當代文明中已露出端倪的各種面貌。例如資訊與網路時代中，人類的有形存在和價值意義正逐漸弱化/消失的社會真實；例如媒體狂熱總是結合消費、戰爭、天災、人禍等的文明現象；以及「記憶」的角色意義在科技時代中的曖昧性等等。面對展場中的諸多「末世化石」，觀者可以展開「未來考古」的面向，毋寧是很多元的!

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 destructionthrough 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.”

資料來源：

台北當代藝術館：http://www.mocataipei.org.tw/blog/post/28403649

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