吳秉祐
ADMISSION YEAR 2021
A professional with art system training. From contact with art creation and contexts, he combines art with technology and interactive art in an attempt to develop the unique features of art creation by crossing the two fields. Through the sense of beauty and quantity that he experienced in painting and sculpture previously. The series "Mundane Technology Container" (X-2000) was created from the background of the time and space in which we live. Through the hidden vocabulary of different materials, the artist uses destruction and combination methods so that visitors can experience the artistic spirit of this series from different perspectives. The work is a combination of ready-made objects and technological products. His works are not only based on the existing objects, but also on daily items as the materials of creation. In this era of rapidly advancing technology, makes people stop and think, what is the nature of the original? For this reason, the artist reorganized common objects in daily life and gave them new meanings, reinterpreting what technology is. This work will be explored from an artistic perspective rather than a production perspective. The artwork is based on "mundane" to respond daily life, and "mundane" can be used as a subculture, producing special values and behaviors while following the mainstream culture. The "mundane" is a response to the impact and changes brought by the mainstream culture, attempting to achieve a way of freedom or liberation.
Research Topic
數位與客體化的意識:論俗科技載體-網路機器與情感
Works Under Study
《俗科技載體-脈動》
2021|複合媒材、裝置|26 x 20 x 11cm

Introduction of the Artwork
脈動作為維持生命的基底,在現今社會中科技作為載體、以虛擬網路的脈絡進行發展。宛如生命體般,將人類文化發展串連一起,產生出共生關係。透過生鏽鐵片與電子元件結合,創造出另一個視角使觀者體會,科技的「裡邊」。科技與人類文明兩者相互之間的關係。
《俗科技載體-膨脹的邊界》
2022|影像、裝置|40x30x30cm


Introduction of the Artwork
在充滿監視的意識形態中,充斥著無所不在的社會控制、身體、知識等。將社會空間比擬為「全景監獄」(Panopticon),監獄不需具象呈現,人們在空間中被環境限制住,透過鐵籠將電視機裝載,意味著剝奪自由的意向,演變為一種上位對下位關係。
當觀者看著作品的同時,更體驗到常規化的凝視(Normalizing gaze)。若自我與邊界產生碰撞,兩著無法相容;像是看見自己被監視時那身不由己的模樣,預示意識形態在現代社會之中的景象。
《俗科技載體-慾望機器 01》
2022|複合媒材、裝置|15 x 15 x 15cm

Introduction of the Artwork
以愛為名。螢幕機器內的編碼數字,宛如我們隨時都在變化的情感。這之中流動的情感以無機、數字化的方式,試圖去解構人類情感的慾望機器。水泥作為堅不可摧的有形物質,水泥中的電子螢幕像是鏡子反觀出我們內在情感,我們的情感無時無刻隨著周遭變化。在遭受這些隨之而來的情感衝擊下,機器始終無法將情感量化。
《俗科技載體-慾望機器 02》
2022|複合媒材、裝置|15 x 15 x 15cm

Introduction of the Artwork
情感的存在沒有一定邏輯性存在,隨著每一次所感受到的進行變化、轉換。水泥仍是一個有形物質,螢幕內的編碼一次次的感受、變化,這次的變化變成一種覆蓋的效果。人的情感也是透過這些覆蓋不斷滋養內在基本情素。以無機、數字化的方式,試圖去解構人類情感的慾望機器。在豐沛的情感衝擊下,機器始終無法理解,依賴計算機的我們,又何嘗不是機構之下的產物?