Copyright
Rights of the articles on No Man’s Land are reserved to the original authors or media. No Man’s Land is authorized to reproduce and distribute the articles freely. Users may distribute the articles on No Man’s Land accordingly to the above terms of use, and shall mark the author, and provide a link to the article on No Man’s Land .
「數位荒原」網站上文章之著作權由原發表人或媒體所有,原發表人(媒體)同意授權本站可自由重製及公開散佈該文章。使用者得按此原則自由分享本站收錄之文章,且註明作者姓名、轉載出處「數位荒原」與網頁的直接連結。
Contact
Please fill out your information to contact No Man’s Land .
The information you supply will only be used by No Man’s Land .




Subscribe No Man's Land
Please fill out your email to get the latest from No Man’s Land .
The information you supply will only be used by No Man’s Land .
Unsubscribe No Man’s Land
The Rhetoric of the Rebellion of Moving Images
如果「謀反」是一種修辭
May 7th, 2018Type: Image
Author: Chen, Wan-yin Editor: Rikey Tenn
Note: The curator, Huang Hsiang-Ning, set out to explore the contemporary mission and deformation of moving-image arts through the title "The Rebellion of Moving Image." The "rebellion" of moving image attempts to challenge the habitual logic of the operation of modern society with five artworks. However, with moving-image arts being prevalent in today's art, shall there exist rebellions of other media? Or, when "rebellion" has become a form of artistic rhetoric, how should an artist establish the politics of one's own commitment. The only sound artist, Wu Tsan-Cheng, reorganizing the history of spaces through the narrative of sounds, has been the oddity in this exhibition. In the times when the relations between sounds and images are receiving attention, the exhibition reminds us of the practice of "narrative as the deployment of sounds and images," an issue moving-image artists have to respond in this post-media era.
許家維, 台灣總督府工業研究所, 2017; photo courtesy of artist
Yael Bartana, Inferno, 2013; photo coutesy of Petzel Gallery, NY; Annet Gelink Gallery, Amsterdam, & Sommer Contemporary Art, Tel Aviv
Issac Julien, Ten Thousands Waves; courtesy of Isaac Julien, Victoria Miro, London, & Metro Pictures, NY
John Akomfrah, Auto Da Fé, 2010; image courtesy of Lisson Gallery
Footnote
[1]
[2]
[3]
[4]