B5-1

善用尾款 / 城空幻影 / 劉和讓

Ｅxhausting the Remaining Balance/

SOMANYBUBBLESINTHESKY / Liu Ho Jang

20130914-20131026- / 20141101-20141122

初期空間的治理，完成名為「畫廊」一作。現場之於真實；媒介之於虛構。

在維繫現實的參與裏，我試將燈具製作作為其一選項。在產製過程中，勞作取徑上出現的焦點轉向，標示光所穿越或光所彰顯，在視覺感知上的效能辨識，其所構成皆作幻影。

B5-2

我不是車床 / 詹士泰

I Am Not A Lathe / Chan Shih Tai

20131214-20140228

詹士泰的作品，令人難以看透石材所構成的表相，機械性潤飾完成於我們想像之外。

我試圖將「工具理性」(instrumental reason)去隱喻詹士泰作品帶給觀者的旁騖之喜，其所依賴的測量與機械操作，作為工業化社會裡以效率系統為主導的參照方式。在詹士泰處理物質的空間裡, 其所表現的方式是趨於理性程序，因為他清楚所透過的機械之物是達成其「材質異化」的當前手段，在機具演進下應用的造型製作技術, 屬於藝術家自身介入機械的有機地帶，在完成前的界限裡, 並蓄在製作者情感與精神的靜默傳輸，這其中的範疇，它區別了在廠區的作業方式，而這正是違背資本系統生產下作為實用的真理。（2015.11劉和讓）

I see Chan Shih-Tai’s work as an effective control that conveys instrumental reason8 through a medley of machines and tools, and also as an expanded control responding to social institutions. The surfaces, shapes, and contours of these sculptures are accurate and precise, appearing like they were made by machines. It is hard to identify human manipulations in them, with imaginations outlined by material alienation that exceed beyond our imaginings. The body is treated as an extended ruler, and machines transformed as the human body, with the sculptures the results of interactions between machines and human behaviors.

B5-3

冷藏摘要 / 秦政德

Refrigerated Abstract / Qin Zheng De

20141206-20150228

秦政德的立碑之於他身性在山林的潛隱，而物件的收藏則養於被遺忘的歷史。

自2005年始，將其書法文體轉拓於條形石體，透過八里觀音山腰墓碑文石刻師傅所雋刻的碑體立於秦氏意志之所在，衍生於島之四方，在創作的自我銘心裡，無疑地顯露其對場域的二次書寫，如同被化開的墨暈，渲染於他所行進的那條路上。從秦氏善用的社群媒體所建立的敘事考證，與其說像歷史洪流裡的幻化，不如說他以他的佔領方式推向無私的解放。（2015.11劉和讓）

The monuments Qin Zheng-De errected symbolized his hermithood in the mountains, and his collections embodied the history we have forgotten. Starting 2005, Qin rubbed his calligraphy onto monuments, which were later carved by the tombstone carver on the hillside of Guanyin Mountain; the monuments errected to demonstrate Qin’s spirits spread throughout the four corners of this island. Deep down in his heart, it was no doubt his attempt to renarrate the space, like ink washes spreading along the road he travelled on. According to the narrations and inquiries on the social media, which Qin excels at, rather than a form of metamorphosis amidst the historical tide, his occupation was more like a selfless liberation of history.

B5-4

外擴聲響 / 廖建忠

Expanding Noise / Liao Chien Chung

20151024-20151226

這次建忠告離我們所熟知在其藝術領域的「表面工程法」，試將「外口制作」作為其現實基礎的繼承，在量化與單品間，提出製作參與者的市場窺視，如何成就被量化的「市場形式」，或單品可進化的「幾何配對」，在八里生產過程中的家常閒話，我們聯繫上美術學院體制下的邊緣作為。

當想起與建忠的熟識是在紐約的CBGB，那是1999年的往事，正時他在紐約有個短期的闖蕩。已不復存在的CBGB，套句Patti Smith所言「與其說CBGB是一個表演場所，不如說它是種精神狀態，任何地方都比不上它。」想著在青年歲月底被伴隨的新浪潮龐克樂隊聲響，總以迴盪至今，倘以自我製造作為一種烙印的相熔，能否順理？（2015.10劉和讓）

Liao Chien-Chung has strayed away from his customary Surface Engineering Method 11 this time, seeking for OUTOMADEA12 to lead to the formation of a realistic foundation. “Geometric pairing” is conducted for the furniture components in an untapped territory for mass production and single-piece furniture, with different arrangements and combination possibilities created. This “commodity model” with mass production potential is used to test the waters of the market.

B5 Project

境物虛擬 / 劉和讓個展

臺北市立美術館

Boundary Substance in Virtual / Liu Ho Jang Solo Exhibition

「起初應該只有四個人，也可能有五個。基本上和身體所需的數量一致。一名農夫，以滿足食物之需；一名泥瓦匠，以滿足住房之需；一名紡織工人，以滿足穿衣之需；另外再添上一名鞋匠和另外一名勞動者以提供物質上的必需品。柏拉圖的理想國宣告成立。」—— 雅克・朗西埃《哲學家和他的窮人們》

「境物虛擬」的展覽現場，被築起的現成物完成於「非現成物」的裝置，在狀似生產線的帶狀中，複寫mt. black畫廊空間所展開的兩軸線。以裝置作為《伍眾會計劃》的影像「後製」，攝影與物質存在於空間與時間中相為主體的推演，展中的裝置與不在場的《伍眾會計劃》影像檔案辯證著虛擬與真實。

“In the beginning there would be four persons. Maybe five. Just about as many as the needs of the body. A farmer for food, a mason for housing, a weaver for clothing. To these let us add a shoemaker and some other worker to provide for material necessities. This is how Plato's republic presents itself.” --- Jacques Rancière, The Philosopher and His Poor.

In the exhibition Boundary Substance in Virtual (2017), Liu attempts to discuss the concept of “image” with the cross-inference of photography and substance. A “non-readymade” installation is completed with ready-mades. Two axes, departing from a strip that resembles a production line and from duplicating the mt. black “gallery” space, are intercrossed and interpreted inside the art museum. Using B-5 Project photo book as pre-preparation, the translation of objects in the space of mt. black is dialectic with the image files of the B-5 Project which is not there, each becoming one another’s virtual and reality.

Taipei Fine Arts Museum

20170715-20170917

B5-5

步進山林 / 李若玫

Step Motor in the Forest / Lee Jo Mei

201709-

可能是在山林間的觀測所得, 李若玫將距離涉入父親金屬工廠的家事方案, 從學習其父親的作業知識中,她接近並以擴散或微觀去理解製造物件的機能導向, 在探勘的市場信號下,何以將”美術”置入家業的有效創作,在聯繫起伍眾會計劃的教育藍圖中,未被啟用的暗房設備,是其中的啟用選項,而銀鹽是酸鹼中和後含銀的金屬化合物

。（2017. 05劉和讓）

Perhaps based on her experiences in the forest, when Lee Jo-Mei involved herself in her father’s metal factory business, she did so by maintaining deliberate distances, sometimes near sometimes far. In learning the ropes of her father’s business operation, she tried to understand the functional orientations of object manufacturing; in exploring market demands, she tried to figure out how to merge academic art / fine art into the business for effective creation. In the education blueprint for the B-5 Project, the un-activated darkroom would be the beginning of the blueprint.

mt.black