策展人：田名璋  張菀玲

PART I：遊牧超極限參展藝術家－

丁建中 李翊誠 沈柏丞 許哲瑜 曾偉豪 蒲帥成 鄧肯‧蒙特弗

PART II：游擊超極限  參展藝術家－

丁禹仲 王詠翔 朱紹慈 林文藻 林正偉 林哲志 胡仕穎 范晏暖 張家安

張雅萍 張睿舫 郭慧禪 黃文琳 黃祈霖 楊  曄 劉  碩 鄭亭亭 簡佑任

龔正荇 

策展主題：

「極限(limit)」是以超越常態性時間、空間，「逼近」邊界的模糊點，可以以「觀念」界定此名詞的想像，而「四維」則是超越以往三維空間角度，在時間軸中探視其不可見的面向。藉以兩者概念，藝術爆發、交錯、座落於銜接點而達到創意極限。

策展理念：

以「暫時性」貫穿整個主題，超越以往此名詞等同於「滯留」觀點，而是以時間、空間、文化場域或身體邊界交錯…「逼近」此名詞的訴說。以遊牧的文件敘述與游擊行動突擊，藝術家是以混雜視覺、身體、空間與時間界限，思考與想像「暫時性」的極限衍生意外性結果，以其視野反轉時間與空間的定律而產生第四維面向。

在混沌理論中藉以巴塔耶論述，人類潛藏著想從日常井然有序的狀態回歸到無狀態的慾望，而這種欲望獲得解放時，能夠獲得巨大的快樂。藉此，遊牧與游擊場域便以兩子題方式： PART I：遊牧超極限、PART II：游擊超極限，前後場域形式以白盒子空間與外部空間介入，制式與外放相對能衍生出藝術家對於空間形式的極端跳脫、作品與環境的直接性呼應、訊息即時性傳閱……。從場域自由性轉換，引發創作者對於空間、時間極致限度的想像。

Curation Topic

 “Limit” transcends the norms of time and space, “closing” the blurriness of boundary points and using “concepts” to define imaginations of this term. Thus “four dimensional” goes beyond the typical three dimensional point of view.  Along the time axis, one discovers an invisible side. This work sits between two schools of thought - an explosion of art, interlocked and situated at the point of convergence to push the limits of creativity.

Curation Idea

        Using “temporality” to penetrate the entire theme, the idea is to go beyond typical associations with the term “retention”, thereby using time, space, the cultural arena or the interlocking of physical boundaries to “approach” this term’s definition. Using nomadic wandering documentary descriptions, and intervening actions, the artist is using mixed visuals, the body, thoughts, space and time limits, and the imaginative “temporal” limit to derive unexpected outcomes. It uses this perspective to reverse the stated laws between time and space, and produce a fourth dimension.  

        In George Bataille’s discourse on chaos theory, he states that people have a hidden potential desire to swing from a state of daily routines to a statelessness of desires. When one is liberated from this desire, one can receive great joy. Thus, the wandering and intervening stage is introduced through a two-part process - Part I: Wandering Hyper-limit and Part II: Intervening hyper-limit. The front and back stages are formed by white box spaces with intervention from outside spaces. By comparing the structure and the openness, one can derive at the artist’s extreme escape from spatial form, the piece and the environment’s direct call and answer, the way a message is instantly circulated….From the liberal changes in the field, the creator’s imagination towards the extreme limits of space and time are invoked. 

水谷藝術  新樂園藝術空間

文化部 國藝會 台北市文化局