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27/11 - 5/12/2010 (closed on thu 星期四休息)
1100 - 2000
Exhibition Hall, Hong Kong Film Archive
香港電影資料館展覽廳
Electrified 02 –Hacking Public Space
The S.M.A.K. (Museum of Contemporary art in Ghent, Belgium) and the Vooruit Arts Centre are Belgian joining forces to overrun the town. Electrified 02 – Hacking Public Space focuses on artists whose field of action is the ‘public space’. Unbounded and virtually unregulated, they hack into the town with unannounced interventions. Traces of this seep into the museum, where new and existing works are brought face to face with ‘flashbacks’ from the art history of the last few decades.
Electrified is the name under which the S.M.A.K. and the Vooruit mount this biennial project. Electrified 02 takes up a decisive position on the crossroads of several directions in visual arts. It exposes the friction between areas where two institutions operate: the S.M.A.K. in contemporary art and the Vooruit in media art, sound and performance art. In quest for a shared ‘mentality’ in these different dynamics, the public space is taken as a common thread. This ‘public space’ is all-embracing, without losing sight of actual distinction between the real and the virtual public space.
In addition to probing boundaries between different fields of art and how artists enter the public space, Electrified 02 is also a study of changing trends that have kept the notion of ‘public space’ in vogue for the last 30 years. The project presents itself as a complementary triptych: sixteen artists, who operate internationally, with extremely varied backgrounds, will be showing new and existing works in the museum. More than half of them will also be undertaking actions in the town. These actions will be documented and gradually inserted into the exhibition. 3 out of 16 works are going to be showcased in the Hong Kong exhibition venue.
The exhibition put in context by a supplementary flashback section in which a framework for the project is provided by significant points in the recent history of ‘hacking public space’. This involves a digital display of works from thirty artists who can count pioneering actions in the public space among their achievements. From the perspective of plastic arts, a number of interventions from the 60s and 70s are selected. They are closely related to the ephemeral public actions which were also recorded – most of them in non-artistic sectors – as ‘flashmob actions’. The so-called flashmob activist entered the public space, usually unannounced, and hacked into it with temporary, interactive artistic actions. The intention was to arouse an ‘alienating’ effect with the spectator, in hope this would prompt him/her to engage in socially-critical reflection. This rite-like development is of importance in media art. We can cite a number of striking actions from the mid-90s that illustrate the ‘virtual shift in and broadening of the notion of ‘public space’. In recent decades this public domain has expanded infinitely with the rise and accessibility of the Internet. In this sense, the term ‘hacking’ refers to the guerrilla-like nature of actions on the internet and at the same time to the traditional, though equally clandestine ‘squatting’ in the real public space.
The S.M.A.K. (Museum of Contemporary art in Ghent, Belgium) and the Vooruit Arts Centre are Belgian joining forces to overrun the town. Electrified 02 – Hacking Public Space focuses on artists whose field of action is the ‘public space’. Unbounded and virtually unregulated, they hack into the town with unannounced interventions. Traces of this seep into the museum, where new and existing works are brought face to face with ‘flashbacks’ from the art history of the last few decades.
Electrified is the name under which the S.M.A.K. and the Vooruit mount this biennial project. Electrified 02 takes up a decisive position on the crossroads of several directions in visual arts. It exposes the friction between areas where two institutions operate: the S.M.A.K. in contemporary art and the Vooruit in media art, sound and performance art. In quest for a shared ‘mentality’ in these different dynamics, the public space is taken as a common thread. This ‘public space’ is all-embracing, without losing sight of actual distinction between the real and the virtual public space.
In addition to probing boundaries between different fields of art and how artists enter the public space, Electrified 02 is also a study of changing trends that have kept the notion of ‘public space’ in vogue for the last 30 years. The project presents itself as a complementary triptych: sixteen artists, who operate internationally, with extremely varied backgrounds, will be showing new and existing works in the museum. More than half of them will also be undertaking actions in the town. These actions will be documented and gradually inserted into the exhibition. 3 out of 16 works are going to be showcased in the Hong Kong exhibition venue.
The exhibition put in context by a supplementary flashback section in which a framework for the project is provided by significant points in the recent history of ‘hacking public space’. This involves a digital display of works from thirty artists who can count pioneering actions in the public space among their achievements. From the perspective of plastic arts, a number of interventions from the 60s and 70s are selected. They are closely related to the ephemeral public actions which were also recorded – most of them in non-artistic sectors – as ‘flashmob actions’. The so-called flashmob activist entered the public space, usually unannounced, and hacked into it with temporary, interactive artistic actions. The intention was to arouse an ‘alienating’ effect with the spectator, in hope this would prompt him/her to engage in socially-critical reflection. This rite-like development is of importance in media art. We can cite a number of striking actions from the mid-90s that illustrate the ‘virtual shift in and broadening of the notion of ‘public space’. In recent decades this public domain has expanded infinitely with the rise and accessibility of the Internet. In this sense, the term ‘hacking’ refers to the guerrilla-like nature of actions on the internet and at the same time to the traditional, though equally clandestine ‘squatting’ in the real public space.
《電擊 02 - 騎劫公共空間》
比利時S.M.A.K.根特市立藝術館及Vooruit藝術中心聯手，誓要反轉城鎮。《電擊02 - 騎劫公共空間》的藝術家在「公共空間」進行表演，放縱地突擊干預城鎮的每個角落。這些痕跡侵入藝術館，並將過去數十年新的舊的相關藝術表演併合，一幕幕倒敍出騎劫公共空間藝術的歷史。
《電擊》是個兩年一度的項目，由S.M.A.K.及Vooruit協辨，計劃讓 S.M.A.K.在當代藝術及Vooruit在媒體、聲音及表演藝術兩方面擦出火花。因此，《電擊02》在視覺藝術的探索上立下一個舉足輕重的位置。因為兩個機構在藝術的形式探索方向有所不同，「公共空間」變成某相交點，「公共空間」在這個場景之下是無所不容，它既可是現實場景，也可是虛擬空間。
除了探索多個藝術領域間的界限和藝術家如何騎劫公共空間，《電擊02》同時研究公共空間在過往三十年來的變遷，以及為何「公共空間」成為創作風尚的要因。《電擊 02》分為三部份。在第一部份，16個來自不同背景的國際藝術家將在藝術館展出他們新進行及現有的作品。展出作品有一半以上在活動期間於城鎮發生並被紀錄，逐步「遷」移進展覽空間。其中三件作品將於香港電影資料館展出。
第二部份的《回顧》將增補展覽的內容，它引用近代騎劫公共空間歷史例證，為展覽提供一個時空框架。《回顧》涉及30個進行騎劫公共空間表演的先鋒藝術家，他們的成就將透過電子屏幕一一呈現。從造型藝術的角度出發，《回顧》選取了幾個60至70年代的表演作品。這些作品跟近代的「 快閃黨行動藝術」有著莫大的關聯。「快閃黨行動者」很多時候並不是來自藝術領域，他們突擊公共空間，創作出暫時性的互動藝術行動。創作者在製造一種跟傳統藝術「疏離」的效果，促使觀眾對社會進行批判性的反思。這種「儀式」在媒體藝術的發展上有著重要的地位。我們可以在90年代中期的作品舉出幾個引人注目的表演，它們說明「虛擬」的介入，擴闊了我們對公共空間的觀念。最近十年，互聯網的興起與普及令公共空間無限擴大。「黑客入侵」一詞，原指在互聯網進行游擊性質行動，然而在這個層面，「黑客入侵」而延伸至傳統的、真正的公共空間。
比利時S.M.A.K.根特市立藝術館及Vooruit藝術中心聯手，誓要反轉城鎮。《電擊02 - 騎劫公共空間》的藝術家在「公共空間」進行表演，放縱地突擊干預城鎮的每個角落。這些痕跡侵入藝術館，並將過去數十年新的舊的相關藝術表演併合，一幕幕倒敍出騎劫公共空間藝術的歷史。
《電擊》是個兩年一度的項目，由S.M.A.K.及Vooruit協辨，計劃讓 S.M.A.K.在當代藝術及Vooruit在媒體、聲音及表演藝術兩方面擦出火花。因此，《電擊02》在視覺藝術的探索上立下一個舉足輕重的位置。因為兩個機構在藝術的形式探索方向有所不同，「公共空間」變成某相交點，「公共空間」在這個場景之下是無所不容，它既可是現實場景，也可是虛擬空間。
除了探索多個藝術領域間的界限和藝術家如何騎劫公共空間，《電擊02》同時研究公共空間在過往三十年來的變遷，以及為何「公共空間」成為創作風尚的要因。《電擊 02》分為三部份。在第一部份，16個來自不同背景的國際藝術家將在藝術館展出他們新進行及現有的作品。展出作品有一半以上在活動期間於城鎮發生並被紀錄，逐步「遷」移進展覽空間。其中三件作品將於香港電影資料館展出。
第二部份的《回顧》將增補展覽的內容，它引用近代騎劫公共空間歷史例證，為展覽提供一個時空框架。《回顧》涉及30個進行騎劫公共空間表演的先鋒藝術家，他們的成就將透過電子屏幕一一呈現。從造型藝術的角度出發，《回顧》選取了幾個60至70年代的表演作品。這些作品跟近代的「 快閃黨行動藝術」有著莫大的關聯。「快閃黨行動者」很多時候並不是來自藝術領域，他們突擊公共空間，創作出暫時性的互動藝術行動。創作者在製造一種跟傳統藝術「疏離」的效果，促使觀眾對社會進行批判性的反思。這種「儀式」在媒體藝術的發展上有著重要的地位。我們可以在90年代中期的作品舉出幾個引人注目的表演，它們說明「虛擬」的介入，擴闊了我們對公共空間的觀念。最近十年，互聯網的興起與普及令公共空間無限擴大。「黑客入侵」一詞，原指在互聯網進行游擊性質行動，然而在這個層面，「黑客入侵」而延伸至傳統的、真正的公共空間。
Participating Artists In Flashback:
《回顧》參展藝術家
Wolf Vostell / Allan Kaprow / Chris Burden / Joseph Beuys / Yves Klein / Bas Jan Ader / Oleg Kulik / Yayoi Kusama / Nam June Paik / Panamarenko / Ben Vautier / Tommaso Tozzi and Strano Network / Surveillance Camera Players (SCP) / The Yesman / VV.AA. / Wilfried De Boek / Socialfiction.org / Michelle Teran / Blast Theory / Molleindustria / Josh On / Christophe Bruno / 0100101110101101.org / Cory Arcangel / Gordan Savicic / Improv everywhere / Paolo Cirio
《回顧》參展藝術家
Wolf Vostell / Allan Kaprow / Chris Burden / Joseph Beuys / Yves Klein / Bas Jan Ader / Oleg Kulik / Yayoi Kusama / Nam June Paik / Panamarenko / Ben Vautier / Tommaso Tozzi and Strano Network / Surveillance Camera Players (SCP) / The Yesman / VV.AA. / Wilfried De Boek / Socialfiction.org / Michelle Teran / Blast Theory / Molleindustria / Josh On / Christophe Bruno / 0100101110101101.org / Cory Arcangel / Gordan Savicic / Improv everywhere / Paolo Cirio
Participating Artists In Intervention:
《干預 》參展藝術家
Miet Warlop 美亞．戈樂
Ben Benaouisse 賓．班路斯
Messieurs Delmotte 廸摩先生
《干預 》參展藝術家
Miet Warlop 美亞．戈樂
Ben Benaouisse 賓．班路斯
Messieurs Delmotte 廸摩先生
Collaborators
策展伙伴
策展伙伴
Thibaut Verhoeven (Belgium)
廸寶特．范赫文 (比利時)
廸寶特．范赫文 (比利時)
Thibaut Verhoeven (°Antwerp, 1977) studied art history at the University of Ghent and Cultural Management at the Highschool Congregation of Ghent, Belgium. he worked as co-curator and scientific researcher at the Museum Dhondt-Dhaenens in Deurle until 2004, where he researched and co-curated group exhibitions with artists such as Tobias Rehberger, Liam Gillick, Michel Blazy, Philippe Parreno, Santiago Sierra, Markus Lüpertz, Koen van den Broek and others. Since 2004 he works as a curator in the S.M.A.K. (Museum of Contemporary art in Ghent, Belgium), where he curated solo-exhibitions with Artur Barrio, Joseph Beuys, Barry Flanagan, Anton Henning, Kendell Geers, Wilfredo Prieto and Mark Manders. He is also active as a writer for diverse catalogues and magazines such as Rekto:Verso (Belgium) and Mousse (Italy). In 2007 he curated the ‘International Symposium for Young Curators’ “Qui. Enter Atlas” in the Galleria de l’arte Contemporaneo (Gamec) in Bergamo, Italy, and the S.M.A.K. in Ghent, Belgium. In 2008 he was invited by the selection committee of Artissima, Turin, as one of the four curators for the Present Future project.
www.SMAK.be
www.museumdd.be
www.gamec.it
www.rektoverso.be
www.artissima.it
www.SMAK.be
www.museumdd.be
www.gamec.it
www.rektoverso.be
www.artissima.it
廸寶特．范赫文於1977年生於比利時安特衛普，他在根特大學取得藝術歷史學位並完成文化管理文憑。他在比利時迪俄里市竇德特戴尼斯博物館擔任共同策展人及科研人員至2004年，與他合作過的藝術家包括 Tobias Rehberger, Liam Gillick, Michel Blazy, Philippe Parreno, Santiago Sierra, Markus Lüpertz 及 Koen van den Broek等。及後，他於S.M.A.K.根特市立藝術中心出任館長，並為ArturBarrio, Joseph Beuys, Barry Flanagan, Anton Henning, Kendell Geers, Wilfredo Prieto 及 Mark Manders 等藝術家策劃個展。他亦為不同報章雜誌如 Rekto:Verso(比利時)及Mousse(意大利)撰寫文章。2007年，他分別於意大利貝加莫當代藝術館及比利時S.M.A.K.根特市立藝術館籌辦國 際青年策展人研討會。2008年，他被邀請出任意大利都靈Artissima遴選委員會成員，為Present Future計劃的四人策展團隊之一員。
Eva De Groote (Belgium)
伊娃.廸格特 (比利時)
伊娃.廸格特 (比利時)
Eva De Groote (b. 1974) works and is based in Ghent, Belgium. She has been working as a curator for Vooruit Arts Centre in Ghent since 2003. She is responsible for media arts program and festivals such as Almost Cinema (a ten day alternative program on cinema during the film festival of Flanders/Ghent), the game is up! (a ten day thematic festival across disciplines) and Electrified (a collaboration with S.M.A.K., Museum for Contemporary Art in Ghent). Since 2010, she is also a core member of timelab, a workspace for art, technology and society in Ghent, where she is the project leader for artist programme.
www.vooruit.be
www.timelab.org
www.vooruit.be
www.timelab.org
伊娃.廸格特生於1974年，現於比利時根特居住及工作。自2003年起，伊娃出任Vooruit藝術中心的策展人，專責媒體藝術節目如Almost Cinema(法蘭德斯/根特電影節內為期十日的另類節目)、the game is up!(為期十日的跨學科專題藝術節)和電擊(
S.M.A.K.根特市立藝 術館協作節目)。自2010年，她出任為timelab的重要成員，timelab是一個以藝術、科技和社會為創作點的藝術空間，同時她亦為藝術家活動的計劃領袖。
S.M.A.K.根特市立藝 術館協作節目)。自2010年，她出任為timelab的重要成員，timelab是一個以藝術、科技和社會為創作點的藝術空間，同時她亦為藝術家活動的計劃領袖。
