吳尚洋|Wu Shang-Yang
1992年出生於台北,畢業於國立台北藝術大學美術學系碩士班,學期間交換於德國斯圖加特設計學院之藝術、電影與新媒體項目。透過多元媒介,包括投影裝置、錄像、行為表演與繪畫,處理身體、物、機器與空間場域的關係,形塑出古典而玄秘的不確定狀態,展現其個人的生命經驗影響下對於物件群(objecthood)之中權力關係的重新部署與反思。
學歷
2021畢業於國立台北藝術大學美術學系碩士班畢業
2018-19德國斯圖加特設計高等專業學院交換
2015國立台北藝術大學美術學系學士
展覽
2022個展於水谷藝術
2020個展於台北海桐藝術中心
2022聯展於台北也趣藝廊
2020台北關渡美術館
2020彰化縣立美術館
2019杭州象山藝術公社
2019斯圖加特梅爾斯空間
2018台北數位藝術中心
2016上海世博展覽館
獲獎
2023榮獲獎助包含印度農場工作室國際藝術駐村計畫
2020志哈克藝術實驗場藝術家創作計畫
2020當代雕塑麗寶創作獎首獎
2019STUPIN x DAC台北數位藝術中心合作計畫
2018榮獲獎助包含紐約藝術遊歷計劃
作品介紹:
右眼沒有水晶體的我總在思考「肉眼如何看機具,科技眼如何看人」。我的創作關於影像的物質性,呈現具有物帶的空間裝置並展示其技術的本體論思維。我拓展了對自我生命經驗反思的一種審美標準,媒體本身直接成為我創作中重要的工具,從生活外部發現媒體並體現我們生活的狀態與世界的訊息。
我的創作核心概念主要圍繞「觀看經驗的主體讓位」,也就是從藝術家的觀看讓位給機具的觀看之操作意識。自古以來,視覺藝術強調或仰賴的都是藝術家的眼睛與觀看經驗,而我讓機具的科技眼替代了藝術家的肉眼,也就是機具的觀看替代了藝術家的觀看。以零度影像為輔助來源,透過智慧型手機的鏡頭作為媒介讓多台投影機的影像(光)產生摩爾紋的物理裝置,讓光與空間錯位並轉換,重新詮釋當代視覺經驗的政治與身體。
展覽概念:
從德勒茲的「零度影像」做為參考來源,探討科技「物自身」的自反性。回應馬克魯漢「媒體即是訊息」的反向思考,同時也是科技作為病態身體的延伸,以科技模擬自身視網膜缺陷中,給予了「凝視反轉」的擬人化空間。
展覽以臨摹與寫生、容器與信仰出發,橫跨東西方的時空、繪畫信仰、民間信仰與過往至今對載體科技的想像,古典而玄秘。透過重組、修圖、數位與類比的交錯等方式,呈現具有物帶的影像裝置並展示其技術的本體論思維。
Wu, Shang-Yang
Wu uses multiple media, inclusive of projection installation, video, performance and painting, to process the relationship between body, object, machine and space. He presents the re-disposition and reflection of the power relationship in the objecthood under the influence of his life experience, shaping a state of uncertainty that is both classical and mysterious.
Education
Exhibitions
Art Work
I, without a crystalline lens in my right eye, constantly contemplate "how to see machines with the naked eye and how to see people with the technological eye". My thesis work was about materiality of image, realizing in installation with the the feature of objecthood. The project demonstrated ontological context of technology. I have broadened aesthetic concern in the self-reflexive mood, where media itself can become a critical instrument. I have discovered media from without and my work can be read as a message in knowing the technology world that we living in.
The core concept of my creation revolves around the "abdication of the subject of the viewing experience", that is, the abdication of the artist's viewing to the operational consciousness of the machine's viewing. Since ancient times, visual art emphasizes or relies on the artist's eyes and viewing experience, but I let the technological eye of the device replace the artist's physical eye, that is, the viewing of the device replaces the artist's viewing. As a supplementary source, using zero degree image, through the lens of a smartphone as a medium, the images (light) of multiple projectors are used to create a physical device of moiré, allowing light and space to be dislocated and transformed, reinterpreting the politics and body of contemporary visual experience.