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臺北數位藝術中心 (台北市士林區中山北路六段431-1號B1)

策展人 Curator | 邱誌勇 Chih-Yung CHIU

藝術家 Artist:陳芯宜 Singing CHEN、周書毅 Shu Yi CHOU

舞者 Dancer:

潘柏伶 Bo Ling PAN、方妤婷 Yu Ting FANG、葉王洲 Wang Chou YEN、楊雅鈞 Ya Chun YANG、王甯 Ning WANG、林修瑜 Hsiu Yu LIN、王筑樺 Chu Hua WANG、田懿葳 Yi Wei TIEN、余建宏 Chien Hung YU、陳欣瑜 Hsin Yu CHEN、楊奇殷 Qi Yin YANG






以舞蹈闡述記憶中超脫語言描繪的意境;用影像記錄舞蹈中表意魂魄游離的飄忽,導演陳芯宜與編舞家周書毅共同創作的《留給未來的殘影》更超越了「舞蹈錄像」(dance video)的表現形式,使觀者遊牧於三根火材燃燒時所顯像的記憶殘影,通過游離於奇點(singularities)的空間跳耀,遊牧於一幕幕影像世界,不斷地游走,卻不斷地分裂。身處於此「臟器式表演」(visceral performance)之中,以虛擬科技、憑影像敘事、借舞蹈身體,激起觀眾極為內裡的、無法以言語來表達的、多愁善感的感知經驗;同時也描述強烈的情感以及觀眾因內心騷亂所引起的生理反應,促使個體(觀眾)意識到其頭顱與肉身開始產生融合與聚變。

化為概念美術館中的科技藝術展,「忽悠—留給未來的殘影」邀請觀者在「言下之意」與「絃外之音」(literal and lateral)之間轉換,以科技連結身體,召喚記憶的殘影,體驗煙滅前的忽悠。

“Go Astray” refers to the state of mind where people are distracted or drifted, acting in “wandering” and “swaying.”

Where does the spirit go after death? Are memories still there? How to describe this sensory threshold where body and soul are disassociated from each other, distracted, and drifted? Afterimage for Tomorrow accomplishes the strategy of interdisciplinary artwork, collaborating with dancer, and making Virtual Reality become modern supplementary prostheses. It promises a disembodied experience, and lifetime memories and images can therefore be possessed and stored with the aid of technology which manifests emotional technological shift.

As a VR film, Afterimage for Tomorrow is an immersive experience recounting a man awakens in somewhere of his consciousness. What he sees, hears, and feels, are these just memories? Is it a dream? A virtual landscape? Or a flashback before death? In the context, with Afterlife Memory Trust, memories fragment in human neurons are presented as afterimages. The protagonist revisits the specific point of his life in a light time. Herewithin, space is no longer rational, and time is not in chronological order.

By means of dance, it recounts the ineffable notion of memories. Through the medium of image, it records the dance that symbolizes the drifting state of disassociated body and soul. The collaboration of Afterimage for Tomorrow between the director Singing CHEN and the choreographer Shu-Yi CHOU surpasses the expressive form of dance video. Audience as nomad wander through afterimage of memories which appear when the 3 matches light up. Thus, Audience travel through spaces disassociated around singularities, and wander through scenes of visualized world. They are lingering in the world which is constantly pulled apart. In the visceral performance, by means of virtual technology, narrative film, and physical dance, audience is stirred up with ineffable and sentimental perception coming from deep inside.

Transformed into digital art collection of the Concept Museum of Art, Go Astray -Afterimage for Tomorrow invites audience to shift between literal and lateral, integrate technology with their bodies, call for the flashback of memories, and experience the state of going astray before everything is evaporating.

藝術家自述 Artist's Statement




Singing CHEN

This is my first VR video. During the research and brainstorming process, I kept wondering questions like, what has VR brought to us? How does VR extend and change human senses? What is reality hereafter? I was also wondering, in the history of civilization, how many vestige of sound, graphic, language, characters, image, and virtual media get to travel through time and space, and become visible to us (or to the future)? With these pondering and weighing, I try to integrate form/medium with the core value of content. Thus, this film is set upon a futuristic world where memories and consciousness can be uploaded. Through Shu-Yi CHOU’s choreography, it captures the ineffable emotions as one lingering at the edge of death. Also, it is to discuss what’s worth remaining. In the future, could VR be rooted inside of our brain? If we put this VR film of dance into meta-thinking, could this work traverse time? Or on the contrary, everything would turn to ashes in the end.


出品單位 Presented by:

高雄市電影館 Kaohsiung Film Archive、Funqiue VR Studio、行者影像文化有限公司 The Walkers Films Ltd.

特別感謝 Special Thanks:

國家文化藝術基金會 National Culture and Arts Foundation






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