IAA Online Exhibition
｜ 前往線上存檔 ｜
“Save As” instruction is commonly used in many applications to capture, record, and maintain user data and operation traces in a specified format for “retrieval,” “memory,” and “witness.” The user operations in the program will go through a set of procedures: frame-format-export. Comparing the computational instruction to art production, the artist is pretty much the software; the work is a series of framing and storing of reality, internal transcoding, and archiving of user’s artistic operation from the start of the final externalization; the exhibition is the platform where these sensory archives meet its audiences. Living in a time of file overload, we are no longer short of production of files, but perhaps what is worth notice is how to rediscover nuances of production of senses from the view of production of files. By revisiting how perceptions are configured, transferred, exported, and encoded, we could thus be able to reconceptualize how sensations are archived and how emotions are externalized.
As with the file format, the artist’s determination of format also shapes audiences’ way of participation. This exhibition, through three perceptual paths: “sound,” “image,” and “object,” is to probe the movements of the artists’ internal transcoding process and filing paths, and how artists export emotions into perceptible pieces.
行政總籌｜湯景光 展覽總監、鄒玟珊 活動場運
Vimeo：存檔：聲像體 Official Teaser
Spotify：存檔 Save As——聲•像•體 Podcast