知識的幻覺空間(The Illusion of Truth)X徐婷(Ting-Hsu)

08/02/2020 (全日) - 23/02/2020 (全日)

Duration|2020.02.08-2020.02.23 13:00 - 18:00 TUE-SUN
Opening|2020.02.08 (SAT)15:00
Ani Mkrchyan、Cred Roy、Hsu Ting (徐婷)
Irene Pouliassi、Karen Tronel& Julien Szantaruk、
Lora Nikolaeva、Lu Wei-Chung(盧惟中)
Curated by Shih Ya-Tien(施雅恬)

在日常生活中,我們無時無刻都在接收大量的外在資訊。不論是從社群媒體、書報雜誌或者街言巷語,這些資訊以文字、聲音、視覺等形式充斥著人們的五感與生活。在社會心理理論中,「知識的幻覺空間現象」(The Illusion of Truth)描述在接收訊息的感知、到其轉化成認知的過程中所產生的誤差狀態。其主張不論資訊的正確與否,人們都傾向去相信不斷重複播送的資訊,而在不加以辨識的情況下,便會產生一種難以撼動的主觀偏見。於是這就造成了「我們以為我們知道的」,和「我們真正所知道的的差異。」

展覽「知識的幻覺空間」由施雅恬策劃,在這個理論的基礎下以社群媒體、社會中的暴力,以及創造性空間作為子題,於策展人、藝術家與觀眾之間建立一個交互的認知實驗。在以社群媒體為主題的作品中,藝術家Lora Nikolaeva運用在網路上搜集的動態影像、與在美容界瘋傳的面罩式儀器為素材,提出在社群媒體、廣告、與消費性美容產品中存在的刻板觀念的質疑;而 Cred Roy的作品《和數據化的我約會》(DateMe)則以交友APP作為形式,轉換在假假真真、完美又性感的數位肖像中,演繹著當代人體美學的荒謬性。另一方面,台灣藝術家盧惟中的出版作品《厭世紀》從數位繪畫、Instagram、到輸出,用媒材轉換之間的差異性做出層層疊疊的、對於未來世界不同面向的內心投射。

第二展間圍繞著社會中的暴力,展出藝術家Irene Pouliassi的兩件裝置作品:《溫柔的射殺依舊疼痛》(Getting Gracefully Shot Still Hurts)以及《愛會咬人》(Love Bites)。她運用充滿衝突性的槍與絨毛、鞋子與牙齒作為象徵元素,呈現個人與國家政治、創傷與親密之間的矛盾關係。另外,生長於英格蘭北部的Ani Mkrchyan在錄像《獨子,死去的父母》(Only Child, Dead Parents)中則自導自演出一位孤獨偷窺者的生活。影像從「他」的視角出發,模擬了一個若有似無的罪。在最後,英國藝術家Karen Tronel 和Julien Szantaruk的合作動畫《月球人》(Man on the Moon)結合了歷史上著名的陰謀論,展現幽默與諷刺的多種層次。而往往以現地製作手法呈現作品的台灣藝術家徐婷,這次也連結了兩個展場空間,以攝影作為繪畫的方式,將鏡頭所見的場地空間轉化為她個人的「幻」的極簡視覺裝置。


In our everyday life, we have been exposed to a lot of external information from social media, news, and gossip in forms of words, sounds, and visual images. In social psychology, "The Illusion of Truth" effect refers to our tendency to believe false information to be correct after repeated exposure. It reveals that due to ignorance, misunderstanding, or intentional trolling from vested interests, the fact of the information is sometimes difficult to verify. The formed cognitive bias then becomes the difference between "What we think we know" and "What we actually know."

Based on the concept, the project The Illusion of Truth aims to experiment the intertwined relation between the curator, artists and audience in the fields of public media, social harm and illusionary space. Pitching the topic of public media, artist Lora Nikolaeva collocated moving images from online media platforms and beauty masks as her base materials. Her practices created provocative questions with regards to gender and aesthetic stereotypes in advertising, consumer beauty products, and social media participation. Artist Cred Roy's DateMe is in the form of a dating app – Ginder. He transformed the profiles into digital portraits, intending to deduce the absurdity of modern aesthetics between real and unreal. Besides, Lu Wei-Chung‘s work The Misanthrope Island publication is reprinted from digital painting to her public IG account and then to the publication. Through juxtaposing between the medium, she wants to show her inner projection of the future and also to start a conversation with the public.

The second part of the show focuses on the concept of social harm. Currently based in London, Irene Pouliassi exhibits two installations: Getting Gracefully Shot Still Hurts and Love Bites. She arranged dramatic conflicts between her materials - guns and teddy bear’s fur, shoes and teeth - in order to present the contradictory relationship between her personal experience and national politics, trauma and intimacy. Next to the installations, video work Only Child, Dead Parents made by Ani Mkrchyan is inspired from her childhood experience when living in north England. She self-directed and performed a character whom kids would shout 'nonce' at while it never explicitly shows proof of these allegations. On the other hand, artists Karen Tronel and Julien Szantaruk’s collaboration Man on the Moon is a multi-layered take on a combination of well-known conspiracy theories, with a humorous and satirical twist. In order to connect the two venue spaces and to show the ever- changing daylight, Taiwanese artist Hsu Ting presents her site-specific photographical installations, Another Room and Under Xiaoyouken Bridge -1, creating an immersive minimal visual.

To stir things up and to put them back in order, information is always changing and repeated. Because it is ever-flowing and ever-changing, the apparent unshakable cognitive bias can be reshaped. The illusion of Truth project builds up a playful but also serious interactive mechanism that represents the process of forming a subjective cognition and, at the same time, invite the public to join in the process. To develop the “truth” in a collective and fluid way, therefore, we may finally realize that, we all have the freedom to speak out to establish the facts, take sides, and shape the meaning of the world.