■ 展覽論述 Curatorial Statement
本次前戲影展挑選的五部VR作品，皆展現出臺灣年青創作者極具企圖的美學風格與形式，並反映出創作者對於虛擬實境中空間與觀看經驗的多元嘗試。
林佩瑩《唇》以女性視角構築了怪誕繽紛的身體景觀，以ASMR音效在視覺之外開啟觀眾感官，於體驗探索之間，重新定錨對於女性身體的凝視、解構、慾望／厭惡的想像。孫瑀與關綽瑩的《四零四號房》將場景設定於臥室中，侷促的空間帶著私密感，卻也令人仍窒息，反思網路世代面臨演算法無止盡的內容餵養及無圻的數位垃圾景觀中，如何辨識真實與自我。柯佳彣、魏斈穎《蟬與花》，以VR互動遊戲的形式，讓觀眾在末日的地底城市尋找希望與出路，是一部形式、風格俱全的趣味小品。謝文毅《彼岸》以極簡及超現實的美學風格，建構出巨大龐雜的城市建築，觀眾可透過往生者的視角，游移穿梭於不同的邊界，並於虛擬實境之中踏入一趟映照心靈世界且極具詩意的旅程。鄭伊婷《Alone》從疫情的生活經驗出發，極具巧思地結合體感裝置，讓觀眾重新思辨時間、空間的流動與身處其中的感受。
數位藝術基金會希望透過前戲影展，提供年輕創作者展示作品的平台，並在VR創作形式、語彙未成熟定型前，希冀透過這些頗具創意的原型作品，開啟VR創作的討論與交流。
The five VR artworks on view in “2022 Fest Yet-to-Come” are selected for the ingenious aesthetics and styles demonstrated by the young Taiwanese artists. The artworks also reflect the diverse experimentation in the virtual reality space and on the viewing experience attempted by the artists.
LIPs by Lin Pei-Ying presents a peculiar and vivid body-scape based on a female perspective, and it also uses ASMR sound effects to open up the audience’s extravisual sense. Through the explorative experience, thoughts about how the female body is gazed, deconstructed, desired or detested are redefined. Chamber 404 by Isabel Sun and Erin Guan takes place inside a bedroom setting, where a sense of intimacy is felt in the confined space, but it also feels quite suffocating. The work reflects on the endless algorithm-derived content that’s fed to people in the age of the Internet and the infinite digital junk around us, as it explores how people can go about identifying what is real and who they really are. An interesting work of well-thought-out format and style, When the Flowers Bloom by Wei Shiue-Ying and Ko Chia-Wen is an intriguing and well–executed interactive VR piece that invites the audience to explore an apocalyptic underground city, where they can search for hope and find a way out. LIMBOTOPIA in VR by Hsieh Wen-Yee, on the other hand, uses a minimal and surreal aesthetic to create a colossal and complex urban architecture design. Through the perspective of the deceased, the audience can pass through various borders and embark on a VR journey that’s spiritually reflective and immensely poetic. Last but not least, ALONE by Cheng Yi-Ting is inspired by life in the pandemic. With a haptic installation ingeniously incorporated, the audience is invited to reconsider the movements of temporality and spatiality, as well as the emotions they experience while being immersed in it.
The objective of the Digital Art Foundation is for “Fest Yet-to-Come” to act as a platform for young artists to showcase their creations. As the creative formats and expressions of virtual reality continue to develop and mature, we hope that these creative original artworks can open up more discussions and exchanges on VR art.
