About Us
Artists & Artworks
Program
Press
Visit Us
 
  • Preface

    Tsai-Lang HUANG
    Director of National Taiwan Museum of Fine Arts

    Half a century ago, due to the rapid development of image production and industry technology, French scholarshad concluded from a macroscopic perspective of social development that the appearance forged by mass media and capitalism has replaced the real society. Social relationshipsmediated by images have created spectacles. Nowadays, the symptoms remaining from the previouserahave not been alleviated. With the development of digital technology, images still occupy the center of contemporary societies. Digitalized images gradually change and dominate people’s lifestyle.For example, smart devices have been used extensively in recent years by the whole younger generation, and the virtual Bitcoin used in the peer-to-peer network transaction has beenemerging as an international trend.

  • Artists with an active attitude towards social movementsacutely observe the virtual world created by digital technology from different perspectives. They actively propose their responses through visual images presented by digital technology. In the meantime, they attempt to expand the imagery dimensions of the social spectacle by employing various digital elements and signals as well as spatialized images.Theparticipating artists in this exhibition bring us different forms of works in technology and art. They not only demonstrate the instant dynamics of contemporary social spectacle, but also put their fantasy aboutthe world into practice through various installations. They show us that social relationshipsexistnot only among people but also between people and artworks. The artistsalso extend their discussion about the social spectacle to the virtual relationship between people and digital images. /p>

  • From the perspective of “Wonder of Fantasy,” this exhibition manifests a brand new social relationship created by digital art.The participating artists reveal that digital images are inextricably linked with us. By overlapping, mixing, and representing digital images, they show us that our world approximates to a fantastic reality. The museum spaces are then transformed into a field for observing the deformation of contemporary imagery spectacle. Here I would like to express my deep gratitude to the curators Chih-Yung Chiu and Alf Chang, as well as the curatorial team. Their efforts undoubtedly contribute to the success of this outstanding exhibition which leads us to a fantastic art world and reflects on the contemporary reality of the rapid mutual-infiltration of technology and life.