2018

A Tree Fell in The Forest, And No One’s There 林中的樹倒下而沒有人在


Date: 2 Nov 2018 - 24 Feb 2019
Artists:  Chan Ka Kiu 陳嘉翹, Oscar Chan Yik Long 陳翊朗, Cheng Ting Ting 鄭婷婷, Chi Po-Hao 紀柏豪, Mark Chung 鍾正, He Yida 何意達, Lau Wai 劉衛, Sudhee Liao Yuemin 廖月敏, Lin Aojie 林奧劼, Andrew Luk 陸浩明, Remy Siu 蕭逸南, Nicole Wong 王思遨
Co-curator:  Jing Chong Chinyin 張瀞尹
Venue: 200 Huayuangang Road, Huangpu District, Shanghai
Organizer:  Powerstation of Art, Shanghai
Scenographer: Charles Lai/aona architects
Supported by: Art Developments Council 






installation view




Selected Works



Mark Chung 鍾正
Warm light 暖光
2017    Single-channel video
Dimension variable, length of the video equals to the opening hours of the exhibition






Chi Po-Hao    紀柏豪
Lightscape    光景
2017    Single channel video projection with sound   





Andrew Luk 陸浩明
Untitled Écorché (Concrete Vests I-IV)  無題的解剖結構(水泥救生衣 I-IV)
2018     Concrete, oyster shells, life vests




curatorial statement


Phenomenalist philosophers have attempted to differentiate an observed reality through our senses from an unobservable actual reality; they proposed that the world is merely the sum of perceptions available to us, instead of the totality of the material noumenon. The underlying philosophical conundrum of the title raises a question: that without a present audience, would there be sound from a tree having fallen in the forest? Thus, separating the manifestation of the thing-in-itself and the human experience.

While philosophers try to distinguish perceptions and reality, physicists utilise this same conundrum to express the basic idea of quantum physics: everything in physical world and their motions stem from the collapse of possibilities. These collapses are results of observations, as the condition of Schrödinger's Cat is neither dead nor alive until the box opened. However, upon opening the box, it can only be dead or alive, thus two speculated possibilities collapsing into a singular fact.

Posing as observers of the world, artists synthesise their worldview into their practice. Rather than simply describing the world as it is, Kojin Karatani posits that the ‘inner-person’ discovers the outside fūkei (lived place). ‘The fūkei only emerges after the artist has externalised a unique manner of perceiving the world.’ The fūkei expresses is the inversion of the artists’ inner-self.

Artists reflect the manifested objects (phenomenon) they personally observe in their art practice, which in the process reiterates the way they understand the world. The resulting works are the product of the linkage between personal cognition and reality and thus demonstrating the artists’ system of thinking and expression.

While art work bridges the gap between audience and artists, the prevalence of cyberspace allows us to view art through a myriad social platforms. And lately, virtual reality and augmented reality are cutting edge emerging trends  in which art is situated. The once mandatory presence of a physical audience to activate an artwork has been lessened. Rather than showing the works with a narrow frame of virtuality, this exhibition seeks to emphasise the importance of the presence of the audience. By combining the work of the artists and scenography, it constructs a journey of a shared reality and knowledge recreation. Retrace and reiterate the importance of in-situ audience-ship in contemporary art.
先哲將世界的本體與我們的感官分開,提出所處的世界只能是我們所感知到的總和,而不是物質本體旳表現。展覽題目的哲學問難,在沒有聽眾的情況下,樹木倒下會不會有聲音,在言語上,我們會說「發出聲音」,但沒有經過聽眾的耳朵,加上腦袋的轉化成訊息,我們才會「聽到」聲音,如果沒有人的參與,那只是空氣的震動而不是聲音,這個問難就是要將物自身的認知與人的經驗分開,去嘗試論辯兩者的差異。

當哲學家用這個問難分辨感知與現實時,量子物理也利用這一個問難去表達量子物理理論的一個基礎,他們所關注而注、肉眼看不見的粒子世界裏,未被觀察的次原子粒子可以在任何地方出現,知道它的存在,除此以外卻一無所知,直至被觀察到後,它的位置才會被確立。換而言之,原本可以在任何地方出現的可能性,受到觀察而塌縮;這個塌縮正正就是觀眾的出現而生。如薜定諤的猫,被窺視前或生或死既不可知,但打開看見則只能是二者之一、可能性塌縮成為現實。

作為世界的觀察者,藝術家窺視世界後將感受到的凝結為作品,一如窺視了薜定諤的猫,猫被窺視所凝結。但他們的作品並非是對外部世界的描寫,借用柄谷行人對文學家的出現的描繪,這些被稱在「內在之人」的藝術家發現了外在的風景,「為了風景的出現,必需改變所謂知覺形態」,表達出來的風景就是藝術家內在的倒錯。藝術家透過觀察與創作,反應自我在特定情境下所捕捉到的「被顯現之物」(現象),重複梳理個體如何理解世界、建立世界觀的過程,換言之,作品亦是藝術家展現個人如何連結認知與實存的產物,呈現一種思維與如何言說的方式。

藝術品是觀眾與藝術家的橋樑,而當今網絡盛行,不論在IG還是網上的社交媒體、甚或在VR等各種虛擬的世界裏,都能看到或是虛擬體驗不同的藝術作品,在場的重要性相對受到忽視。與其在被前設的視野來「觀看」,是次展覽強調「臨場」的重要,以作品與景觀設計的結合,建構實際感知與創造知識的經歷,測試並重溯當代藝術觀眾本位的原點。