時間全景 Time Panorama 陶亞倫2016個展

「『夢幻-影像』是藝術家對內在世界的重組，將招喚潛意識中景象呈現於當下，模糊現實與夢幻的界限，讓夢幻與現實無法區分。」 -- 陶亞倫，2016。

光與影、虛與實，一直以來是陶亞倫的創作動機核心。双方藝廊於10月15日至11月19日舉辦「時間全景 Time Panorama」陶亞倫2016年度個展，展覽作品在過去創作概念基礎上加入時間維度，將此系列新作帶入四度空間之領域。從過去的光源組件、透鏡投影、螢幕影像，帶入「虛擬實境 (VR., Virtual Reality)」的動態裝置。在「時間全景」展覽中，創作者操作實體空間與虛擬實境的重合與反差，誘導觀者展開光影虛實的哲理思辯。作為一位藝術家，陶亞倫的創作在論述上與技術上，其追求突破的企圖心具體且一致；對照陶亞倫不曾為任何框架侷限，亦不為任何體系所收編的人生態度，在創作當中忠實貫徹自己的人生理念，堅定前行而不曾停留。

在科技進步日新月異的世代，影像的重組與再現突破各種限制；自此開始，影像與實體的距離愈來愈遠，眼見已不足為憑。眼見之「視覺」不再代表真實的本體，而「知覺」亦無關接近真正的本質核心。在「時間全景」展覽中，觀者在展覽空間裡觀賞展間的虛擬影像，身在展場中卻也不在其中，從作品當中經歷了似實還虛的空間體驗。陶亞倫透過操作虛實對立之元素為其論述精準破題；在此作品中，實境已無異於幻境，觀眾身處作品之中彷彿置身夢境。「觀眾體驗如夢境般的經驗，感知不斷展延的『時間維度』，體認『時間全景』的威力」，陶亞倫如是說。

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Exhibition Dates: 2016.10.15-2016.11.27
Exhibition Venue: Double Square Gallery
Opening reception: 2016.10.15 (SAT） 3:00 pm
Talk: 2016.10.30 （SUN） 3:00 pm

“Dream-Image” represents an artist’s reorganization of his inner world. He evokes the lurking subconscious scenes and demonstrates them at the present, thereby blurring the boundary between realities and dreams, that is, making us unable to distinguish the former from the latter.
—Tao Ya-Lun, 2016

Tao Ya-Lun’s creative practice has long been revolved around light and shadow as well as the virtual and the real. Double Square Gallery is pleased to host Time Panorama—Tao Ya-Lun 2016 Solo Exhibition from 15 October to 19 November. By reference to his previous creative concepts as well as the lighting components, projection lenses and screen images he used to adopt, the artist created a brand new VR kinetic installation which adds the temporal dimension to the exhibits and ergo brings his latest series of artworks to the four dimensional domain. This exhibition features the artist’s manipulation of the overlaps and contrasts between physical space and virtual reality, prompting the visitors to indulge in philosophical speculation over the relationships between light and shadow as well as the virtual and the real. As an artist, Tao has harbored a consistent and concrete ambition for breakthrough in terms of discourse and technique, which has been exemplified by his attitude toward life that transcends the confines of all the frameworks and systems. In other words, he sticks to his philosophy of life without any hesitation and carries it out in his oeuvre.

As technology improves every day, the re-composition and representation of images transcend their technological limitations. Images gradually drift apart from physical entities, making an image seen no longer an image being. It implies that “vision” does not represent real entities anymore and “senses” do not tell us anything about the essential core of substances. In this exhibition, the visitors admire the virtual images of the venue. Their bodies are situated in the physical space of the venue, while their senses are not. With these works, Tao makes it hard to distinguish the real from the virtual, offering the visitors a unique spatial experience. Tao conveys the essence of his discourse by ingeniously utilizing the contrast between real and virtual elements. In this latest series of artworks, the real is little more than the virtual. The situations created by these works are every bit as fantastic as the realm of dreams. “The visitors may enjoy the dream-like experiences, perceive the constantly expanding ‘temporal dimension,’ and, in this way, feel the great visceral thrills given by Time Panorama,” the artist said.