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The loop is an undomesticated figure that refuses access and leaves its wanderers prey to the horror of never ending detour. ── Alina Popa, Unsorcery, X: Navigating Loops.

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鋪墊於歷史背景的相似，地域上，台灣與韓國皆為臨海國家，長年由海洋環繞所影響的人文風土，在共通性中隱約折曲出諸多歧異之處。而「海」為地圖上連接島嶼間之媒介，不僅呼應著此次台韓交流之意，「海」更可意味著某種乘載差異島嶼、差異風土的曠野，呈現兼具開放性與流動性的視野。如今，後疫情之下的藝術生態，宛若在一個封閉的循環系統中盤旋。隨著航港的再次通行、邊境的逐步開放，國家間的重新聯通會對加速的疫情時代，造成何種結構作用，如一首斷點續播的曲子般，加速、暫停、重啟？本次水谷藝術策畫之台灣單元，以「海」作為展覽主要意象，藉由航行旅程的隱喻，展現藝術家如何在差異取徑間，譜出共鳴且和諧的樂章。

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身處於一片汪洋大海，如同深陷在永無止境的疫情，茫然與迷失，人們無不試圖再次靠岸各島嶼，從疫情中找到面對日常的突破口。展覽標題 “Navigating Loops” 取自於阿麗娜．波帕(Alina Popa)所撰寫一文中的章節標題。「導航」與「循環」，二字看似有著運動方向性的差異，組裝後卻更能回應如今後疫情下的現實狀態，人們不斷地重新設定一可能抵達最終目的地之方法，卻又只能無限輪迴於此一過程。書中對於「循環」一詞，如此說明：「循環是一個未馴服的人物，拒絕進入，讓他的流浪者，陷入永無止境迂迴的恐懼中，成為遊蕩的獵物。」回應著本次展覽於海上航行的意象，若「導航循環」意味著一種新常態(The New Normal)，透過不同藝術家回歸個人性的概念與行動，在創作中展現於無數次導航中所遇見的沿途風景，或許能夠描繪一種回應現實狀態的新生活指南。而循環往復，週而復始的迴圈運動，在本次的展覽中成為對比又相互交融的動態音律，帶領觀者的視界抵達那可能的彼方。

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汪紹綱的作品《Deep Blue》(2019) 藉由拍攝海浪中嬉戲的青少年，在搖晃的波浪中，映現出年輕世代與成人社會的曖昧關係，成為「未知」隱喻的象徵，回應大環境下的茫然與不確定性。洪鈞元的作品《縫-尋光》(Gap/Seam)(2021)在創作方法上揉雜腳本與演員的個人生命經驗，藉由對於「縫」一詞的多重解構，呈現一段縫中尋光的逃獄歷程。海在其中成為一種自由象徵，在影像的操作、旁白與對話的保留下，不斷擾動生命的意義。

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蘇長慶的作品《The Political Theater》(2018-2022)審視年輕世代的政治冷感，透過拍攝選舉期間富有玩味、矛盾與衝突的造勢現場，強調島嶼上高密度人口所致的特有風景。陳永賢的作品《良日疫襲—自主隔離》(A Good Day in the Plague: Self-Quarantine)(2020)與《良日疫襲—社交距離》(A Good Day in the Plague: Social-Distancing)(2020)，反思著新常態生活下的日常切面，透過實體化個體間的隔離界線，凸顯如今模糊不清的公私領域，並自己掌控被監控範圍。陳以軒的作品《靜物研究II：島民》(Still Life Analysis II：The Island)(2015-2016)拍攝市民大道安全島上遊民擺置如家的弔詭場景，與由周遭撿拾之房產文案重新製成的「詩」並置，表現藝術家對於「異物」的探尋，及現實矛盾的縮影。而畫面中缺席的島民，也暗示社會中懸而未決的問題，作為疫情尚未到來前的作品，提供如今的觀者反思疫情的種種限制，在差別族群下的迥異境況。

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鄭文豪(Zheng Wen-Hao)的作品《偏軸華爾滋》(Off-Axis Waltz)(2022)由數座不斷運作的馬達，帶動炭筆於空間中留下移動的軌跡，透過每日重新調動裝置元素與設置位置，於不停回返的運動與磨損物質留下的弧線中，展現出一段段設定過的旅程，讓空間成為一種詩性書寫的譜。藍仲軒的作品《餘溫(物件)》(Residual Heat(objects))(2021)、《靶紙的飛行時間》(Target Sheet’s Flying Time) (2021)藉由重新製成戰爭物件，與去除可識別符號，展現某種「物」的純粹性，在藝術家個人性操作下，圖像上標誌的溫度，揭示了戰爭的無差別攻擊，讓觀者意識一事件如何在現實─歷史─風格間流動。

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本次展覽「斷點續播」(Navigating Loops)，以六位藝術家作品中的「詩語言」，嘗試開拓一場後疫情時代下人們通過汪洋大海抵達未知彼岸的無盡旅程，而一場「流動的饗宴」 也將藉由水原國際藝術節(Suwon International Art Project) 與水原國際攝影節(Suwon International Photo Festival)的台灣交流開啟。

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The loop is an undomesticated figure that refuses access and leaves its wanderers prey to the horror of never ending detour. ── Alina Popa, Unsorcery, X: Navigating Loops.

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Having a similar historical background, Taiwan and South Korea are both seaside countries, and their rich cultural landscapes have been influenced by the ocean for many years. It has vaguely twisted many differences in their shared commonality. The “Sea” is viewed as the medium connecting several islands on the map, which not only echoes the exchange between Taiwan and South Korea, but also reflects a kind of landscape enriched by arts and humanities, conveying the character of openness and flexible vision. Today, the world of contemporary art seems to be trapped in a closed circulatory system in the post-pandemic environment. Now with the re-opening of ports and the gradual opening of borders, what kind of lasting structural effect will it have on the fast-changing pandemic era? What chemistries produced between countries around the world after reconnection can be discovered? A loop action is just like a song that can be accelerated, stopped, or replayed to turn the repeated process into a series. This year, Waley Art curates the Taiwan Pavilion. The exhibition will take the “sea” as its main theme. Using the metaphor of the “voyage”, the show will showcase how artists create a symphony of resonant and harmonious movements in accordance with their distinct insights and imaginations.

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Being in a vast ocean, like being immersed in the never-ending spiral of the pandemic in a state of dazed and loss. A moving image shows that people are all eager to land ashore again. Finding a breakthrough in daily life becomes the main goal to respond to the reality. The exhibition “Navigating Loops”, is borrowed from Alina Popa’s “X Horizon: The Black Box and the Amazonian Forest” (2018). A chapter title in the article: X: Navigating Loops. The words “Navigating” and “Loop” seem to have different directions in the movement. People are constantly resetting a possible way to reach their final destination, but they can only reincarnate in this process indefinitely. The word “loop” is explained in the book: “The loop is an undomesticated figure that refuses access and leaves its wanderers prey to the horror of never ending detour.” In response to this exhibition, centered on the image of sailing, if the “navigating loop” means a new normal under the post-pandemic period (The New Normal), the concept and the action of returning to individuality through different artists is displayed in the creation of the journey encountered in countless navigations. Landscapes may be able to illustrate a new page of life. In this show, cyclical movement become dynamic rhythms that contrast and blend with each other, leading the viewer’s horizon to the possible land.

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Wang Shao-Gang’s work “Deep Blue” (2019), by capturing the teenagers playing on the beach, reflects the ambiguous relationship between the young generation and the stages of adult socialization in the roaring waves. It becomes a metaphorical symbol of the “unknown” and responds to the daze and uncertainty of today’s varying environments. The creative methods of Hong Jun-Yuan’s work “Gap/Seam”(2021) mix the script and the actor’s personal life experience. The multiple deconstructions of the word “Gap/Seam” present a journey of escaping with light in the cracks. The sea becomes a symbol of freedom, constantly disturbing the meaning of life under the manipulation of the images, even the preservation of narration and dialogue.

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Su Chang-Ching’s work “The Political Theater” (2018-2022) examines the political indifference of the younger generation. Filming the playful, contradictory and conflicting campaign scenes during the election, his photography works emphasize the unique scenery caused by the very high density of population in Taiwan. Following, Chen Yung- Hsien’s series works “A Good Day in the Plague: Self-Quarantine” (2020) and “A Good Day in the Plague: Social-Distancing” (2020) reflect on the daily life under The New Normal through materializing the isolation boundaries between individuals. Highlighting today’s ambiguous public and private fields that people should self- control under surveillance. Chen I-Hsuen’s work “Still Life Analysis II: The Island” (2015-2016) photographed the paradoxical scene of homeless people on the traffic island of Civic Boulevard and the real estate propaganda sheet picked up by the surroundings to showcase the juxtaposition of the re-created “poems”. His works express the artist’s exploration of “foreign objects” and the epitome of the contradictions of reality. The islanders absent in the picture also hint at unresolved societal issues. As a work before the pandemic, it allows viewers to reflect on the various restrictions of the epidemic and the diverse situations of different ethnic groups.

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Zheng Wen-Hao’s work “Off-Axis Waltz” (2022) consists of motors in constant operation, which drive the charcoal to leave a moving trajectory in space. By mobilizing the installation elements and setting positions, the set journeys are displayed in the arcs left by the constantly returning motion and worn materials, making the space a kind of poetic writing spectrum. Lan Chung-Hsuan’s works “Residual Heat(objects))(2021) and “Target Sheet’s Flying Time” (2021) were recreated by objects of war, and the removal of identifiable symbols shows the purity of a certain “object”. Under the artist’s manipulation, the temperature of the mark of the images reveals the war’s indiscriminate attack. It makes the viewer realize how an event interweaves in reality, history and styles.

The exhibition “Navigating Loops”, within the flow of “poetic language” in the six artists’ works, attempts to open up an endless journey of people reaching the unknown shore in the post-pandemic era. There will be a “Moveable feast” titled: Taiwan Pavilion served during the Suwon International Art Project and the Suwon International Photo Festival.

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