《 #籠罩下的巨大哀愁 》
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詳細資訊｜https://reurl.cc/bXy09v

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A Dark Cloud of Sorrow Looms Over

by Yu-Jun LIN

Late mornings and sleepless nights. Frustration. Anxiety.

They seem to have infiltrated our consciousness and entered our dreams. We recognize the shape of eaves, the folding line of streets, and return to our dwelling coordinates where we hide and live. We see restless men and women in full feather wandering through the brightly-lit city and then sitting shoulder to shoulder with countless strangers, between countless walls.

In the 1970s, urbanism started paving its way into Taiwan. Bidding farewell to the landscape of an agricultural society, life thus became crowded and repressive in cities. The meaning of “urbanism” does not merely lie in towering skyscrapers but in altered landscapes, living conditions, isolation and loneliness as well as increasingly complex social issues. Submerged in the capitalist system, every person has been assumed as a tiny component, whose labor force is needed by the whole mechanism, but not with one’s individuality as well.

However, the construction of liberalism constantly reminds us of our own subjectivity, along with the importance of being viewed as a whole. Such contradictory values leads to extreme unease and confusion that keeps building up and ceaselessly floods our minds with external chaos. As worries that never subside loom over us, we are forced to retreat to our dwellings, where we are perfectly alone, and safe. We can uninhibitedly be ourselves – yet under the lingering dark cloud of sorrows.

Frustrating questions as “Who am I?” seem to return in lonesome nights, invariably. When night falls, myriads of dazzling lights glisten in innumerous windows at the near distance. Gazing into the dreamlike, transient light, we recall things we hope to seal for good in our troubled mind. We question again and again, about what role we should be playing to integrate into the society but still maintain the integrity of our own subjectivity.

A Dark Cloud of Sorrow Looms Over features eight selected pieces and delineates the question of how people, as individuals, should coexist with others, a question deriving from urbanites’ perceptual conflicts experiences.

Zheng Er Qi | People
“People” mirrors the phenomenon of Taiwan’s transition from being an agricultural society to city since 1970. It precisely portrays everyday urbanity that people nowadays are familiar with: Although millions of people reside on one spot, their recognition of one another fails to grow with urbanization, despite the presumable nearness.

Chung Chih Ting｜I Am by Your Side
With the explanation by an offscreen sound and the roleplay image, “I Am by Your Side” depicts how urbanites try to be in company, revealing people’s natural urge for social connection. Yet it ends up to be talking to oneself or pointless mumbles, simply a futility of communication.

Wu Bo Sian | Chimps with Mona Lisa’s Smile
In the video, the chimpanzees form a spectacle, say, abnormality, in a seemingly normal context. “Chimps with Mona Lisa’s Smile” is a response to conflicts between public administration and individual freedom, zooming in on the contradictions or constraints between all the intervenable and the non-intervenable in everyday scenes.

Wang Ding Yeh | One-One
“One-One” depicts how people try to maintain an intact, rational space of survival while sometimes fail to avoid transgressing, under limited resources in a highly competitive society. With much precision, it captures the specific default interpersonal distance, and poses the question: How should each person navigate to find the best living posture at the moment?

Tsai Jie | When the Dust Settles
“When the Dust Settles” shows people restlessly beating on a possible exit to get out. However, does such an exit really exist? Or is it simply a delusion stemming from one’s untamable impetuosity? The work reflects the desolation of men and women, who are rumbustious, but aimless.

Huan Yen Chiao | 1, 2, 3. Are You Already in Hiding, Fish?
Fish in the bowl resembles people trapped in cities: extravagant outfits, splashing neon lights; sensational visual effects indeed. “1, 2, 3. Are You Already in Hiding, Fish?” presents how people escape from their anxiety and weariness for the time being. The work highlights the entire incompatibility and a sense of solitude after one’s subjectivity is highly developed.

Wong Shu Lian | I found myself floating and sinking down once in a while
The work addresses the enduring controversy between liberalism and capitalism that have been engendering people’s inner conflicts. It captures one’s self-doubt and angst in a profound way while, by exploring how to determine one’s best position, raises the ultimate question – Who are we after all?

Chen Chia Jen | SWEETWATER
“SWEETWATER” was born under Chen’s reflections during his artistinresidence experience in Southeast Asia. Between people living in urban and rural areas, there is a grand difference of perspectives, regarding how to survive and live a good life. It implies the fact that the widely-recognized future image, constructed by our society, might not be as clear or real as it seems, or perhaps what people accepted is simply a vague, even somehow out-of-focus, prospect.
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《籠罩下的巨大哀愁》展覽資訊
展覽日期｜2021/08/07(Sat.) ─ 09/12(Sun.)
展覽地點｜台北當代藝術館廣場電視牆 MoCA Plaza LED TV Wall
播映時間｜ Mon. ─ Sun. 16:00-21:00

特別感謝｜ 贊助單位
厭世會社 @mis.society

#王鼎曄 #吳柏賢 #陳嘉壬 #黃彥超 #黃淑蓮 #蔡傑 #鄭爾褀 #鍾知庭 #林郁晉 #A_Dark_Cloud_of_Sorrow_Looms_Over
#MisanthropeSociety厭世會社
#厭世會社

Lot.153 Dame Jane Goodall（珍‧古德）致胡志強親筆信札、《大地的窗口－－珍愛猩猩三十年》（Through A Window : My Thirty Years with the Chimpanzees of Gombe）簽贈本
作者：珍‧古德（Dame Jane Goodall）
出版：格林文化出版
出版時間：1996年初版
裝幀：信札1紙、平裝1冊
尺寸：17.5×26cm（信札）、15×21cm

「只要你的眼神充滿溫柔，沒有傲慢之氣，黑猩猩會了解，甚至會用同樣的眼神回應。那樣－－至少是我的一個夢想－－彷彿眼睛是透視心靈的窗戶，只是，這扇窗戶的玻璃並不透明，窗內的奧秘依舊令人無法盡釋。」
－－珍‧古德（Dame Jane Goodall）

此書為珍‧古德《大地的窗口－－珍愛猩猩三十年》中譯初版本，為終生奉獻於黑猩猩、動物以及環境保育的珍‧古德博士於1996年首度訪問臺灣時簽贈胡志強先生（Jason Hu），並附親筆信札，內容主要為感謝胡志強邀請其訪問臺灣並兼及其它事宜。此書中所引用珍‧古德的這段話不僅相當具體且傳神，以其作為珍‧古德畢生致力於黑猩猩與動物保育工作之象徵，亦十分貼切。

1996年，珍‧古德應時任中華民國新聞局局長的胡志強邀請來臺灣訪問。由於當時臺灣社會的動物保育觀念仍嫌不足，珍‧古德聽聞當時華西街有商家圈養紅毛猩猩當眾表演，還有店家以殺蛇招攬觀光客等現象，因此向胡志強表示，希望解除上述這些困境，她才願意來臺。胡志強得知後盡了相當大的努力，終於促成珍‧古德首度來臺訪問，而臺灣也成為珍‧古德第一個訪問的亞洲國家，並於1998年成立臺灣國際珍古德教育及保育協會。此後20餘年間，珍‧古德幾乎年年造訪臺灣，可說與臺灣這塊土地情誼深厚。2020年6月珍‧古德更成為臺灣唐獎（Tang Prize）「永續發展獎」得主，以表彰她終身在地球環境保育工作、對於永續發展無與倫比的奉獻。

珍‧古德於1996年10月間首次抵臺訪問，由於當年臺灣正值首次總統民選與臺海危機，胡志強已於6月由李登輝總統任命接任中華民國駐美代表，人並不在臺灣，因此珍‧古德並未和胡志強見到面。此簽贈本與這封珍貴的親筆信札即是珍‧古德寫贈給胡志強先生，珍‧古德在信中感謝胡志強邀請她訪臺，對胡促成此次訪問所做許多努力表達謝意，並表示此次臺灣行是十分美妙的一段時光，她遇到很多讓人愉快的人們，還特別提到自己非常喜歡胡志強的「beautiful candy」（太太或女兒？不得而知），她也期待再與胡見面，與他分享此行訪問的點點滴滴等。

珍‧古德女爵士（Dame Jane Goodall，1934〜），英國生物學家、動物行為學家、人類學家、聯合國和平大使與動物保育人士。珍‧古德長年致力於黑猩猩的野外研究，並獲得了豐碩成果。從1960年起，她在非洲坦尚尼亞（Tanzania）的貢貝溪國家公園（Gombe Stream National Park）從事黑猩猩社群的野外觀察與研究，其研究成果糾正了學術界對黑猩猩此一物種長期以來的許多錯誤認識，也揭示了黑猩猩社群中許多鮮為人知的秘密。1960年她發表有關黑猩猩會製造以及使用工具，如用樹枝釣白蟻的發現，震驚了科學界，同時改寫了人類與動物的關係。

除了黑猩猩保育與研究外，珍‧古德更投身於環境教育和公益事業。1980年代開始，她注意到世界各地森林砍伐加劇，造成黑猩猩族群數量下降，促使她走出非洲，投入全世界範圍的環境保育工作。由她創建的國際珍古德協會（The Jane Goodall Institute）是著名民間動物保育機構，在促進黑猩猩保育、推廣動物福利、推進環境和人道主義教育等領域貢獻卓著。1991年起，她推動「根與芽」（Roots & Shoots）國際環境教育計畫，是目前全球最活躍，以青年為主要對象的環境教育計劃之一。

2020『清風似友』台北古書拍賣會
預展：12/11(五)-12/12(六) 11:00-18:00
拍賣：12/13(日) 13:30開始
活動地點：誠品信義店3F Forum

#珍古德
#JaneGoodall
#黑猩猩

Thank you President Paul Biya. This is an important step to protect Ebo Forest. #SaveEboForest

基尼最喜歡甜甜的棒棒糖了，誰知可惡的小偷，既然在基尼睡著的時候，偷走了基尼的棒棒糖！太過分了！絕對不能放過他，天啊！巨人小偷既然還抓了精靈先生，基尼趕快去救精靈先生啊！朋友們~基尼今天是否能打敗小偷，救出精靈呢？一起來確認一下吧~gogo

☆ 請訂閱基尼的頻道 別忘點贊??

☆ 基尼的instagram - jini_pinkpink
【 https://www.instagram.com/jini_pinkpink/ 】

☆ 嘿基尼的頻道
【 https://www.youtube.com/channel/UCdet... 】

Found the video of the chimpanzee playing the diatonic harmonica online earlier. Figured he had played with a pretty good sense of rhythm, which makes it possible to jam over. True pleasure to jam with our human cousin.

Chimpanzees are confused why I’m outside?🤣🤣🤣 Monkey Mask Joke