給火星人類學家

杜立安・高登
杜利安．高登在美國紐約從事雕塑和裝置的創作，擅於打造徒有動力、卻沒有明確移動目的機械裝置。這些擬人化的作品本身，往往誘發觀者的質疑物的本質，同時反映了人類與物質之間的微妙關係。

代罪者
2020｜互動響應式網頁
九件陶瓶同時在線上票選網頁上展示。展期間，參觀者受邀票選出最醜的一件。每週得票數最高的陶瓶將在實體展區中被砸碎在地板上。隨著展期的進行，網頁持續更新的同時，參觀者可就現有的陶瓶進行投票。當展覽結束時，僅存一件陶瓶。
https://martian.beauxarts.tw/artwork/dorian_gaudin_pharmakos


Dorian GAUDIN
The New York-based artist works in sculpture and installation. His installations often include masterfully engineered machines that lack any explicit purpose, yet move spontaneously, animated from within. These autonomous and unpredictable artworks of personification allow viewers to question the nature of objects and reflect a subtle relationship between human beings and objects.

Pharmakos
2020｜Interactive and responsive web page
9 ceramics are displayed on a web page with online voting. During the exhibition period, visitors are invited to vote for the ugliest one. At the end of each week, the ceramic with the most votes is smashed to pieces on the floor of the physical exhibition space. As the weeks go by, the website is updated permitting visitors to vote for the remaining ceramics. When the exhibition comes to an end, only 1 ceramic stands.
https://martian.beauxarts.tw/artwork/dorian_gaudin_pharmakos

艾瑞克・瓦提耶
法國藝術家瓦提耶從事印刷作品已超過廿年的時間，包括影印、書籍、海報、傳單與明信片，其流傳最廣的形式是僅有四頁的「薄書」。2006年出版的《塊磚》集結藝術家卅多本小冊，由可撕離的紙頁堆砌而成塊狀書形，透過網站（www.ericwatier.net）提供免費下載。藝術家恣意運用各種開本規格，同時以幽默的方式顛覆傳統的通路模式。

張君懿
張君懿以藝術家和策展人的雙重視角，思考創作與策展相融共生的可能性，探索如何在不同藝術領域之間觸發共通創作思維及其潛在的多向連結。

艾瑞克．瓦提耶 × 張君懿
低調的作品—向布勒哲爾致意
2020｜互動響應式網頁

《低調的作品—向布勒哲爾致意》在此被轉換成尋找隱藏物件的線上遊戲，作品中的所有句子以及圖畫被共同展開在同一個畫面上，使用者可以透過依次出現的句子與圖畫，找尋畫面中相應的圖像。
這件作品的想法是來自於1559年老布魯哲爾的一幅名為《尼德蘭諺語》的畫作。老布魯哲爾將當時流傳在尼德蘭民間的一些有關人類行為的諺語，描繪成一幅圖畫。法國藝術家艾瑞克．瓦提耶（Eric Watier）則將圖畫上的人物動作，轉譯成一連串簡單的人類行為指令，如：「把拿頭去撞牆」、「對著月亮撒尿」、「把玫瑰花送給豬」、「把頭放在烤箱裡」等等。接著，張君懿再將這些文字與布魯哲爾的畫作，拆解成網頁圖文素材，轉換成一個線上互動響應式的遊戲頁面，邀請觀眾根據畫面中出現的行為指令，去尋找相應的人物動態。每找到一個，黑白線描的圖案就會變成彩色。當尋獲所有指令與圖像的對應關係之後全，老布魯哲爾畫作的全貌便會顯現。
https://martian.beauxarts.tw/artwork/eric_watier_chang_chunyi_discreet_works_1559

Eric WATIER
For over twenty years, the artist has been producing printed works: photocopy, book, poster, leaflet, postcard and so on. The most common form in his work is a “thin book” of four pages. In 2006, he published BLOC, composed of more than three hundred of his small books in the form of a block of detachable sheets and downloadable freely on the website: www.ericwatier.net. The artist abuses as such the formats and overturns with humour the classic modes of distribution.

Chun-Yi CHANG
Chang works as both curator and artist, adopting a dual perspective to reflect upon the possibilities of a mutual symbiosis between creative conception and curatorial practice while exploring ways to prompt creative thought in common and potential, multi-directional connections in various disciplines. 

Eric WATIER × Chun-Yi CHANG
Discreet Works (thanks to Bruegel)
2020｜Interactive and responsive web page
Discreet Works (thanks to Bruegel) has been transformed into an online game with hidden objects to be found. On the same screen are displayed in sequence all the sentences and drawings according to which users have to look for the corresponding images.
https://martian.beauxarts.tw/artwork/eric_watier_chang_chunyi_discreet_works_1559

克羅德・克勞斯基
2005年法國「杜象獎」得主，過去廿年來法國當代藝術家的指標人物之一。作品的媒材形式十分多元，涉及繪畫、雕塑、攝影、錄像、拼貼、寫作與有聲作品。其創作多源自對媒體與人際溝通的細膩觀察，關注著當代社會的消費議題。

拍賣價
2019-2020｜無限循環的互動網頁
《拍賣價》網站以好玩有趣的方式，鼓勵展覽參觀者、網路使用者或是火星人，去體會在地球上流通的影像與藝術的價值。
https://martian.beauxarts.tw/artwork/claude_closky_hammer_price

Claude CLOSKY
Laureate of the Prize of Marcel Duchamp in 2005, and one of the leading figures of contemporary art in France over the past twenty years. Based on a keen observation of the media, interpersonal communication and consommation in contemporary society, his work resorts to different art forms, such as painting, internet, sculpture, photograph, video, collage and audio creation.

Hammer Price
2019-2020 | Interactive website unlimited duration
The website Hammer Price is a playful way to encourage visitors of the exhibition, netizens, and Martians to figure out the value of images, the value of art circulating around Planet Earth.
https://martian.beauxarts.tw/artwork/claude_closky_hammer_price

齊簡
齊簡的作品橫跨了繪畫、裝置與影像等多種媒材，透過研究光影、感知行為和場所機制，在表面／深度、想像／客觀現實之間實驗各種可能性。於他而言，創作是一個從創作者成為觀者的過程，試圖透過單純的方式，把「看」本身的複雜性實踐出來。

魚缸實況
2020｜互動響應式網頁
藉由訪客對頁面的點按，畫面中的明暗與空間將被切換，這像是身體的移動與占領，隱隱約約地為我們供給一種特殊的漫遊路徑，一種對「現場」概念的回應。這像是我們在生活中的尋常經驗：當我們進入屋內，通常第一件事是尋找電源開關，然後將電燈打開；離開時，將燈關上，去到下一個地方。
https://martian.beauxarts.tw/artwork/chi_chien_fish_tank_on_live


Chien CHI
Chi Chien's work spans a wide variety of media, from painting, installation to video by which the artist constantly explores the conceptual boundaries (limits) of art as a medium, behavior and subject. Through the study of light and shadow, perceptual behavior and site mechanism, he experiments various possibilities between surface and depth, imagination and objective reality. The artist believes that creation is a process where a creator becomes an observer. By a simple and pure manner, he intends to put into practice the complexity of “seeing” itself.

Fish Tank on Live
2020｜Interactive and responsive web page
By visitors' clicks on the page, the shading value and space on the screen will be altered. As the displacement and occupation of a body, the work provides us vaguely a special itinerary of promenade, and a response to the concept of“site.”It is like a common experience in our life: upon entering the house, we usually look for the light switch first and turn it on; leaving, we turn it off and move on.
https://martian.beauxarts.tw/artwork/chi_chien_fish_tank_on_live

陳萬仁
陳萬仁的創作以錄像藝術為基點，聚焦在影像的循環，並拓展影像至空間裝置、劇場體驗、跨媒體合作等。他的作品對重複的生活行為提出深刻洞察，並使觀者感受到一種淺淡的荒謬和幽默。

I'M LITTLE BUT I HAVE BIG DREAMS
2020｜互動響應式網頁
鳥瞰的視野，獨立於所有之上，在空中能清楚看見所有地界，那些我們以為模糊不清的，在拉高了距離之後，都顯得再清晰不過。迥異於自然之景的遼闊彩塊，人類之景乃是散落的點狀與分區的格子，彼此的間隔猶如毫不猶豫道下的句點。
https://martian.beauxarts.tw/artwork/chen_wanjen_im_little_but_i_have_big_dreams

Wan-Jen CHEN
With a focus on video art, the Taipei-based artist diligently explores the possibility of moving images--from space installations and theatrical experiences to interdisciplinary experiments. His work implies a sharp observation of the behaviors in the routine lives and projects a light sense of humour and absurdity. 

I'M LITTLE BUT I HAVE BIG DREAMS
2020｜interactive and responsive web page
Independant and above all in the firmament, a bird's eye view covers precisely all the boundaries on the earth. What is supposed to be vague in the eyes of human beings, with an altitude advantage, cannot be more clear. In difference to the scenes of vast, colorful blocks forged by Mother Nature, those by human beings are of scattered dots and partitioned lattices whose intervals are like, without hesitation, a marked period.
https://martian.beauxarts.tw/artwork/chen_wanjen_im_little_but_i_have_big_dreams

「魚總是這樣，不知道自己在水裡。」——蒂埃里・德・迪弗

親愛的火星人您好：

歡迎登陸地球！
如果您已開始探查地球，我想要透過這個名為「給火星人類學家」的展覽，向您引介一些地球人的藝術作品。為了這一天，我們已準備了許久，因為您的到來早有預言；1989年，比利時藝評家蒂埃里・德・迪弗在《以藝術之名——為了一種現代性的考古學》這本書中透露了此事：「您從火星來到地球，您對地球一無所知，因此您沒有任何成見（除了身為火星人所帶有的成見）⋯⋯」 ¹ 。他描述了對地球文明尚一無所知的您，開始觀察人類的風俗、儀式和神話，希望從中得出一個常理，以理解地球人的思維和社會秩序，並且一步步探索人類所名之為「藝術」的事物（這也間接地邀請讀者，暫時以外在於地球人的視角，重新審視藝術世界，以暫時拋開看待藝術時早已深植而至無從察覺的「成見」）。

這是一個專為您籌劃的展覽（當然我們還是不斷地思考：究竟什麼是展覽的形成條件，為何它足以承載「藝術」這個專有名詞所涵蓋的事物）。現在，您可以透過「網際網路」這地球人所發明的空間對人類的藝術實踐田野進行考察（2020年，人類社會出現了「安全社交距離」的防疫用語，地球上不約而同出現了許多「線上展覽」作為實體展覽的替代方案，提供無法親臨現場的觀者一個線上觀看的界面 ² ）。而在此 ³ ，藝術家們以「網頁」作為作品發生的特定地點，亦即展覽實質發生的場所（雖然「親臨現場」一般被認為是展覽理想且理所當然的觀看方式）。此外，藝術家們還將線上作品擴延至實體展場，為遠道而來的您留下各式各樣的線索。

是的，在那裡，您所看見的文字、圖像、材料、物件等等乃與線上作品遙相指涉，共同組成一個提供您瀏覽作品、推敲創作思維的「索引界面」。參與的十五位藝術家包括來自地球各地的陳萬仁、齊簡、克羅德・克羅斯基、澎葉生、杜利安・高登、何采柔、謝佑承、徐瑞謙、賴志盛、李明學、牛俊強、郭文泰 × 河床劇團、時永駿、王雅慧和艾瑞克・瓦提耶。您將在這些作品的盤點中，觀察到人類創作行為的豐富面向，相信對您探索地球文明的工作能有所助益，期待您能在線上與實體兩種界面的反覆往返之間，一步步趨近人類名之為「藝術」的事物。

張君懿
2020年8月4日，於臺北

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¹ 蒂埃里・德・迪弗在此書中以火星人類學家為喻，引入不帶有地球人成見的觀點，探討人類名之為「藝術」的事物。此展從此假設所開展的想像出發，試問藝術家們希望提供什麼「給火星人類學家」，以作為其考察人類藝術實踐田野的線索；同時在2020年的今天，以此展回應作者在1985年寫下的文字（1989年出版）。參閱：Thierry De Duve, Au nom de l’art. Pour une archéologie de la modernité, Paris, Éditions de Minuit, 1989, p.9-65.
² 從此現象的反思出發，此展邀請藝術家以線上作品為起點，實體展場則為其延伸的界面，於其中佈署與線上作品遙相呼應的索引；透過兩者間的對應關係，重新思考「實體為主、線上為輔」的展覽／作品慣常觀看經驗。
³ 網址：martian.beauxarts.tw

As always, the fish doesn’t know it’s in the water. --Thierry de Duve

Dear Martians,

Welcome to the earth!

If you have started exploring around the earth, I would like to introduce some earthlings’ artworks to you by the exhibition entitled, To Martian Anthropologists. We have prepared for such a long time for your coming, prophesied already by the Belgian art critic, Thierry de Duve, in his book In the Name of Art. For an Archeology of the Modernity (1989): “You descend from Mars to the earth and know nothing about it. Therefore, you have no prejudice (except for that of seeing everything with the eyes of a Martian)....” ¹He describes that you start, without any inkling of the earth’s civilizations, observing human beings, their customs, rituals and myths, from which you hope to draw a constant, in order to render intelligible the earthlings’ way of thinking and the arguments that underpin their social order. Meanwhile, you explore step by step what human beings call “art.” (It’s also an indirect gesture to invite readers to re-examine the art world, from a temporary perspective beyond that of the earthlings as well as the deep-rooted, unconscious “prejudices” against art.)

This is an exhibition planned in particular for you. (Of course, we keep thinking about what on earth is the condition for an exhibition to take shape and why it is able to cover everything that the proper noun “art” signifies.) Now, via the “internet,” a sort of space invented by the earthlings, you can launch a field research of the human art practices. (“Safe social distancing,” an anti-epidemic slogan occurs in human society in 2020. As an alternative to physical exhibitions, many “online exhibitions” emerge spontaneously on the earth, as an online browsing interface for those who are not able to attend personally the site.²) In the official website, ³ the artists choose “web pages” as the specific site where their works take place, i.e. where the exhibition is substantially and actually inaugurated. (However, especially in the past half century, “attending personally the site” has been generally and ideally taken for granted as the way of seeing an exhibition.) In addition, the artists will extend the online works to the physical exhibition venue, leaving a variety of clues for you coming from far away.

Indeed, words, images, materials, objects and so on: all you see right over there refer in distance to the online works, thus constituting together an “index interface” which allows you to browse all the works and to elaborate the creative conceptions. Here are the 15 participating artists from all corners of the earth: Wan-Jen CHEN, Chien CHI, Claude CLOSKY, Yannick DAUBY, Dorian GAUDIN, Joyce HO, Yu-Cheng HSIEH, Jui-Chien HSU, James Ming-Hsueh LEE, Chih-Sheng LAI, Jun-Qiang NIU, Craig QUINTERO × Riverbed Theatre, Yung-Chun SHIH, Ya-Hui WANG and Eric WATIER. Inventorying the artworks, you will observe the rich aspects of human behaviors in creation. I believe it will be helpful to your exploration of the civilizations on the earth. I am expecting that, by shuttling between online and physical interfaces, you will be approaching what human beings call “art.”

Sincerely yours,

Chun-Yi CHANG
Taipei, August 4th, 2020

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¹ Thierry de Duve, Au nom de l’art. Pour une archéologie de la modernité, Paris, Minuit, 1989, p.9-65. The author borrows Martian anthropologists as a metaphor, in order to introduce a perspective beyond the earthlings’ prejudices and to explore what human beings call “art.” The exhibition conceived and developed from the author’s imagination tries to ask the question: what the artists hope to offer as clues to “Martian anthropologists” for their field research of the human art practices. At the same time, it serves as a response in 2020 to the words written by the author in 1985 (published in 1989).
² From the reflection of this phenomenon, this exhibition invites the artists to begin with the online works which deploy as an index echoing distantly the physical works in the exhibition venue as an extended interface. By the corresponding relationship, the exhibition encourages visitors to rethink the accustomed seeing experiences between exhibition and artwork: “physical works as primary, online works as secondary.”
³ Official website：martian.beauxarts.tw