Section 2 | Si Wei Hall, Art & Culture Center Hall
Second Person: Observation
在展區【第二人稱：觀看】中，《 無知無覺 》選擇在政大最指標性的建築—四維堂創作全新窗花作品，吳耿禎將觀念性降低，回歸到單純模擬植物在校園各處無聲蔓延點綴空間的特性，讓重點圍繞在觀眾發現／忽略作品的體驗上； 《 炙陽 》則放棄在紙面上納入大量細節與故事性、一樣選擇了高度重複的窗花結構作為作品基調。Tim說：比起貼著臉近看燒炙的作品細部、他更希望觀眾的眼光可以穿越作品縫隙、看到後方由光組成的空間與世界。觀眾當下觀看湧出的感覺與心緒，才是作品真正完成的一刻。
Although "participatory art" is a form of artistic practice that did not exist until recently, in the well-known essay "The Death of the Author" (1968) of post-structuralism scholar Roland Barthes, spectatorship is the perspective that has the decisive edge in the creation of a text. In other words, Barthes was essentially extending, as early as in the late 60’s, the perspective of you from the audience’s side. Thus in recent times, many artists have decided to follow suit and let go of the "right" to interpret what his/her own work signifies; instead, they have begun to accentuate how the viewers are going to experience such works as the core context during the art creation process.
In the second exhibition section, Wu chose to create his work Senseless in the most symbolic building of NCCU - Si Wei Hall. The brand new papercutting work as window décor is less conceptual. It goes back to the basics and simulates how plants, in an unnoticed manner, thrive on campus and decorate the surroundings. In this sense, the focus revolves around how viewers should spot/overlook this particular work. Similarly, Budden’s work, Burnt Sun, does not incorporate too many details or stories behind. Instead, the artist adopts a highly repetitive structure as the foundation of this piece of window décor. Budden relates that he wants the viewers to see through the work and appreciate the light and shadow behind, rather than simply watching the delicate burnings of the work, and the work cannot be considered complete without sparking the audience’s inner emotions upon the very gaze at it.
Si Wei Hall Venue
The artist uses the plants at the library as the topic of portrayal, in response to the five senses of human and the quietness of plant. At Si Wei Hall, the historic building at the entrance of NCCU, the large window glass lets in an abundance of sunlight and the enlarged silhouette of plants seems to undergo the process of photosynthesis, forming a beautiful window décor in a building established in the era of modernism.
【 展區介紹 Venue Introduction 】
Art & Culture Center Hall Venue
These artworks are inspired by Chinese latticework design as found in traditional wooden screens and windows. The purpose of these decorative screens was to allow air and light to pass through from one space to another in buildings. They also allowed people to peer through. These highly formalized yet decorative lattice designs emphasized stability, unity and continuity. In the process of making these artworks thick paper is first cut then burned. During the burning process the fire is difficult to control and the highly rigid lattice structure begins to disintegrate. This disintegration hints at instability and a world in flux. It also hints at the circle of life in which fire is a key element as it can destroy, create and purify.
【 展區介紹 Venue Introduction 】