Where End Is Silent
- 2022, single-channel video, five-channel sound, Dimensions variable.
2022 TAIWAN ART BIENNIAL: Love and Death of Sentient Beings
November 05th – March 05th, 2023, National Taiwan Museum of Fine Arts
Curatorial Perspective
A bridge across a courtyard is an unfamiliar link between existence and non-existence – floating, in emptiness. This artist attempts a back and forth of imagery, among sound, images, and space, echoing the structure of the venue and exploring the interplay and coexistence of front and back, up and down, past and future. Staggered, reverberating, and strange sounds tear at the anchoring points of the virtual and the real, as recurring absurd images reflect the start of the end. Cheng makes use of a multi-channel system he has studied in recent years to present his sound designs, experimenting with relationships between sound and space: variations in and blurring of sound textures and phases and compression and stacking of boundaries between texture and perception.Creation Description
Where End is Silent is a mixed media work that was produced by Cheng Dao-Yuan for the “2022 Taiwan Art Biennial.” A bridge across a courtyard is an unfamiliar link between existence and non-existence – floating, in emptiness. This artist attempts a back and forth of imagery, among sound, images, and space, echoing the structure of the venue and exploring the interplay and coexistence of front and back, up and down, past and future. Staggered, reverberating, and strange sounds tear at the anchoring points of the virtual and the real, as recurring absurd images reflect the start of the end. Cheng makes use of a multi-channel system he has studied in recent years to present his sound designs, experimenting with relationships between sound and space: variations in and blurring of sound textures and phases and compression and stacking of boundaries between texture and perception. More than a reverse extension of the end, this video installation is like a door frame bound in reality. Using different methods to destroy and displace, Cheng then reconstructs the content of images, with contrast and reflection the main axes for expression. Driving the instinct for direction within the space, he elicits a dormant desire to move, leading to an opposing self-image in the end. Guided by sound and images, embodied cognition is established.以橫跨天井的空橋畸零地出發，將其視為存有與非在間的一道陌路—立於浮空，盡於虛空。試圖將意象往返於聲音、影像與空間中，與場域結構相呼應，藉此探尋前與後、上與下、過去與未來等對相關係的交錯與共存。錯落迴盪的異聲劃開虛實的錨點；循返層謬的影像反射盡頭的起點，他以近年鑽研的多聲道系統作為聲音設計的呈現方式，依此實驗聲音與空間的關係：不同聲音紋理及相位的變化模糊、壓迫並堆疊質與感的邊界。
〈盡音〉是鄭道元於「2022台灣美術雙年展」限地製作的複合媒材作品。以橫跨天井的空橋畸零地出發，將其視為存有與非在間的一道陌路－－立於浮空，盡於虛空。試圖將意象往返於聲音、影像與空間中，與場域結構相呼應，藉此探尋前與後、上與下、過去與未來等對相關係的交錯與共存。錯落迴盪的異聲劃開虛實的錨點；循返層謬的影像反射盡頭的起點，他以近年鑽研的多聲道系統作為聲音設計的呈現方式，依此實驗聲音與空間的關係：不同聲音紋理及相位的變化模糊、壓迫並堆疊質與感的邊界。除了作為盡頭的反向延伸外，影像裝置如繫於現實的一落門框。他以不同手法破壞、錯置後再重構影像內容，以對立及反射作為表現主軸。試圖依此於空間中驅使方向的本能，引出蟄伏的欲動，於末端作為對向的自我象徵。被聲音驅使，被影像牽引，具身認知得以成立。