是什麼使今天的影像如此不同，如此有魅力？
鳳甲美術館，台北
Just what is it makes today’s image so different, so appealing?
Hong-Gah Museum, Taipei
2021
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此展覽名稱改自英國藝術家理查・漢密爾頓（Richard Hamilton, 1922-2011）在1965年的作品《是什麼使今天的家庭如此不同，如此具有魅力？》（Just what is it that makes today’s homes so different, so appealing?），以「影像」置換原作品裡「家庭」的位置，在現實與虛構的模糊地帶中，思考媒體影像以何種位置介入人的自我意識、社會價值、城市風景等，與影像建構的世界形塑出社會景觀的過程。

此策展計畫的問題意識將聚焦在，影像如何藉由技術媒介形塑我們的社會景觀外，同時也試圖在作品的安置過程解構影像的意義，經由展覽標題對普普藝術作品名稱的改寫，將它在藝術史中美學論述發揮的推進作用，作為此展覽的註解。在王雅慧、黃海欣、張卉欣、莊培鑫、蔡宗勳、鄞冠宏與謝佑承等，七位藝術家不同的創作脈絡與迥異的作品形式擱置媒材分類框架，並刻意模糊光、影像與螢幕在媒材基礎上的差異，從當代藝術對影像媒介再次美學化的過程，重新描繪與推進影像在當代藝術中的論述框架，且在解構與建構同時並進的前提下，提出一種不同於敘事影像的影像美學觀點。

The problematic of this curatorial project shall emphasize how images shape our social landscape via technological mediums, while seek to deconstruct the meaning of images in the installation process of works. Through adaptation of the pop art work’s title into that of this exhibition, it adopts the force of promotion on the aesthetic discourses in the art history as the annotation of this exhibition.

While the diverse creative contexts and varied presentations in the works of the seven artists, i.e. Wang Ya-Hui, Huang Hai-Hsin, Chang Hui-Hsin, Chuang Pei-Xin, Tsai Tsung-Hsun, Yin Guan-Hong, and Hsieh Yu-Cheng, put aside the framework for material classification and purposefully blur the differences among light, images, and screens in terms of material, they re-illustrate and advance the discourse framework of images in the contemporary art through a second aestheticization of image medium by the contemporary art. Meanwhile, an image aesthetic perspective distinct from narrative image is proposed on the premise of concurrent advancements of deconstruction and construction.