展览现场｜唐纳天参展台北双年展“小世界”@台北市立美术馆

唐纳天，2023 第13届台北双年展「小世界」，展览现场

@台北市立美术馆

艺术家唐纳天的作品《漫游微观宇宙》（2023）参展第13届台北双年展“小世界（Small World）”，展期为2023年11月18日至2024年3月24日。

Nadim Abbas's new work Pilgrim in the Microworld (2023) is on view at Taipei Biennale: Small World from November 18, 2023 to March 24, 2024.

本届双年展邀请独立策展人周安曼（Freya Chou）、贝鲁特当代艺术中心总监及策展人莉姆·夏迪德（Reem Shadid）和纽约资深作家与编辑穆柏安（Brian Kuan Wood）以有机协作的方法共同策划，汇集来自20多个城市共58位艺术家、音乐人，透过个人生命经验与美感知觉，将台北市立美术馆（北美馆）转化为一个聆听、聚集与即兴创作的空间。

Organised by Taipei Fine Arts Museum (TFAM), Taipei Biennial 2023 is organically co-curated by independent curator Freya Chou, director and curator of Beirut Art Centre Reem Shadid, and New York-based senior writer and editor Brian Kuan Wood, the Biennial will feature works from over 20 cities and 58 local and international artists and musicians under the title of “Small World”, transforming the museum into a space of listening, gathering, and improvising through life experience and aesthetic perception.

唐纳天，2023 第13届台北双年展「小世界」，展览现场

@台北市立美术馆

唐纳天

《漫游微观宇宙》（局部），2023

混合媒介装置（建筑砂、镀锌钢、颜料染色水）

尺寸可变

唐纳天的创作带领观者进入并探索想像力的奇异幽深之处。经常可见他的装置作品以复杂、暧昧不明的情境，挑战人类认知的界限，重新形塑我们对看似熟悉环境的感知，尤其擅长将微型化科技、建模和游戏等技术慧黠地揉入创作中。在本届台北双年展中，身兼艺术家及音乐人身份的唐纳天，建造出一个紧致的“沙盒”地形，以延续他对微型立体透视模型美学的探查。

Nadim Abbas's work invites us to embark on a journey through strange recesses of the imagination. His installations present ambiguous scenarios that challenge the threshold of human cognition, reconfiguring our perception of seemingly familiar surroundings. Technologies of miniaturization, modeling, and play are Abbas's technical and cognitive instruments. He is also a musician. For the Taipei Biennial 2023, Abbas continues his investigation into the aesthetics of miniature dioramas with the construction of an elaborate"sandbox"terrain.

唐纳天，2023 第13届台北双年展「小世界」，展览现场

@台北市立美术馆

作品《漫游微观宇宙》以各种沙堆模型与钢板结构排列出一幅布局图；混淆了我们日常对尺度的感受。若从不同视角观之，这些模压成型的块体会越看越像错落在战场上的碉堡，或是战事后勤作业残留下的普通物件，持续进行著毁灭与再生的循环。双年展期间，沙堆一旦崩塌便会被置换，以此象征性地与技术发展的进程相互对应；作品在晶片和碉堡之间拉出对等关系，企图揭露许多显而易见，但尺度有异的复杂连结，因而当观众由上往下俯视时，这些连结便绘制出一幅貌似印刷电路板或晶片的配置结构。

In Pilgrim in the Microworld (2023), various modules of sand and steel are arranged in a configuration that confuses our everyday sense of scale. From a different perspective, the molded forms also start to resemble clusters of wartime bunkers, or generic remnants of logistical infrastructure that, when viewed from above, recall printed circuit boards or microchip architecture. They are subject to an ongoing process of ruin and regeneration, both within the duration of the exhibition (as the crumbling sand forms are replaced) and in figurative relation to the onward march of technological progress. Such equivalences between microchips and bunkers reveal complex associations that exist in plain view but at very different orders of magnitude. 

唐纳天

《漫游微观宇宙》（局部），2023

混合媒介装置（建筑砂、镀锌钢、颜料染色水）

尺寸可变

唐纳天对“可扩缩性”（scalability，另译为可测量性、规模化）的概念相当感兴趣，这是指一个实体在不扭曲其基本特性的情况下相对规模的能力。在科技、商业和物流等领域，可扩缩性则代表着不惜一切代价追求扩张或成长。“可扩缩性留下越来越多的废墟”，提出这个观点的人类学家安清（Anna Tsing），其理论著作对唐纳天的思维与创作有着深切的影响。然而，唐纳天追求的并非是无限扩张的可能性，而是希望让我们重新去认识界限，以及那些不可扩缩的新元素。

Abbas has an overarching interest in scalability, the capacity for an entity to be changed in relative size without distorting its fundamental identity. In the worlds of technology, business, and logistics, scalability can denote the need to expand or grow at all costs. Anthropologist Anna Tsing, whose theoretical work informs Abbas's practice, has observed "the mounting pile of ruins that scalability leaves behind". What Abbas is after, however, has less to do with the possibilities of infinite expansion, than with the re-introduction of boundaries and new, non-scalable elements.

唐纳天，2023 第13届台北双年展「小世界」，展览现场

@台北市立美术馆

图文致谢艺术家及台北双年展