https://www.facebook.com/100986579056829/

Our Place 我們家, 台北市民權東路三段62號15樓之一, Taipei (2026)

Q: What is the address?

台北市民權東路三段62號15樓之一

11/08/2024

Thank you all for coming to Our Place 我們家 X Videocity ◩ Utopia Today 今日烏托邦 ◩ with videocity.bs. We have around 90 visitors in two days! Hope you all enjoyed the works. And thank all the artists for working with us too 🎉

謝謝這兩天來 Our Place 我們家 X Videocity ◩ Utopia Today 今日烏托邦 ◩ 的朋友們，我們有約90位觀眾來看，希望你們都喜歡，也感謝所有藝術家願意在我們家展出，我們下次見！

09/08/2024

It's tomorrow! 📣 Come to Our Place 我們家 this weekend for Utopia Today with , enjoying the great works of artists from all over the world! Come tomorrow evening for our small party with the artists too 🥂 See you there 🎞

就是明天！這個週末記得來 Our Place 我們家看與一起合作的展覽 Utopia Today，超多很棒的作品，明天晚上也歡迎一起來和藝術家聊天喔 🎥

我們會販售少量簡單的飲品，但無低消也歡迎帶自己的飲料來 🍻 We will be selling small amount of drinks, but you are more than welcome to bring your own!

06/08/2024

Our Place 我們家 X ◩ Utopia Today 今日烏托邦 ◩

Tzuan Wu 吳梓安
Born in 1985 Taipei, Taiwan
https://tzuanwu.net/

Tzuan Wu works between experimental film and its expansions. He makes collages with analogue films, through mixing heterogeneous images, audio, and texts in an attempt to inquire about the constructs of (cinematic) narratives and the selves. He holds an MA in Media Studies from The New School, New York, and a BA in Gender and Cultural Studies from NTHU, Taiwan. His works have been shown internationally, including BFI Flare (London), IFFR (Netherland), CROSSROADS (San Francisco), Golden Horse Film Festival (Taiwan), TIDF(Taiwan). Exhibitions he participated include Taipei Art Awards, Taiwan Biennial, Metropolitan Museum of Manila, and Taipei Artist Village, etc. He also programmes various experimental cinema.

吳梓安從事實驗電影的創作、推廣、研究與擴延。他以Super 8和16mm膠卷的技法，拼貼異質的影像、聲音與文本進行創作，質問電影敘事與自我建構。畢業於台灣清華大學人文社會學系，紐約新學院（The New School）媒體研究所。作品呈現形式包括放映，展覽與表演。影展經歷包括：倫敦BFI Flare、鹿特丹影展、舊金山電影資料館、雪菲爾紀錄影展、東京Image Forum、首爾EXiS、吉隆坡KLEX、台灣金穗獎、金馬影展、台灣國際紀錄片影展等。展覽經歷包括：台北美術獎、台灣錄像雙年展、台灣雙年展、台北國際藝術村、馬尼拉大都會美術館等。亦參與策劃各種實驗電影映演活動。

The Embryo’s Dream, Upon the Moon 月球上胎兒的夢 (2022)

In the near future, humans who migrate to the Moon colony force themselves to evolve with other species' genes. And the dream of an embryo would combine the memories of their previous lives, planets and species. Under this Sci-Fi setting, this film is an embryo's dream that is monitored by a "midwife", pieces of frozen memory documented for their future.

在不久的未來的月球殖民地上，人類需要混合不同物種的基因成為新的生命，而胎兒的夢也負載著物種與星球的記憶。這個影片是根據這樣的科幻設定所幻想出的，一個由產婆所監看的胎兒之夢。

See you 10-11 August at Our Place 我們家 🎥 8/10-11 週面見 📣

04/08/2024

Our Place 我們家 X ◩ Utopia Today 今日烏托邦 ◩

Copa & Sordes
Birgit Krueger *1967 Munich & Eric Schmutz *1962 Zofingen, both live in Basel, Switzerland
http://www.copaetsordes.ch

Frogs110605_2, 2011/2023

With a static camera and no cuts, the video series “Frogs and Animals” by the artist duo Copa & Sordes, composed of Birgit Krueger and Eric Schmutz, consists of “video-tableaux”. They examine aspects of temporality and the documentary in a defined image section. The static shots of flower arrangements are strongly reminiscent of seventeenth- and eighteenth- century genre and still life painting, seeming motionless at first glance. On closer inspection, small frogs can be discovered between antique porcelain and jewellery, breathing life into the work. Genre and still life painting have been reinvented by the video tableaux created by Copa & Sordes. The moving image and sound no longer just provide just a snapshot, but an immersive insight into a self-contained world.

由 Birgit Krueger 和 Eric Schmutz 所組成的二人組 Copa & Sordes 所做的《Frogs and Animals》（青蛙與動物）系列錄像作品採用靜態攝影機和無剪輯的方式，由「實境擺拍影片」（video-tableaux）所組成。他們在一個限定的框架中討論時間性和紀實性：作品中靜態的畫面讓人聯想到十七、十八世紀的風俗畫或靜物畫，乍看似乎一動也不動，但仔細觀察，可以在古董瓷器和珠寶間發現小青蛙，為影像注入了生命力。Copa & Sordes 的創作重新詮釋了風俗畫和靜物畫，而動態影像與聲音不再只是提供一個快照，而是讓人身臨其境般地洞察一個自己自足的世界。

See you 10-11 August at Our Place 我們家 🎥 8/10-11 週面見 📣

01/08/2024

Our Place 我們家 X ◩ Utopia Today 今日烏托邦 ◩

Esther Yi-Chun Lin 林怡君
Born in 1990 Taipei, Taiwan
https://www.linyichun.studio/

Esther Yi-Chun Lin is an artist based in Taipei, Taiwan. Telling stories with objects, texts, images and others, her practice captures phases of transition within the modern daily system and explores the transformation and fluidity of identity and value. Her research and interests engage with memory production, (absent) archival reenactment, new materialism, time and bio politics, performance and alternative system creation. Her current practice focuses on connecting experimental narratives between participatory video, fiction and installation and their organic interaction with collective history.

藝術家林怡君目前生活於台北。說故事的方法像是她的主要材料，擅長以敏銳的心理感知與身體量測，重塑日常生活邏輯，打開想像與現實的交界，探索身份的流動性、現代系統的片刻與記憶生產的過程。在不斷摸索事物與敘事隱含的潛在話語、以及被此些話語結構所排除的事物之際，有時卻也創造出懸浮與混亂的成果。作品多以組件式空間裝置，再思索文件與物件的可能性，涉略城市生活、記憶形式、心理學、時間政治等主題。近期積極嘗試抽象化議題事件的創作與展覽實驗上。

Cut, Fold, Paste (Lô-Tsok Field) 勞作地景：運動場 (2022)

It refers to the artist’s grandfather working on his farm. For her, the act of labour in daily life, like her grandpa’s, becomes a tool for dissolving meanings and the result of dissolved meanings because it has yet to be interpreted by tools and meanings. In the work, the artist uses LiDAR 3D scanning technologies to preserve the objects of labour on her grandfather’s farm and to revisit the details of the labour process. During the scanning process, she began realising, more and more, that the farm continues to transform itself. The closer you look, the more you realise that the farm has refused to stay still, refused to become an eternal memory fragment, and refused to be archived in the following ways: 1. strong sunlight, 2. becoming transparent, 3. the transparency between two walls, 4. metals, 5. cords, sticks, poles, branches, 6. planarity.

《勞作地景：運動場》所指涉的是藝術家的阿公在自家農田中的工作場景。對林怡君來說，勞作狀態就像是裝置的原型—它尚未被工具與意義的表達所掌握，反而是解消意義的工具，並生成解消意義的產物。在這作品中，藝術家以LiDAR掃描技術進行保存與重看勞作過程的細節。在掃描過程，藝術家越加發現此片田地不斷在更新、不斷在變化。越是仔細觀看它們，越會發現它們正在拒絕靜止，拒絕成為永遠的記憶，拒絕成為檔案，拒絕方法如下：1. 強烈的陽光。2. 成為透明。3. 這牆與那牆之間的難以遮掩。4. 金屬。5. 線、棍、棒、枝。6. 平面性……。

See you 10-11 August at Our Place 我們家 🎥 8/10-11 週面見 📣

30/07/2024

Our Place 我們家 X ◩ Utopia Today 今日烏托邦 ◩

Esther Yi-Chun Lin 林怡君
Born in 1990 Taipei, Taiwan
https://www.linyichun.studio/

Esther Yi-Chun Lin is an artist based in Taipei, Taiwan. In 2016, she completed her MFA Fine Art at Goldsmiths. Lin has participated in exhibitions in Venice, Gdansk, Cologne, Tokyo, LA, London, Bangkok, Jakarta, Mexico City, Okinawa, Havana…etc. Her work has been featured in group exhibitions at 2023 Taiwan International Video Art Exhibition; Jim Thompson Art Center, Bangkok; 2022 Mediations Biennale; Satellite Exhibition of 2021 Asian Arts Biennial; Ulaanbaatar International media art festival; National Taiwan Museum of Fine Arts; Taipei Fine Arts Museum.

藝術家林怡君畢業於倫敦大學金匠學院藝術創作碩士，目前生活於台北。近年參與計畫與展演有，流浪的土地公 : 北投社保德宮的神明地誌學（保德宮，2020）、挑戰的時刻：台泰線上交流駐村（鳳甲美術館、Jim Thompson Art Center，2020)、沖繩亞洲國際和平藝術季(南風原文化中心，2020)、洛杉磯十八街藝術駐村（2019)、向同儕學習-台印當代藝術共學計畫（Gudskul, 2019）、《烏蘭巴托媒體藝術節》(MN 17 Gallery，2019)等。曾入選台北美術獎；為2018年國立台灣美術館數位方舟策展案「薛西弗斯 Ver. 20.18」策展人。

Burning Stones 燃燒的石頭 (2022)

Burning Stones begins with the forgotten history of Pingpu Peoples' sulphur mining in Taiwan, using the old English name for sulphur stone as a metaphor for the hidden stories and the lack of information about and by them. Here, Lin emphasised on the gaps in reading/accessing the relationships between action, body, sound, image, and memory. In these shared yet individual experiences of feeling, moving, and interpreting, the paths up and down the mountain were stretched into infinity. Every place held the potential to be a path or not. The distinction between became subtle and fluid. To patrol was to venture forth, seeking traces in sounds, scents, fireworks, intuition, and bodies, or, upon descending the mountain, we followed the lingering trails of fragrance.

《燃燒的⽯頭》以台北空白的平埔採硫過往出發，以硫磺⽯的古英⽂命名，暗喻那些藏在故事當中，缺乏的理解與書寫。在這個將《燃燒的⽯頭》製作成影像的版本中，藝術家企圖重現與強調關於動作、身體、聲音、影像、記憶（體驗者或觀眾正在生成的）間的讀取／存取落差。在這些共同卻個別地感受、移動、轉譯／誤讀的經驗裡，當時上山與下山的路徑是無限，何處皆路、何處非路，路與非路的差異並非那麼巨大。要巡守，便是前往，從聲音、氣味、花火、直覺、和身體，尋找蛛絲馬跡。或者在下山後，沿著氣味搜查。

See you 10-11 August at Our Place 我們家 🎥 8/10-11 週面見 📣

27/07/2024

Our Place 我們家 X ◩ Utopia Today 今日烏托邦 ◩

Ping Ho 何苹
Born in 2000 Taipei, Taiwan
https://www.pingho.art/

.89

Ping Ho is a Taiwanese artist who blends the genres of moving images, sound, and objects to forge a unique intersection where mundaneness, nature, and passage of time converge. While her daily practice revolves around art making, her professional background centred on curation and community building, creating a platform for conversation and expression that are inclusive, engaging, and accessible for all kinds of art. Ping’s curatorial practices centre on exploring the intersection of mundaneness, nature, passage of time, and migration. Using multimedia, her research and interview unfold the stories of immigration. Taking a site-responsive approach to curation, she works with performance artists to challenge the conventional boundaries of viewing. Additionally, she has a passion for archiving images and objects made up of fleeting moments in life.

何苹是一位台灣藝術家，其將動態影像、聲音和物件融合，在日常、自然和時間流逝的交匯處形成一個交叉點。他的日常實踐圍繞著創作，但其專業背景為策劃及社區營造，致力於創造出有包容性、參與性且平易近人的平台。他的策展實踐經常以移民經驗作為主體，透過複合式媒材展出他的研究和訪談，來訴說人類遷移的故事，並透過與不同行為藝術家在特定場域的創作，試圖挑戰傳統觀賞的界限。此外，他還熱衷於將生活中稍縱即逝的重要時刻，透過影像及物件留存。

Zhongxiao Fuxing to Daan Station 忠孝復興到大安站 (2021)

Taipei is a colourful city, although it is crowded and loud, it has a personality that the artist can connect to. When she thinks about home, memories come and go quickly, like a flashback, a slide show, or even a collage. The metro is significant to Ho because it is one of the main means of transportation for her to go everywhere in the city back home. The scene in the video is the landscape of her everyday view of Taipei while standing inside the metro. The audio plays along is a mixture of real conversations that she recorded live.

台北，對何苹來說，是一個顏色和形狀多變的地方，儘管它擁擠、喧鬧，但它有其所認同的個性。每當住在美國的何苹想起家，記憶就來得快去得也快，就像回憶、幻燈片，甚至是一幅拼貼畫。捷運，是他在台北回家時前往各處的主要交通工具。當他乘坐著捷運並觀看這些電影般的記憶序列在他的腦海中編織時，何苹將速度和時間位移效果的變化應用到影片本身去重現這些記憶。

See you 10-11 August at Our Place 我們家 🎥 8/10-11 週面見 📣

24/07/2024

Our Place 我們家 X ◩ Utopia Today 今日烏托邦 ◩

Abdulnasser Gharem
Born in 1973 Chamis Muschait, Saudi Arabia, lives in Riyadh, Saudi Arabia.
https://abdulnassergharem.com/

Flora & Fauna (2007)

Nature has its own way of stabilising its elements in order to reach a state of equilibrium. This is what we refer to as an ecosystem – a system which contains numerous components that keep it in balance. Intelligent life forms in our ecosystem have found methods of introducing new species into an already harmonised order. This is first and foremost for the benefit of homo sapiens, and the rest of the species only consequentially.

大自然有自己的方式來穩定其元素，以達到平衡狀態，這就是我們常說的生態系統：一個包含眾多元素的系統，而這些元素使其保持平衡。我們生態系統中的智慧生命體已經找到了將新物種引入已經平衡的系統的方法，但這是為了智人的利益，其次才是為了其他物種。

See you 10-11 August at Our Place 我們家 🎥 8/10-11 週面見 📣

21/07/2024

Our Place 我們家 X videocity.bs ◩ Utopia Today 今日烏托邦 ◩

Youngjoo Cho
Born in 1978 Seoul, South Korea, lives in Seoul, South Korea.
http://youngjoocho.com/

Floral Patterned Romance (2014)

Dadaepo (meaning “big and wide port”), well known for its Rainbow Industrial Complex, is located on the outskirts of Busan. The performers in the video are thirteen local women working at the complex. The project started from Cho's interest towards her mother's generation. Women from that generation, who were born right after the Korean War, usually married via 'seon (meeting each other with a view to marriage)' and have sacrificed themselves towards their husbands and children. And these women, who are still comfortable being called as someone's wife or someone's mom, have found the 'beautiful' selves in the work, despite it was only temporary. Some were happy as if they were children, and others wept with their minds deeply touched. Their lives have walked with the history of Korea for decades, and in the work, we are invited to have a moment to remind ourselves about the lives of these women and their generation.

多大浦（意為「又大又寬的港口」）位於釜山市郊，因其彩虹工業園區聞名。影片中的表演者為十三名在該工業園區工作的婦女。這個計畫始於 Youngjoo Cho 對其母親以及該世代的興趣：那一代的女性出生於韓戰後，通過相親結婚，並為丈夫和孩子犧牲了自己的生活。這些女性仍舊可以舒服地接受自己被稱為某人的太太或媽媽，在跳舞時他們找到了美麗的自己，儘管只是短暫的。有些人快樂地像個孩子，而有些人則感動地淚流滿面。他們的一生與韓國的歷史一起走了幾十年，而我們在這一刻則想起了母親和他們那一代人的生活。

See you 10-11 August at Our Place 我們家 🎥 8/10-11 週面見 📣

18/07/2024

Our Place 我們家 X videocity.bs ◩ Utopia Today 今日烏托邦 ◩

Polina Chizhova & James Stephen Wright .chizh

Based in Newcastle, UK.
https://polinachizhova.com/ https://jamesstephenwright.com/

A Skulk in London (2018)

The work “A Skulk in London” explores the human projections onto animal life from a satirical perspective. Its aim is to research the life of urban foxes amid the Anthropocene environment of central London and the mythologies surrounding them to highlight the human tendency of understanding and perpetually interpreting the natural world limited by the point of view of “man”. The main character is a city man who becomes fascinated with finding nature in the city and is following urban foxes to fulfil his dream of wilderness. The character lives in a world of fantasy and does not consider the perspective and agency of urban wildlife. His obsession is so blinding and absorbing that he doesn’t realise that the fox he finds is, in fact, a dog in a costume.

該作品以諷刺的手法討論人類如何將自己的想像投射於動物身上。作者在倫敦市中心，一個人類世（Anthropocene）的環境中，研究都市狐貍生活，以及與狐貍相關的神話，強調人類終究無法擺脫以「人」其侷限的視角來理解並解讀自然。故事中的主角著迷於在城市中尋找自然，並追隨都市中的狐貍以實現這個夢想，在他幻想中的世界裡，沒有動物自身的視角與生活，其盲目的癡迷以至於他沒有意識到自己一直在尋找的狐貍，只是一隻穿著戲服的狗。

See you 10-11 August at Our Place 我們家 🎥 8/10-11 週面見 📣

15/07/2024

Our Place 我們家 X videocity.bs ◩ Utopia Today 今日烏托邦 ◩

Hsin-Yu Chen 陳省聿 .y.chen
Born in 1994, Taipei, Taiwan
http://hsinyuchen.com

Hsin-Yu Chen is a filmmaker and artist currently based in Taipei, Taiwan. He works with experimental film, documentary, and moving images to explore the liminal space between seeing and being seen where subjectivity is implicated and constructed. Drawing on border landscapes, embodied knowledge and the notion of measurement and categorization, he examines the intersection of the viewing body and the political subject. His work has been shown at MoCA Taipei, TW; Taiwan International Video Art Exhibition, Hong-gah Museum, TW; Rencontres Internationales Paris/Berlin; Festival des Cinémas Différents et Expérimentaux de Paris, FR; Kassel Dokfest, DE; 25 FPS, HR; and Arkipel - Jakarta International Documentary and Experimental Film Festival, ID. He has participated in FIDCampus, Oberhausen Seminar and residencies including RAIR Philadelphia and Cité Internationale des Arts, Paris.

陳省聿，電影創作者及藝術家，現工作及生活於台北。作品跨實驗電影、紀錄片及動態影像，關注看與被看的過渡空間中，主體性如何被影射及建構，並以邊界地景、體現知識與量側和分類概念為題，探索觀看身體與政治主體的交會。作品曾在台北當代藝術館、台灣國際錄像藝術展、巴黎柏林新電影暨當代藝術展、台灣金穗獎實驗片競賽等影展與空間展出。

BIPM (2023)

On one roll of Super 8 film, 15m (50ft) = 2.5 minutes, at 24 frames per second.
Chen walked 15 metres over 2.5 minutes of an entire roll of Super 8 film outside the Bureau International des Poids et Mesures (BIPM), where the international system of units, including standardised time and length, was developed and defined. The forced synchronicity premised on the structural materiality of film interrogates the notion of measurement, standardisation, adaptation, and embodied experience.

在超8毫米底片上，15公尺(50英尺)等同於2.5分鐘長度。
藝術家陳省聿在巴黎市郊的國際度量衡局外，以一卷超8毫米底片為長度，行走與2.5分鐘底片等長的15公尺距離，以單一鏡頭拍下此過程。BIPM是國際度量衡局的縮寫，為制定時間和距離等標準化國際公制單位的科學研究組織。陳省聿透過強行疊合的時間與空間測定，在電影物質性結構的基礎上，探討測量、標準化、適應和身體經驗等概念。

See you 10-11 August at Our Place 我們家 🎥 8/10-11 週面見 📣

12/07/2024

Our Place 我們家 X videocity.bs ◩ Utopia Today 今日烏托邦 ◩

Yana Bachynska
Born in 1991, Lviv, lives in Lviv and elsewhere
https://secondaryarchive.org/artists/yan-bachynskyi/

Deconstruction of the Ancestor (2016)

In the video, Bachynska tried to reach his roots to understand himself, but what he faced was the darkness of tradition and the cruelty of past centuries. Bachynska decided to invent an ancestor on his own. And he put it on like how people put on their national costumes, as an expression of his identity.

在作品中，Yana Bachynska 藉由尋根來了解自己，但他所面對的是黑暗的傳統和過去幾個世紀來累積的殘酷。Bachynska 決定為自己創造一個祖先，他像是穿上民族服裝一樣穿上「他」，以表達自己的身份認同。

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