轉生成火鍋料的我，今天也在鍋底徘徊 In the Reincarnation as Hot Pot Ingredients, I Find Myself Lingering at the Bottom of the Pot Today

在台灣錄像藝術史的發展過程中，復興漢工作室具有時代轉折的代表性意義。二十一世紀的第一個十年，藝術家們持續著上個世紀九零年代末期對於電影、電視的影像敘事，與觀眾觀影習慣的探索，與此同時，網際網路的普及與行動裝置的生活化，大幅改變了影像在社會中的角色，漫畫、動畫、遊戲與影音串流之間的界線開始變得模糊。在這個媒介史的背景下，復興漢工作室的作品大幅反映了這樣的轉折，直到現在，陳亮璇、張曉書、李承亮、陳敬元、吳其育與致穎等這些藝術家們仍以不同的創作型態持續推移這樣的邊界。

這個展覽在文化部推動博物館及藝術5G科技跨域應用之基礎上，希望延續在地實驗團隊長期以來對於技術變遷之於藝術與創作的影響的關注，另一方面也希望確實回應5G技術的特色，以機器人、VR與APP這些當下的技術條件，透過遊戲化的策略與虛實整合展演形式支撐藝術家們對於媒介互涉與藝術發展的思考。

The Fuxinghan Studio holds significant importance in the development of video art history in Taiwan. In the first decade of the 21st century, artists continued to explore the narrative techniques of film and television, as well as the viewing habits of audiences from the late 1990s. Simultaneously, the widespread use of the internet and the integration of mobile devices into daily life drastically altered the role of images in society. The boundaries between comics, animation, games, and video streaming began to blur. Against this backdrop of media history, the works of Fuxinghan Studio significantly reflect this transition. To this day, artists such as Chen Liang-Hsuan, Zhang Hsiao-Shu, Li Cheng-Liang, Chen Ching-Yuan, Wu Chi-Yu, Musquiqui Chihying, and others continue to push these boundaries through various forms of creation.

This exhibition, based on the Ministry of Culture’s “Museum and Art 5G Technology Cross-Domain Application Project”, aims to continue the long-term focus of ET@T on the impact of technological changes on art and creation. It also seeks to respond to artists’ reflections on media interaction and artistic development through current technological conditions like robotics, VR, and apps, employing gamification strategies and an integration of virtual and physical exhibition forms.