捷運忠孝敦化站 B3月台層（Zhong-Xiao Dun Hua MRT Station B3 Level）
往市政府．昆陽月台 (To City Hall/ Kunyang)
營業時間：06:00~24:00
 
 

一個城市有捷運系統或地鐵，象徵了它現代化的程度，其建築與設施更代表該國科技發展及國民生活水準。目前世界上有一百多個城市擁有地鐵，而本站於1999年12月隨著南港線「市政府－西門」段以及板橋線「西門－龍山寺」段正式通車啟用。在歐洲，瑞典的德斯哥爾摩最早在地鐵車站安置藝術品，其內容與周圍環境背景相關，而今年隨著粉樂町，藝術家用影像的視覺遊戲呈現出與交通工具及都會生活相關的作品，帶出屬於東區的時尚潮流感。

A rapid transit system or subway in a city represents its modernization, and the architectures and facilities also show the standard of living for its people and the country’s technological advancements. There are more than one hundred subway systems in the world today, and this particular station was officially launched in December of 1999 in conjunction with the NangKang Line’s City Hall and Hsimen Stations to Ban-Qiao Line’s Hsimen and Lungshan Temple Stations. Stockholm, Sweden was the first to put installation arts in its subway stations, and the contents of the works were related to its surroundings. In this year’s Very Fun Park, artists will use images to depict a visual game consisting of works that are related to modes of transportation and urban living. The intention is to bring out the trend-setting fashionable sense of the East District.
 
作   品：浮動小機車 Floating Motorbike、天空爆炸 Explode in Sky
媒   材：燈片輸出 print-out
藝術家：陳宛伶 Chen Wan-Ling
 
 

作品一：
陳宛伶以台灣特別的交通工具－摩托車，以及飛機，利用同一地點的拍攝、重複的符號，經過時間的堆疊，使得原本單一場景轉化成為一個宏觀的大場景，讓原本消失於原處的物件卻能和未來即將出現的物件產生巧妙的關聯。作品企圖創造出獨立於生活之外的事件，雖然看似不可能存在的空間，然而這個事件卻不斷地回應我們的真實生活，製造出新的空間和事件記憶。

Through the uses of the scooter, which is an unique feature of Taiwan, and also using airplanes, Chen Wan-Ling has taken photos at the same location and with the repetitive icons that are layered through time, the once simple spot is turned into a majestic scenery, and the originally disappearing objects start to take on a intricate relationship with objects that are destined to appear in the future. The intent of the artwork is to create a situation that is independent to the daily happenings. The space seems to be nonexistent; however, the situation created continues to correspond back to our real life, and perhaps through the responses a new space and memory could be created.

 

作   品：我不乖－粉樂町Ⅰ、我不乖－粉樂町Ⅱ／I don't follow the rules
媒   材：燈片輸出 print-out
藝術家：黃建樺 Huang Chien-Hua

作品二：
「牠們就這麼進入了，如此安穩地、自適地存在於我們熟悉的一切。」黃建樺作品呈現出我們所熟悉卻又直覺不可能出現在現實生活中的動物們，出現於人類世界的錯愕經驗。這是一個意識上的不可置信，和影像帶給人的真實感，在這兩者的聯繫中發生衝撞並等待著意外的思考。從人、動物、空間的三角問題所相互產生出的認知糾纏，召喚出一種情感空間的可能，從看似熟悉卻無法貼近的情境中，讀到創作者的幽默。

“They’ve entered just like that, so tranquil and comfortable, and have eased into the surrounding that we are so familiar with.” Huang Chien-Hua’s artwork depicts the shocking experience in the human world when our instinct tells us that some of the animals that we are familiar with could not really appear in our real life. This is something that our subconscious tells us to be impossible, but the images bring to us such a sense of realness, and the connection between the two causes an impact that urges us to think outside of the box. The triangular dilemma between people, animal, and space arises from the entanglement with preconceived notions, and a calling for an emotional space also emerges from that. From a setting that seems familiar yet is hard to become intimate with, the humorous side to human kind can be inspected from the situation.